School Of Stock | PhotoShelter tag:blog.photoshelter.com,2008-06-13:/school//6 2008-09-10T15:06:10Z Movable Type Open Source 4.1 How to Shoot Great Travel Photography tag:blog.photoshelter.com,2008:/school//6.1038 2008-09-09T21:42:00Z 2008-09-10T15:06:10Z photos by David Nicolas 1. OVERVIEW Travel photography is a broad category that encompasses all the imagery involved in telling the story of a place. Landscapes, environmental portraiture, food, and architecture are all considered 'travel' photography. Travel is in... Rachel Hulin http://psc.photoshelter.com/ dn.png
photos by David Nicolas

1. OVERVIEW
Travel photography is a broad category that encompasses all the imagery involved in telling the story of a place. Landscapes, environmental portraiture, food, and architecture are all considered 'travel' photography.

Travel is in fact one of the most consistent and top-selling categories of stock. Images might be used by the travel industry itself (magazines, tour brochures, guide books, etc.) or by advertisers using aspirational imagery of sparkling oceans and sweeping vistas to sell their products (think retirement planning ads, or pharmaceutical 'after' images!). Regardless - these images sell year-round and in very high volume.

There is however an important double-edged sword to bear in mind regarding travel photography. On the one hand, this is truly stock imagery that you can create without a lot of muss or fuss - and it's fun! On the other hand, because so many hundreds of thousands of photographers love to travel - and make their adventures the focus of their hobby or profession - the quality bar for travel imagery is high. You have a lot of competition, and snapshots will not suffice.

That said, pushing yourself off the beaten path, educating yourself on what sells, and finding a way to stand out from the crowd will result in great photography that will be personally rewarding - and could even end up paying for many trips to come!


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photo by Emiliano Granado


2. INTRODUCTIONS
We spoke to several buyers and photographers to ascertain which imagery is in demand, and how to create it. We found a lot of energy and passion on both sides of the fence - thanks to all of our experts for their enthusiasm and specific advice!

BUYERS

PHOTOGRAPHERS


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photos by Cedric Angeles


"It seems obvious - but I always recommend looking at existing photography of your destination on stock sites before going on your trip. You don't want to rehash the same photography that is already saturated in the market, and you will know when you need to do more location scouting." - Christina Micek, Freelance Photo Researcher


3. BUYER TIPS


  • Do your research. This is critical! Many photographers have traveled to similar climes as you, and you must offer a compelling perspective. Think of yourself as a photographer, prop stylist and location scout all in one-- your scenes must be singularly beautiful and interesting. Your angles must be more interesting than the last guy's.
  • Leave room for copy. Proper framing is a critical element of commercial travel photography. Buyers are selling something-- through an editorial layout, or an advertisement for a Caribbean cruise company. And they're going to need to put text in there. Think about this! As Christina Micek says: "I always need room for text somewhere in the photo, USUALLY AT THE TOP OF THE IMAGE."


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photo by Emiliano Granado


  • Capture all orientations. As Whitney from Travel & Leisure says: "I would advise shooting everything both vertically and horizontally because you can never guess what the designer might need. I try to give my designers both options. I would advise zooming in and out." 

  • Shoot more than one scenario when you're at a great location. 


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 Cedric Angeles, for Travel & Leisure.


"I'm often looking for shots having to do with travel in general-- airports, waiting, packing, flying, security, booking travel online, etc. These help illustrate more abstract stories."- Whitney Lawson, Travel & Leisure



  • Record the little details too. It's not just the beaches on Antigua that editors are looking for. They're also interested in the nuts and bolts of the trip -- the aspects Whitney mentions above, but also details of hotels, restaurants, and other micro-indicators of a broader experience or culture.


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photo by Emiliano Granado


  • Landmark structures are always worth shooting. Yes, there are tons of images of Mount Rushmore, but famous places are used again and again in editorial and advertising venues. If you can shoot it better, go for it. For example, here are the last seven searches Whitney Lawson did on PhotoShelter (they run the gamut):
  1. Nationals Stadium, Washington DC
  2. Sears Tower, Chicago
  3. Airplane Window
  4. "Four Seasons"
  5. New Orleans streetcar
  6. Restaurant DC
  7. St. Bart's

"If I look under "Washington DC" in Photoshelter, I just get monuments and politicians. But if I were doing a story on DC, I would want more local imagery. Some of the cute neighborhoods.  If I type in "Washington DC Cafe," there is very little there. I might need a charming street scene with a cafe - but it's not there." -Whitney Lawson, Travel & Leisure


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photos by David Nicolas
  • Shoot neighborhoods, and their existing charm. Local color exists-- it's up to you to go out there and capture it. Find a charming cafe, a local bartender, an existing tradition.

  • Meet the folks. When buyers DO include people in their images, they want them to be authentic - un-posed, and friendly. Talk to your subjects, make them comfortable.



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photos by David Nicolas


"Images can look contrived if there's no genuine conversation between the photographer and the person in the photo. Strike up a conversation and get to know the person if you can - whether they are a local or someone also on vacation." -Moya McAllister, Story Worldwide


  • Shoot lifestyle imagery in travel environments. As Moya says: "I would like to see a lot more untouched landscapes. And also, people enjoying themselves while traveling. There are not enough 'travel lifestyle' photos or photos of real people or native people in their environments."


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"Travel a lot - especially to unusual places! And try to look for the unexpected.  Do your research, so you know what's already 'standard'' or 'covered' about a particular place and try to give the magazine a new visual approach to a place, even if you are shooting the expected shot list." -Moya McAllister, Story Worldwide



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 photos by Cedric Angeles
  • Shoot all seasons. This gets back to doing your research. There seems to be a glut of warm weather destination imagery -- find not just locales, but seasons, that are under-represented - and include those in your plans.


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The snow is nice. Don't be afraid of it. Photo by Cedric Angeles.

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photo by Cedric Angeles


"I would love to see photographers go to more out of the way places and unique destinations, and in all types of seasons. Getting winter or fall imagery is harder to find, for example." - Christina Micek


  • Make it look like film. Face it-- film lives the travel dream. It's nostalgic and often soft, and generally feels more nuanced than digital. If you shoot digitally, learn how to edit your images to get the look of film.


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photos by David Nicolas


  • Food, food, food. Service, service, service. We heard this from literally every single one of our experts. Every location you visit has local food traditions - and restaurants, cafes, and beverages. Include these key cultural elements in your documentation of your destination.


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photos by Cedric Angeles


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  • Don't be afraid to be quirky. Sometimes the best layout comes from an unexpected moment. Get in there.



4. PHOTOGRAPHER TIPS
  • Find something new. Again and again, we hear this from buyers and photographers alike. Magazines and advertisers are moving towards authentic and experiential imagery- they want readers to believe this place exists, with all its character, characters, and (beautiful) flaws.


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photos by David Nicolas


  • Experiment with your depth of field. Most of the photographers we talked to had a camera setup they always use for travel photography. Find what works for you. Most travel magazines appreciate shallow depth-of-field-- make sure to shoot your images with different levels of focus; this can change the whole feel of an image!


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"I really like the backgrounds to be out of focus. I think this helps for travel imagery, it gives the images a palpable texture. I've actually blurred backgrounds in Photoshop on some digital files to make them look more like film." -Emiliano Granado


  • Produce a range of imagery, in terms of tone. You can create a silly tone in a somber environment, and vice versa. Remember that the buyer is trying to create a certain feel with their layout, and the more options you give them, the better. Give them funny and kitschy, give them traditional and beautiful. As Granado says: "the buyers may not all agree that a funny picture of someone pigging out on a corn dog, for example, is appropriate for that article." Well put.


