World Photographers Organization

Fine Art Exhibition

2010-06-09T02:25:00.002-04:00

Members,

I am talking with someone I know who sets up and runs art shows throughout the US. He is in the Chicago area but often does shows in NYC. My talk originated around my personal work and grew into an exhibit that would be a World Photographers Organization Fine Art (photos) event.

The promoter will take care of all the details and will require a commission on sales. We are crunching numbers now. The upper limit on pricing is at around $750 per framed print for a 16 x 20 and less for prints without frames and for lesser prints. All prints will have to be top quality. I know many of you have such work in your portfolios.

It costs you nothing unless sales are made. Let me know if you are interested by emailing me at publisher@wpomembers.com.

This may not come to be if I don't like the numbers, but he is very interested in a WPO exhibit in addition to an R. Dodge Woodson exhibit.

Just let me know if you are interested and then I will keep you informed via private emails of the happenings as they occur.

Dodge

Maine Master Photographer, R. Dodge Woodson

2010-05-09T00:37:00.001-04:00

Maine Master Photographer, R. Dodge Woodson, has put his writing career in a semi-retired position. In doing so, he is spending more of his time with his 30-year passion for photography.

Dodge is producing limited-edition, signature-series, collectible prints and showcasing them on his site at http://www.masterofmoments.com.

Additionally, Dodge is offering his services to the public in Maine and surrounding states for his exquisite photography services on a limited basis. These services include weddings, graduations, pet photography, in-home photography, portraits, location shoots, model portfolios, boudoir photography sets, and more.

If you would like to see examples of Dodge's work, you can find them on his website at http://www.masterofmoments.com.

R. Dodge Woodson is a master photographer who has more than 30 years of experience. His name and work is known internationally. He is in the Hall of Fame of Freelance Photographers and in the Presidential Who's Who. His career has encompassed what you might expect of a renaissance man. He is the author of more than 100 books published by major publishers. His book production company, Lone Wolf Enterprises, Ltd. has produced dozen upon dozens of books for major publishers. He owns two independent publishing firms and is the founder of The World Photographers Organization (TWPO) and the publisher of World Images Today Magazine.

Much of his early life was devoted to construction and real estate. He chose not to be a full-time professional photographer after experiencing the career for sometime. Rather than compromise his skills and beliefs in photography for money, he decided to make a living at other activities and to pursue part-time professional photography and hobby photography to meet his personal needs.

Over the last 20 years, since entering the publishing world, he has phased out his construction, land development,and real estate businesses and concentrates on the publishing industry and photography.

He has not offered his services to the general public since the mid 1990's. His publishing work was too lucrative and too demanding in addition to having two children during these years. Now he is slowing down and putting more time towards his true love: photography.

If you want the absolute best for a reasonable fee, R. Dodge Woodson will deliver if he accepts your project.

Get your photos and articles published

2010-05-08T22:38:00.001-04:00

Get your photos and articles published now. I am accepting submissions for the June edition, and future editions, of World Images Today. There is no pay, but the exposure for you and your work is good.

R. Dodge Woodson

Night Angel

2010-05-08T00:55:00.005-04:00

Aimi, the 2010 DreamTeam Top 10 Model of R. Dodge Woodson's Master of Moments~Distinctive Photography is the night angel in this night shot while being painted with light.

World Images Today wants your work!

2010-05-06T01:30:00.001-04:00

Submission Guidelines
World Images Today Magazine

Photo and Article Submissions to World Images Today magazine, the official magazine of The World Photographers Organization.
I am open to all sorts of submissions. Photos are always welcomed. We love to get informative articles with accompanying photos. World Images Today (WIT) has some regular features that we appreciate contributions for. These categories include the following:
• Been There—Done That: This is a section were contributors tell stories with their photos of places of interest that they have experienced.
• Pro Pointers—These are just simply tips and techniques to help photographers in day-to-day shooting.
• Active Markets—This is a section where we bring to the knowledge of members and photographers of open markets who will publish, and sometimes pay, for photography.
• Featured Photographers—This is an email interview that I conduct with photographers, both pros and serious amateurs, to open doors to other photographers. Feel free to volunteer for an interview if you have something to share.
• Cover photos are sometimes supplied by contributors.
• Inside covers are often supplied by contributors.
• There is generally a photo showcase that allows photographers to see their work published in an International publication.
• Articles tend to range between 750 to 2,500 words.
• We have regular columnists and welcome more.
• World Images Today does not generally offer payment for contributions. All contributors get full credit for their work and retain all of their rights, with the exception of the use of their work in World Images Today and in The World Photographers Organization (TWPO) promotions. Their work is NEVER sold by WIT or TWPO.
• Our members are truly Worldwide. We have division bureau chiefs in the US, the UK, Australia, Asia, Singapore, India, and the Netherlands.
• World Images Today is open to the public. It is delivered to all TWPO members, to high-level book and magazine editors, production managers at major publishers who choose book covers, literary agents, modeling agencies, stock photo agencies, book and magazine publishers, and other selective VIPs. This is possible due to my, R. Dodge Woodson, connections in both the International photography and publishing market. Google me if you don’t believe these words.
• The World Photographers Organization is an elite group of photographers. Most of us are older pros who cut our teeth on KodaChrome and who have moved into the digital world. Other members are younger, some are much younger. Not everyone here is a full-time pro, but members do have access to us old workhorses when they need advice.
Many of our members are part-time pros. They make thousands of dollars a year part time. Some of our members are serious amateurs. TWPO caters to any serious photographer at any level of experience and equipment.
Members are not judged by their camera bodies, their lenses, their photo income, or other demographics. We judge photos, not photographers. Lifetime Memberships are only $197. We need your support! Join NOW, please! However, you are not required to be a member to be a contributor to WIT and there is no preferential treatment on acceptable submissions.

Submit only low-res photos at 72 DPI with a maximum measurement of 1,000.

Send Queries and Submissions to:
mailto:publisher@wpomembers.com

Official World Photographers Organization annoucement to all members

2010-04-28T02:22:00.001-04:00

To all World Photographers Organization Members:

A lot has happened with WPO in the last year and a lot of new plans are in place for a start date of June 1, 2010.
I warn you that this is a long message, but it is well worth reading.
Many of you have followed the happenings in the WPO Press Room. I am not going to take time here to go into lengthy details of what has happened. What is going to happen is far more important.
Rather than write this as a letter, I am simply going to list key items that I feel you deserve to know about WPO now that it is about one year old.
The organization has been a massive failure financially. It seems that a lot of people want privileged professional information for free. Well, it just doesn’t work that way unless we all join together.
I envisioned an organization that was accessible to all serious photographers at a price they could afford. Apparently, most digital camera users these days, not necessarily photographers, want free services and places to post their photos among the general public and friends for conversational purposes. There is certainly nothing wrong with this, but it is not what WPO was meant to be and it is not what WPO will be.
The financial failure of WPO is all on me. I paid for a pro site. I paid for pro marketing to the tune of $3,500 that did not work. Long story short, I put up more than $10K of my personal money and countless hours of my time to make the WPO successful. I failed, and I failed miserably. This is not something I am accustomed to. I am used to being a winner. But there is no one to blame other than me.
I honestly thought amateur photographers would flock to a Worldwide Organization (that part is working) to learn from working pros who are both part-time and full-time. Maybe I am too old to read the room any longer when it comes to photography. It clearly is not what it once was.
The up side of WPO is that we have a very strong fundamental foundation of serious people who are willing to make commitments and to improve photography in the digital age so that it doesn’t have to be heard at every event, “Oh, it will be okay. I will fix it when I get it on the computer.” Real photographers get it right in the field and touch it up in the darkroom, digital darkroom or physical darkroom.
Don’t get me wrong. I fought off digital for a long time, but now that I have been in it for a few years, I love it. It is like comparing writing a book on a typewriter to writing one with the aid of a computer.
The WPO has some Major Players in it for members. Few of them engage in public forums and such, but they are here. We also have a host of part-timers and pros who work diligently to produce some top-quality photos and to make a few bucks, or a lot of them, along the way. Some serious amateurs are among us, but I find that it is mostly the people who want to get published or what to sell their work who are joining, and this is a key factor in some of my decisions for the future.
I am not closing WPO to amateurs, although that might be a future change if there is not satisfactory interest for me from them.
I have stopped paying consultants and marketing experts for WPO. Right or wrong, I am going to make the decisions. Ideally, I hope that all WPO members will guide me in making favorable decisions for the membership.
I plan to step up the commercial element of WPO. We will get away from basic photography and get into what it takes to create great, or at least good, photos. I will also focus on the ways to get published and to make sales of prints. Then I will address how to do business on the local level.
Let me give you an example of something I discovered today.
One of our members here in Maine charges less than $200 for a senior portrait. He has a nice, commercial studio with all the overhead and is an excellent photographer as well as a friend of mine. His photos have been published in books and magazines, and he is becoming a decent writer, which helps to sell photos. Now keep this number is your head--$200. (That is two hundred dollars.).
I was reading the member magazine from PPA today. It has an article in it for setting up studio space in your home. I want to commend the PPA for reaching out more than they used to. It seemed like they were locked into wedding work for a long time, but now they are mixing it up, and it is good. Now, follow this example.
A couple in a southern state that is not known for high incomes set up an impressive, in-home studio. They had never done portrait work before. Their first sale of a senior portrait went for $5,000. Now they have a regular clientele with an average price for a senior portrait going for $2,000 dollars. That is 10 times what our member in Maine is getting, and they don’t have the commercial overhead. This is a good example of what I want to bring to WPO.
I think we can create online courses and workshops for our members. This takes a lot of time and they will not be free. However, some mini courses could be offered for free from me and photographers willing to donate some of their time. But, keep in mind that many of us are full-time pros and can’t give our time away but so freely.

