In a talk today between Dr. Leonard Lee Rue III, World ICON of wildlife photography and R. Dodge Woodson, an Internationally-known best-selling author, photographer, and publisher, Dr. Rue was giving an interview for World Images Today, the official online magazine of World Photographers Organization. He left the talk with a quote that he lives by. It goes like this:
"I'm a wildlife photographer to glorify God. My reason for being is to photograph the beauty that God has created, make other people aware of it and see that He gets the credit."
Dr.Leonard Lee Rue III
Rue Wildlife Photos
Leonard Rue Video
e-mail: info@ruewildlifephotos.com
web site: www.ruewildlifephotos.com
phone: 908-362-6616
As the founder and publisher of World Photographers Organization, I give my greatest thanks to the man I believe is the "BEST WILDLIFE PHOTOGRAPHER EVER".
R. Dodge Woodson
Friday, November 27, 2009
The World's Wildlfe Photographer--Lenoard Lee Rue III
Dear Roger,
WOW, you seem to have done it all! Thank you for your kind words about my work. I'm glad you like it.
My wife and I are still doing photography. After 60 years of shooting film and video, we have gone digital and love it, although it has taken over our life completely.
I am enclosing a quote you can use and it's one I open all my lecture series with.
"I'm a wildlife photographer to glorify God. My reason for being is to photograph the beauty that God has created, make other people aware of it and see that He gets the credit."
I am impressed with your biography. You can check mine if you need any further information http://www.ruewildlifephotos.com/index/about_us/start/0
Would appreciate it if you would give your members a link to our website www.ruewildlifephotos.com
Many thanks.
God be with you, Lennie Rue III
Dr.Leonard Lee Rue III
Rue Wildlife Photos
Leonard Rue Video
e-mail: info@ruewildlifephotos.com
web site: www.ruewildlifephotos.com
phone: 908-362-6616
WOW, you seem to have done it all! Thank you for your kind words about my work. I'm glad you like it.
My wife and I are still doing photography. After 60 years of shooting film and video, we have gone digital and love it, although it has taken over our life completely.
I am enclosing a quote you can use and it's one I open all my lecture series with.
"I'm a wildlife photographer to glorify God. My reason for being is to photograph the beauty that God has created, make other people aware of it and see that He gets the credit."
I am impressed with your biography. You can check mine if you need any further information http://www.ruewildlifephotos.com/index/about_us/start/0
Would appreciate it if you would give your members a link to our website www.ruewildlifephotos.com
Many thanks.
God be with you, Lennie Rue III
Dr.Leonard Lee Rue III
Rue Wildlife Photos
Leonard Rue Video
e-mail: info@ruewildlifephotos.com
web site: www.ruewildlifephotos.com
phone: 908-362-6616
Contributor Tip
here is something that may interest some of you, a friend gave me a newspaper clipping the other day about a fella who takes pictures through a crystal ball, it makes the images look like they are inside a snow globe, he has taken pictures of temples and beach scenes and lots of other things but it is a really cool effect, i have a crystal ball so im going to have a go and see what results i get.
Rip-Off Alert
This is just in from one of our contributors. I have not confirmed the circumstances, but I pass it along here for your consideration.
hi all, i thought i would take this opportunity to warn people about some fake photography courses on the internet. there used to be a website called the national home study college which has taken lots of peoples money (including mine) offering diploma courses in photography amongst other courses, they have now been liquidated, have changed address and now have a website called national home diplomas. these people are robbers, you will never see a diploma and even if by some miracle you do, it is fake and worthless. please do not give money to these people and waste your valuable time studying for a qualification that does not exist. one of the directors has already been prosecuted for handing out a fake doctorate. i have reported these people to trading standards and am waiting for a reply.
THEY HAD £285 OFF ME AND THERE ARE A LIST AS LONG AS YOUR ARM THAT HAVE BEEN RIPPED OFF, they have also taken money from peoples accounts unauthorized once they had peoples bank details, one person is over £1000 out of pocket. i am furious about it.
here is some more of their websites:
http://www.animalcollege.co.uk/
http://www.directhomelearning.com/index.html
www.homestudynet.com
this website has lots of posts from people that have been defrauded by these people
http://www.plebble.com/view-comment.php?id=45840
hi all, i thought i would take this opportunity to warn people about some fake photography courses on the internet. there used to be a website called the national home study college which has taken lots of peoples money (including mine) offering diploma courses in photography amongst other courses, they have now been liquidated, have changed address and now have a website called national home diplomas. these people are robbers, you will never see a diploma and even if by some miracle you do, it is fake and worthless. please do not give money to these people and waste your valuable time studying for a qualification that does not exist. one of the directors has already been prosecuted for handing out a fake doctorate. i have reported these people to trading standards and am waiting for a reply.
THEY HAD £285 OFF ME AND THERE ARE A LIST AS LONG AS YOUR ARM THAT HAVE BEEN RIPPED OFF, they have also taken money from peoples accounts unauthorized once they had peoples bank details, one person is over £1000 out of pocket. i am furious about it.
here is some more of their websites:
http://www.animalcollege.co.uk/
http://www.directhomelearning.com/index.html
www.homestudynet.com
this website has lots of posts from people that have been defrauded by these people
http://www.plebble.com/view-comment.php?id=45840
Monday, November 23, 2009
Micro Stock Agencies
Chris Barton, of Photographers Direct, a stock agency had this to say about micro agencies:
The problem with trying to sell on microstock sites (apart from the
obvious - that you are being ripped off) is that for an image to make
money, it has to sell many many many times. For an image to sell many
times it has to be so generic that it is completely soulless, sterile,
and lacking anything in the way of personality, originality or
uniqueness. It is pure commoditization.
I have been researching micro agencies as both a publisher and a photographer. As a publisher, they are great. As a photographer, I would do well with their sales plan.
Dodge
The problem with trying to sell on microstock sites (apart from the
obvious - that you are being ripped off) is that for an image to make
money, it has to sell many many many times. For an image to sell many
times it has to be so generic that it is completely soulless, sterile,
and lacking anything in the way of personality, originality or
uniqueness. It is pure commoditization.
I have been researching micro agencies as both a publisher and a photographer. As a publisher, they are great. As a photographer, I would do well with their sales plan.
Dodge
Saturday, November 21, 2009
Follower's Alert
I would like to thank the four of you for following. The blog has been moving slowly as I work with the web guy to tighten up the WPO site and the magazine has grown from a 16-20 page newsletter to a 75+ page magazine, due demand. Over the next few weeks there should be content added here more regularly.
Dodge
Dodge
The Publisher's Pick for Fast Photo Sources
Public Domain Photo Links
Here are some resources for finding public domain photos. Keep in mind that many of these sites have restrictions which are different than this site.
Photo Archive at gimp-savvy.com: "The photo archive at Gimp-Savvy.com has more than 27,000 free photos and images, consisting of over 2.5 Gbytes of data." Very nice collection with indexing.
NASA JSC Digital Image Collection: "This collection of more than 9000 press release photos spans the manned space program, from Mercury to the STS-79 Shuttle mission. The collection includes a full text search." NASA should be acknowledged as the source of the material.
US Fish and Wildlife Service Image library: "Looking for images related to fish and wildlife? We have hundreds online, and thousands more to come..." Most iamges public domain. Credit requested.
Images of American Political History: "The intent of this collection is to support the teaching of American political history by providing quick access to uncopyrighted images for inclusion in teaching materials. All images are strongly believed to be in the public domain."
Wikipedia:Public domain image resources: The mother of all public domain image lists.
Stock.XCHNG: "Browse through the categories of our huge gallery containing over 34.000 photos by more than 1.500 users! Need a wallpaper for your desktop? Need a pic for your commercial website design? Looking for inspiration? Have a look around." Great image portal.
jvega.com Public Domain Links: Another listing of free photo sites.
openphoto.net A web site offering photographic resources licensed under a Creative Commons license.
Here are some resources for finding public domain photos. Keep in mind that many of these sites have restrictions which are different than this site.
Photo Archive at gimp-savvy.com: "The photo archive at Gimp-Savvy.com has more than 27,000 free photos and images, consisting of over 2.5 Gbytes of data." Very nice collection with indexing.
NASA JSC Digital Image Collection: "This collection of more than 9000 press release photos spans the manned space program, from Mercury to the STS-79 Shuttle mission. The collection includes a full text search." NASA should be acknowledged as the source of the material.
US Fish and Wildlife Service Image library: "Looking for images related to fish and wildlife? We have hundreds online, and thousands more to come..." Most iamges public domain. Credit requested.
Images of American Political History: "The intent of this collection is to support the teaching of American political history by providing quick access to uncopyrighted images for inclusion in teaching materials. All images are strongly believed to be in the public domain."
Wikipedia:Public domain image resources: The mother of all public domain image lists.
Stock.XCHNG: "Browse through the categories of our huge gallery containing over 34.000 photos by more than 1.500 users! Need a wallpaper for your desktop? Need a pic for your commercial website design? Looking for inspiration? Have a look around." Great image portal.
jvega.com Public Domain Links: Another listing of free photo sites.
openphoto.net A web site offering photographic resources licensed under a Creative Commons license.
Tuesday, November 10, 2009
Paying Market for Bird Photographers
Bird Watcher's Digest
Attn: Editorial Department
PO Box 110 (UPS/FedEx use 149 Acme Street)
Marietta, Ohio 45750
Photographers' Guidelines
Bird Watcher's Digest (BWD) magazine has been publishing beautiful bird photography for nearly 30 years. Of course in 1978, when we started publishing, we only published black-and-white images. Thankfully all that has now changed! We use images to augment our magazine's content, so we often look for non-traditional shots of birds, including images capturing unusual behavior or settings. For our species profiles of birds we look for more traditional images: sharp, well-composed portraits of wild birds in their natural habitat.
We encourage bird photographers to behave ethically both in the field and at the light table.
We rarely publish images of captive or restrained birds, or images that have been digitally or physically manipulated to create a stunning, but unreal, final product.
We appreciate the hard work and love that bird photographers put into their craft. And we realize that bird and nature photography is a highly competitive field. Therefore we strive to treat the photographers with whom we do business with respect.
Submitting Your Images to Us
If this is your first submission to BWD, please understand that more is not necessarily better. We suggest an initial submission of 20 or fewer images so that we can judge the quality of your work. If our reviewers feel that you work warrants inclusion on our photo want list (see BWD Photo Want List below), we will notify you of this and will add your name at the next want list update. Unfortunately we are not able to add every submitting photographer to our want list.
Images for specific features will be requested via our want list, which is e-mailed to select photographers. Ongoing image needs include remarkable portrait images of birds, bird watchers using binoculars or scopes, groups of birders, and birds at feeders, nest boxes, and birdbaths. We are less likely to use images of the oft-photographed species such as great blue heron, Canada goose, common duck species at a park pond, pelicans or egrets at fishing piers, etc. We do not use images of birds that are pets, captives, or of injured/rehab birds, stuffed mounts, or birds that are otherwise restrained.
Image Quality
Images should be in sharp focus, color should be accurate, exposure should be perfect or nearly so, and the subject should be large in the image frame. When selecting images for submission, it's to your advantage to be extra selective.
Here are some specifics for your submission:
Image Format
We prefer these formats, in order of preference:
• Digital images (please see digital image guidelines below)
• Original color transparencies, 35mm slides or larger format
• Publication-quality dupes, particularly 70mm size
Please do not send negatives, glass-mounted slides, or unmounted transparencies.
Image Identification & Labeling
The photographer's name, image number, and image description must be on each slide. Unlabeled slides can be misplaced or filed incorrectly. Please include credit and caption data for each image on an accompanying page. It is also helpful to have your contact information on each image.
Handling of Images
Bird Watcher's Digest takes extreme care when handling images. To help us keep your images safe, please make sure that all images are free of dust, fingerprints, scratches, water spots, creases, and other blemishes before you send them. Send slides in flat plastic protectors (top-loading plastic slide holders with 20 slide slots per sheet). Please do not send slides in stacks, in slide boxes, or loose inside an envelope or plastic enclosure. For maximum safety, we recommend the use of individual plastic slide protectors on each slide or image. Enclose your submission in cardboard and/or plastic, and place inside a strong, padded or stiff cardboard envelope. We recommend packages of slides should be shipped via carriers such as UPS or FedEx, which provide package tracking.