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photo by Cedric Angeles


  • Produce a range of imagery, in terms of subject matter. Food, portraits, landscapes! You're telling the story of a place, and a place is multi-faceted. Find what is special about the place to you, and let the story evolve. Wander about and try to shoot a bit of everything-- remember there is no one set formula. If the location means something to you, if you have a clear perspective-- it will come through in your imagery. You want the viewer to feel as if they are there with you, enjoying that local goat cheese.


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photos by David Nicolas


"When I go to a place I tried to capture it in a very natural way, try not to force it so much, half the time it really depends on the location, some places are just beautiful as soon as you see them some other ones you have to find  that beauty, let it evolve. Each place is unique  so I try to tell that story but giving little vignettes of that place." -David Nicolas


  • Natural light, natural light, natural light! This is a biggie; your goal as a travel photographer is to show the best of the place. And that means showing it naturally. Why light a room when you can have natural light streaming in the window? When in low-light situations, use fills, use long exposures. Travel is about charm, and charm is not achieved with a strobe (unless you are very careful). This is the same for gels. Be very careful where you tread.


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photos by David Nicolas


  • Do your research. Know where you're going! Cedric Angeles has some great techniques: "I usually watch films set in the specific place i am photographing. I also read books about the place, a guidebook, a novel or travel writings from any writers that I like. This gives me a good base in terms of what kind of imagery starts to form in my mind."


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photos by Cedric Angeles


  • Make lists. Again, both a buyer tip and a photographer tip. If you're on assignment, you'll have a list from your editor, and if you're not, you should make your own. Think of moments that will happen, faces you'd like to capture. It's your perspective that you're recording, so figure out what that perspective is.

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                     photo by Emiliano Granado


  • Find some friends. Be a local. Talk to folks! This is an invaluable tool to help you understand and shoot your environs better. You'll learn about spots that are not in the guidebooks, and you'll find interesting faces and customs.

  • Avoid the cliches. If you're shooting something exactly like the aging postcard on display at the local gift shop, you're wasting film or card space.

  • Sunsets? Everybody shoots sunsets, so know that the quality bar is very high and your shot must be differentiated. Search 'sunset' on any stock site and see what comes back. If you can't beat what's already there, it's probably not worth capturing from a sales standpoint. On the other hand, if you can beat the existing inventory, do it!


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photos by Cedric Angeles


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"You can get amazing personal shots of sunsets, vendors, beaches...etc. Buyers would like to see a range in a travel portfolio, including interiors, portraits, still life, landscape, and architecture.  They want to make sure that a photographer can come back with the goods." -Cedric Angeles


  • Be yourself. In the end, travel photography is very much about the photographer's style and vision. Bring your own perspective, make yourself stand out. And don't give up! Angeles, again, helps us out here" "Dont give up. Keep shooting, keep showing your work, promote your work, make sure people see it. Always make sure your work is being seen."


5. SHOT LIST
Here are some ideas to get you started. These are truly just a jumping off point - we encourage you to find your own ideas and get creative - it will pay dividends in your sales!

Urban Settings:
  • Conceptual/Mood-setting Images: urban destinations can be associated with the moods the traveler wants to experience: excitement, energy, romance, culture, style, high fashion, party atmosphere, history, modernity, sophistication etc.
  • Neighborhoods, both well known and off the beaten path, ethnic and more typical
  • Districts, such as theater district, shopping district, etc-try to get a new point-of-view; include signage where appropriate.
  • Parks, recreation, outdoor amenities
  • Locals in these settings in different moods and times of day (positive /clean depictions are more saleable)
  • Major landmarks, artworks, and buildings-- try to be unique in point of view and time of day.
  • Cityscapes
  • Restaurant exteriors, including signage
  • Restaurant interiors, including servers, customers and decor
  • Food and beverages in restaurants
  • Typical street or ethnic food /try to avoid flash and messy backgrounds/
  • Residents going about daily life
  • Residents having fun
  • Environmental portraiture of beautiful locals, or local characters
  • Local style and fashion
  • Store exterior and interiors, goods for sale- don't stick to only typical tourist haunts and avoid cluttered photos; use signage where appropriate
  • Nightlife in general, in the streets and in establishments
  • Exteriors of clubs and bars, includings signage and neon lights
  • Interiors of clubs and bars
  • People dancing having fun inside clubs and bars (one case where strobe might be ok)
  • Close up detail shots of any and all of these locals
  • Typical vehicles or modes of travel, transit stations hubs-- again, unique POV
  • Cultural events high and low, art, museums, music, theater venues
  • Churches, mosques, synagogues, temples
  • The clergy and rituals thereof

Beach Settings:
  • Conceptual/Mood-setting Images: beach vacation spots are often associated with the following moods or feelings desired by the traveler: relaxation, luxury, adventure, pampering, romance, exclusivity, play, sunshine, fun, surf, the beauty of the landscape, a sense of open space, colorfulness, party atmosphere, sexiness, togetherness, etc.. (*these must be very well executed since they will be purchased for their aspirational value*)
  • Bodies of water and waves should be shot at great moments and with good light to show off the best color and shapes.
  • Streets and villages, both typical tourist spots and off the beaten bath
  • Details of shells and sea life, well-composed, colorful, shot on the beach or underwater
  • Couples, families, locals, and tourists on the beach, should be aspirational and attractive
  • Environmental portraits of local characters and beauties, ethnic/native peoples
  • Beach chairs, umbrellas and towels -- empty and waiting for the traveler
  • The beach with a beautiful companion, beverage, bird, flower, or food item in the shot
  • Specific hotels, interiors and exteriors, signage where appropriate
  • Bungalows, huts other unique places you can stay at beach locales
  • Food, especially seafood, tropical drinks, fruits before and after cooking
  • Local markets, street food, good composition, sense of the moment (color and light is essential here)
  • Beachfront cafés and grills
  • People in stylish beach wear, showing tans, nice bodies
  • People in scuba snorkel gear, people enjoying those activities
  • Local flora and fauna, both alone and including people
  • People swimming, floating, luxuriating in water, from many points of view
  • Surfing, Windsurfing, Paragliding etc. Catch the right moments, spray of water, good expressions, make it look, fun, skillful, or relaxed where appropriate
  • Dawn, dusk, candle or fire light on the beach
  • Cultural festivals, carnivals, musical and dance performances. Try to avoid canned events designed for tourists only.
  • Pools, Jacuzzis, hot springs, spas, restaurants, other hotel amenities
  • Show the unique service at high end establishments, using employees, turned down beds, shined shoes left at your door, room service, complimentary spa products in your room etc, etc.
  • Spa and beauty treatments, massages
  • Sandcastles, sand toys
  • Kids playing in the sand, etc
  • People playing beach games like volleyball and Frisbee etc.
  • Fitness, meditation and yoga may be appropriate in certain destinations.
  • Boats, boating, sailing, yachting, harbors: (*Be extremely careful not to clutter the frame with many masts and boats, poor color and contrast, ugly unclean details. We get a lot of these shots and most are uninspiring. Capture details, colors, clean composition, point of view on the boat including the prow and wake, both motion and calm. *)
  • Fishing, Fisherman, etc.
  • Watch out for the sky-- avoid muddy, dark, or blown out