World Images Today is going to change. It will still exist as it does today with some modifications. The version open to the public will not have “Member Only Info” in it. You can get that by logging in on the WPO site. Contributions of photos and articles by members are welcome and needed. These can be for public consumption of private use among members.
The Press Room is going to shut down. One of our members brought to my attention what is in the works with Ning. It is unacceptable to me and I will be closing the Ning site before the first of June.
Some of our members are adapt at FaceBook®. I am working with them now to create ONE OFFICIAL page there for WPO that might work. Just one of the photographers I am working with has nearly 600 fans.
WPO could use a Twitter® expert if anyone is willing to take it on.
I welcome anyone who would like to be a monthly contributor to WIT for the exposure. While the membership at WPO is small, the people who see WIT are high-level decision makers in multiple industries and if we allow the public to see the magazine with enough promotion behind it, this could be a good thing.
WPO will not conduct photo contests—unless members contribute suitable suggestions for something that might work. That was a disaster when I tried it. You can submit photos for cover selections if you like. Please send only low res photos.
I am hearing from numerous members how well the Press Pass is working for everything from car shows to sporting events, to musical functions, and so forth. This is good. WIT is being taken very seriously.
Our Worldwide base is broad, dedicated, and very helpful to me.
I need you, our members, to tell me what you want from WPO. In all of this change and my offer to refund dues, only one member has exercised that right. This says a lot about the loyalty of the members.
I am not stupid, well maybe sometimes I do stupid things. But, I know full well that I have not done much with WPO for awhile now. It is difficult to stay motivated when people don’t care and when there is no income for operating costs. I want to change this! I have never been a quitter and I have no intention of quitting now if the membership drops to 50 people, then so be it. I would like to have 50,000, but I always wanted Santa to bring me and pony and that didn’t happen.
I have heard from a lot of members and I know who is onboard for the long haul. There are some that might be iffy, but they are few in number.
I talked with the WPO website guy today. He is going to get me a price for setting up something along the lines of the Press Room on the WPO site. We are also working on a way to make accessing new information or finding older information easier for members. It is not that any of this is difficult for him, but it can be cost prohibitive at this point. But, I am on it.

During this year I have been in an evaluation mode and have not released the full power of what the WPO can do. I wanted to see what the heart of the membership would be. I do plan on turning loose more sensitive information to the members-only section in the coming months.

I plan to add press releases, like one I saw today where Getty ate up another stock agency, to the site.

I plan to add RSS feed articles for what they are worth. Sometimes they have a glimmer of a nugget in them.

I am going to invest the time to seek out and interview many more successful photographers of all types for the Featured Photographers section of the site and may put them in WIT, or at least part of the interview in WIT.

WPO members who want to publish bound books or e-books will get discounted pricing by Lone Wolf Enterprises, Ltd. and Creative Consulting, Inc.

Creative Consulting, Inc.(CCI) will consider paying developers of online photo courses and workshops that CCI will have all rights to. Or, a royalty arrangement could be made.

I have now suspended the refund on membership dues offer that has been in place for the last many weeks. As of 4-28-10, there are no refunds on membership dues.

Press Credentials and Model Consulting Credentials will remain available to WPO members.

WPO will be happy to list Member Links to their web sites at no cost.

Photo Critiques: I will offer pro photo with the form that can be reviewed on the WPO site for a fee of only $10 per photo for our members. Other pro members are willing to do critiques, but I do not know what their fees will be. I would suspect they will be closer to $15 to $20 a photo. I can’t speak for them. If you want a pro in a specific field of photography to give you a critique, ask me and I will put you in touch with the pro. WPO and I are not trying to mark up the cost of the service.

I plan to review articles, services, sites, and products to increase the number of No-Bull Reviews.

I plan to add more Pro Pointers. It would be nice if other members would submit their own pro pointer for the site and for WIT.

In closing, I am going to continue to add to WPO when I can. Since there is no real income from the site, it will limit my time. I have to make a living. I invite all members to coordinate programs through me. I will delegate out certain duties to certain people, but I will control most of the organization for the foreseeable future.

At the moment, I do not have a viable plan for increasing membership. Nothing I have tried as worked in volume. If any of you have ideas, I am more than willing to listen.

I will be posting this letter on the Press Room and on the WPO Blog. I will also email it to each member, but some members may get it before others. I am not sure I can get it out to all members at the same time.

Please email me at publisher@wpomembers.com with your thoughts, desires, and if you are willing to assume any of the time-consuming elements of the organization. WPO may die with me, but not before, and I have no intention of rolling over anytime soon. But, it can be a much greater force if we do this as a team. I am not much of a team player based on history, but I can compromise for the greater good.

Let’s make this happen. It is our organization!
Dodge

Wedding Photography by R. Dodge Woodson

2010-04-08T01:17:00.004-04:00

Wedding Photography by R. Dodge Woodson
R. Dodge Woodson is a master photographer with more than 30 years of experience in everything from stock photography to fine art prints to wedding celebrations. Dodge has focused on his work as an author and book producer for many years. During this time he has maintained his work in photography for the non-service sector.

Effective June 1, 2010, R. Dodge Woodson, who is now semi-retired from his work as an author, is once again making himself and his flawless photography available to the general public on a limited basis.

The personal-service photography that Dodge will be offering includes the following:

Weddings of all types and locations.
Powerful Pet Photography in a client's home.
Photography of Babies and Beyond for parents who what to capture the magical moments of their children before they mature into a new phase of life without enough memorable images to share and remember for years to come.
Portraits will be available in Dodge's onsite studio, on location, and in a client's home.
Boudoir photography will be another option for people who want personal photos created in the comfort of their own homes.
Additional forms of professional photography will also be available after the first of June, 2010.

You can view some of Dodge's work at his online gallery: http://www.masterofmoments.com.

R. Dodge Woodson

The World Photographers Organization Lifetime Membership Price

2010-03-31T00:42:00.001-04:00

Special pricing is still in effect for new members at The WPO. You can get a lifetime membership for only $67 if you take advantage of the offer prior to April 15, 2010. This will be the last day of the special offer.

Effective April 16, 2010 The World Photographer Organization is going to add additional member benefits and return the cost of a lifetime membership to $197. By the end of this year I expect the lifetime membership fee to be set at $250.

The focus of The WPO is shifting in two directions. Our pro members will spend more time offering advice on proven ways to increase income made through photography. We will also add an educational element to the site that is not presently available.

Members will have access to free, online, mini-workshops/courses that are not presently offered. They will also be offered deep discounts on full-blown workshops and courses that are now in development.