The BWD Photo Want List
Bird Watcher's Digest relies on bird photographers with large, active image libraries to supply the bulk of each issue's photographs. We solicit slides from a select group of these photographers through our bimonthly photo want list. To be considered for the BWD Photo Want List, please follow the guidelines above and submit a small sample of images (20 or fewer) to the editorial department (address below). Due to the volume of submissions we receive, we ask that you allow 10 to 12 weeks for a response.
We do not pay research or holding fees for want list photo submissions. We ask that photographers notify us when there is an image in their submission that is being simultaneously submitted to another wild bird publication.
Unsolicited Images
Bird Watcher's Digest is not responsible for unsolicited photos in any format. When we receive unsolicited photos that we would like to add to our inventory, we send an acknowledgement letter. This acknowledgement letter is not a contract or a guarantee of publication. Images are filed for future consideration. Whether you send images for inspection only or if you want rejected images returned, please include a SASE (self-addressed, stamped envelope) with enough postage for the return of all materials..
Liability for Solicited Images
All image submissions that have not been requested by Bird Watcher's Digest are considered unsolicited. We accept responsibility for solicited transparencies while they are in our possession. However we have absolutely no control over images or shipments after they have been received by the post office or another carrier. Consequently, our liability during return shipment must be limited. Your best protection is to send high-quality duplicates (dupes). We will return solicited slides at our expense by courier, usually FedEx.
If you prefer that your image submission be returned via another method or carrier, please provide a SASE of adequate size with appropriate postage. Be sure to include your street address; couriers cannot deliver to Post Office box numbers. If you do not have a physical street address, slide returns will be via USPS mail with delivery confirmation.
Holding/Reviewing Images
Because BWD is a bimonthly magazine (publishing every other month) we generally hold want-list images for approximately two months. Occasionally an article is postponed, and images being considered are held longer. Images are returned after the issue is in print. We make every effort to expedite the review and processing of all submissions. Due to the volume of submissions we receive, we ask that you allow 10 to 12 weeks for a response to an unsolicited submission.
Submitting Your Digital Images
Digital photography is rapidly becoming a standard with professional/freelance bird and nature photographers. Bird Watcher's Digest is receiving an increasing number of digital images submitted by bird photographers. If you choose to send digital photos, please follow our regular guidelines for photographers as stated above, in addition to these specific Digital Image Guidelines:
Digital Image Guidelines
• Our preferred format for digital images is TIFF. Images taken with digital cameras should be created using the highest-quality JPEG setting (usually marked "fine" or "high") on your camera. TIFF images should be saved with LZW compression. Please make all images Mac compatible.
• DO name your image files. Please name your images with the subject, your name (or initials) and the suffix indicating the files' format.
• Separate the subject from your name by an underscore dash: ( _ ) (Create this by using the SHIFT key and hitting the underline button on the right side of the numbers row (top) of your computer keyboard).
• For example: a northern cardinal image taken by Jane Smith and saved as a TIFF would be named Cardinal_Jsmith.TIF. Please do not send raw image files with the default file names generated by the camera (such as D000336.JPG). It is acceptable to use standard bird name abbreviations (NOCA = northern cardinal).
• DO submit image files on CD. Please do not submit digital image files via e-mail, unless requested by the editor. Images submitted via e-mail are subject to being fragmented, distorted, corrupted, or deleted by our servers as spam.
• DO send a color printout of each digital image with its file name or code number. To save time, paper, and ink group your images as small thumbnails on one sheet.
• DO include a cover letter. Include the origin of the electronic images: (eg: they were downloaded from digital camera or they were slides scanned on professional scanner).
• DO send image captions on a printed sheet or in a MS Word or RichText Format (RTF) file labeled Image Captions. You must include species name and, if known, other pertinent information such as location, date/season, etc.
• DO NOT crop your images. Leave the cropping to us.
• DO NOT alter photos. Images should not be corrected for color, sharpness, size, or color mode. Again, it's best if you leave this work to us.
• DO NOT send digital images of slides that have been scanned in on consumer scanners. These images do not reproduce well for publication.
• DO NOT send digital images for submission previewing as e-mail attachments (please!).
Please note:
• We print images at 300 dots per inch (dpi/resolution) and larger.
• Our page size is 5.25" x 8."
• Due to differences in color printers, proofs may not reflect colors in the final image.
• Color and density of the final printed image may differ from the digital original due to a variety of factors, including scanner settings, monitor calibration, paper quality, press settings, etc.
• Digital photography and the processing, handling, and storage of digital images is evolving at an incredible pace. It's useful to consult digital photography publications, web sites, and resources to help you to stay current on the digital photography revolution.
Payment
Our payment schedule is $75 per image used regardless of size. Images re-used on our table of contents page or on our web site will be paid an additional $25. Payment is made upon publication. There is no payment or contract for photos used in "My Way," or for photos that have been loaned for courtesy use.
Additional Information
Please enclose a photocopy or delivery memo listing photos submitted. Include your daytime phone number, as well as fax number, and e-mail address. If you are submitting slides on speculation for the first time, please send no more than 20 images.
Send photos to:
Bird Watcher's Digest
Attn: Editorial Department
PO Box 110 (UPS/FedEx use 149 Acme Street)
Marietta, Ohio 45750
Thank you for your interest in Bird Watcher's Digest magazine. We look forward to reviewing your images, and we wish you great success in your bird photography endeavors.
Sincerely,
Bill Thompson, III
Editor
Attn: Editorial Department
PO Box 110 (UPS/FedEx use 149 Acme Street)
Marietta, Ohio 45750
Photographers' Guidelines
Bird Watcher's Digest (BWD) magazine has been publishing beautiful bird photography for nearly 30 years. Of course in 1978, when we started publishing, we only published black-and-white images. Thankfully all that has now changed! We use images to augment our magazine's content, so we often look for non-traditional shots of birds, including images capturing unusual behavior or settings. For our species profiles of birds we look for more traditional images: sharp, well-composed portraits of wild birds in their natural habitat.
We encourage bird photographers to behave ethically both in the field and at the light table.
We rarely publish images of captive or restrained birds, or images that have been digitally or physically manipulated to create a stunning, but unreal, final product.
We appreciate the hard work and love that bird photographers put into their craft. And we realize that bird and nature photography is a highly competitive field. Therefore we strive to treat the photographers with whom we do business with respect.
Submitting Your Images to Us
If this is your first submission to BWD, please understand that more is not necessarily better. We suggest an initial submission of 20 or fewer images so that we can judge the quality of your work. If our reviewers feel that you work warrants inclusion on our photo want list (see BWD Photo Want List below), we will notify you of this and will add your name at the next want list update. Unfortunately we are not able to add every submitting photographer to our want list.
Images for specific features will be requested via our want list, which is e-mailed to select photographers. Ongoing image needs include remarkable portrait images of birds, bird watchers using binoculars or scopes, groups of birders, and birds at feeders, nest boxes, and birdbaths. We are less likely to use images of the oft-photographed species such as great blue heron, Canada goose, common duck species at a park pond, pelicans or egrets at fishing piers, etc. We do not use images of birds that are pets, captives, or of injured/rehab birds, stuffed mounts, or birds that are otherwise restrained.
Image Quality
Images should be in sharp focus, color should be accurate, exposure should be perfect or nearly so, and the subject should be large in the image frame. When selecting images for submission, it's to your advantage to be extra selective.
Here are some specifics for your submission:
Image Format
We prefer these formats, in order of preference:
• Digital images (please see digital image guidelines below)
• Original color transparencies, 35mm slides or larger format
• Publication-quality dupes, particularly 70mm size
Please do not send negatives, glass-mounted slides, or unmounted transparencies.
Image Identification & Labeling
The photographer's name, image number, and image description must be on each slide. Unlabeled slides can be misplaced or filed incorrectly. Please include credit and caption data for each image on an accompanying page. It is also helpful to have your contact information on each image.
Handling of Images
Bird Watcher's Digest takes extreme care when handling images. To help us keep your images safe, please make sure that all images are free of dust, fingerprints, scratches, water spots, creases, and other blemishes before you send them. Send slides in flat plastic protectors (top-loading plastic slide holders with 20 slide slots per sheet). Please do not send slides in stacks, in slide boxes, or loose inside an envelope or plastic enclosure. For maximum safety, we recommend the use of individual plastic slide protectors on each slide or image. Enclose your submission in cardboard and/or plastic, and place inside a strong, padded or stiff cardboard envelope. We recommend packages of slides should be shipped via carriers such as UPS or FedEx, which provide package tracking.
The BWD Photo Want List
Bird Watcher's Digest relies on bird photographers with large, active image libraries to supply the bulk of each issue's photographs. We solicit slides from a select group of these photographers through our bimonthly photo want list. To be considered for the BWD Photo Want List, please follow the guidelines above and submit a small sample of images (20 or fewer) to the editorial department (address below). Due to the volume of submissions we receive, we ask that you allow 10 to 12 weeks for a response.
We do not pay research or holding fees for want list photo submissions. We ask that photographers notify us when there is an image in their submission that is being simultaneously submitted to another wild bird publication.
Unsolicited Images
Bird Watcher's Digest is not responsible for unsolicited photos in any format. When we receive unsolicited photos that we would like to add to our inventory, we send an acknowledgement letter. This acknowledgement letter is not a contract or a guarantee of publication. Images are filed for future consideration. Whether you send images for inspection only or if you want rejected images returned, please include a SASE (self-addressed, stamped envelope) with enough postage for the return of all materials..
Liability for Solicited Images
All image submissions that have not been requested by Bird Watcher's Digest are considered unsolicited. We accept responsibility for solicited transparencies while they are in our possession. However we have absolutely no control over images or shipments after they have been received by the post office or another carrier. Consequently, our liability during return shipment must be limited. Your best protection is to send high-quality duplicates (dupes). We will return solicited slides at our expense by courier, usually FedEx.
If you prefer that your image submission be returned via another method or carrier, please provide a SASE of adequate size with appropriate postage. Be sure to include your street address; couriers cannot deliver to Post Office box numbers. If you do not have a physical street address, slide returns will be via USPS mail with delivery confirmation.
Holding/Reviewing Images
Because BWD is a bimonthly magazine (publishing every other month) we generally hold want-list images for approximately two months. Occasionally an article is postponed, and images being considered are held longer. Images are returned after the issue is in print. We make every effort to expedite the review and processing of all submissions. Due to the volume of submissions we receive, we ask that you allow 10 to 12 weeks for a response to an unsolicited submission.
Submitting Your Digital Images
Digital photography is rapidly becoming a standard with professional/freelance bird and nature photographers. Bird Watcher's Digest is receiving an increasing number of digital images submitted by bird photographers. If you choose to send digital photos, please follow our regular guidelines for photographers as stated above, in addition to these specific Digital Image Guidelines:
Digital Image Guidelines
• Our preferred format for digital images is TIFF. Images taken with digital cameras should be created using the highest-quality JPEG setting (usually marked "fine" or "high") on your camera. TIFF images should be saved with LZW compression. Please make all images Mac compatible.
• DO name your image files. Please name your images with the subject, your name (or initials) and the suffix indicating the files' format.
• Separate the subject from your name by an underscore dash: ( _ ) (Create this by using the SHIFT key and hitting the underline button on the right side of the numbers row (top) of your computer keyboard).
• For example: a northern cardinal image taken by Jane Smith and saved as a TIFF would be named Cardinal_Jsmith.TIF. Please do not send raw image files with the default file names generated by the camera (such as D000336.JPG). It is acceptable to use standard bird name abbreviations (NOCA = northern cardinal).
• DO submit image files on CD. Please do not submit digital image files via e-mail, unless requested by the editor. Images submitted via e-mail are subject to being fragmented, distorted, corrupted, or deleted by our servers as spam.