Countryside/ Small Town Settings:
  • Conceptual/Mood-setting Images: rural areas and small towns often create these types of feelings or ideas in the traveler: calmness, landscape, back to nature, tradition, retreat, timelessness, quaintness, warmth, friendliness, family, simple life, humanity, agriculture, animals, green, privacy, quiet, relaxation, solitude, beautiful vistas etc.
  • Impressive landscapes, mountains, waterfalls, valleys, towns etc. - composition and waiting for the right light is important here
  • The above with a person, couple, friends, or family included to set a mood
  • Farms, farming
  • Picturesque homes and shops
  • Environmental portraits of happy locals, salt of the earth types, and ethnic people where applicable
  • Local produce, artisanal foods and beverages
  • Details of tools, baskets, crafts
  • Stores and signage, local goods
  • Buildings and historic landmarks
  • Places of worship and ceremony
  • Rural activities, including horseback riding, canoeing, golf, hiking, biking hunting, backpacking, fishing, etc.
  • Farm equipment, quaint vehicles
  • Bed and Breakfasts, smaller hotels and lodgings
  • Details of the interiors of these places, pretty décor in the rooms, country amenities and socializing with other guests are often the appeal of these places.
  • Camping, campgrounds
  • Cookouts, campfires
  • Relaxing on the porch, hammock, grass, dock etc..
  • Local kitsch

Ski/Winter Sports Settings:
Many of the same shots for urban, small town or countryside areas would apply here. Mmore specific ideas also include:

  • Mountainous landscapes, distant shots of ski towns or resorts
  • Overall resort pictures
  • Ski lifts, both distant and close ups
  • Interiors of Ski lodges, hotels
  • Snow covered streets and other details of the town
  • Storefronts, restaurant fronts
  • Cozy interiors of ski lodgings, hotel accommodations, amenities, spas, spa treatments
  • Images of skiers and snowboarders
  • People in ski clothes hanging out, or talking outside
  • People in warm clothes gathered in lodges, fireplaces, warm drinks etc
  • Snow covered natural environment shots, and details
  • Windows covered with frost
  • Other winter sports offered at each specific resort, skating, tobogganing, cross country
  • Lighted night skiing

Remote Settings:
Again many shots from beach, small town, countryside or urban environments would apply here depending where you are. You could also shoot:

  • Sensitive depiction of local culture
  • Local ethnic groups, positively portrayed
  • Exotic creatures and plants
  • Unusual modes of transport
  • Local religious or cultural customs carefully depicted

Adventure Travel:
This type of travel photography can differ somewhat from the others in that you would also show travelers in the shots doing adventure sports activities (see magazines such as Outside, National Geographic Adventure, and Backpacker). Keep the shots dynamic and focus on showing high energy.

  • Backpacker from behind with a beautiful landscape in front of them
  • Climbers of all types on mountain and rock faces or ice covered cliffs that show unique aspects of that locale
  • Kayaking and canoeing
  • Running, jumping, hiking, trail walking, snow shoeing
  • Camping, snow camping
  • Activities relating to those above


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photos by David Nicolas


6. PARTICIPATE
Are you a buyer or photographer with extensive experience relevant to this category? We'd love to hear from you! Please email us with any additions to the Shotlist, Tips, or any other sections of this article.

We look forward to it!
]]> How Derek Dysart Sold an Image for $5000 Through PhotoShelter tag:blog.photoshelter.com,2008:/school//6.1052 2008-09-04T15:26:18Z 2008-09-05T15:37:04Z Derek Dysart writes software by day, and photographs during all the other times of life -- while changing lightbulbs, growing pumpkins or taking the kids to the school. So it's apropos that a photo of one of his sons ended... Allen Murabayashi http://www.photoshelter.com dysart.jpg

Derek Dysart writes software by day, and photographs during all the other times of life -- while changing lightbulbs, growing pumpkins or taking the kids to the school. So it's apropos that a photo of one of his sons ended up making a nice advertising sale on PhotoShelter. You can license more of his work at http://psc.photoshelter.com/user/djdysart

You're a software developer. How did you get interested in photography?
My interest in photography predates my interest in computers. I remember getting my hands on my uncle's Canon AE-1 Program when I was 8 or 9 and wanting to know how to use it. IIRC that camera operates in what is now known as shutter priority, but I wanted to know what all the settings did, so I got a book from the library and learned about exposure, how aperture controls DOF, etc.  I took a photo of my younger brother, which to this day my mom considers one of her favorites.  Soon my uncle wanted it back, and all the family had was a crummy old Kodak Disc camera.

Later, my family bought a Minolta Maxxum, one of the first autofocus cameras. I remember taking a darkroom class and developing my own film, making my own prints, etc.  I have no idea where any of that ended up. I played with the Minolta some after that class, but the cost of film and processing made it tough to really experiment, and there was no way my folks would let me setup a darkroom.  The cost of the camera was a big ticket item for us - what junior high kid has an enlarger?

Still the itch was there.  Fast forward to recent times, I ended up borrowing a co-workers Canon 10D for a trip to Albuquerque for a wedding and the Balloon Fiesta.  After using it, I had it bad.  I took me a bit to scrape enough extra together and I finally sprang for a 20D and have been shooting it since.

My mom will also tell me it's in my genes.  She came from a family of photographers that go way back.  Evidently they did traveling portraits throughout Missouri and Iowa during the late 1800's and early 1900's.  Her uncle was actually what I would guess would be called a "beta tester" for Eastman Kodak back in the late 1930's.  My mom's brother recently had some old family movies transferred to DVD.  There is color motion picture footage from a family trip to Mt Rushmore when it was still under construction in 1938.  Pretty crazy to see.

What sort of camera gear is in the bag?
Right now
* Canon 20D w/Grip (it seen a few miles, but still clickin')
* EF-S 17-85mm f/4-5.6
* EF 50mm f/1.2L
* Canon 580EXII
* Nikon SB-24
* All kinda of Strobist knick-knacks -
 - Poverty Wizards (aka cheapo eBay triggers)
 - Ball bungies
 - Gaffers tape

I know you're a portraitist. When did you start considering stock photography as a way to license your images?
I got into portraits professionally mainly out of so many people asking where we had our kids photos done.  When they found out I shot them, they wanted me to shoot their kids. My wife eventually suggested that maybe I should charge for it. A photography business was born. From the start I knew I didn't want to just make money off of a hobby. From the get-go I wanted to treat it like a business.

I read everything I could on the business side of photography, including John Harrington's great book "Best Business Practices for Photographers" and the blog he writes to go along with it. The first thing I came to the realize was that folks are virtually giving away their work, often not realizing it. Another thing that stuck with me is if you want to get into a certain line of work (say, Editorial) but don't have the assignments, make them up and practice.  So that is sort of where I started heading with my non-portrait work.

]]>
Additionally, at the Town Hall, Photoshelter launched the Photoshelter Collection.  The excitement from the buyers seemed real, and most of all it was accessible to someone just getting there feet like me, so I signed up. I was ecstatic when my first submission were accepted, and I've been uploading since.

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Photo by Derek Dysart / #PSC000143324

What's the story behind the image you licensed?
I shot that photo while vacationing over the 4th of July weekend at my family's cabin in Northwestern Wisconsin.  There is some great country scenery and I decided to go for a walk and asked my son if he wanted to go along.  He agreed and we walked on down the road.  I found the dried dandelion-looking flower (I still don't know what it actually is) and thought I'd have him blow on it and get the seeds as they blew away.  I shot a bunch of frames, but they didn't really come off.  Later when going through the shoot, I really liked this image.