This may seem expensive to non professionals. The economy is bad. Yet, if you do a comparative analysis of other photography organizations and associations you will find that most of them charge more for an annual membership than what The WPO will be offering lifetime memberships for after 4-15-10.

Times are tough. Money is hard to come by and difficult to part with. But, if you look at it as an investment in your future, a probable tax deduction, and a direct connections to well-established, seasoned professionals for help, I don't see how you can beat the deal.

The goal of The World Photographers Organization is not to make a million dollars. As the founder, my mission for the organization is to provide a portal to professional photography for average photographers. Whether you want to do some pet photography now and then or shoot weddings on weekends for thousands of dollars, The WPO can help you a great deal.

Thank you all.

R. Dodge Woodson
Founder
World Photographers Organization

Certificates of authenticity

2010-03-30T23:55:00.002-04:00

Certificates of authenticity (COA) are routinely offered by photographers and artists who are selling their work. What should you look for?

Here is the fact: Most legitimate fine art professionals create their own COAs. This may not seem as safe as some other types of COAs, but don't be fooled.

Look on your favorite search engine and you will find a host of suppliers of so-called COAs. Some of them sell COA templates for around $30. Anyone can use them. More complex offerings get you a fancy sticker at about $30 each to put on work to be sold.

Then there are companies who pay people to witness the signing of a COA to confirm its authenticity. These are pretty safe, but they add a great deal to the cost of a print. And remember this, they are paying a witness. Anyone can do that.

New artists have the most trouble proofing their legitimacy. They often join fine art associations or organizations to help boost their sales. This can be good for everyone, but it still limits your proof of security.

In most cases, you have to trust your artist. Since most people can't find a reliable plumber, how are you to find a reputable artist who's work has collectible value?

Do an Internet search of any author you are considering. New artist may not be easily found, and that is a problem for them. There are some good bargains to be made for collectors and investors who choose to gamble on unknown names.

Established professionals will show up in various search categories. Don't settle for finding them listed only for the site you are considering buying from. If they are good, they will have other listings that they do not control that you can check. Allow me to use myself as an example.

If you run a search on me, R. Dodge Woodson, you will spend a lot of time reading all the entries you find. I am listed as a best-selling author. You can find me listed as an internationally-known photographer. You can look me up at online book stores and find books I have written. You can find interviews I have given to others. Basically, I can't hide from you, nor do I need to.

My listings are extensive and most photographers will not have the diversity or number of listings show up that I do. This is okay. Just make sure they have an established track record. Read their bio on their web page and confirm it. Do your due diligence to protect yourself. The COA that you get is only as good as the paper it is printed on. An artist you choose is only as good as the artist's reputation. No legitimate public figure, such as myself, is going to ruin an outstanding reputation selling counterfeit photo prints.

I assume some people will have other advice for you, but this is the best I can find to give you based on my research and my experience.

R. Dodge Woodson

The focus of World Photographers Organization

2010-03-18T19:50:00.005-04:00

I can't be everything to everyone. For example, I seem to suck big time at I-Net marketing. Give me direct mail and classified and space ads from the 80's and 90's and I can make them sing. Not so in the case of the Web. Guess I am too old, too stupid, too ignorant, or just too damned set in my ways. But so be it.

I am a pretty fair photographer and writer. As a business owner, I have been self-employed since 1979. In my heyday in VA, I had in excess of 120 employees and subcontractors building 60 houses a year, being a land developer, running a plumbing and remodeling business, and running a property maintenance business.

This has NOTHING to do with photography, but it does show that I am a survivor and often someone who thrives on insight. I have written over 100 books for major publishers and dozens upon dozens of magazine articles. I am a talk-show guest on radio stations in the US and Canada. My photography has appeared in a multitude of places with great reception. I have also been an expert witness and a designated real estate broker and brokerage owner. During all of this, I have always kept my photography work alive.

I didn't want to sell my photography soul. Selling out as a writer didn't bother me, but my photography was my lifelong passion and I would not whore it out for money. YET, I do know how to do it and make it happen.

After a lot of time in the woods thinking, I have come to a decision. WPO is my baby and will be so until I can't maintain it. Frankly, I greatly underestimated the commitment of photographers today when I embarked on WPO.

I know what I am about to say will upset some people, but I am me and I say what I mean and I mean what I say and if someone doesn't like it, they found their way in, they can find their way out!

I grew up during a time when photography was very different from what it is today. Of course we did the dodge and burn stuff and some photographers played with air brushes. For me personally, I shot on KodaChrome 64 slide film. It could not be developed in my own darkroom. I either got the shot or I didn't. Magazines and ad agencies insisted on KodaChrome 64 or 25, or a suitable equal.

My point is this, that is when photographers were photographers and not digital camera operators who manipulate their images on a computer. Ask the old Grey Beards, they will tell you what real photography was.

When it comes to making money with photos, the fundamentals have not changed a great deal. People still get married. Babies are born, and fashion changes. Sure, now we have headshots for dating services online, but that's okay.

Here is my bottom line. I am GOING TO BE ME! I may piss some people off. It is not my intent, but I am going to call the shots as I see them.

I have spent a great deal of time researching potential WPO competition. I won't go into a blow-by-blow breakdown here. What I will say is as follows:

I intend for WPO to be open to all serious photographers, regardless of their skill levels or their equipment.

I am going to focus WPO on making photos worth money. If you don't want to sell them, that is up to you.

I am going to show people how to make a few hundred to even a few thousand dollars a month part-time with their camera, with minimal advertising, and without quitting their day job.

WPO is not reserved for Pros, but I and the other pros at WPO who are close to me, and there are many and there are some real name bangers in the group, will take any serious photographer from baby steps to professional-quality photos.

This site, the Press Room, will be predominately for WPO members and guests for up to 30 days.

This was the direction I had envisioned for WPO to start with. Marketing gurus swayed me due to my lack of experience on the Net. Screw it, I am doing it my way.

We may be a small group of only a few hundred photographers, but we will be a powerful resource to each other.

So much for my time on the soapbox.

Dodge

Please take note of a needed public correction from R. Dodge Woodson and the World Photographers Organization pertaining to Ms. Margo Pinkerton.

2010-03-05T22:10:00.000-05:00

Please take note of a needed public correction from R. Dodge Woodson and the World Photographers Organization pertaining to Ms. Margo Pinkerton.
During a recent posting for photographers who might be interested in contributing their work to World Images Today a clash occurred.
Before explaining further, I want to go on the record with the following statement:
I have researched Ms. Pinkerton’s professional standing and work. Without a doubt, she is a very accomplished individual who deserves full respect. Respect that I did not give her when I should have. I sincerely wish I had contacted Ms. Pinkerton directly to discuss our differences, but I did not. This is a very rare action from me, and I want to go on the record as saying that from everything I have seen pertaining to Ms. Pinkerton, she is a strong role model and an accomplished professional within the field of photography.
Now, back to the disagreement that resulted in unfortunate results.
I was reading a post placed by Margo Pinkerton, the President of ASMP, North Carolina.
In her post, Ms. Pinkerton made a comment pertaining to a previous statement that I had made to someone else in a post as being false. I took great offense at this and responded in a disrespectful manner.
A post showing directly in line with Ms. Pinkerton’s post was derogatory to the World Photographers Organization (WPO). It contained a particular word from a poster who WAS NOT Ms. Pinkerton.
Since this event occurred. Ms. Pinkerton and I have exchanged emails in a polite, professional manner.
Ms. Pinkerton’s comments were what I would consider a common reaction. However, I have been personally involved in situations that would prove out my words in a post that Ms. Pinkerton was responding to. Simply put, I overreacted.
In haste, I responded publicly when I should have attempted to contact the posters individually. I did not do this, and I do regret any trouble that my words may have caused Ms. Pinkerton. Her comment pertaining to me and what I had said in an earlier post was a fair statement, it just didn’t happen to be consistent with actual events that I have been personally involved in.
When I wrote a WPO blog heading I used a word that Ms. Pinkerton did not use. I then pasted in Ms. Pinkerton’s words as they had been copied only from her post. I was responding to a post that said what it said and that I took personal offense to.
I want to stress that Ms. Pinkerton NEVER used the word in her post that I used in my heading.
Margo, please accept my apology for acting too quickly with public words when this encounter would have been much better settled with personal communication.
R. Dodge Woodson
World Photographers Organization

Artistic Print of R. Dodge Woodson

2010-02-24T10:15:00.002-05:00

See the artistic, limited-edition photographic print of R. Dodge Woodson taken by Adam C. Woodson. http://masterofmoments.com/site/#/gallery/creative-visions-limited-to-25-prints/r-dodge-woodson-abstract/

Photos & related articles wanted for photo magazine

2010-02-18T23:32:00.005-05:00

Would anyone like to write photo-related articles or supply great photos for World Images Today, the online magazine of World Photographers Organization?