• DO send a color printout of each digital image with its file name or code number. To save time, paper, and ink group your images as small thumbnails on one sheet.
• DO include a cover letter. Include the origin of the electronic images: (eg: they were downloaded from digital camera or they were slides scanned on professional scanner).
• DO send image captions on a printed sheet or in a MS Word or RichText Format (RTF) file labeled Image Captions. You must include species name and, if known, other pertinent information such as location, date/season, etc.
• DO NOT crop your images. Leave the cropping to us.
• DO NOT alter photos. Images should not be corrected for color, sharpness, size, or color mode. Again, it's best if you leave this work to us.
• DO NOT send digital images of slides that have been scanned in on consumer scanners. These images do not reproduce well for publication.
• DO NOT send digital images for submission previewing as e-mail attachments (please!).
Please note:
• We print images at 300 dots per inch (dpi/resolution) and larger.
• Our page size is 5.25" x 8."
• Due to differences in color printers, proofs may not reflect colors in the final image.
• Color and density of the final printed image may differ from the digital original due to a variety of factors, including scanner settings, monitor calibration, paper quality, press settings, etc.
• Digital photography and the processing, handling, and storage of digital images is evolving at an incredible pace. It's useful to consult digital photography publications, web sites, and resources to help you to stay current on the digital photography revolution.
Payment
Our payment schedule is $75 per image used regardless of size. Images re-used on our table of contents page or on our web site will be paid an additional $25. Payment is made upon publication. There is no payment or contract for photos used in "My Way," or for photos that have been loaned for courtesy use.
Additional Information
Please enclose a photocopy or delivery memo listing photos submitted. Include your daytime phone number, as well as fax number, and e-mail address. If you are submitting slides on speculation for the first time, please send no more than 20 images.
Send photos to:
Bird Watcher's Digest
Attn: Editorial Department
PO Box 110 (UPS/FedEx use 149 Acme Street)
Marietta, Ohio 45750
Thank you for your interest in Bird Watcher's Digest magazine. We look forward to reviewing your images, and we wish you great success in your bird photography endeavors.
Sincerely,
Bill Thompson, III
Editor
Using a Gray Card
Using A Gray Card
The Editors of Creative Consulting, Inc.
Camera meters are designed to mix electronically a mid-tone average from all light and dark areas in your scene. When your image is unusually light or dark, the camera's electronic "brain" over-reacts and gives poor exposure results. On the back of your exposure guide is an 18%, zone V, photographic gray card. Use this gray card when your subject or background is lighter or darker than average to prevent camera exposure error.
HOW TO USE THE GRAY CARD
Place the gray card in front of and in the same light as the subject, with the card directed towards the camera. Move in very close to the gray card with the camera, so that all you see in the view finder is the gray card (the card does not have to be in focus). Tip the card slightly so it appears as bright as possible with a slight sheen or glare, then tip the card very slightly to eliminate the glare (Be careful not to let your shadow fall on the gray card).
Now "read" your camera meter to find the proper shutter speed and aperture. Remove the gray card and use this exposure to photograph your subject.
GRAY CARD AS A "COLOR-CHECKER"
The gray card may also be used as a "color-checker". When your color needs are critical, take a picture of the gray card in the same light as your subject. Remember to tip the card "just off glare". When your prints are being made, alert the lab to "color balance" to your gray card. Have the lab produce a print of your gray card so you can check their color balance. The gray card in your color print should be the same color as your gray card or your prints will have a color bias. Note that some films may reproduce skin color with a slight variation.
The Editors of Creative Consulting, Inc.
Camera meters are designed to mix electronically a mid-tone average from all light and dark areas in your scene. When your image is unusually light or dark, the camera's electronic "brain" over-reacts and gives poor exposure results. On the back of your exposure guide is an 18%, zone V, photographic gray card. Use this gray card when your subject or background is lighter or darker than average to prevent camera exposure error.
HOW TO USE THE GRAY CARD
Place the gray card in front of and in the same light as the subject, with the card directed towards the camera. Move in very close to the gray card with the camera, so that all you see in the view finder is the gray card (the card does not have to be in focus). Tip the card slightly so it appears as bright as possible with a slight sheen or glare, then tip the card very slightly to eliminate the glare (Be careful not to let your shadow fall on the gray card).
Now "read" your camera meter to find the proper shutter speed and aperture. Remove the gray card and use this exposure to photograph your subject.
GRAY CARD AS A "COLOR-CHECKER"
The gray card may also be used as a "color-checker". When your color needs are critical, take a picture of the gray card in the same light as your subject. Remember to tip the card "just off glare". When your prints are being made, alert the lab to "color balance" to your gray card. Have the lab produce a print of your gray card so you can check their color balance. The gray card in your color print should be the same color as your gray card or your prints will have a color bias. Note that some films may reproduce skin color with a slight variation.
Government Statistics for Photographers
Photographers produce and preserve images that paint a picture, tell a story, or record an event. To create commercial-quality photographs, photographers need technical expertise, creativity, and the appropriate professional equipment. Producing a successful picture requires choosing and presenting a subject to achieve a particular effect, and selecting the right cameras and other photographic enhancing tools. For example, photographers may enhance the subject’s appearance with natural or artificial light, shoot the subject from an interesting angle, draw attention to a particular aspect of the subject by blurring the background, or use various lenses to produce desired levels of detail at various distances from the subject.
Today, most photographers use digital cameras instead of traditional silver-halide film cameras, although some photographers use both types, depending on their own preference and the nature of the assignment. Regardless of the camera they use, photographers also employ an array of other equipment—from lenses, filters, and tripods to flash attachments and specially constructed lighting equipment—to improve the quality of their work.
Digital cameras capture images electronically, allowing them to be edited on a computer. Images can be stored on portable memory devices such as compact disks or on smaller storage devices such as memory cards used in digital cameras and flash drives. Once the raw image has been transferred to a computer, photographers can use processing software to crop or modify the image and enhance it through color correction and other specialized effects. As soon as a photographer has finished editing the image, it can be sent anywhere in the world over the Internet.
Photographers also can create electronic portfolios of their work and display them on their own webpage, allowing them to reach prospective customers directly. Digital technology also allows the production of larger, more colorful, and more accurate prints or images for use in advertising, photographic art, and scientific research. Photographers who process their own digital images need to be proficient in the use of computers, high-quality printers, and editing software.
Photographers who use cameras with silver-halide film often send their film to laboratories for processing. Color film requires expensive equipment and exacting conditions for correct processing and printing. (See the statement on photographic process workers and processing machine operators elsewhere in the Handbook.) Other photographers develop and print their own photographs using their own fully equipped darkrooms, especially if they use black and white film or seek to achieve special effects. Photographers who do their own film developing must invest in additional developing and printing equipment and acquire the technical skills to operate it.
Some photographers specialize in areas such as portrait, commercial and industrial, scientific, news, or fine arts photography. Portrait photographers take pictures of individuals or groups of people and often work in their own studios. Some specialize in weddings, religious ceremonies, or school photographs and may work on location. Portrait photographers who own and operate their own business have many responsibilities in addition to taking pictures. They must arrange for advertising, schedule appointments, set and adjust equipment, purchase supplies, keep records, bill customers, pay bills, and—if they have employees—hire, train, and direct their workers. Many also process their own images, design albums, and mount and frame the finished photographs.
Commercial and industrial photographers take pictures of various subjects, such as buildings, models, merchandise, artifacts, and landscapes. These photographs are used in a variety of media, including books, reports, advertisements, and catalogs. Industrial photographers often take pictures of equipment, machinery, products, workers, and company officials. The pictures are used for various purposes—for example, analysis of engineering projects, publicity, or records of equipment development or deployment, such as placement of an offshore oil rig. This photography frequently is done on location.
Scientific photographers take images of a variety of subjects to illustrate or record scientific or medical data or phenomena, using knowledge of scientific procedures. They typically possess additional knowledge in areas such as engineering, medicine, biology, or chemistry.
News photographers, also called photojournalists, photograph newsworthy people, places, and sporting, political, and community events for newspapers, journals, magazines, or television.
Fine arts photographers sell their photographs as fine artwork. In addition to technical proficiency, fine arts photographers need artistic talent and creativity.
Self-employed, or freelance, photographers usually specialize in one of the above fields. In addition to carrying out assignments under direct contract with clients, they may license the use of their photographs through stock-photo agencies or market their work directly to the public. Stock-photo agencies sell magazines and other customers the right to use photographs, and pay the photographer a commission. These agencies require an application from the photographer and a sizable portfolio of pictures. Once accepted, photographers usually are required to submit a large number of new photographs each year. Self-employed photographers must also have a thorough understanding of copyright laws in order to protect their work.
Most photographers spend only a small portion of their work schedule actually taking photographs. Their most common activities are editing images on a computer—if they use a digital camera—and looking for new business—if they are self-employed.
Work environment. Working conditions for photographers vary considerably. Photographers employed in government and advertising studios usually work a 5-day, 40-hour week. On the other hand, news photographers often work long, irregular hours and must be available to work on short notice. Many photographers work part time or on variable schedules.
Portrait photographers usually work in their own studios but also may travel to take photographs at the client’s location, such as a school, a company office, or a private home. News and commercial photographers frequently travel locally, stay overnight on assignments, or travel to distant places for long periods.
Some photographers work in uncomfortable or even dangerous surroundings, especially news photographers covering accidents, natural disasters, civil unrest, or military conflicts. Many photographers must wait long hours in all kinds of weather for an event to take place and stand or walk for long periods while carrying heavy equipment. News photographers often work under strict deadlines.
Self-employment allows for greater autonomy, freedom of expression, and flexible scheduling. However, income can be uncertain and the continuous, time consuming search for new clients can be stressful. Some self-employed photographers hire assistants who help seek out new business.
Training, Other Qualifications, and Advancement
Employers usually seek applicants with a “good eye,” imagination, and creativity, as well as a good technical understanding of photography. Photojournalists or industrial or scientific photographers generally need a college degree. Freelance and portrait photographers need technical proficiency, gained through a degree, training program, or experience.
Education and training. Entry-level positions in photojournalism or in industrial or scientific photography generally require a college degree in photography or in a field related to the industry in which the photographer seeks employment. Entry-level freelance or portrait photographers need technical proficiency. Some complete a college degree or vocational training programs.
Photography courses are offered by many universities, community and junior colleges, vocational-technical institutes, and private trade and technical schools. Basic courses in photography cover equipment, processes, and techniques. Learning good business skills is important and some bachelor’s degree programs offer courses focusing on them. Art schools offer useful training in photographic design and composition.
Photographers may start out as assistants to experienced photographers. Assistants acquire the technical knowledge needed to be a successful photographer and also learn other skills necessary to run a portrait or commercial photography business.
Some photographers enter the field by submitting unsolicited a portfolio of photographs to magazines and to art directors at advertising agencies; for freelance photographers, a good portfolio is essential.
Individuals interested in a career in photography should try to develop contacts in the field by subscribing to photographic newsletters and magazines, joining camera clubs, and seeking summer or part-time employment in camera stores, newspapers, or photo studios.
Other qualifications. Photographers need good eyesight, artistic ability, and good hand-eye coordination. They should be patient, accurate, and detail-oriented and should be able to work well with others, as they frequently deal with clients, graphic designers, and advertising and publishing specialists. Photographers need to know how to use computer software programs and applications that allow them to prepare and edit images, and those who market directly to clients should know how to use the Internet to display their work.
Portrait photographers need the ability to help people relax in front of the camera. Commercial and fine arts photographers must be imaginative and original. News photographers must not only be good with a camera, but also understand the story behind an event so that their pictures match the story. They must be decisive in recognizing a potentially good photograph and act quickly to capture it.
Photographers who operate their own business, or freelance, need business skills as well as talent. These individuals must know how to prepare a business plan; submit bids; write contracts; keep financial records; market their work; hire models, if needed; get permission to shoot on locations that normally are not open to the public; obtain releases to use photographs of people; license and price photographs; and secure copyright protection for their work. To protect their rights and their work, self-employed photographers require basic knowledge of licensing and copyright laws, as well as knowledge of contracts and negotiation procedures.