Your kids feature prominently in your photography. What sort of day rate are you offering them?
Three square meals and a roof over their heads. Next question?

Joking aside, my kids are great - they put up with a camera in their face more than anyone should. If they become famous actors, they'll be ready for the paparazzi.

The image is allegedly being used on a hotel key by a major hotel chain. Does it make you feel like booking a room for the weekend?
The wife and I thought about it - it would be really nice to get away. Is that an offer to watch the kids for the weekend? The older one loves photography, you'll get along great. What time can I drop them off?

Oh wow. Er, Look at the time. Gotta run, Derek. Talk to you later!

]]> PhotoShelter's Shoot The Day: Ryan Schick Interview tag:blog.photoshelter.com,2008:/school//6.1030 2008-08-28T16:06:38Z 2008-08-28T16:11:27Z An interview with Ryan Schick, a photo editor from Conde Nast's Portfolio.com, from the Shoot! The Day event in New York City.Get it on iTunes too.... Allen Murabayashi http://www.photoshelter.com
Get it on iTunes too.


]]> PhotoShelter's Shoot The Day: Belinda Lopez Interview tag:blog.photoshelter.com,2008:/school//6.1029 2008-08-28T16:03:52Z 2008-08-28T16:12:17Z An interview with Belinda Lopez, an art buyer from the ad agency Strawberry Frog, from the Shoot! The Day event in New York City.Get it on iTunes too.... Allen Murabayashi http://www.photoshelter.com
Get it on iTunes too.


]]> How to Sell Your Travel Photos: Visual Examples tag:blog.photoshelter.com,2008:/school//6.939 2008-08-26T04:01:00Z 2008-08-26T05:18:40Z If you've already read our Primer on Travel Photography for Stock Photography, then you're already briefed on some of the do's and don't for stock-quality travel images. This article will give you more visual comparisons of accepted, borderline and rejected... Allen Murabayashi http://www.photoshelter.com Primer on Travel Photography for Stock Photography, then you're already briefed on some of the do's and don't for stock-quality travel images. This article will give you more visual comparisons of accepted, borderline and rejected images that our photo editors have seen in their queues.

Arguably, the number one goal of a travel stock image is to make the viewer want to visit that destination. The image needs to strike the right balance of informational and aspirational content. A very banal image of a sunset might be aspirational, but it's not informational. A street scene might be the opposite.

As you view these visual examples, you will likely find individual images that you disagree with. However, we encourage you to spend time looking at the level of quality of the accepted imagery to understand where the general bar is set for these travel-related images.

Lastly, the number of images we have of any specific location will affect the acceptance rates of other images of the same subject matter. The PhotoShelter Collection contains many images of the London Eye, but not many of Makapu'u Beach in Hawai'i, so the bar will be lower in the latter.

Beaches & Bodies of Water
Accepted:

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Photo by Zach Holmes / #PSC000833428

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Photo by Jevgenija Pigozne / #PSC001185375

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Photo by John Smith/ #PSC001226979

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Photo by Doug Dailey/ #PSC001252628

  • Exposure are highly accurate
  • Good composition (e.g. vanishing point in the old pier)
  • Sharp focus
  • Good tonal range

Borderline:

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  • Although it might be hard to see at this size, neither photo is really sharp, in part because of the sea mist and time of day
  • Tilted horizon
  • Light is not flattering

Reject:

bodies-reject.jpg
  • Tilted horizons
  • Poor point of view and composition
  • Doesn't convey enough information about the location. Rocks and the ocean are very generic. Try harder to frame a composition that conveys something unique.
  • Mediocre photos don't make the viewer want to visit.
  • If the image does not succeed in identifying a specific place, it must be aesthetically superior (i.e. the iconic beach shot)

]]> Cityscapes & Vistas
Cityscapes Accepted

cityscape2.jpg
Photo by Photostock Israel / #PSC001240951

  • An elevated position gives the viewer a more unique view of the city.

Cityscapes Rejected:

cityscape-reject.jpg

  • Images 1-4 have poor composition, and are more akin to a snapshot that an amateur would take. Exposure and clarity are poor.
  • Image 5 is a take from the same photographer. In this case, the inclusion of the balcony made this image less desirable than the accepted image. Details matter.
  • Image 6: We receive so many "modern building" images. Although they can be graphically bold, this image has a major glare spot. Had the photographer "waited for the light," this might have been more successful.
  • Image 7: This ground-level fisheye image is too distorted.
  • Be mindful of large foreground areas that add nothing to the photo.

Details
Details can often give the viewer a sense of an area that cannot be captured in wide vistas alone.

Details Accepted:

I00004Wwzjvc.jpg
Photo by Noah Hutson / #PSC001197737
 
I0000DE3XuxnGHVM.jpg
Photo by Meg Wachter / #PSC001190239

I0000EjJEJnGtzhI.jpg
Photo by Jochen Eckel / #PSC001279094

I0000I77Oz2eTnCc.jpg
Photo by Noah Hutson / #PSC001197735

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Photo by Tedd Liggett / #PSC001234010

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Photo by Robert Cabrera / #PSC001244365

  • Exposures are accurate
  • Ratio of darkest and lightest portions of the images are balanced (i.e. no harsh shadows)
  • Even in lower light situations, the images are free of camera shake and excessive noise
  • Close-ups are in focus

Details Borderline:

detail-borderline.jpg

  • Image 1: This faceplate commemorating Jim Morrison of the Doors is noteworthy, however, the lighting leaves much to be desired.
  • Image 2-3: These are average compositionally, but were accepted because they are iconic for the location.

Details Rejected:

detail-reject.jpg

  • Poor lighting conditions affect many of these images whereby the detail definition is obscured by heavy shadows
  • Color balance is problematic especially in the dessert case
  • Many of these image aren't detailed enough. The photographer needs to get closer to the detail to make them more effective.
  • Separation of foreground/background elements would allow details to pop
  • Mind the backgrounds!

Landmarks & Attractions
The bar for accepting known landmarks is justifiably high as many people visit these popular destinations and take a huge volume of photos. The successful photo takes a different point of view and is free of technical defects.

Landmarks Accepted

IMG_1.jpg
Photo by Gary Crabbe / #PSC001190985

IMG_3.jpg
Photo by Gary Crabbe / #PSC001209944

IMG_4.jpg
Photo by Lincoln Barbour / #PSC001201140

IMG_5.jpg
Photo by James McCory / #PSC000928591

IMG41.jpg
Photo by William Welch / #PSC001194172

IMG44.jpg
Photo by David Bukach / #PSC001238711

  • Graphic compositions
  • Expert exposure
  • Points of view that enhance the landmarks

Landmarks Borderline

landmark-borderline.jpg

  • All three images were shot in the middle of day which causes lots of problems with shadows and exposure
  • Image 1: The street is overly prominent and distracts from the landmark
  • Image 2: Is this a picture of the bus or the building? A poor point of view makes this image less successful.

Landmarks Rejected:

building-reject.jpg

  • Most of the images exhibit poor/banal composition, and don't create visual excitement.
  • Straighten your horizons!
  • Image 6 is more about the road than the memorial.
  • Image 8 is distracting because of the people (tourists, bored trinket salesmen)

Marinas
Marinas are difficult to shoot because of the visual clutter that occurs at ground level, and as such, these types of photos give a very poor idea of the surrounding area.