There is no paid compensation. Contributors will receive full credit for their work, retain their copyright to the work, and have an opportunity to pitch their services and websites.

World Photographers is a new organization that was created in the middle of 2009. We now have divisions in the US, the UK, Australia, Singapore, India, and the Netherlands.

The monthly members' magazine typically contains 50+ pages with minimal advertising. Let me know if you have something of interest to contribute. Our members range from serious amateurs to pros.

R. Dodge Woodson

Serious WPO Question

2010-02-18T15:07:00.000-05:00

I have an important WPO matter that I would like advice on. Two people from other places have said that the WPO site and the Macro Contest site look freaky or like a hoax. One said the WPO site is not professional.

As WPO is a work in progress and I value the opinions of all of you, I would like your thoughts. Are the sites cartoonish? Do they look that bad? What could I do to improve them?

Now for another question. When I built WPO in my mind it was not meant to be competitive with PPA or similar pro sites. My goal was to give serious, aspiring photographers a solid place to go to improve their abilities and to mingle with pros. This is still what I would like to see WPO be. I don’t want the corporate stuffed-shirt approach. Who cares if you have won an award in Boston or sold a print for $400? Okay, they matter, but my point is this: our photographers should be judged on their intent, interest, and desire—not on their cash deposits as a pro photographer.

Maybe I should put a spin on WPO to indicate that we are Renegades with a Cause. This could be serious photographers who shoot for great results without the peer pressure of my lens is longer than yours.

I have good gear now, but when I was working mainstream photography I had semi-pro gear (Canon A-1s and Canon lenses, but not F-1s or L lenses). Owning the equipment is only a portion of what is required to create fantastic photos.

Please advise me of your opinions for how I can make WPO better and larger for all of us.

Thank you.

Dodge

Macro Photo Contest--Great Prizes

2010-02-12T08:31:00.003-05:00

The World Photographers Organization is happy to offer you a Macro Photo Contest with Great Prizes!

R. Dodge Woodson
Founder & Publisher

No-Review on Lexar Card Reader

2010-02-02T18:51:00.001-05:00

Lexar Professional Card Reader
Model # RWO35-7000

My old card reader died recently. I was looking for a new one when I discovered one, with the help of a B & H representative, that reads both large and small cards. This is a terrific feature for me. My Wife’s Rebel records to a small card. My 5Ds use large cards. Having one reader that is small, easy to use, and allows either card size to be used is ideal.
I have only run two photo sessions of about 700 photos through the reader, but it has worked flawlessly. It is a plug-and-play that plugs into a USB port and is ready for action. To top it all off, the device was very inexpensive.
On my rating scale of 1-10, I give this fine Lexar product a full 10.
RDW

Mobile Backgrounds

2010-01-31T09:20:00.001-05:00

When you are faced with a distracting background indoors, keep this tip in mind. 6A tiny, emergency folded space blank has one side that is gold and one side that is silver. It fits in nearly any pocket. Have someone hold it between the subject and the distractions. When appropriate, you can use clothes pins to hold the make-shift backdrop in place. Don't like silver or gold? How about a piece of white cheesecloth--or paint muted colors on the cheese cloth or carry them all.
Even without an assistant being there to hold the background, any proud owner of your subject matter will probably hold the background for you go get your "Professional Photograph".
RDW

Master of Moments site is launched

2010-01-30T22:21:00.001-05:00

I have launched my personal site tonight. It is Master of Moments ~Distinctive Photography.

Inventory is sparse. I have thousands of photos to go through to decide which ones meet my criteria for the series on the site.

If you can't find me here, on the WPO site, or in the field with my gear, I am probably working to add new images to the MoM site.

Dodge

Free Photo Critiques By R. Dodge Woodson

2010-01-30T16:02:00.002-05:00

Get your photos critiqued here: http://wpopressroom.ning.com/group/dodgescritiqueroom

R. Dodge Woodson is inducted to Strathmore's Who's Who

2010-01-21T15:29:00.002-05:00

Upcoming Maine Workshops for 2010

2010-01-19T18:47:00.001-05:00

We have not confirmed which classes will be offered. Here is a list of the ones that we are thinking of:

Outdoor Bodyscaping

The Magic of Macro

Nature's Flora and Fauna

Working Responsibly With Female Nude Models

Natural Light Nude Studies

Studio courses may come available, but they are normally done during the colder months of the year.

Course content and the selection of models is subject to change at the discretion of Creative Consulting, Inc. The Master of Moments, or R. Dodge Woodson. All funds received will be returned if such changes are made.

These are our Outdoor Topics for 2010 at this time. The workshops will be held on approximately 150 private, wooded acres in Bowdoin Maine.

We have not yet established dates. Most workshops will be one-day sessions and will probably cost around $195 per person for workshops that do not involve models. Workshops requiring professional nude models will likely be priced at $265 for a one-day session. When we talk of days here, it usually runs 6-8 hours in the field. This does not include lodging, transportation, or meals.

Female models will be professionals who I have handpicked from previous sessions to represent the Master of Moments~Distinctive Photography Limited-Edition and Signature Series. Aimi and Lilia are anticipated models for these training sessions. These are my top two Icon Models of The Dream Team.

Please respond with any additional questions that you may have. Once we announce the course schedules and dates, they are likely to fill quickly as participation is limited to no more than 15 attendees.

We accept PayPal, Visa, and MasterCard as payment. A $100 deposit will hold your place in a workshop until 60 days prior to the event, at which time payment in full is required.

All funds are returned if the workshops are canceled by Creative Consulting, Inc., The Master of Moments, or R. Dodge Woodson.

All attendees for workshops involving nudity of any type must provide proof to the event coordinator of being of legal age in the State of Maine.

We are always interested in knowing what photographers are interested in learning, so if you have ideas for other courses, please let us know and we will consider them.

Thank you.

R. Dodge Woodson

Have you seen Aimi?

2010-01-15T11:18:00.002-05:00

Aimi won the coveted role of Dodge's Fantasy Female in the Dodge's Dynamite collection.

She is easy on the eyes, and that is good, because the world is going to be seeing a lot more of Aimi this year.

Dodge

Meet Lilia. She is now one of R. Dodge Woodson's new models to be featured in Limited Edition prints.

2010-01-15T00:45:00.003-05:00

Lilia tested for one of two spots open for 2010 to be a featured model of R. Dodge Woodson. I am pleased to announce that Lilia was selected as one of Dodge's Dynamite Dream Girls.

You will see much more of Lilia in coming months.

Dodge

World Photographers Organization (WPO) has an Official Facebook Page

2010-01-14T10:43:00.007-05:00

World Photographers Organization (WPO) has an official Facebook page and we need your help in making it successful. Please click this link and join today: Become a Fan!
Dodge

Free Monthly Photo Contest--Winner Gets Published!

2010-01-13T15:26:00.001-05:00

Come to the WPO Press Room and join for free, then participate in our free monthly photo contest. The first-place winner will have the winning photo published as an inside front cover for World Images Today magazine, the official magazine of World Photographers Organization.

No entry fees. No games. Judging is done by an editorial review board.

This is your ticket to fun and potential publication with international exposure.

R. Dodge Woodson
Founder & Publisher of WPO

Press Release from PDN

2010-01-11T10:52:00.001-05:00

Exhibitor Magazine's National Trade Show Survey Finds PDN PhotoPlus Expo Among the Highest Rated for Exhibition ROI
July 21, 2009
New York, NY – July 21, 2009 – Exhibitor Magazine, a recognized leader in trade show and event management education, announced the results of its annual trade show trends and found that once again PDN PhotoPlus International Conference + Expo was among the highest ranked for exhibitor ROI, attendee purchasing power, and most likely to make timely purchases following the trade show. The survey was conducted by Exhibit Surveys Inc., a market research firm, who polled attendees from more than 60 U.S.-based trade shows before publishing its findings.