Freelance photographers also should develop an individual style of photography to differentiate themselves from the competition.
Advancement. After several years of experience, magazine and news photographers may advance to photography or picture editor positions. Some photographers teach at technical schools, film schools, or universities.
Employment
Photographers held about 122,000 jobs in 2006. More than half were self-employed, a much higher proportion than for most occupations. Some self-employed photographers have contracts with advertising agencies, magazine publishers, or other businesses to do individual projects for a set fee, while others operate portrait studios or provide photographs to stock-photo agencies.
Most salaried photographers work in portrait or commercial photography studios; most of the others work for newspapers, magazines, and advertising agencies. Photographers work in all areas of the country, but most are employed in metropolitan areas.
Job Outlook
Employment of photographers is expected to grow about as fast as the average for all occupations through 2016. Photographers can expect keen competition for job openings because the work is attractive to many people.
Employment change. Demand for portrait photographers should increase as the population grows. Moreover, growth of Internet versions of magazines, journals, and newspapers will require increasing numbers of commercial photographers to provide digital images.
The Internet and improved data management programs also should make it easier for freelancers to market directly to their customers, increasing opportunities for self-employment and decreasing reliance on stock photo agencies.
As a result, employment of photographers is expected to grow 10 percent over the 2006-16 projection period, about as fast as the average for all occupations.
Job growth, however, will be constrained somewhat by the widespread use of digital photography and the falling price of digital equipment. Improvements in digital technology reduce barriers of entry into this profession and allow more individual consumers and businesses to produce, store, and access photographic images on their own. Photojournalists may be adversely affected by the increase in “citizen journalism”—when newspapers buy images taken by non-professionals who happen to be at the scene of an event. Declines in the newspaper industry also will reduce demand for photographers to provide still images for print.
Job prospects. Photographers can expect keen competition for job openings because the work is attractive to many people. The number of individuals interested in positions as commercial and news photographers usually is much greater than the number of openings. Salaried jobs in particular may be difficult to find as more companies contract with freelancers rather than hire their own photographers. Those who succeed in landing a salaried job or attracting enough work to earn a living by freelancing are likely to be adept at operating a business and to be among the most creative. They will be able to find and exploit the new opportunities available from rapidly changing technologies. Related work experience, job-related training, or some unique skill or talent—such as a background in computers or electronics—also improve a photographer’s job prospects.
Earnings
Median annual earnings of salaried photographers were $26,170 in May 2006. The middle 50 percent earned between $18,680 and $38,730. The lowest 10 percent earned less than $15,540, and the highest 10 percent earned more than $56,640.
Median annual earnings in the industry employing the largest numbers of salaried photographers were $22,860 in the photographic services industry.
Salaried photographers—more of whom work full time—tend to earn more than those who are self-employed. Because most freelance and portrait photographers purchase their own equipment, they incur considerable expense acquiring and maintaining cameras and accessories. Unlike news and commercial photographers, few fine arts photographers are successful enough to support themselves solely through their art.
Bureau of Labor Statistics, U.S. Department of Labor, Occupational Outlook Handbook, 2008-09 Edition, Photographers, on the Internet at http://www.bls.gov/oco/ocos264.htm (visited November 07, 2009).
Today, most photographers use digital cameras instead of traditional silver-halide film cameras, although some photographers use both types, depending on their own preference and the nature of the assignment. Regardless of the camera they use, photographers also employ an array of other equipment—from lenses, filters, and tripods to flash attachments and specially constructed lighting equipment—to improve the quality of their work.
Digital cameras capture images electronically, allowing them to be edited on a computer. Images can be stored on portable memory devices such as compact disks or on smaller storage devices such as memory cards used in digital cameras and flash drives. Once the raw image has been transferred to a computer, photographers can use processing software to crop or modify the image and enhance it through color correction and other specialized effects. As soon as a photographer has finished editing the image, it can be sent anywhere in the world over the Internet.
Photographers also can create electronic portfolios of their work and display them on their own webpage, allowing them to reach prospective customers directly. Digital technology also allows the production of larger, more colorful, and more accurate prints or images for use in advertising, photographic art, and scientific research. Photographers who process their own digital images need to be proficient in the use of computers, high-quality printers, and editing software.
Photographers who use cameras with silver-halide film often send their film to laboratories for processing. Color film requires expensive equipment and exacting conditions for correct processing and printing. (See the statement on photographic process workers and processing machine operators elsewhere in the Handbook.) Other photographers develop and print their own photographs using their own fully equipped darkrooms, especially if they use black and white film or seek to achieve special effects. Photographers who do their own film developing must invest in additional developing and printing equipment and acquire the technical skills to operate it.
Some photographers specialize in areas such as portrait, commercial and industrial, scientific, news, or fine arts photography. Portrait photographers take pictures of individuals or groups of people and often work in their own studios. Some specialize in weddings, religious ceremonies, or school photographs and may work on location. Portrait photographers who own and operate their own business have many responsibilities in addition to taking pictures. They must arrange for advertising, schedule appointments, set and adjust equipment, purchase supplies, keep records, bill customers, pay bills, and—if they have employees—hire, train, and direct their workers. Many also process their own images, design albums, and mount and frame the finished photographs.
Commercial and industrial photographers take pictures of various subjects, such as buildings, models, merchandise, artifacts, and landscapes. These photographs are used in a variety of media, including books, reports, advertisements, and catalogs. Industrial photographers often take pictures of equipment, machinery, products, workers, and company officials. The pictures are used for various purposes—for example, analysis of engineering projects, publicity, or records of equipment development or deployment, such as placement of an offshore oil rig. This photography frequently is done on location.
Scientific photographers take images of a variety of subjects to illustrate or record scientific or medical data or phenomena, using knowledge of scientific procedures. They typically possess additional knowledge in areas such as engineering, medicine, biology, or chemistry.
News photographers, also called photojournalists, photograph newsworthy people, places, and sporting, political, and community events for newspapers, journals, magazines, or television.
Fine arts photographers sell their photographs as fine artwork. In addition to technical proficiency, fine arts photographers need artistic talent and creativity.
Self-employed, or freelance, photographers usually specialize in one of the above fields. In addition to carrying out assignments under direct contract with clients, they may license the use of their photographs through stock-photo agencies or market their work directly to the public. Stock-photo agencies sell magazines and other customers the right to use photographs, and pay the photographer a commission. These agencies require an application from the photographer and a sizable portfolio of pictures. Once accepted, photographers usually are required to submit a large number of new photographs each year. Self-employed photographers must also have a thorough understanding of copyright laws in order to protect their work.
Most photographers spend only a small portion of their work schedule actually taking photographs. Their most common activities are editing images on a computer—if they use a digital camera—and looking for new business—if they are self-employed.
Work environment. Working conditions for photographers vary considerably. Photographers employed in government and advertising studios usually work a 5-day, 40-hour week. On the other hand, news photographers often work long, irregular hours and must be available to work on short notice. Many photographers work part time or on variable schedules.
Portrait photographers usually work in their own studios but also may travel to take photographs at the client’s location, such as a school, a company office, or a private home. News and commercial photographers frequently travel locally, stay overnight on assignments, or travel to distant places for long periods.
Some photographers work in uncomfortable or even dangerous surroundings, especially news photographers covering accidents, natural disasters, civil unrest, or military conflicts. Many photographers must wait long hours in all kinds of weather for an event to take place and stand or walk for long periods while carrying heavy equipment. News photographers often work under strict deadlines.
Self-employment allows for greater autonomy, freedom of expression, and flexible scheduling. However, income can be uncertain and the continuous, time consuming search for new clients can be stressful. Some self-employed photographers hire assistants who help seek out new business.
Training, Other Qualifications, and Advancement
Employers usually seek applicants with a “good eye,” imagination, and creativity, as well as a good technical understanding of photography. Photojournalists or industrial or scientific photographers generally need a college degree. Freelance and portrait photographers need technical proficiency, gained through a degree, training program, or experience.
Education and training. Entry-level positions in photojournalism or in industrial or scientific photography generally require a college degree in photography or in a field related to the industry in which the photographer seeks employment. Entry-level freelance or portrait photographers need technical proficiency. Some complete a college degree or vocational training programs.
Photography courses are offered by many universities, community and junior colleges, vocational-technical institutes, and private trade and technical schools. Basic courses in photography cover equipment, processes, and techniques. Learning good business skills is important and some bachelor’s degree programs offer courses focusing on them. Art schools offer useful training in photographic design and composition.
Photographers may start out as assistants to experienced photographers. Assistants acquire the technical knowledge needed to be a successful photographer and also learn other skills necessary to run a portrait or commercial photography business.
Some photographers enter the field by submitting unsolicited a portfolio of photographs to magazines and to art directors at advertising agencies; for freelance photographers, a good portfolio is essential.
Individuals interested in a career in photography should try to develop contacts in the field by subscribing to photographic newsletters and magazines, joining camera clubs, and seeking summer or part-time employment in camera stores, newspapers, or photo studios.
Other qualifications. Photographers need good eyesight, artistic ability, and good hand-eye coordination. They should be patient, accurate, and detail-oriented and should be able to work well with others, as they frequently deal with clients, graphic designers, and advertising and publishing specialists. Photographers need to know how to use computer software programs and applications that allow them to prepare and edit images, and those who market directly to clients should know how to use the Internet to display their work.
Portrait photographers need the ability to help people relax in front of the camera. Commercial and fine arts photographers must be imaginative and original. News photographers must not only be good with a camera, but also understand the story behind an event so that their pictures match the story. They must be decisive in recognizing a potentially good photograph and act quickly to capture it.
Photographers who operate their own business, or freelance, need business skills as well as talent. These individuals must know how to prepare a business plan; submit bids; write contracts; keep financial records; market their work; hire models, if needed; get permission to shoot on locations that normally are not open to the public; obtain releases to use photographs of people; license and price photographs; and secure copyright protection for their work. To protect their rights and their work, self-employed photographers require basic knowledge of licensing and copyright laws, as well as knowledge of contracts and negotiation procedures.
Freelance photographers also should develop an individual style of photography to differentiate themselves from the competition.
Advancement. After several years of experience, magazine and news photographers may advance to photography or picture editor positions. Some photographers teach at technical schools, film schools, or universities.
Employment
Photographers held about 122,000 jobs in 2006. More than half were self-employed, a much higher proportion than for most occupations. Some self-employed photographers have contracts with advertising agencies, magazine publishers, or other businesses to do individual projects for a set fee, while others operate portrait studios or provide photographs to stock-photo agencies.
Most salaried photographers work in portrait or commercial photography studios; most of the others work for newspapers, magazines, and advertising agencies. Photographers work in all areas of the country, but most are employed in metropolitan areas.
Job Outlook
Employment of photographers is expected to grow about as fast as the average for all occupations through 2016. Photographers can expect keen competition for job openings because the work is attractive to many people.
Employment change. Demand for portrait photographers should increase as the population grows. Moreover, growth of Internet versions of magazines, journals, and newspapers will require increasing numbers of commercial photographers to provide digital images.
The Internet and improved data management programs also should make it easier for freelancers to market directly to their customers, increasing opportunities for self-employment and decreasing reliance on stock photo agencies.
As a result, employment of photographers is expected to grow 10 percent over the 2006-16 projection period, about as fast as the average for all occupations.
Job growth, however, will be constrained somewhat by the widespread use of digital photography and the falling price of digital equipment. Improvements in digital technology reduce barriers of entry into this profession and allow more individual consumers and businesses to produce, store, and access photographic images on their own. Photojournalists may be adversely affected by the increase in “citizen journalism”—when newspapers buy images taken by non-professionals who happen to be at the scene of an event. Declines in the newspaper industry also will reduce demand for photographers to provide still images for print.