Marinas Accepted:
IMG_51.jpg
Photo by Meg Wachter / #PSC001191436

IMG_52.jpg
Photo by Meg Wachter / #PSC001189712

  • Image 1: a slightly different perspective with some depth-of-field
  • Image 2: pulled back, we get a sense of the adjacent buildings

Marinas Rejected:

marina-reject.jpg

  • Image 1: Really indicative of 90% of the marina images we receive. A boat amidst a thousand masts is not visually interesting, nor does it give us a sense of the area. It's very generic.
  • Image 2: Poor composition and exposure
  • Image 3: Poorly executed detail. Shadows are also distracting.
  • Image 4: The colors stand out, but the composition is poor. We can't really tell what this is, or where it is. If a photo editor was trying to illustrate a story about the deck of a destroyer, this image probably wouldn't be in consideration.

Markets & Things for Sale
Accepted:

IM_1.jpg
Photo by PhotoStock Israel / #PSC001241024

IM_2.jpg
Photo by PhotoStock Israel / #PSC001241025

IM_3.jpg
Photo by PhotoStock Israel / #PSC001240995

  • By focusing on indigenous people participating in the market, we get more of a sense of its authenticity vs. a marketplace filled with tourists buying cheap trinkets.

Markets Borderline:

I0000fb50asNE1O4.jpg

  • Images of food stands are tough because they are so common. In this case, there is enough contextual information (e.g. the keffiyeh, the middle-eastern fruits)

Markets Rejected:

market-reject.jpg

  • Image 1: Cut off the head
  • Image 2: Poor composition. Centering the sign doesn't mean that it's a good picture.
  • Image 3: Tourists looking at a street vendor display (with the feet cut off) is a poor composition
  • Many of the images have lighting problems (heavy shadows, poor white balance, etc) 
  • The images should make the viewer want to visit. The inclusion of destitute people in a mediocre composition has a poor chance of selling -- irrespective of how accurately the image portrays the reality of the situation.

Mountains & Formations
Accepted:

I0000aSnPyBjx1QU.jpeg
Photo by John Smith / #PSC001226987

I0000dN3uyKEbukY.jpg
Photo by David Molina / #PSC001197083

I0000htJiBZdKJk8.jpg
Photo by Paul Felix / #PSC001251787

I0000QQQNFY8.jpg
Photo by Paul Felix / #PSC001251776


  • Good composition with a well-formed understanding of foreground and background elements
  • No technical issues

Mountains Borderline:

mountain-borderline.jpg

  • The images are acceptable compositionally, but photographers did not "wait" for the light

Mountains Rejected:

mountain-reject.jpg
  • Image 1: Poor composition. What is the subject of the image?
  • Image 3: We receive huge amounts of this type of composition (trees on a grassy knoll). As a travel image, it's doesn't accomplish the goal of making a viewer want to be there.
  • Image 4/9: This angle of the Grand Canyon is awkward, and compared to other images we have of the monument, it isn't good enough for inclusion.
  • Image 7: Although the light is interesting, the composition isn't compelling.

Scenes with Local People
In keeping with the goal of creating images that compel the viewer to want to visit the locale, images with local people shouldn't depict them as destitute or sickly, even if that is the reality of the situation. Travel imagery is aspirational, not documentary.

Accepted:
I0000dBkELPOxY0E.jpg
Photo by PhotoStock Israel / #PSC001240691

I0000G_6djrTYnAk.jpg
Photo by Ahmad Faizal Yahya / #PSC001224399

I0000G_bebItuQLg.jpg
Photo by David Brody / #PSC001244064

I0000GDfOCMsEAyk.jpg
Photo by PhotoStock Israel / #PSC001241032

I0000hDZSre9FbnE.jpg
Photo by Ahmad Faizal Yahya / #PSC001224333

I0000KsxywEE.jpg
Photo by Jochen Eckel / #PSC001263007

I0000NFnbODuGC4g.jpg
Photo by PhotoStock Israel / #PSC001240971


  • People look healthy and generally happy (or at the very least, neutral)
  • A good mix of environmental portraits to larger crowds
  • Most of the images include enough contextual information to inform the viewer that they are someplace foreign

Borderline:

ScenesPeopleBorderline.jpg

  • Image 1: Accepted Haj image is much stronger compositionally, and better exposure
  • Image 2: Photographer could have worked the scene harder playing with different distances to the subject to create a more compelling image.
Rejected:

ScenesPeopleReject.jpg

  • Image 1: Poor composition, internal reflections in lens from the candles
  • Image 2/3: Blurry.
  • Image 4: What does this photo tell us about the area or the people? Average composition under poor lighting conditions.
  • Image 5-6: Average compositions. What's in the pot would be more interesting than the pot cover.
  • Image 7: What are we looking at? What does this tell us about the locale?
  • Image 8: Poor composition and horrendous lighting condition
  • Image 8: Why are we looking at their backs? Need to get closer and need more contextual information.
  • Image 9: Figure is blending in with foreground. Poor composition.
  • Image 10/11: Poor composition, cutting off details for no reason. Subject matter uninteresting.
  • Image 12: Hard flash. Capturing woman with mouth open and shoving food in her mouth isn't appealing.
  • Image 12: Image of nothing.
  • Image 13/16: These are examples of destitute-looking locals. They exist in every local, and they are unappealing in every context. 

Signs
Accepted:

I0000aoAlFqXRFdg.jpg
Photo by John Gaffen / #PSC001235019

I0000Hxg3IbVxz68.jpg
Photo by John Gaffen / #PSC001260562

I0000Ong1cRO8f8k.jpg
Photo by Iain Lowson / #PSC001141716

  • Well-composed and exposed
  • Generally have contextual information for us to understand the relevance of the sign (e.g. the "Alligator Teeth" sign shows the teeth in the background)
  • Might be quirky and geographically specific (e.g. the camel sign)
Rejected:

SignsReject.jpg

  • Image 1: Poor contrast, difficult to read
  • Image 2: Too far away, plus what is it a sign of? A winery sign on the side of a road is hardly interesting
  • Image 3: Not sharp, and what is the relevance?


]]> PhotoShelter's Shoot The Day: Rob Haggart Editorial Panel Video tag:blog.photoshelter.com,2008:/school//6.1002 2008-08-21T05:43:01Z 2008-08-21T15:12:19Z Rob Haggart from aphotoeditor.com moderated an editorial buyer panel at Shoot! The Day. Panelists included Leslie dela Vega/TIME, Michael Wichita/AARP, Ryan Schick/Conde Nast Portfolio, Whitney Lawson/Travel+Leisure.Get it on iTunes too. An interview of Rob Haggart from aphotoeditor.com at PhotoShelter's Shoot... Allen Murabayashi http://www.photoshelter.com
Get it on iTunes too.
An interview of Rob Haggart from aphotoeditor.com at PhotoShelter's Shoot the Day event in New York on July 20, 2008.; stock photography; interview; rob haggart; photoshelter; photography; business; PhotoShelter's Shoot the Day editorial buyer panel moderated by Rob Haggart, and featuring Leslie dela Vega/TIME, Michael Wichita/AARP, Ryan Schick/Conde Nast Portfolio, Whitney Lawson/Travel+Leisure; Panel Discussion; Michael Wichita; Ryan Schick; New York; rob haggart; photography; business; Whitney Lawson; Leslie dela Vega; photoshelter; PhotoShelter Interview with Leslie dela Vega from TIME magazine at the Shoot! The Day event in New York on July 20, 2008.; stock photography; interview; New York; Leslie dela Vega; digital; photoshelter; On July 20, 2008, thousands of photographers from around the world participated in an event to change the world of stock photography.