The survey found that an astounding 89% of those attending PhotoPlus Expo in 2008 planned to make a purchase within 12 months of the trade show. The average for all trade shows surveyed was 52%, by comparison.

In addition, the survey determined that 94% of all PhotoPlus Expo attendees had "net buying influence" or the ability to recommend or make final purchasing decisions. The survey average among all trade shows was 81%. Together, these responses place PhotoPlus Expo in the overall top percentile of trade shows with attendees most likely to act upon their purchase impulses.

"We are very excited with the results from this national survey and that PPE consistently ranks very high year after year. It also reinforces our belief that companies that exhibit at PhotoPlus Expo will experience a significant and quick return on investment," commented Jeff McQuilkin, Group Show Director for The Nielsen Company which owns the PDN PhotoPlus Expo show. "In these economic times it's especially important for exhibitors to know that PPE is attracting an audience that has the ability to make purchasing decisions and proactively pursues them in a timely manner. We certainly expect to attract the same influential audience to this year's show in October," McQuilkin concluded.

To review the complete survey, please visit http://www.exhibitoronline.com/exhibitormagazine/apr09/trade-show-trends-exhibit-survey-results-costs-net-total.asp.

About PDN PhotoPlus International Conference + Expo
Designed for professionals in the photographic and imaging industries, PDN PhotoPlus showcases the latest advances in photography, both traditional and digital. Held annually at the Jacob Javits Convention Center, attendees have the opportunity to explore an inspiring array of photography and imaging products and services - everything from image capture and color management to retouching and storage - all from the industry's leading manufacturers. The show also offers over 100 photography and imaging seminars and hands-on workshops taught by world-renowned experts with a focus on cutting-edge innovations in digital imaging products and techniques.

About Photo District News
Photo District News (PDN), the award-winning monthly magazine for the professional photographer, has been covering the professional photographic industry for over two decades. Every month, PDN delivers unbiased news and analysis, interviews, and portfolios of the latest photographic work. PDN delivers the information photographers need to survive in a competitive business - from marketing and business advice to legal issues, photographic techniques, new technologies, and more.

PDNonline covers breaking news stories and delivers in-depth features on the photo industry, including interviews and profiles, reports on new products both analog and digital, and information on useful sources for professional photographers. PDNOnline's photo essays and galleries explore the work of photography's masters and today's emerging talent. The PDN family of web sites-including Photoserve, Photosource and PDN Edu-is an unparalleled source of information and inspiration for professional photographers, photo buyers, visual creatives, photo students and their instructors.

Media Contacts:
Lou Desiderio
Synergy Communications, Inc.
917-627-0912
lou@pr-synergy.com

Scott Heath
Synergy Communications, Inc.
951-735-3686
scottheath@pr-synergy.com

Super Site for Photographers

2010-01-10T11:48:00.002-05:00

I was in need of an additional website and did some research. The one I settled on has turned out to be fantastic. If you are looking for a pro site at a very affordable price, check out http://www.ifp3.com/.

I have no personal or corporate interest in this site other than being a customer. On my No-BUll Review scale, the site ranks a full 10.

RDW

Make more MONEY from your prints!

2010-01-06T19:03:00.002-05:00

I am building a new website to host my personal gallery of limited-edition and signature-series prints. As many of you may know, photos of this type can sell for anywhere from $50 to over $1,000. The most expensive two I have seen this month were $3,200 and $7,500.

The key is in your popularity, the number of prints in an edition, a certificate of authenticity, and a few other trade secrets.

I have a few people in mind to accept on my site so that they can have their own Galleries.

The details are still being worked out in my head due to having too much to do as it is.

Essentially, unknown photographers would benefit from being on the same site with well-known and sought-after photographers. I want to make some money for using my name and time. There are two options that I have in mind.

Option 1: A photographer signs up for a personal gallery and my company takes a sales commission of 20% of all sales--much as an agent would. Although, there are agents who take 50%--so be careful if you do this on your own.

Option 2: A photographer signs up for a personal gallery and my company charges a per-image price to display the prints, whether they sell or not. I am thinking about something like $25 per month per print, but I am not sure.

There are photographers who are unknown that take photos which could bring sales in with estimated prices of $29 to $350, and maybe more. I would say that on average from what I have seen at WPO, most of the members could be getting $85-$179 per print, and that is not matted or framed.

I would like your comments on any of this as I iron out the wrinkles.

Thanks.

Dodge

2010-01-06T09:59:00.001-05:00

R. Dodge Woodson was included in the 2009 Freelance Photographers Hall of Fame by IFPO. Some 78,000 photographers were considered for entry into the Hall of Fame. Only about 3,300 of them received the honor, and R. Dodge Woodson or World Photographers Organization was one of them.

R. Dodge Woodson is inducted to the Presidential Who's Who

2010-01-06T09:55:00.001-05:00

R. Dodge Woodson was named as a member of the Presidential Who's Who in 2010.

Who among you...

2010-01-06T09:52:00.004-05:00

Who among you will see your work published in World Images Today this year? You don't have to be a "writer" to write for WIT. Articles generally include 6-8 photos and 750-2500 words. If your writing needs a little polishing here and there, I can do it. What I need from you is your experience in the form of how-to articles. We know you are a photographer. Let me help you become a journalist. Hey, it's free here, and you can get paid for it in many larger markets.

Contributors are not paid for their work. However, they are given full credit for the work, they retain their rights to the work, and they get some space to pitch their services.

Send article ideas or packages to publisher@wpomembers.com

Thanks.

Dodge

Active Market Notice

2010-01-02T11:15:00.000-05:00

All guidelines are presented in the manner in which the Publisher received them. None of the information has been confirmed by the Publisher.

Grazza Describes itself as "Britain's first women's glossy to be published on a weekly basis, offering a mixture of celebrity coverage, real life stories, reportage, fashion and beauty".Picture Director

Deborah Castle is looking for pictures of leading personalities at premieres, parties and generally out and about. Also, paparazzi street shots. Pictures are also required for the magazine's news section. Required are hard news pictures that focus on women's issues and interests. Additionally, celebrity stories will be considered. News pictures can be submitted on spec to emma.georgious@graziamagazine.co.uk

There are also opportunities for commissions. Experienced workers in portraiture, beauty, still life and interiors, should contact the picture director in the first instance with details of prior experience and coverage offered.

Fees by negotiation, generally good.
Bauer Media, Endeavour House, 189 Shaftsbury Avenue, London. WC2H 8JG. 02074379011
deborah.castle@bauermedia.co.uk

Loaded is a general interest magazine for men in their 20's. It covers music, sport, humour, fashion and popular culture in a down to earth and irreverent manner. there is also a liberal sprinkling of glamour images in each issue. Much of the photography is bt commission but picture editor Joel Gilgallon will always consider on-spec submissions. Likey to be of interest are anything humorous or "off the wall".
fees by negotiation, generally good.
IPC Media Ltd, Blur Fin Building, 110 Southwark Street, London. SE1 0SU. 02031486818
joel_gilgallon@ipcmedia.com

Fly Fishing & Fly Tying is a monthly magazine for the fly fishermen and fly-tyer. It is also PPA Scotland's Specialist Consumer Magazine of the year. Editor Mark Bowler is always interested in receiving good shots of fly fishermen in action. In addition, there is scope for good scenics of fishing locations; flies and fly-tying and appropriate insect pictures.Mr Bowler adds "Make an effort to avoid bland backgrounds especially at waterside".
Fees: from £24 - £58; covers £50; text £50 per 1,000 words.
Rolling River Publications Ltd, The Locus Centre, The Square, Aberfeldy, Perthshire. PH15 2DD 01887829868
markb.ffft@btinternet.com

Pulse is a national weekly paper for general practitioners, covering all aspects of GP news, finance and medicine. Freelancers who can undertake high quality portraiture assignments are sought for pulse and its supplementary publications. Commissions are associated with topical news stories and features. If you have relevant experience contact group picture editor, Marie Louise Collard by email giving your details and preferably a link to your website. The publishers also run a picture library containing specialist images of life and medicine in general practice.