Job prospects. Photographers can expect keen competition for job openings because the work is attractive to many people. The number of individuals interested in positions as commercial and news photographers usually is much greater than the number of openings. Salaried jobs in particular may be difficult to find as more companies contract with freelancers rather than hire their own photographers. Those who succeed in landing a salaried job or attracting enough work to earn a living by freelancing are likely to be adept at operating a business and to be among the most creative. They will be able to find and exploit the new opportunities available from rapidly changing technologies. Related work experience, job-related training, or some unique skill or talent—such as a background in computers or electronics—also improve a photographer’s job prospects.
Earnings
Median annual earnings of salaried photographers were $26,170 in May 2006. The middle 50 percent earned between $18,680 and $38,730. The lowest 10 percent earned less than $15,540, and the highest 10 percent earned more than $56,640.
Median annual earnings in the industry employing the largest numbers of salaried photographers were $22,860 in the photographic services industry.
Salaried photographers—more of whom work full time—tend to earn more than those who are self-employed. Because most freelance and portrait photographers purchase their own equipment, they incur considerable expense acquiring and maintaining cameras and accessories. Unlike news and commercial photographers, few fine arts photographers are successful enough to support themselves solely through their art.
Bureau of Labor Statistics, U.S. Department of Labor, Occupational Outlook Handbook, 2008-09 Edition, Photographers, on the Internet at http://www.bls.gov/oco/ocos264.htm (visited November 07, 2009).
Model Magic Michael's Way
Model Magic Michael’s Way
All photos are the property of Michael Todd
R. Dodge Woodson
I was conducting a routine talent search for photographers when I discovered what you are about to see.
Michael Todd has graciously donated the use of his work to this publication, and I thank him. All photos here are taken by and property of Michael Todd.
When I first saw the photo above, it stopped me in my tracks. Yes, the model is beautiful on her own, but Michael’s style knocked me over.
In this article we are going to look at more of Michael’s work and discuss the elements of each image.
Starting with the lead photo, it is nearly perfect! Some would say that the background is too close and distracting. I can see that point, but I like the texture created by it.
Notice the use of shadow in this shot. With the slight exception around the cuffs of the model’s jacket, the lighting is flawless.
I have studied this shot numerous times and each time I am drawn to its dynamic feeling, texture, and mood. I LOVE the look!
This model and set gives us a very different perspective of Michael’s work.
The two pulling factors for this image to me are the model’s eyes and hair. Notice how Michael used a white background with a blonde model and a dark background with dark hair in the second photo.
Is the model’s top wrinkled, or is it styled. The top is carefully styled to play with the lighting. This is another nice portrait.
Notice the model’s hands. See how they are positioned? What is the first thing that goes through your mind when you see this? The heavy iron decorative structure seems to be a frame that she is bound to. Is she a captive, or is she a VIP inside of her security gate?
Check out the eye shadow. It ties in with her sweater and the iron work. The model’s lip color coincides with the main color in her shirt.
There is an argument to be made over composition here. That is debatable. All in all, it is a fine image.
Could it be better? I have never seen a photo that couldn’t be a bit better, but this one is good and the model and photographer should be happy with it.
This image evokes the feeling of an extremely fit, athletic woman who is comfortable in her own skin. I think the eyes would stop a train dead on its tracks.
Long, flowing, brown hair gives me the feeling that cooler weather is coming and the model is sneaking in one more run before it is too cold to enjoy the jog.
Whoever chose the top did a fantastic job. It is extremely simple and accents the model without taking anything away from it. The model’s taut body makes this portion of the shot.
This could be a glamour shot, a stock shot, an advertising image, and so much more. It is a photo that can sell well in a multitude of markets.
This model, the look, the pose, and the surroundings captivate me. Notice the unusual angle that the photo was created from. This is a very nice touch.
The surroundings and background are a mixture of hard and soft, not so unlike the model. She appears to be strong minded and full of ambition while maintaining a bit of softness that makes her a challenging, but desirable woman.
I don’t like the way the black bra is exposed in the center of the dress. This is a no-no in my opinion. Choosing a dark color for the bra even as it appears beneath the fabric of the dress looks like a poor decision to me. Perhaps Michael was making a statement that is lost on me.
I think the earrings are a nice touch. Not too much, and not too little. The style of the dress, where it shows horizontal lines would not work for heavier models, but it is a great accent piece here.
The model’s hair and eyes are great and I feel like I am looking through the viewfinder at her eyes each time I look at the image.
The pose gives the model what I would call “Attitude”. She wears it well!
Here we are with the same model, the same dress, the same hair, and the same earrings, but with a VERY DIFFERENT photo.
I would have cropped the top edge slightly to remove the distracting dark marks which may be windows. Aside from that, I don’t think I would change a thing.
It is obvious with just this brief portfolio of his work that Michael Todd is an accomplished, pro-quality photographer with a special flair when it comes to working with models.
Again, thank you, Michael for allow me to use your photos in this article.
Life is Best Seen through a Canon L Lens
RDW
All photos are the property of Michael Todd
R. Dodge Woodson
I was conducting a routine talent search for photographers when I discovered what you are about to see.
Michael Todd has graciously donated the use of his work to this publication, and I thank him. All photos here are taken by and property of Michael Todd.
When I first saw the photo above, it stopped me in my tracks. Yes, the model is beautiful on her own, but Michael’s style knocked me over.
In this article we are going to look at more of Michael’s work and discuss the elements of each image.
Starting with the lead photo, it is nearly perfect! Some would say that the background is too close and distracting. I can see that point, but I like the texture created by it.
Notice the use of shadow in this shot. With the slight exception around the cuffs of the model’s jacket, the lighting is flawless.
I have studied this shot numerous times and each time I am drawn to its dynamic feeling, texture, and mood. I LOVE the look!
This model and set gives us a very different perspective of Michael’s work.
The two pulling factors for this image to me are the model’s eyes and hair. Notice how Michael used a white background with a blonde model and a dark background with dark hair in the second photo.
Is the model’s top wrinkled, or is it styled. The top is carefully styled to play with the lighting. This is another nice portrait.
Notice the model’s hands. See how they are positioned? What is the first thing that goes through your mind when you see this? The heavy iron decorative structure seems to be a frame that she is bound to. Is she a captive, or is she a VIP inside of her security gate?
Check out the eye shadow. It ties in with her sweater and the iron work. The model’s lip color coincides with the main color in her shirt.
There is an argument to be made over composition here. That is debatable. All in all, it is a fine image.
Could it be better? I have never seen a photo that couldn’t be a bit better, but this one is good and the model and photographer should be happy with it.
This image evokes the feeling of an extremely fit, athletic woman who is comfortable in her own skin. I think the eyes would stop a train dead on its tracks.
Long, flowing, brown hair gives me the feeling that cooler weather is coming and the model is sneaking in one more run before it is too cold to enjoy the jog.
Whoever chose the top did a fantastic job. It is extremely simple and accents the model without taking anything away from it. The model’s taut body makes this portion of the shot.
This could be a glamour shot, a stock shot, an advertising image, and so much more. It is a photo that can sell well in a multitude of markets.
This model, the look, the pose, and the surroundings captivate me. Notice the unusual angle that the photo was created from. This is a very nice touch.
The surroundings and background are a mixture of hard and soft, not so unlike the model. She appears to be strong minded and full of ambition while maintaining a bit of softness that makes her a challenging, but desirable woman.
I don’t like the way the black bra is exposed in the center of the dress. This is a no-no in my opinion. Choosing a dark color for the bra even as it appears beneath the fabric of the dress looks like a poor decision to me. Perhaps Michael was making a statement that is lost on me.
I think the earrings are a nice touch. Not too much, and not too little. The style of the dress, where it shows horizontal lines would not work for heavier models, but it is a great accent piece here.
The model’s hair and eyes are great and I feel like I am looking through the viewfinder at her eyes each time I look at the image.
The pose gives the model what I would call “Attitude”. She wears it well!
Here we are with the same model, the same dress, the same hair, and the same earrings, but with a VERY DIFFERENT photo.
I would have cropped the top edge slightly to remove the distracting dark marks which may be windows. Aside from that, I don’t think I would change a thing.
It is obvious with just this brief portfolio of his work that Michael Todd is an accomplished, pro-quality photographer with a special flair when it comes to working with models.
Again, thank you, Michael for allow me to use your photos in this article.
Life is Best Seen through a Canon L Lens
RDW
Sunday, November 8, 2009
Sell Stock Photos--Name Your Price-- With No Commission
You can sell your stock photography at Creative Consulting, Inc. Online Sales. However this is not like a stock agency. You sell at your price and you do not pay any commission. It is necessary, however, to upload JPEGs that buyers can do whatever then wish with and often as they wish. But, you can sell the same image over and over again.
All you do is pay a modest listing fee for 3 months of gallery exposure in the Stock Photography section of the store. When an order is placed, we take care of all the details and mail you a check. That is all there is to it.
Check it out. This might be just what you've been waiting for.
Save 30% on Maine Unseen
Our newest book is now available at all major bookstores, at www.ccionlinesales.com, and at www.wpomembers.com. This 143 page book of Maine photographs taken by more than a dozen photographers has a cover price of $34.95. If you email me at: lonewolf@lonewolfent and let me know you saw this and want a copy of the book, I will arrange for you to get a 30% discount.
R. Dodge Woodson
CCI Online Sales
Stop into our affiliated e-commerce site and check out what the site has to offer.
www.ccionlinesales.com
Photographers wanted for book project
Specs for Lone Wolf/WPO Wow! Photo Book
The is NO COST to PHOTOGRAPHERS
Note: All Terms and Conditions Herein Are Subject to Change.
Nuts and Bolts
The following with give you a nuts-and-bolts overview of what we have in mind for the WOW book:
The book will be 8.5 x 8.5.
It will be full, four color.
It will have a perfect bound paperback cover.
Photos used for actual inclusion should be CMYK, 300DPI, and 9x9. All photos must be digital, high-resolution files.
Featured photos will be given a full page for display. Photos that are not featured will be assigned roughly 50% of a page for display. In other words, some pages will have two photos on them and some will have only one. There will be a “Centerfold Section” for “Super Photos” where a page will contain a photograph and the opposing page will show a bio of the photographer. These will be limited in number.
On average, photographers will be allowed to have up to four photos in the book. More are not allowed because I want to give people who haven’t been published a fair shot of being in a real book, published by a real publisher, and marketed nationally and internationally.
Photos will be selected by the editorial board of Lone Wolf Enterprises, Ltd. and World Photographers Organization. Selections are final once photos pass quality control measures.
Price is to be determined.
Page count is estimated at around 300 pages. We may go as high as 400 pages, but full-color books are extremely expensive to publish and I want to keep the retail price at a viable point based on competitive research.
Book will be printed by Lightning Source
A partial list of US distributors includes Ingram, Amazon, Barnes & Noble, and Baker & Taylor. There are others and there are distributors set up for international sales. L L Bean is taking Maine Unseen to sell in their retail location and they have agreed to consider taking this book as well.
Contributors WILL NOT be paid. They will, however, be given full credit in captions below their photos and allowed to list their business, url, email address, and phone number. (Great advertising and terrific for credibility.)
Photographers retain copyright and all other rights, except those licensed for the use of their photos in this book, advertising material, and website display as marketing for the book.
If Photographers wish to buy copies of the book, they will be given a 25% discount off of the retail price and photographers may buy and resell books for their own purposes.
Subject Matter
Subject matter is limited, but not by much. We are not looking for wedding shots, advertising photos, or nude images. What we do want are OUTSTANDING photographs taken in the USA. This book will be somewhat of a where-to-go travel guide. Studio photos will be very limited. Otherwise, the images can be landscapes, nature, wildlife, macro, street photography, architectural photography, travel photography, lifestyle photography, and so forth.
The WOW fact is not limited to beautifully photos. It could be a photo similar to photo journalism work that has nothing to do with beauty, but it has to be awe inspiring.
Typical tourist photos will be rejected. Use your creative eye and mind to show us something special.
Deadline
There is no set deadline. Once we have enough suitable images the submissions will be halted and we will move toward production. This entire process is likely to take 6-12 months.
Property Releases
Property releases will have to be signed by photographers prior to publication of their work.