The comments and opinions expressed in these videos are attributable only to the individuals as industry professionals and not the companies they work for.


]]> PhotoShelter's Shoot The Day: Leslie dela Vega Interview tag:blog.photoshelter.com,2008:/school//6.1003 2008-08-21T05:25:13Z 2008-08-21T15:16:58Z An interview with Leslie dela Vega from TIME magazine from the Shoot! The Day event in New York City.Get it on iTunes too. The comments and opinions expressed in these videos are attributable only to the individuals as industry professionals... Allen Murabayashi http://www.photoshelter.com
Get it on iTunes too.




The comments and opinions expressed in these videos are attributable only to the individuals as industry professionals and not the companies they work for.

]]> How Ryan Cardone Sold an Image for $8000 through PhotoShelter tag:blog.photoshelter.com,2008:/school//6.998 2008-08-20T14:48:07Z 2008-08-21T05:16:47Z Ryan Cardone is a surfer turned photographer who combines his passion with business. A single course on stock photography at the Brooks Institute helped him to consider ways to diversify his revenue stream within the photographic industry. Like many photographers,... Allen Murabayashi http://www.photoshelter.com http://psc.photoshelter.com/user/tidalstock.

page-about.jpg 
Photo by Ryan Cardone

Ryan and I had some virtual coffee talk while surfing (the web).

Are you a full-time stock photographer?
Yes and no.  I am a full time photographer.  I do commercial, editorial and stock photography.  I own boutique stock photography company called TidalStock.com, which is dedicated to ocean, water, and life stock photography.

How did you get into shooting stock? Are you systematic about content that you shoot to plug hole in your collection, or perceived holes generally?
I graduated from Brooks Institute of Photography; while I was there I took a Stock Photography class taught by Ralph Clevenger (he shot the famous over/under iceberg photo that has sold all over the world).  Since that class I was hooked and that's when I started TidalStock.com.

ralphclevenger.jpg
Photo by Ralph Clevenger

I am pretty systematic about filling holes, I started TidalStock.com because as a surfer I noticed the outdated, "same old" photos that were being licensed. Our hopes were to fill the gaps with new and fresh surf imagery.  So far it has been pretty successful.  On a side note that is why I was so attracted to PhotoShelter.  I think you guys are taking my theory and applying it to all stock photography.  I think it is great.   


]]> Do you approach shooting stock with an end-client in mind? Does your approach to shooting stock differ than if you are shooting something like a wedding?
I do try to shoot stock with an end client in mind.  I try to think of concepts, colors, negative space for copy, shooting vertical, horizontal, different angles, different lenses, etc, but sometimes I forget all that and just shoot, especially with surf photography.  There are so many factors involved.

My approach to shooting stock is pretty similar to any other job I shoot.  You basically have a client that needs great photos.  As the photographer I take my skill and knowledge to deliver a product that the client is looking for.  The difference with stock is that you never know who your client will be, but I still take that time to plan out my shoots.  Stock is not just about pushing the shutter button, so easy to do now with digital.  A lot of people say stock photography is a numbers game (there is some truth to that) but no one is going to want to go thru 5 million shitty photos.  It is better to have a nice edited collection with great photography (like Photoshelter).  That makes buyers happy and happy buyers buy photos.

Are you a member of any trade organizations? If yes, have you found the membership to be beneficial?
This is bad but no. Don't get me wrong trade organizations are great and have a wealth of info.  I do visit their websites often; they offer a ton of great information for free.  Also I am pretty active on forums and love reading blogs.  There are way too many blogs to keep up with.

How much time to you spend shooting as opposed to non-shooting activities like keywording/captioning, retouching, and dealing with business-related activities?

To be honest I hate key wording and captioning.  I think I spend a lot more time in the office than I would like to.  I always remember in school hearing, "You can be a great photographer but if you don't know a thing about business good luck surviving."  So I kind of took that to heart.  I wouldn't say I am great in business (still learning new things everyday) or for that matter an amazing photographer, but I do know that it takes time and effort to build a business.  So all those times I am stuck in the office I know it will benefit me in the long run.    

cardone.jpg

I know you like to shoot surf and other beach lifestyle images. Can you tell me a little bit about the image you sold and how you created it?
The beauty of stock is that you can shoot anytime anywhere.  So my girlfriend and I were in Kauai for a buddy's wedding.  We were just doing some snorkeling this day and I wanted to get some stock shots.  I had this idea to shoot my fins out in the nice blue water.  Seemed easy enough.  Well to get the right kind of shot my fins needed to be out of the water more then I could lift them to take the picture. So I called my girlfriend over to help me out.  From the picture it looks like a nice calm day when but in reality it was really rough.  So she is under me almost drowning trying to hold me up enough to get the shot.  I shot this using my SPL housing that fits my Nikon F100.  So I couldn't just fire off a bunch of shots.  I took a few and felt that my girlfriend drowning is not worth the shot.  I was happy when I got the film back to see this shot and new it was a keeper.  It is one of my favorite shots.

What's typically in your camera bag?
Too Much  

Below is the common list, but here are some things that really have come in handy...Pen with gaffers tape wrapped around it.  We all know a roll of gaffers tape is humongous so rap some around a pen and you at least have some.  This has saved my butt many times.  Gum.  Yes it is never fun to have bad breath or your model to have bad breath.  Some money, you never know when you will be without your wallet!!!  Pocket model releases when you travel if you have those you have no reason not to get a release; most of the time if I don't get it there I never get one, and a copy of your passport.  I was on a cruise once in the Grand Cayman long story short almost missed the boat.  So see it all ties in: next time you miss the boat, use your copy of your passport to get a new one, while you wait use the money to get a beer, use the gum to meet a nice looking lady friend, use the pen to write down her number and the tape I will leave that to you.

Here is the common list:

In another bag:

And in another bag:
  • SPL water housing for my F100
  • 20 mm Port
  • 50 mm Port
  • Flash Port
  • Velvia 50

Do you try to obtain model releases when you're shooting surfers? Do you hire models at all?
I do shoot a lot of professional surfers but I can only use those shots for editorial and commercially for companies they surf for.  My main goal is to find surfers who are good enough to show the sport in a good light but not too good where they are professional so they are able to sign a model release. I have been surfing for many years so luckily I have a lot of friends who I use.  I do hire models for the lifestyle shots.  I have been on a hunt for models that can surf, I feel like I am searching for the Holy Grail sometimes.  Marissa Miller if you read this I would love to shoot with you (so would every other photographer in the world)!  



]]> 2007 PhotoShelter City Tour Videos tag:blog.photoshelter.com,2008:/school//6.931 2008-07-31T16:50:59Z 2008-07-31T17:47:59Z In the Fall of 2007, we launched the PhotoShelter Collection with a six city tour around the US comprised of forums amongst photographers and buyers to create a dialogue between these two groups. Our on-going research suggests that there is... Allen Murabayashi http://www.photoshelter.com
Download these for your iPod

Chase Jarvis Keynote



Catherine Talese Keynote



]]> NYC Round Table

Atlanta Round Table



Chicago Round Table



Liz Miller-Gershfeld from BBDO Energy



Marni Beardsley from Weiden+Kennedy



Brian Ulrich



Marcus Swanson

]]> Alternative Markets for Stock Images - ASPP tag:blog.photoshelter.com,2008:/school//6.932 2008-07-31T16:00:24Z 2008-07-31T17:45:21Z The American Society of Picture Professionals hosted a discussion regarding alternative markets for licensing stock in the Fall of 2007, and invited me to join the discussion. Panel Discussion Vendor Presentations... Allen Murabayashi http://www.photoshelter.com

Panel Discussion



Vendor Presentations



]]> How to Shoot Silo Imagery for Stock Photography tag:blog.photoshelter.com,2008:/school//6.894 2008-07-25T16:39:00Z 2008-07-25T17:25:55Z photos by Clint Blowers1. OVERVIEW "Silo" or "cut-out" imagery is an interesting category in the sense that its monetary value and its future as a dedicated profession for stock photographers are debated. Many photographers consider being able to light an... Rachel Hulin http://psc.photoshelter.com/ stillsss.jpg
photos by Clint Blowers


1. OVERVIEW
"Silo" or "cut-out" imagery is an interesting category in the sense that its monetary value and its future as a dedicated profession for stock photographers are debated.