Contributors with relevant images are welcome, subject to approval and representation arrangements.
Fees: Currently £130 for half a day.
Pulse, UBM Medica, Ludgate House, 245 Blackfiars Road, London. SE1 9UY 02079218102
mcollard@cmpmedica.com

Aeroplane magazine focuses on aviation history, specialising in the period 1909 - 1960, though there are occasional features on modern aviation. Editor Michael Oakey will consider a wide variety of illustrations for possible use, both colour and B&W. Photographs may be used in their own right or for stock. Main interests are veteran or vintage aircraft including those in museums , preserved airworthy aircraft, unusual pictures of modern aircraft.
Fees are based on a full page rate of £80 with a centre spread at £100 and covers £180.
Aeroplane, IPC Media Ltd, Blue Fin Building, 110 Southwark Street, London. SE1 0SU 02031484100
mailto:michael_oakey@ipcmedia.co.uk

Lincolnshire Life is a monthly magazine dealing with country life past and present from the Humber to the Wash.Editor Josie Thurston is always interested in receiving good pictures of people and places within the county of Lincolnshire. For the cover, the magazine looks for portrait format colour shots of local landscapes, architecture, people, street scenes, etc. There is also scope for illustrated articles on people and places within the appropriate area, these should run to no more than 1600 words. Potential contributors are advised to contact the editor first to discuss their ideas.

Fees: £50 for covers, other material by agreement.
Lincolnshire Life, Country Life Ltd, County House, 9 Checkpoint Court, Sadler Road, Lincoln LN6 3PW 01552527127
editorail@lincolnshirelife.co.uk

Contributor: Fred Stimely, WPO Field Editor

2010 World Images Today Price Drop

2010-01-02T01:11:00.001-05:00

It is now 2010 and the only way to get access to World Images Today are as follows:

Have work published in it
Become a full WPO member.
Be a World Images Today subscriber

As a part of my Recession-Relief promotion, I have lowered the subscription price of the magazine to just $27 a year. Sign up for your copy now while the reduced rates are in effect. Click Here to get your subscription.

Dodge

Nude Photography Workshops are coming to Maine.

2010-01-02T00:53:00.001-05:00

Nude Photography Workshops are coming to Maine.

If you have ever dreamed of photographing professional nude models in a working, professional studio, this is your chance! Photographers who are seeking to expand their abilities will have an opportunity to work with one of the best professional photographers in the field of photography. Who are we talking about? R. Dodge Woodson and members of the World Photographers Organization (WPO).
All photography is taught and done in a tasteful way. You will learn about the following:
Posing
Lighting
Shadows
Concealing body flaws naturally
Making the eyes of models magical
Shooting perspectives
And much, much, more.
Will you leave as a trained, ready-to-work nude photographer? No. It takes much more experience to get to a point where you should hold yourself out to the public as a professional. However, you will gain plenty of experience and insight into working with models in general and nude models in specific. For this workshop, all models will be female.
Painters, renderers, and other artists are invited to attend, but the primary audience is photographers.
Attendees will have an opportunity to talk with models and to negotiate deals between themselves and the models as to if model releases will be signed for the publication of pictures taken during a workshop.
World-renowned, best-selling author and photographer, R. Dodge Woodson, who has more than 100 books published by major publishers, such as Simon & Schuster, McGraw-Hill, and Wiley and who has photographs published in many major venues internationally is bringing his experience and style as a master photographer to Maine. As the Founder of World Photographers Organization at www.wpomembers.com, and as the publisher of World Images Today magazine at http://flipflashpages.uniflip.com/2/25677/45221/pub/index.html, Woodson is highly regarded in all fields of photography and publishing. Google R. Dodge Woodson and you will see for yourself just how well known he is.
Woodson is offering photo workshops in Maine for 2010. Some sessions will be held in studios (one in Southern Maine and one in Mid-Coast Maine) and others will be shot on location at Woodson’s private 150-acre forest in Mid-Coast Maine.
Professional female models with be the subject of the first workshop, entitled Nude Model Magic. All photos will be tasteful and in various stages or partially-dressed models to nude models. Under NO CIRCUMSTANCES will any pornographic-style photography be allowed during the course of a workshop.
Sessions will be offered as 4-hour sessions, 6-hour sessions, and 12-hour sessions split over two days. Photographers will learn from a professional with more than 30 years of experience how to capture and create the essence of a breathtaking nude photograph. Modeling fees are included in the price of the workshop. No food, transportation, or lodging is provided by the workshop developer or presenter.
When taking a studio class, all studio equipment will be provided for you and included in the cost of the workshop.
Due to keeping close communication between photographers-models-and R. Dodge Woodson, attendance is very limited and spots will fill up quickly.
Fees may be paid via PayPal with either a Paypal account or a credit card.
To reserve your place in front of the nude models, contact R. Dodge Woodson now and he will instruct you via email when the next available workshop dates are, where they are being held, and how you can pay for your once-in-a-lifetime learning experience that can be fun, and potentially tax deductible.
R. Dodge Woodson can be reached at mailto:lonewolf@lonewolfent.net.
Prices for the workshops are as follows:
4-Hour session: $197
6-Hour session: $285
Two 6-Hour sessions: $495
NO PHONE CALLS ACCEPTED

Small-Space Glamour Shoots--Test Your Knowledge

2009-12-28T23:55:00.002-05:00

Test Your Photo IQ for Small-Space Glamour Work
R. Dodge Woodson

This is a simple test of your knowledge for working with glamour photography while trapped in a small, interior space, such as a basement, garage, or spare bedroom. You will find both true/false questions and multiple-choice questions. It is a short review of your existing knowledge.
Take the test. Record your answers. Then at the end of the test click on the link to go to the answers which are on the full World Photographers Organization site. The link is intended to take you directly to the correct answers.
So, let’s see what you know about Small-Space Glamour Work.

1) How many softbox lights should you have in a small studio space that is used for glamour work?
A) 2 B) 3 C)4 D) 5
2) Can headshots be considered as glamour photography?
True False
3) What is likely to be the first type of photo on a models comp card?
A) Glamour headshot B) Fashion Photo C) Full-body Photo
4) What is often considered the most important element of a glamour shot?
A) White Balance B) Eye Contact C) Accessories
5) Does glamour photography encompass nude images?
A) Yes B) No C) Never
6) What is the most important element of clothing chosen for a glamour shoot?
A) Revealing B) Sexy C) Color
7) How do you make a tall model appear shorter?
A) Photoshop the image B) Shoot upward C) Shoot downward
8) How do you slim heavy hips?
A) Square them up with camera B) turn away from camera C) Neither
9) Use the rule of thirds when shooting glamour shots.
True False

Final Question
Shadows are a common enhancement in glamour photography.
True False

Answers can be found by clicking here: http://www.wpomembers.com/articles/61243276answers_small-space_glamour_shots.pdf

Followers--please contribute when you can

2009-12-28T00:44:00.000-05:00

Dear Followers,

Please contribute to our blog when you can, and please let your friends know about the blog.

Thanks.