Advertisements and Advertorials
Paid advertisements and advertorials are not anticipated to be included. If they are used at all, they will be limited to appropriate topics, such as photographic services or lodging. The decision on advertising will be made once final production figures come into focus better. If used, ads will not look like ads, they will appear as interviews so that the book value is not cheapened.
An Example
To see an example of the type of book we are talking about, got to www.wpomembers.com. Click on the shopping button near the top right portion of the home pages. When the next page appears, click on bound books and you will see Maine Unseen. You can also see it at Amazon and many other places, but the descriptive text was not yet up on Amazon the last time I looked. We just published the book last month.
Dodge
The is NO COST to PHOTOGRAPHERS
Note: All Terms and Conditions Herein Are Subject to Change.
Nuts and Bolts
The following with give you a nuts-and-bolts overview of what we have in mind for the WOW book:
The book will be 8.5 x 8.5.
It will be full, four color.
It will have a perfect bound paperback cover.
Photos used for actual inclusion should be CMYK, 300DPI, and 9x9. All photos must be digital, high-resolution files.
Featured photos will be given a full page for display. Photos that are not featured will be assigned roughly 50% of a page for display. In other words, some pages will have two photos on them and some will have only one. There will be a “Centerfold Section” for “Super Photos” where a page will contain a photograph and the opposing page will show a bio of the photographer. These will be limited in number.
On average, photographers will be allowed to have up to four photos in the book. More are not allowed because I want to give people who haven’t been published a fair shot of being in a real book, published by a real publisher, and marketed nationally and internationally.
Photos will be selected by the editorial board of Lone Wolf Enterprises, Ltd. and World Photographers Organization. Selections are final once photos pass quality control measures.
Price is to be determined.
Page count is estimated at around 300 pages. We may go as high as 400 pages, but full-color books are extremely expensive to publish and I want to keep the retail price at a viable point based on competitive research.
Book will be printed by Lightning Source
A partial list of US distributors includes Ingram, Amazon, Barnes & Noble, and Baker & Taylor. There are others and there are distributors set up for international sales. L L Bean is taking Maine Unseen to sell in their retail location and they have agreed to consider taking this book as well.
Contributors WILL NOT be paid. They will, however, be given full credit in captions below their photos and allowed to list their business, url, email address, and phone number. (Great advertising and terrific for credibility.)
Photographers retain copyright and all other rights, except those licensed for the use of their photos in this book, advertising material, and website display as marketing for the book.
If Photographers wish to buy copies of the book, they will be given a 25% discount off of the retail price and photographers may buy and resell books for their own purposes.
Subject Matter
Subject matter is limited, but not by much. We are not looking for wedding shots, advertising photos, or nude images. What we do want are OUTSTANDING photographs taken in the USA. This book will be somewhat of a where-to-go travel guide. Studio photos will be very limited. Otherwise, the images can be landscapes, nature, wildlife, macro, street photography, architectural photography, travel photography, lifestyle photography, and so forth.
The WOW fact is not limited to beautifully photos. It could be a photo similar to photo journalism work that has nothing to do with beauty, but it has to be awe inspiring.
Typical tourist photos will be rejected. Use your creative eye and mind to show us something special.
Deadline
There is no set deadline. Once we have enough suitable images the submissions will be halted and we will move toward production. This entire process is likely to take 6-12 months.
Property Releases
Property releases will have to be signed by photographers prior to publication of their work.
Advertisements and Advertorials
Paid advertisements and advertorials are not anticipated to be included. If they are used at all, they will be limited to appropriate topics, such as photographic services or lodging. The decision on advertising will be made once final production figures come into focus better. If used, ads will not look like ads, they will appear as interviews so that the book value is not cheapened.
An Example
To see an example of the type of book we are talking about, got to www.wpomembers.com. Click on the shopping button near the top right portion of the home pages. When the next page appears, click on bound books and you will see Maine Unseen. You can also see it at Amazon and many other places, but the descriptive text was not yet up on Amazon the last time I looked. We just published the book last month.
Dodge
Sigma Lens News
70-300mm F4-5.6 DG OS
Compact, optically stabilised, telephoto zoom lens
September 4, 2009: The Sigma Corporation is pleased to announce the new 70-300mm F4-5.6 DG OS. This telephoto zoom lens incorporates Sigma’s original OS (Optical Stabiliser) function and is housed in a compact construction.
The OS function offers the use of shutter speeds approximately 4 stops slower than would otherwise be possible. It makes telephoto shooting easy for many types of photography such as sport and nature. For Sony and Pentax mount, the built-in OS function of this lens can be used even if the camera body is equipped with an anti-shake function. As compensation for camera shake is visible in the view finder, the photographer can easily check for accurate focus and ensure there is no subject movement.
The SLD (Special Low Dispersion) glass element provides excellent correction for all type of aberrations. The Super Multi-Layer Coating reduces flare and ghosting and provides high contrast images throughout the focal range.
The lens has an overall length of 126.5mm (5.0”), maximum diameter of 76.5mm (3.0”) and weight of just 610g. Its compact construction makes it convenient for travel and hand held telephoto photography. This lens’ rounded 9 blade diaphragm creates an attractive blur to the out of focus areas of the photograph.
This lens has a minimum focusing distance of 150cm (59.1”) throughout the entire
zoom range and a maximum magnification ratio of 1:3.9, making it ideal for close-up photography.
Features:
• Equipped with Sigma’s own OS (Optical Stabiliser) function
• SLD glass for excellent correction of aberrations
• Super Multi-Layer Coating reduces flare and ghosting
• Compact construction
• For use with full frame and APS-C digital SLRs
Compact, optically stabilised, telephoto zoom lens
September 4, 2009: The Sigma Corporation is pleased to announce the new 70-300mm F4-5.6 DG OS. This telephoto zoom lens incorporates Sigma’s original OS (Optical Stabiliser) function and is housed in a compact construction.
The OS function offers the use of shutter speeds approximately 4 stops slower than would otherwise be possible. It makes telephoto shooting easy for many types of photography such as sport and nature. For Sony and Pentax mount, the built-in OS function of this lens can be used even if the camera body is equipped with an anti-shake function. As compensation for camera shake is visible in the view finder, the photographer can easily check for accurate focus and ensure there is no subject movement.
The SLD (Special Low Dispersion) glass element provides excellent correction for all type of aberrations. The Super Multi-Layer Coating reduces flare and ghosting and provides high contrast images throughout the focal range.
The lens has an overall length of 126.5mm (5.0”), maximum diameter of 76.5mm (3.0”) and weight of just 610g. Its compact construction makes it convenient for travel and hand held telephoto photography. This lens’ rounded 9 blade diaphragm creates an attractive blur to the out of focus areas of the photograph.
This lens has a minimum focusing distance of 150cm (59.1”) throughout the entire
zoom range and a maximum magnification ratio of 1:3.9, making it ideal for close-up photography.
Features:
• Equipped with Sigma’s own OS (Optical Stabiliser) function
• SLD glass for excellent correction of aberrations
• Super Multi-Layer Coating reduces flare and ghosting
• Compact construction
• For use with full frame and APS-C digital SLRs
Make part-time money with dating head shots
Pro Pointer
Have you ever considered offering your services as a photographer to people who are searching for relationships online? They need headshots. The better the picture, the more likely the person is to stop traffic. This is a market that didn’t exist years ago, but now it is booming. Along these same lines, you could take photos for people who want to upload them to online social networking sites.
RDW
Have you ever considered offering your services as a photographer to people who are searching for relationships online? They need headshots. The better the picture, the more likely the person is to stop traffic. This is a market that didn’t exist years ago, but now it is booming. Along these same lines, you could take photos for people who want to upload them to online social networking sites.
RDW
Watch out for this software company
No-Bull Review
Serif—PagePlus X3
Be Warned!
Scores a 3 on my 1-10 rating system
We wanted a simple graphic-design program that our non-designers could work with for logos, ebooks, ezines, and the like. Our production department uses Quark and InDesign, but this software has a long learning curve. I wanted something that normal people could use quickly.
PagePlus X3 has received excellent ratings and write-ups in numerous venues. After exhaustive research, my team decided to buy this software. It was less than $100, and, given the reviews that we had found, it should have been our dream come true. Instead, it was a nightmare to work with.
Keep in mind that my Lone Wolf Enterprises, Ltd., people design and layout pro books every day. All of us here have a higher-than-usual understanding of production software.
Our first experience was trying to make a logo. I was able to make one quickly. The problem came when I saved it and tried to use it. I could not save it with a transparent background. It can be done, according to the technical department at Serif, but they could not explain to me how to do it.
The graphics are not of a very high quality, and this affects the finished product when it is printed out. For web applications they would be fine, but they don’t cut it in the print world.
My wife tried to make an E-book. Her daughter, who is a professional designer, helped her. Again there were glitches.
All in all, the frustration level was so high that we abandoned the product. It might work for you. Apparently a lot of people like it, based on reviews I have read, but our first-hand use has left a bad taste in my mouth for any Serif product.
RDW
Serif—PagePlus X3
Be Warned!
Scores a 3 on my 1-10 rating system
We wanted a simple graphic-design program that our non-designers could work with for logos, ebooks, ezines, and the like. Our production department uses Quark and InDesign, but this software has a long learning curve. I wanted something that normal people could use quickly.
PagePlus X3 has received excellent ratings and write-ups in numerous venues. After exhaustive research, my team decided to buy this software. It was less than $100, and, given the reviews that we had found, it should have been our dream come true. Instead, it was a nightmare to work with.
Keep in mind that my Lone Wolf Enterprises, Ltd., people design and layout pro books every day. All of us here have a higher-than-usual understanding of production software.
Our first experience was trying to make a logo. I was able to make one quickly. The problem came when I saved it and tried to use it. I could not save it with a transparent background. It can be done, according to the technical department at Serif, but they could not explain to me how to do it.
The graphics are not of a very high quality, and this affects the finished product when it is printed out. For web applications they would be fine, but they don’t cut it in the print world.
My wife tried to make an E-book. Her daughter, who is a professional designer, helped her. Again there were glitches.
All in all, the frustration level was so high that we abandoned the product. It might work for you. Apparently a lot of people like it, based on reviews I have read, but our first-hand use has left a bad taste in my mouth for any Serif product.
RDW
Look at what people are saying about WPO
That is AWESOME! You are very talented...now remind me again why you think my work is good enough to be featured in your magazine!?!?! I feel so honored... Christine E.
It is I that should thank You...You are a wonderful Photographer and your work is inspiring. Thank you.: )…. Terry
I would be more than happy to share my work with the much acclaimed Magazine. (World Image Today). Abier R.
Great work you are doing. sorry we are 3000 miles apart. John D.
It is nice of you to put this together. I hope to keep in touch! Thank you again! Christine E.
I am anxious to see photos from around the world. John D.
I must congratulate you on such a magnificent job. I can't believe it! That must have taken an enormous amount of hard work. You never cease to amaze me. Sam K.
Charles
To belong to this group, is to bring wonderment and beauty into one's life as a result of the efforts of so many others who love the world of photography and show it so exquisitely!
It is I that should thank You...You are a wonderful Photographer and your work is inspiring. Thank you.: )…. Terry
I would be more than happy to share my work with the much acclaimed Magazine. (World Image Today). Abier R.
Great work you are doing. sorry we are 3000 miles apart. John D.
It is nice of you to put this together. I hope to keep in touch! Thank you again! Christine E.
I am anxious to see photos from around the world. John D.
I must congratulate you on such a magnificent job. I can't believe it! That must have taken an enormous amount of hard work. You never cease to amaze me. Sam K.
Charles
To belong to this group, is to bring wonderment and beauty into one's life as a result of the efforts of so many others who love the world of photography and show it so exquisitely!