Many photographers consider being able to light an object effectively on white seamless a core skill that is learned during one's days as an assistant. There are basic technical challenges in this photographic task; one must learn how to control reflections, keep backgrounds distinct from the objects, and make a clean image.

However, most would also agree that market value has decreased for silos- mainly due to the proliferation of digital cameras and in-house studios at magazines and advertising agencies. Even photographers support that silos are appropriately priced RF and at a relatively low price point.

Regardless, silo imagery continues to be used in massive volumes across all industries in stock purchasing. Photographers who can achieve perfection in this category will still be able to generate a solid revenue stream from their work - even if it means selling the same picture of an apple 500 times in one year.

To learn more about how to light a silo, see our silo lighting tutorial.


bulb2.jpg
photo by Nicholas Eveleigh


2. DEFINITIONS
'Silo' generally refers to any object shot in a straightforward fashion on white seamless. There is nothing conceptual or artistic about silos - indeed, if any conceptual elements enter the shot, it becomes 'still life.' The point here is to show the object as cleanly and simply as possible. For example, if you shoot a coffee cup on white - that's a silo. If you show rings on the table and a book of matches next to it - that's a still life.

A typical usage for silo is when an editor 'cuts out' the image from its background and inserts it into a page. One reason silos are most often shot on white is because the typical usage is in a magazine, where the pages are white - so the edges will match.

Other attributes of silos or cut-outs include:

  • The entire object is in focus
  • The object is not backlit - it is not a silhouette.
  • There is typically a soft shadow around the object created by lighting on the set (not Photoshopped in later)
  • The image has an inherent flexibility- it could be placed on either side of the page or inverted, and can typically be used at a variety of sizes.
  • There is no need for copy space - since typically the image is cut out of the background
  • There are typically no logos on the objects (although this could occasionally be appropriate)
  • Typically priced Royalty Free.

Lastly, while silos are to some degree commodities, buyers do indicate that lighting, composition, and the quality/look of the object clearly differentiate images amongst a set of search results.



PSC000772774-comp.jpg




3. INTRODUCTIONS
This was a very interesting set of interviews - thanks so much to our experts, who were so generous with their time!

BUYERS

• Annie Etheridge - Photographer, Photo Editor, and Producer
• Josephine Solimene Rustin - CosmoGIRL! (Photo Editor)

PHOTOGRAPHERS

• Clint Blowers
• Nicholas Eveleigh



]]> "When I am looking for a silhouetted image it is usually going to be cut out and put it on the page - it is best if the entire image is in focus, and shot on a white background. Sharpness, great lighting and strong composition will set images apart for us." - Josephine Solimene Rustin, CosmoGIRL!

4. BUYER TIPS

  • Straight shots, in focus. Buyers are not looking for anything artistic, nor are they typically looking for more than a little depth of field. Everything should be sharp, clean and in focus.

  • Lighting is critical. Objects that are not well lit will not be purchased. Make sure the front of the object is well lit, that it is distinguished from the background, and that reflections are controlled.

  • Get the shadow right. Buyers typically want to see a tiny soft shadow. It needs to be even all around - so you will often need to light the object from a lot of different angles and light the seamless as well.

  • Shoot a perfect object. If you're shooting a pair of scissors, make sure they are brand new and polished for fingerprints. If it is an apple, make sure the color is beautiful and there are no bruises. If you are using a retro object, like a used baseball glove or ball - the object needs to be 'perfectly distressed' and attractive or iconic in its wear - it should not just look used.

clintPicture 27.png
photo by Clint Blowers



  • Never do cut-outs or shadows in post-production. A buyer can identify instantaneously if an object has been silo'd in post - in other words, if you shot the object on a non-white background and 'cut it out' using an editing application, you will probably not get away with it. Similarly, you cannot usually reliably apply shadows to an object in post. These are cheap ways to get a silo effect and will not be sellable to quality publications.

  • Stay mainstream. The idea with silo is that you are selling ordinary, generic objects in volume. The volume comes from the fact that they are everyday objects. If a buyer needs something weird, they will probably shoot it themselves without even doing a search. Stick with generic, iconic objects.

  • Don't crop too tightly. Typically an object is centered in the image. You can put it off-center, but make sure you leave some breathing room on all four sides around the object.

  • Do a variety of shots. One object might yield 20-30 usable shots, and with stock you never know what the buyer will want - so shoot a range. Try different angles and positioning the object in various ways. You can also try stacks of the same object: stacks of cookies, etc. But don't mix and match various objects.

  • Research potential usages. If you have a client in mind, look through the magazine and get an understanding for how they are using silos. What angles, what kind of lighting, what size, what placement on the page? Also, do research to understand the types of objects and angles that are used again and again. You'll want to at least cover all the typical angles before getting creative.

bluebs.jpg


  • Health/Beauty/Product shots may not be worth it. If a buyer needs a picture of a specific brand or product, they will typically get a silo from a manufacturer. For beauty, they will often shoot it in-house. Also, products often date quickly and product images will have a short life. You are better off shooting generic everyday household objects and fruits/vegetables.

  • Logos are mostly bad. For the most part, if a buyer has to retouch an image to get rid of a logo, they will just buy an image without the logo. The majority of your silos should not have logos. In some cases though, you could incorporate logos - like a stack of Oreos where the logo is apparent. Some iconic silos brands could be sellable with logos.

  • Consider non-objects. Buyers sometimes need to silo out non-objects, like hands or arms making gestures - even sometimes things like trees or other objects typically found in environmental shots. Nobody recommends spending dedicated shoots on these more esoteric 'objects' - but if you are out shooting and see a tree that could be easily cut out of its environment and dropped into a graphical context (i.e., there is not a busy background of other trees or environmental clutter) - shoot it. If you do venture into hands and gestures - you must use a hand model.

  • Price Royalty Free. Don't get priced out - this is for the most part an RF market.
Prevention-Mar08.jpg
Prevention Magazine, March '08



5. PHOTOGRAPHER TIPS

  • Only do this if you can do it better! Silos are effectively a commodity market and may no longer be able to provide photographers with a sole source of income. But if you look at what's available out there and think you can do it better - go for it, it can be a great revenue stream.

  • Figure out what to shoot. Some shooters research magazines to see what is constantly being used (i.e., stethoscopes!). If you can do it better - then go with the commonly used objects and make them outstanding. Alternately, search stock sites for various objects and shoot the gaps. PhotoShelter is not even close to saturated with silos - there are a lot of gaps to fill.