Dodge

A Photographer's Nude Nightmare--the tip of the day

2009-12-28T00:42:00.000-05:00

A Photographer’s
Nude Nightmare
R. Dodge Woodson

Every year I try to bring in a fresh face, or two, for my stable of models. Very little of my recent work involves models. I specialize in wildlife, macro, and nature photography. But, every now and then, I get the urge to make magic with the human form as I did for many years in the past.
When I began looking for a new go-to model for 2010, I ran into a situation that I have never encountered before in some 35-40 years of photography. It is this experience that I will share with you. Hopefully, you will be far better prepared for it than I was. Fortunately, my life experience prevailed and I did not walk into a trap, but it would have been easy for a young, inexperienced photographer to wind up in a world of trouble.
I prefer my models to be go-to professionals who can do it all, or at least most anything that comes along. The pain of going through a long list of models to find the right one who is available is something I don’t have the time for.
If I am looking for a woman to be a mother with a child in a playground on one shoot and a seductive nude figure study in another session, I want it to be the same person when it is feasible. The more I work with the same models, the better we get to know each other. Our end result is fantastic photos.
Given my rules, most of my models must be willing to model for tasteful nude settings. With this in mind, I state my requirements clearly when I do a casting call for models. My work does not resemble pornography in anyway and is not for the adult market—as it is called on the street.
How Do You Get Nude Models?
How do you get nude models? A lot of people think it is difficult, but it is not. Before I tell you the story of the nude nightmare, let me explain the various methods that I have found to be successful in acquiring models of all types.
• If you have a good reputation, you can run advertisements online or in your local newspapers.
• You can go to modeling agencies and arrange for models to pose for you.
• Word-of-mouth referrals are always good.
I know some people advise photographers to hand out business cards to potential models in general daily life. This is something that I don’t recommend. In my opinion, the person handing out the cards can come off sleazy.
How Much Do You Pay For A Nude Model?
Photographers often ask me how much I pay nude models. They are generally shocked by the answers. Here is what I have been doing over the years:
• Many newbies and part-time models will trade their time (even in the nude) for professional photos to use with their comp cards and portfolios to present at modeling agencies. You would be amazed at how many people will take their clothes off for a camera without getting paid any money.
• Some models take a low rate of payment on an hourly basis, say $8 an hour, and then take pro photos for their portfolios to round up their compensation.
• Agency models seem to cost between $60-$100 and hour. I find that $75 an hour is common in my area. It is difficult to afford much of this unless you are shooting an assignment for a paying client.
• There are your high-end models getting outrageous money that we won’t even talk about here.
• Clothed models tend to charge less than nude models.
Now that I have given you an overview, consider that ranked models from legitimate agencies or who work on the side outside of the agencies will pose nude for less than $100 an hour. And these are gorgeous, top-shelf models. This leads us to the nightmare that I experienced recently.
Behind the Smoke and Mirrors
I placed one of my standard ads on a local advertising site. Emails began to come in. There were a number of male models and a few female models. It was a typical, routine model search in a rural location.
Then I got an email with three photos that appeared to be taken at different locations and most likely by different photographers. I made this assumption given my years of experience and trained eye as a master photographer. Something didn’t seem right. I don’t know really what it was, but it sparked concern for me.
After thinking a bit, I emailed the woman and told her I needed to see some photos that were current and that did not have her in a pro setting. I asked for a full-body shot of her front and back. Since most everyone has a cell phone with a camera in it, I assumed she could get photos back to me quickly. I explained to her that I was pressed for time and would like to see the shots within the next hour and that I didn’t care about the background or surrounding elements, only the body elements. I also told her that I needed to know the minimum rate that she would work for in the nude.
My advertisement stated that models would be paid between $8 and $20 an hour and given a DVD of pro photos for their portfolio. It was plain as day in the advertisement.
The woman emailed me two photos. She didn’t look like the woman in the other photos. In fact, she didn’t even come close to looking like the models. Then the bomb dropped. She wanted $100 an hour with a 2 hour minimum charge for a total of $200. Wait a minute! What is going on here?
I have no facts to base my hypothesis on, but I would be willing to bet that the woman is an undercover prostitute using the modeling scam to avoid law enforcement. There is no way any reputable photographer would consider paying her $100 an hour.
If You Are Looking For a Nude Model
If you are looking for a nude model, be careful. There is a lot of potential risk involved. Insist on the following:
• Confirm that all models are of legal age.
• Require picture identification.
• Have all models sign a model release before mounting a lens on your camera.
• Have an assistant on the set with you.
• If you have a bad feeling about a situation, avoid it.
• Consider setting up a video recorder to capture the shoot on tape. You can tell the model that you are doing this to see on video what you missed with your still camera, and this can be true. But, the video also helps to protect you from false claims made by a model.
Photography is a wonderful hobby and a rewarding profession. Don’t let one bad decision ruin your life forever.

RDW

Photographers Tip of the day--most days

2009-12-25T11:15:00.003-05:00

Be on the lookout by the first of 2010 for the Photographer's Tip of the day on most days, brought to you by R. Dodge Woodson and World Photographers Organization.

World Photographers Organziation appoints Asian Division Chief and UK Division Chief

2009-12-25T11:13:00.001-05:00

A more formal press release will be forthcoming, but the quick news is this.

David Yeo is now the Asian Division Chief for WPO.

Alison Oxley is no the UK Division Chief of WPO.

What other divisions should WPO create?

Dodge

I welcome our two new followers

2009-12-23T15:30:00.004-05:00

I want to welcome our town new followers.

Thank you for following World Photographers Organization.

R. Dodge Woodson
Founder & Publisher

David Yeo becomes Honorary Gold Member of the WPO

2009-12-23T15:26:00.001-05:00

Press Release-For Immediate Release

World Photographers Organization (WPO) has extended an Honorary Gold VIP membership to David Yeo for his service in the role of a judge on the WPO monthly photo contest held at WPO Press Room (a social site for photographers ranging from point-and-shooters to pros).

Mr. Yeo has been active in the Press Room for months and is now a peer-review judge on the editorial team of WPO. We thank him for volunteering his services.

Additionally, Mr. Yeo has contributed beautiful work to our official online magazine, World Images Today.

As the founder and publisher of World Photographers Organization, I extend my deepest gratitude to this wonderful man and photographer.

R. Dodge Woodson
Founder & Publisher
World Photographers Organization

WPO Press Release on Erin Keith

2009-12-23T15:23:00.001-05:00

Press Release-For Immediate Release

World Photographers Organization (WPO) has extended an Honorary Gold VIP membership to Erin Keith for her service in the role of a judge on the WPO monthly photo contest held at WPO Press Room (a social site for photographers ranging from point-and-shooters to pros).

Ms. Keith has been active in the Press Room for months and is now a peer-review judge on the editorial team of WPO. We thank her for volunteering her services.

Additionally, Ms. Keith has contributed beautiful work to our official online magazine, World Images Today.

As the founder and publisher of World Photographers Organization, I extend my deepest gratitude to this wonderful woman and photographer.

R. Dodge Woodson
Founder & Publisher
World Photographers Organization

Make Money With Your Camera The Real Way--Earn It!

2009-12-18T02:29:00.005-05:00

Photographers who want to make money with their camera should visit Cash In with your Camera!

It is a subsection of the WPO Press Room and overseen by World Photographers Organization. The group was created by R. Dodge Woodson. All are welcome and it is free to join.

Get your part-time or full-time photography business up and running now. You can make money with your camera.

R. Dodge Woodson

Get your photos published at no cost and with no gimmicks

2009-12-16T21:09:00.003-05:00

Get Your Photos Published With No Cost and No Gimmicks
The World Photographers Organization, its official online magazine, World Images Today, and R. Dodge Woodson bring photographers from amateurs to pros this opportunity.
Get your photos published at no cost to you.

Photographers get full credit each photo used and retains all of their rights to the photos.

Amateurs and pros are welcome.

This is NOT A CONTEST.

Photos will be selected by the World Images Today editorial team at random.

Articles written around the photos are welcome.

Photographers are not paid for the publishing of their work.

All photographers who have their work published are entitled to a 25% discount from World Photographers Organization membership dues.
Send your submissions to: publisher @wpomembers.com

Stop in and see our free photo social site, the WPO Press Room.

R. Dodge Woodson
Founder and Publisher

Publisher seeks photographers to write and illustrate photo how-to ebooks

2009-12-14T23:57:00.002-05:00

Lone Wolf Enterprises, Ltd, in conjunction with World Photographers Organization, is seeking photographers to write and illustrate photo how-to books on very specific topics. Examples of potential titles could include:

Insider Tips on Insect Photography

Shoot Better Indoor Photos

Capture Lovely Landscapes

The Art of Tasteful Nude Photography

Shooting Winning Model Portfolios

and the list goes on. See details below:

Ebook Proposal Guidelines

What does a book proposal consist of? The basic elements are as follows:

* Cover letter
* Title of the book
* Table of contents
* Audience
* Competition
* Concept and approach
* Credentials
* One sample chapter
* Contact information

Cover Letter
Your cover letter should be concise. Keep it to a single page. This letter is your sales pitch, so make every word count. Tell in no more than two paragraphs why a publisher should be interested in your idea. Follow this with a brief review of your credentials to author the book, and then lead into the proposal contents.