Canon D7 news
CANON U.S.A. REDEFINES MID-RANGE DSLR CATEGORY WITH THE NEW EOS 7D DIGITAL SLR CAMERA
The EOS 7D Features Fast Eight fps Continuous Shooting, Class-Leading 18-Megapixel Resolution and Full HD Video Recording with Variable Frame Rates and Manual Exposure Control
Lake Success, N.Y., September 1, 2009 – Canon U.S.A., Inc., a leader in digital imaging, today introduced a revolutionary camera that redefines the highly competitive mid-range DSLR product category: the Canon EOS 7D Digital SLR camera. Professional photographers and advanced amateurs have been demanding higher performance and more diverse functions in their cameras, and Canon has answered – with the new EOS 7D. Far more than a slight improvement from a previous model, the EOS 7D DSLR is a brand new product that stands on its own with new features never before seen in any Canon camera. Whether it's shooting at eight frames per second (fps), focusing with the new Zone AF mode or recording 24p Full HD video, the EOS 7D DSLR camera satisfies the most rigorous professional requirements with durability, flexibility, high-resolution images and customizable controls. With its unprecedented out-of-the-box performance and high-end feature set, the EOS 7D is poised as the ultimate step-up camera for serious photographers or a second camera for professionals in the field.
The EOS 7D boasts significant EOS advancements including a completely new 19-point Autofocus system, a new Canon iFCL Metering System (Intelligent Focus, Color, Luminance) and a new Intelligent Viewfinder. An 18-megapixel Canon CMOS sensor and Dual DIGIC 4 Imaging Processors fuel the EOS 7D's 14-bit A/D data conversion and its ability to freeze fast motion in high-resolution with eight fps continuous shooting up to 126 Large JPEGS using a UDMA CF card, positioning this camera for the studio as well as the sideline. The EOS 7D captures beautiful low-light images with or without a flash, at occasions such as a dance recital or wedding reception, thanks to a wide range of ISO speed settings from 100-6400 (expandable to 12,800). In addition to its new still capture capabilities, the EOS 7D features Full HD video capture at 1920 x 1080 resolution with selectable frame rates of 24p, 25p or 30p. Native 24p recording helps videographers achieve a more cinema-style look for their footage without the need for post-processing.
"The EOS 7D represents a completely new chapter in digital photography and Canon product development. This camera stands alone as the most functional and innovative DSLR Canon has released to-date, bringing together all of the best professional features offered, along with numerous user requests at a price-point everyone can appreciate," stated Yuichi Ishizuka, senior vice president and general manager, Consumer Imaging Group, Canon U.S.A.
The Evolution of Vision, the EOS 7D's New Autofocus System
The Canon EOS 7D boasts the most advanced AF system ever seen in an EOS SLR. The completely re-designed system includes a new multi-axis cross-type 19-point AF grid, where the focusing points are evenly spread out across the image plane and clearly displayed through Canon's new Intelligent Viewfinder. All 19 points are f/5.6-sensitive for both horizontal and vertical cross-type focusing, while the center AF point adds high-precision diagonal cross-type sensitivity for f/2.8 and larger aperture lenses. The Canon EOS 7D Digital SLR camera is the first EOS SLR to feature 19 cross-type focusing points that remain fully functional with maximum apertures as small as f/5.6, which brings the performance of the AF system to unprecedented levels for assignments as varied as fast-moving sports action or low-light wedding ceremonies.
The Canon EOS 7D's AF system allows numerous AF area selection modes never seen before in an EOS SLR camera. New modes include:
• Spot AF mode reduces the size of a single AF point to focus on small subjects like an animal in a cage.
• AF Point Expansion mode uses a cluster of AF points adjacent to the selected AF point to automatically assist focusing on moving subjects, such as an athlete on the run.
• Zone AF divides the 19 AF points into five selectable focusing zones and makes it easier to achieve focus with subjects that are difficult to track with Single Point AF or AF point expansion, such as birds in flight.
Additional AF improvements include a revised Automatic AF point selection sequence that allows a user to pick any one of the 19 AF points as a starting point for tracking moving subjects in AI Servo mode. (Previous EOS models required the subject to first be acquired by the center focusing point.) If the subject moves away, the camera will continue to track the movement with the remaining points and display the active focusing point in the viewfinder. Also, a time-saving feature is AF Point Switching, which allows photographers to select and register one AF point for horizontal compositions and a second AF point for vertical shooting, ideal for studio and portrait photographers.
To complement the new AF system, the exposure metering system for the EOS 7D has been completely re-designed to take color information into account, another first for an EOS system. Canon's iFCL metering includes a 63-zone dual-layer metering sensor that reads both illumination and color for consistent results in all lighting conditions, keeping exposure levels stable from shot to shot, even as the light source changes.
Canon's new Intelligent Viewfinder uses a liquid crystal overlay to provide clear and precise displays of focusing points and zones, on-demand grid lines and a spot metering circle. The LCD overlay can also be illuminated in extreme low-light situations or turned off completely. The EOS 7D camera's viewfinder includes a large all-glass pentaprism with an antireflective coating to maximize clarity and provide a brighter display. The EOS 7D's Intelligent Viewfinder features 1.0x magnification with 100 percent coverage for accurate composition and checking of detail.
EOS HD Movie: Empowering the World of Videography
Canon has blazed new trails in HD video capture with the 5D Mark II. Now, the EOS 7D takes DSLR video to new heights with Full HD capture featuring fully manual exposure control, and selectable cinematic frame rates for both NTSC (National Television System Committee) and PAL (Phase Altering Line) standards. Compatible with more than 60 Canon EF and EF-S lenses, the EOS 7D lets videographers take full advantage of the camera's large CMOS sensor to achieve the dramatic frame composition they desire. At the heart of the EOS 7D are two key proprietary Canon technologies, Dual DIGIC 4 Imaging Processors and a large APS-C-sized CMOS sensor, helping to render stunning color reproduction, amazing depth of field and fine detail, even in low-light conditions. The Canon EOS 7D allows for three video recording modes – Full HD and HD in a 16:9 aspect ratio and Standard Definition (SD) in a 4:3 aspect ratio, all at selectable frame rates. The EOS 7D Digital SLR camera will record Full HD at 1920 x 1080 pixels in selectable frame rates of 24p (23.976), 25p, or 30p (29.97); 720p HD recording at 50p or 60p (59.94) and SD video at frame rates of 50p or 60p (59.94). The EOS 7D features a new dedicated button to initiate live view for both video and still shooting. Once engaged, the same dedicated button will start and stop video recording. Like the EOS 5D Mark II, the Canon EOS 7D Digital SLR camera provides users with the capability to use an external stereo microphone for professional audio effects or a built-in monaural microphone for convenience.
The Features You Asked For
A helpful new tool for architectural and landscape photography where angles and perspective are critical is Canon's new built-in Dual Axis Electronic Level, featuring an artificial horizon over the image on the rear LCD screen in Live View or in the viewfinder using illuminated AF points for easy leveling while shooting. The dual axis electronic level shows both horizontal roll and vertical pitch, making it easy to identify when the camera is in a fixed level shooting position and ready to take the shot.
The EOS 7D's pop-up flash features a built-in Integrated Speedlite Transmitter for control of multiple off-camera EOS Speedlites without the need for an external transmitter. This built-in wireless option is a compact and economical solution for studio and wedding photography with multiple flash set-ups.
A new Intelligent Macro Tracking function helps reduce blur during macro shooting by recognizing when a macro lens is attached and automatically adjusting the AI Servo sampling frequency. This AI Servo adjustment accounts for camera movement forward and back, a typical occurrence when moving in close for a macro shot as photographers rock back and forth, or a flower blows in the wind.
Once in your hands, you can immediately feel the ergonomic improvements of the Canon EOS 7D camera, starting with a new super-fluid body design with continuous curves outlining the top of the camera and a revised grip that fits better in a user's hand. The camera has a new Quick Control Button, which opens an easy-to-navigate menu on the camera's LCD screen. From this menu, users can adjust all camera settings including AF modes as well as set custom button functions, an insightful new feature that can easily customize each button's function to the photographer's preference. Another new feature is the RAW/JPEG toggle button providing quick dual-format shooting, allowing photographers to quickly add large JPEG or RAW file formats to their already selected shooting mode at the touch of a button.
The Canon EOS 7D camera also features a new large, clear 3.0-inch solid structure Clear View II LCD screen with 920,000 dot/VGA resolution for enhanced clarity and color when viewing images. The camera's nine internal seals enhance weather resistance, and its 150,000-cycle shutter durability positions the EOS 7D as a "workhorse" for professionals in any photography discipline.
New Wireless Connectivity
Canon is announcing the availability of the new WFT-E5A wireless file transmitter (WFT) exclusively for the EOS 7D Digital SLR camera. The WFT-E5A wireless transmitter offers professional photographers a wide range of digital connectivity options including IEEE802.11a/b/g and Ethernet, ideal for commercial and studio work. The WFT-E5A wireless file transmitter opens the door to new possibilities in remote and Geotagged shooting applications. Photographers can fire up to 10 cameras simultaneously from across the room or across the country while maintaining control over camera settings and remote live view on a laptop or smart phone.i The WFT-E5A wireless transmitter can also transfer and display images on DLNA (Digital Living Network Alliance) compatible televisions and photo frames. Geotagging is now possible via Bluetooth, using compatible GPS devices to append coordinate data to the images.
Pricing and Availability
The Canon EOS 7D Digital SLR camera is scheduled to be delivered to U.S. dealers at the end of September, and will be sold in a body-only configuration at an estimated retail price of $1,699.00ii. It will also be offered in a kit version with Canon's EF 28-135mm f/3.5-5.6 IS USM zoom lens at an estimated retail price of $1,899.00iii. The Canon WFT-E5A wireless file transmitter is scheduled to be available in early November and sell at an estimated retail price of $699.99iv.
Canon Digital Learning Center
Online visitors and Web surfers are encouraged to browse the Canon Digital Learning Center and take advantage of the various educational resources that Canon has to offer for novices and advanced photographers alike. The Canon Digital Learning Center provides a schedule for a wide variety of Live Learning classes across the country with renowned photographers as well as online resources and tips. The site also features online tutorials for beginners and professionals to learn their way around a digital SLR camera and inkjet printer and unlock the full creative control of digital photography. To learn more about each program and register, please visit: www.usa.canon.com/canonlivelearning
About Canon U.S.A., Inc.
Canon U.S.A., Inc. is a leading provider of consumer, business-to-business, and industrial digital imaging solutions. Its parent company, Canon Inc. (NYSE:CAJ), a top patent holder of technology, ranked third overall in the U.S. in 2008†, with global revenues of US $45 billion, is listed as number four in the computer industry on Fortune Magazine's World's Most Admired Companies 2009 list, and is on the 2008 BusinessWeek list of "Top 100 Brands." At Canon, we care because caring is essential to living together in harmony. Founded upon a corporate philosophy of Kyosei – "all people, regardless of race, religion or culture, harmoniously living and working together into the future" – Canon U.S.A. supports a number of social, youth, educational and other programs, including environmental and recycling initiatives. Additional information about these programs can be found at www.usa.canon.com/kyosei. To keep apprised of the latest news from Canon U.S.A., sign up for the Company's RSS news feed by visiting www.usa.canon.com/rss.
# # #
Specifications and availability are subject to change without notice.
All referenced product names, and other marks, are trademarks of their respective owners.
* Pricing subject to change at any time. Actual prices are set by individual dealers and may vary.
† Based on weekly patent counts issued by the United States Patent and Trademark Office
All referenced product names, and other marks, are trademarks of their respective owners.
Specifications and availability are subject to change without notice.
i The WFT-E5A WFT unit supports various LAN functions, including wireless LAN "11a" in environments where IEEE802.11b/g cannot be used, high-speed communication Ethernet (100BASE-TX), and Wi-Fi Protected Setup (WPS). The WFT-E5A will also support the WFT server, which enables remote shooting while viewing the Live View image on a computer or handheld terminal, such as a smart phone.
ii Pricing subject to change at any time. Actual prices are determined by individual dealers and may vary.
iii Pricing subject to change at any time. Actual prices are determined by individual dealers and may vary.
iv Pricing subject to change at any time. Actual prices are determined by individual dealers and may vary.