  • Find great objects. Whatever you choose to shoot, find beautiful and perfect versions to use in the shoot. They need to be new and in impeccable shape.

si,los.jpg
Good Housekeeping July '08, and Radar Magazine, July-Aug. '08


  • Style the objects perfectly. Many photographers hire stylists to help with silo shoots. If you are doing this on your own, make sure everything is clean. Often you cannot see flaws until you shine light on or through the object (i.e., glass). If you are working with liquids, pour them into the glass or other container using a funnel so the sides of the container don't get splashed.

  • Make sure the background isn't bleeding over the image. This is the #1 mistake in lighting silos - it happens when you have the background over lit - it creates a white edge around the object. One also sees a lot of silos where the top right edge is gray-ish. You need to get your ratios exactly right.

  • Learn lighting, use light meters. A lot of photographers these days rely on their cameras to tell them the light situation, but that is not enough to understand how the object is really going to look. Don't tackle silos without really understanding the characteristics of light and being energetic about measuring and controlling the light on your set.

  • Use flexible lighting setups. You want to get as many shots as possible in as little time as possible - so try to establish a core lighting set up that can accommodate moving the object in various ways.


"Shooting silos is not for everyone.I like it because it doesn't require travel, it's relaxing, and I'm really interested in lighting and figuring these problems." - Clint Blowers, Photographer
  • Don't create overly dramatic lighting. Your object needs to match other objects on the destination page - the buyer needs to be able to just drop your object into a page - do not use dramatic lighting. This is about the object, not what time of day it is - the shadows should be soft and small.

  • Be aware of reflections. One of the main challenges of shooting silos is managing reflections. This is not something that can typically be fixed in post-production. For example, if you are shooting something black and metallic on white, you'll have a weird white highlight reflected into the image and will need to fill it with black to make the highlights less forced. You can try retouching after the fact but you're better off addressing it in the shot with a negative fill. You may also need to use fills to balance the white if it is washing out the color of what you are trying to shoot.

  • Be patient. You need to have the right mentality - including meticulous attention to detail, an enjoyment of lighting and problem solving, and endless patience - to shoot silo. You may need to move an object by mere millimeters to get it positioned correctly. It could take your stylist 30 minutes to style something simple. The details take more time than you might think, and require patience to get right.


icies.jpg
photo by Nicholas Eveleigh



  • Cover your basic shots first. The same half dozen shots apply to almost every object you could shoot. Cover those first, and then move on to more creative angles.

  • Creativity pays off. There are ways to work personal perspective and imagination into silos once you have covered the basics. For example, if you're shooting a soda can, you might get down low, underneath it, to give it a more heroic feeling. Or you could crush it, shoot it from the bottom/underneath, or get 15 of them and shoot a stack, a row, or a pyramid. Instead of shooting 1,000 haphazard angles of something, make it stand out from everyone else's by applying some thought and imagination.

  • Exhaust the possibilities. Silos are not 'one shot wonders' - you usually end up with 5-20 usable shots at various angles or compositions. If you have the time, think through every variation possible with an object and capture it. If you're shooting crackers, shoot one individually and at a series of angles. Shoot stacks, vertically or spread into a line. Standing on their side, propped up in back. {Note: if your object requires a lot of retouching, don't do as many variations because of the time required in post-production.}

"The challenge with silo is how to make it look interesting - because an object is an object - you can't change it. You can only show it in the best light and take it as far as you can without saying too much; it should just say 'object.'" - Nicholas Eveleigh, Photographer

  • Know how to retouch. While most of your shot comes down to the quality of the object and the lighting, you do need to know how to retouch - the end result needs to be perfect.

  • Liquids + Reflective Objects are the advanced level. Unless you are a pro at lighting, steer clear of these objects. For example, with liquids, you need to light in such a way that the liquid is illuminated and not solid looking. And it's tough to make the glass edges look perfect without making the liquid murky. Shooting liquids is among the most intensive in terms of lighting skills.

  • If you are shooting silo on assignment - ask questions. If someone commissions you to shoot a silo, you need to understand the end usage as specifically as possible. Nothing is more frustrating than submitting 30 shots of a soda can and realizing later that they wanted to see it on its side with liquid coming out, or they wanted to see inside the can.

  • Don't suspend objects. It's time consuming and difficult - and there's not a lot of demand for this.

  • Have a system. Develop a lighting system that you can snap into place quickly and that will work for a range of objects - from a nickel to a chair. Every object is a little different - it can be shiny, it can be leather, it can have different accents. Keep your lighting simple and versatile to accommodate a variety of challenges.


Picture 21.png

photo by Clint Blowers


6. KEYWORDING TIPS
Be as specific as possible! Describe the object exactly and the composition on the page.



milk.jpg



7. SHOTLIST
The list of objects one could photograph for silo is infinite - but here are some suggestions based on client demand and PSC needs.

Ingredients

 • Cheeses
• Vegetables/Produce
• Herbs/Spices/Loose Tea (fresh/uncut)
• Bread
• Milk
• Eggs
• Fruit
• Oil
• Soy Sauce
• Sugar/Flour/Salt/Pepper
• Rice
• Tea bags
• Meat
• Desserts
• Pies (pumpkin pie!) - full pies, with slice cut out, single slice, empty pie tin
• All different kinds of beverages
• Cocktails/Alcoholic Beverages
• Coffee
• Ingredients for different diets (vegan, raw, etc.)
• Cheeseburger/Hamburger
• Pizza
• Soda cans - crushed, stacked
• Splash of water

Household

• Alarm Clock/Wall Clock
• Telephone
• Scale
• Kitchen Utensils - whisk, pans, knives, etc.
• Empty Containers/Bowls
• Empty Box
• Blank paper pinned to wall
• Maps
• Compass

Business

• Computer
• Keyboard
• Mouse Pad
• Blackberry/PDA
• Post-Its
• Highlighter
• Desk Lamp
• Paperclip
• Stapler/Staples
• Scissors
• Tape Dispenser
• Newspaper
• Calculator
• Envelopes
• Notebook
• Fountain Pen
• Safe
• Computer server
• File cabinet
• Desk chair
• Stock market chart
• Water cooler
• Newspaper
• Coffee Mug
• Briefcase
• Calculator
• Photocopier
• Fax machine
• Business card
• Spreadsheet
• Blank papers pinned to wall

Medical

• Tissue Box
• Band Aid
• Thermometer
• Pills
• Bottle of pills
• Vitamins
• Lab coat
• Stethoscope
• X-ray
• Cast
• Iodine
• Surgeon's mask
• Surgeon's tools
• Doctor's chart
• Wheel chair
• Eye chart
• Exam table
• Syringe
• Crutches
• Prescription
• Prescription pad
• Medicine
• Blood pressure cuff

Miscellaneous Household

• Sunglasses
• Passport
• Bookmark
• Condoms
• Gum
• Toothbrush
• Slippers
• Socks
• Calendar
• Lunch box
• Paper bag/Plastic bag/Tote bag
• Stamps
• Glass of water
• Ziploc bags
• Maps
• Compass


PsychologyTodayApril08_4.jpg
Psychology Today, April '08


8. PARTICIPATE
Are you a buyer or photographer with extensive experience relevant to this category? We'd love to hear from you! Please email us with any additions to the Shotlist, Tips, or any other sections of this article.

We look forward to it!

]]> Lifestyle: Business tag:blog.photoshelter.com,2008:/school//6.871 2008-07-16T21:53:25Z 2008-07-22T20:57:46Z photo by Jon Ragel 1. OVERVIEW In our recent buyer survey, business was cited as one of the weakest categories across all of stock - and the buyers we spoke to in person seemed to agree.Buyers told us that... Rachel Hulin http://psc.photoshelter.com/