The EOS 7D Features Fast Eight fps Continuous Shooting, Class-Leading 18-Megapixel Resolution and Full HD Video Recording with Variable Frame Rates and Manual Exposure Control
Lake Success, N.Y., September 1, 2009 – Canon U.S.A., Inc., a leader in digital imaging, today introduced a revolutionary camera that redefines the highly competitive mid-range DSLR product category: the Canon EOS 7D Digital SLR camera. Professional photographers and advanced amateurs have been demanding higher performance and more diverse functions in their cameras, and Canon has answered – with the new EOS 7D. Far more than a slight improvement from a previous model, the EOS 7D DSLR is a brand new product that stands on its own with new features never before seen in any Canon camera. Whether it's shooting at eight frames per second (fps), focusing with the new Zone AF mode or recording 24p Full HD video, the EOS 7D DSLR camera satisfies the most rigorous professional requirements with durability, flexibility, high-resolution images and customizable controls. With its unprecedented out-of-the-box performance and high-end feature set, the EOS 7D is poised as the ultimate step-up camera for serious photographers or a second camera for professionals in the field.
The EOS 7D boasts significant EOS advancements including a completely new 19-point Autofocus system, a new Canon iFCL Metering System (Intelligent Focus, Color, Luminance) and a new Intelligent Viewfinder. An 18-megapixel Canon CMOS sensor and Dual DIGIC 4 Imaging Processors fuel the EOS 7D's 14-bit A/D data conversion and its ability to freeze fast motion in high-resolution with eight fps continuous shooting up to 126 Large JPEGS using a UDMA CF card, positioning this camera for the studio as well as the sideline. The EOS 7D captures beautiful low-light images with or without a flash, at occasions such as a dance recital or wedding reception, thanks to a wide range of ISO speed settings from 100-6400 (expandable to 12,800). In addition to its new still capture capabilities, the EOS 7D features Full HD video capture at 1920 x 1080 resolution with selectable frame rates of 24p, 25p or 30p. Native 24p recording helps videographers achieve a more cinema-style look for their footage without the need for post-processing.
"The EOS 7D represents a completely new chapter in digital photography and Canon product development. This camera stands alone as the most functional and innovative DSLR Canon has released to-date, bringing together all of the best professional features offered, along with numerous user requests at a price-point everyone can appreciate," stated Yuichi Ishizuka, senior vice president and general manager, Consumer Imaging Group, Canon U.S.A.
The Evolution of Vision, the EOS 7D's New Autofocus System
The Canon EOS 7D boasts the most advanced AF system ever seen in an EOS SLR. The completely re-designed system includes a new multi-axis cross-type 19-point AF grid, where the focusing points are evenly spread out across the image plane and clearly displayed through Canon's new Intelligent Viewfinder. All 19 points are f/5.6-sensitive for both horizontal and vertical cross-type focusing, while the center AF point adds high-precision diagonal cross-type sensitivity for f/2.8 and larger aperture lenses. The Canon EOS 7D Digital SLR camera is the first EOS SLR to feature 19 cross-type focusing points that remain fully functional with maximum apertures as small as f/5.6, which brings the performance of the AF system to unprecedented levels for assignments as varied as fast-moving sports action or low-light wedding ceremonies.
The Canon EOS 7D's AF system allows numerous AF area selection modes never seen before in an EOS SLR camera. New modes include:
• Spot AF mode reduces the size of a single AF point to focus on small subjects like an animal in a cage.
• AF Point Expansion mode uses a cluster of AF points adjacent to the selected AF point to automatically assist focusing on moving subjects, such as an athlete on the run.
• Zone AF divides the 19 AF points into five selectable focusing zones and makes it easier to achieve focus with subjects that are difficult to track with Single Point AF or AF point expansion, such as birds in flight.
Additional AF improvements include a revised Automatic AF point selection sequence that allows a user to pick any one of the 19 AF points as a starting point for tracking moving subjects in AI Servo mode. (Previous EOS models required the subject to first be acquired by the center focusing point.) If the subject moves away, the camera will continue to track the movement with the remaining points and display the active focusing point in the viewfinder. Also, a time-saving feature is AF Point Switching, which allows photographers to select and register one AF point for horizontal compositions and a second AF point for vertical shooting, ideal for studio and portrait photographers.
To complement the new AF system, the exposure metering system for the EOS 7D has been completely re-designed to take color information into account, another first for an EOS system. Canon's iFCL metering includes a 63-zone dual-layer metering sensor that reads both illumination and color for consistent results in all lighting conditions, keeping exposure levels stable from shot to shot, even as the light source changes.
Canon's new Intelligent Viewfinder uses a liquid crystal overlay to provide clear and precise displays of focusing points and zones, on-demand grid lines and a spot metering circle. The LCD overlay can also be illuminated in extreme low-light situations or turned off completely. The EOS 7D camera's viewfinder includes a large all-glass pentaprism with an antireflective coating to maximize clarity and provide a brighter display. The EOS 7D's Intelligent Viewfinder features 1.0x magnification with 100 percent coverage for accurate composition and checking of detail.
EOS HD Movie: Empowering the World of Videography
Canon has blazed new trails in HD video capture with the 5D Mark II. Now, the EOS 7D takes DSLR video to new heights with Full HD capture featuring fully manual exposure control, and selectable cinematic frame rates for both NTSC (National Television System Committee) and PAL (Phase Altering Line) standards. Compatible with more than 60 Canon EF and EF-S lenses, the EOS 7D lets videographers take full advantage of the camera's large CMOS sensor to achieve the dramatic frame composition they desire. At the heart of the EOS 7D are two key proprietary Canon technologies, Dual DIGIC 4 Imaging Processors and a large APS-C-sized CMOS sensor, helping to render stunning color reproduction, amazing depth of field and fine detail, even in low-light conditions. The Canon EOS 7D allows for three video recording modes – Full HD and HD in a 16:9 aspect ratio and Standard Definition (SD) in a 4:3 aspect ratio, all at selectable frame rates. The EOS 7D Digital SLR camera will record Full HD at 1920 x 1080 pixels in selectable frame rates of 24p (23.976), 25p, or 30p (29.97); 720p HD recording at 50p or 60p (59.94) and SD video at frame rates of 50p or 60p (59.94). The EOS 7D features a new dedicated button to initiate live view for both video and still shooting. Once engaged, the same dedicated button will start and stop video recording. Like the EOS 5D Mark II, the Canon EOS 7D Digital SLR camera provides users with the capability to use an external stereo microphone for professional audio effects or a built-in monaural microphone for convenience.
The Features You Asked For
A helpful new tool for architectural and landscape photography where angles and perspective are critical is Canon's new built-in Dual Axis Electronic Level, featuring an artificial horizon over the image on the rear LCD screen in Live View or in the viewfinder using illuminated AF points for easy leveling while shooting. The dual axis electronic level shows both horizontal roll and vertical pitch, making it easy to identify when the camera is in a fixed level shooting position and ready to take the shot.
The EOS 7D's pop-up flash features a built-in Integrated Speedlite Transmitter for control of multiple off-camera EOS Speedlites without the need for an external transmitter. This built-in wireless option is a compact and economical solution for studio and wedding photography with multiple flash set-ups.
A new Intelligent Macro Tracking function helps reduce blur during macro shooting by recognizing when a macro lens is attached and automatically adjusting the AI Servo sampling frequency. This AI Servo adjustment accounts for camera movement forward and back, a typical occurrence when moving in close for a macro shot as photographers rock back and forth, or a flower blows in the wind.
Once in your hands, you can immediately feel the ergonomic improvements of the Canon EOS 7D camera, starting with a new super-fluid body design with continuous curves outlining the top of the camera and a revised grip that fits better in a user's hand. The camera has a new Quick Control Button, which opens an easy-to-navigate menu on the camera's LCD screen. From this menu, users can adjust all camera settings including AF modes as well as set custom button functions, an insightful new feature that can easily customize each button's function to the photographer's preference. Another new feature is the RAW/JPEG toggle button providing quick dual-format shooting, allowing photographers to quickly add large JPEG or RAW file formats to their already selected shooting mode at the touch of a button.
The Canon EOS 7D camera also features a new large, clear 3.0-inch solid structure Clear View II LCD screen with 920,000 dot/VGA resolution for enhanced clarity and color when viewing images. The camera's nine internal seals enhance weather resistance, and its 150,000-cycle shutter durability positions the EOS 7D as a "workhorse" for professionals in any photography discipline.
New Wireless Connectivity
Canon is announcing the availability of the new WFT-E5A wireless file transmitter (WFT) exclusively for the EOS 7D Digital SLR camera. The WFT-E5A wireless transmitter offers professional photographers a wide range of digital connectivity options including IEEE802.11a/b/g and Ethernet, ideal for commercial and studio work. The WFT-E5A wireless file transmitter opens the door to new possibilities in remote and Geotagged shooting applications. Photographers can fire up to 10 cameras simultaneously from across the room or across the country while maintaining control over camera settings and remote live view on a laptop or smart phone.i The WFT-E5A wireless transmitter can also transfer and display images on DLNA (Digital Living Network Alliance) compatible televisions and photo frames. Geotagging is now possible via Bluetooth, using compatible GPS devices to append coordinate data to the images.
Pricing and Availability
The Canon EOS 7D Digital SLR camera is scheduled to be delivered to U.S. dealers at the end of September, and will be sold in a body-only configuration at an estimated retail price of $1,699.00ii. It will also be offered in a kit version with Canon's EF 28-135mm f/3.5-5.6 IS USM zoom lens at an estimated retail price of $1,899.00iii. The Canon WFT-E5A wireless file transmitter is scheduled to be available in early November and sell at an estimated retail price of $699.99iv.
Canon Digital Learning Center
Online visitors and Web surfers are encouraged to browse the Canon Digital Learning Center and take advantage of the various educational resources that Canon has to offer for novices and advanced photographers alike. The Canon Digital Learning Center provides a schedule for a wide variety of Live Learning classes across the country with renowned photographers as well as online resources and tips. The site also features online tutorials for beginners and professionals to learn their way around a digital SLR camera and inkjet printer and unlock the full creative control of digital photography. To learn more about each program and register, please visit: www.usa.canon.com/canonlivelearning
About Canon U.S.A., Inc.
Canon U.S.A., Inc. is a leading provider of consumer, business-to-business, and industrial digital imaging solutions. Its parent company, Canon Inc. (NYSE:CAJ), a top patent holder of technology, ranked third overall in the U.S. in 2008†, with global revenues of US $45 billion, is listed as number four in the computer industry on Fortune Magazine's World's Most Admired Companies 2009 list, and is on the 2008 BusinessWeek list of "Top 100 Brands." At Canon, we care because caring is essential to living together in harmony. Founded upon a corporate philosophy of Kyosei – "all people, regardless of race, religion or culture, harmoniously living and working together into the future" – Canon U.S.A. supports a number of social, youth, educational and other programs, including environmental and recycling initiatives. Additional information about these programs can be found at www.usa.canon.com/kyosei. To keep apprised of the latest news from Canon U.S.A., sign up for the Company's RSS news feed by visiting www.usa.canon.com/rss.
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Specifications and availability are subject to change without notice.
All referenced product names, and other marks, are trademarks of their respective owners.
* Pricing subject to change at any time. Actual prices are set by individual dealers and may vary.
† Based on weekly patent counts issued by the United States Patent and Trademark Office
All referenced product names, and other marks, are trademarks of their respective owners.
Specifications and availability are subject to change without notice.
i The WFT-E5A WFT unit supports various LAN functions, including wireless LAN "11a" in environments where IEEE802.11b/g cannot be used, high-speed communication Ethernet (100BASE-TX), and Wi-Fi Protected Setup (WPS). The WFT-E5A will also support the WFT server, which enables remote shooting while viewing the Live View image on a computer or handheld terminal, such as a smart phone.
ii Pricing subject to change at any time. Actual prices are determined by individual dealers and may vary.
iii Pricing subject to change at any time. Actual prices are determined by individual dealers and may vary.
iv Pricing subject to change at any time. Actual prices are determined by individual dealers and may vary.
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