Title of Book
Choose the title of your book carefully. Don’t make it too long. Avoid being cute with the title. If you are selling a how-to book, the title should reflect the subject matter. An example might be: Night Photography. Another example could be: Making Money as an In-Home Photographer. The book title is the beginning hook for securing a publisher, so invest enough time in it to make yourself successful.

Table of Contents
How long should a table of contents be? It should be as long as it needs to be. Most non-fiction books contain between 10 and 20 chapters. I would say a good average is around 16 chapters. The word count for such a book is likely to be between 50,000 words and 85,000 words.

Ebooks can be smaller. There should be at least 48 pages. Sixty pages are better, and 125 pages are ideal. Depending on illustrations, this could make the word count as low as 12,000 words or as high as 40,000 words.

Chapters do not have to be equal in length. You should make them as long as they need to be to convey the required information to readers. A table of contents should begin with a heading for an introduction. From there, you list chapters in numerical order, as they will appear in the book. Under each chapter title you should either write a paragraph that explains what the chapter will contain, or use a bullet list of at least five key topics to be covered in the chapter.

Consider if your book will benefit from a glossary or appendix materials. If so, this information should be listed on the table of contents.

Audience
Who is the audience for your book? Never say everyone. There should be a prime audience and a secondary audience. If you are writing a book about macro photography, your prime audience will be macro photographers. Secondary markets could be nature photographers, wildlife photographers, and so forth. The more defined list of an audience you provide, the better your chances of making a sale are.

Competition
You need to know your competition and point it out to your perspective publisher. Don’t look for a book that has never been written. Publishers like the comfort level of being able to check the sales records of similar types of books to see what the likelihood of success is for your project.

Online book stores are excellent places to conduct your research. Find three books that match your concept as closely as possible. Then record the following data for your proposal:

* Book title
* Author’s name
* Publisher’s name
* Date of publication
* Number of pages in the book
* Price of the book
* International Standard Book Number (ISBN) for the book

Determine what makes your book idea better or different, and explain it to the publisher. If you can’t do this, your book will probably not get published by a major publisher.

Concept and Approach
The concept and approach are your big sales pitch. This is where you describe the contents of your book, your credentials, and what will make your book a pleasure to publish and profit from. This section is usually about two pages long.

When fleshing out the concept and approach you will want to include the types of illustrations you will use and how many of them the book will contain. How many book pages do you foresee the book having? Will you incorporate tip boxes or sidebars?

Don’t worry about pricing the book or suggesting cover designs. The publisher will take care of this when the time comes.

Use this section to describe your writing style. Conversational style is usually desired. Tell the publisher whatever is suitable to your topic in a way to make the book appear more desirable.

Credentials
Credentials are a key element in selling a non-fiction book. List all of your experience related to the subject matter. Make note of your education, licenses held, or other information that makes you the right author for the book. List any organizations that you belong to that might be conducive to special sales. Essentially, sell yourself.

Sample Chapter
Many publishers will require one or two sample chapters from unknown authors. We generally require only one sample chapter. This allows the publisher to study your style and ability. It is best to use chapters from around the middle of the book. Avoid using the first or last chapter. Make your work shine. If you have gotten to the stage where a publisher is reading your sample work, you are well on the way to getting a book contract.

Contact Information
Don’t forget to include all of your contact information for publishers to use. It may be surprising, but some authors fail to do this. Make yourself accessible and easy to contact if you want to make a sale.

Submission
We accept sample chapters via email. The same is true of low-res photos that will be used in an ebook. These materials can be emailed to: lonewolf@lonewolfent.net High-res photos that will appear in the book need to be sent on disk to:
Lone Wolf Enterprises, Ltd.
WPO Division
PMB # 300 13 Gurnet Road
Brunswick, ME 04011
Phone: 207-666-8579

R. Dodge Woodson Endorsed and Approved

R. Dodge Woodson, internationally-known, best-selling author and photographer, with more than 100 titles published, shakes the publishing industry.

2009-12-13T20:48:00.005-05:00

Press Release

Immediate Release

R. Dodge Woodson, internationally-known, best-selling author and photographer, with more than 100 titles published by major publishers, shakes the publishing industry to its core!

Brunswick, Maine 12-13-09

R. Dodge Woodson, the internationally-known, best-selling author and photographer with more than 100 books published by major publishers, makes this announcement that unsettles the publishing industry.

Woodson told the editors of CCI today that he is going into semi-retirement as an author. He intends to revise his existing books and will consider writing selective titles in construction-related titles. After nearly 20 years of writing for McGraw-Hill, Simon & Shuster, Wiley, and others, Woodson is pushing his keyboard aside and picking up his camera gear.

Dodge and his wife, Leona, will continue to be a driving force in the publishing industry. Their corporation, Lone Wolf Enterprises, Ltd., is a long-established, renowned book producer who has provided authors and created top-shelf books for many big-name publishers. Leona and the Lone Wolf team will handle day-to-day responsibilities with Dodge never being far away when needed.

This much-deserved change in focus will allow Dodge to pursue his lifelong passion of photography. He has done it all, but wildlife, nature, and macro photography are what he loves the most.

R. Dodge Woodson founded World Photographers Organization this year. He also created and publishes the organization’s official online magazine, World Images Today. In addition, Woodson created a photographer’s social media group known as the WPO Press Room.

It is Woodson’s goal to live out the remainder of his life on the remote 150 acres of Maine forest that he owns. It is known as Pheasant Hill Forest. This is where the Lone Wolf office building is located and where Woodson maintains a photo studio, his home, and a rustic cabin tucked away in the woods. While Woodson will continue to do selective writing of books, ebooks, and articles, most of his remaining years will be dedicated to photography.

As a publisher, Woodson’s companies will specialize in photography books that will range from how-to ebooks to full-color bound books, such as their most recent release, Maine Unseen: A Photographic Experience That Few Witness. This a book developed by R. Dodge Woodson and one that includes the work of more than a dozen Maine photographers. It is a viewer’s guide to seeing the Maine that few people ever notice.

As word of this icon in the publishing world stepping back to concentrate heavily on photography spreads, publishers and editors are sure to wonder how reduced offerings from the ever-dependable, prolific author will affect their bottom lines.

Woodson hinted at the notion that some talk between he and a publisher was ongoing in the publisher’s effort to retain an exclusive on all future R. Dodge Woodson books pertaining to the construction industry.

Sparks are sure to fly. Reaction to this news will reverberate quickly throughout the writing, publishing, and photography industries.

Woodson gave us one quote to use in this release. He said, and I quote “Life is better when seen through a Canon® L lens.”

R. Dodge Woodson can be reached for interviews at mailto:publisher@wpomembers.com.

###

Advertising Executive Wanted

2009-12-12T23:43:00.001-05:00

Advertising Executive Wanted: World Images Today, the official online magazine of World Photographers Organization, is seeking someone to take control and establish sales of subscriptions and ad space for the magazine in 2010. This will be an independent-contractor, commission-based position. Work your own hours from home if you like. R. Dodge Woodson, the Publisher, must approve all items for public display or used to solicit attention and-or sales to all corporations and organizations owned or controlled by the Publisher.
Interested parties are invited to submit a brief description of why they are qualified for this position. Please include a date when you can begin work. All applicants must be legal adults.
Commission rates and schedules are negotiable.
Respond by EMAIL ONLY to: mailto:publisher@wpomembers.com

R. Dodge Woodson in the news interview

2009-12-12T14:59:00.003-05:00

See complete interview, including photos, at : http://photopotpourri.blogspot.com/search/label/Woodson

Saturday, December 12, 2009
PP's Photographer in the Spotlight:
R. Dodge Woodson

I met R. Dodge Woodson through Picture Social, an online photographers' networking site. By the time I arrived there, Dodge had already contributed much helpful information to other photographers' inquiries at the various message boards and topical discussion threads.

Dodge is a multiskilled professional and has racked up accomplishments in most of these trades: plumbing, real estate development, home building, law enforcement, book and magazine writing, and Web site launching. Oh, yeah, and he's a longtime photographer whose work has appeared in books, magazines and many online sites.

Dodge lives in Maine, where he has an expansive landscape to explore and indulge his wildlife photography hobby and passion ... and where he stopped recently to answer some questions I tossed at him.

Dodge, I know you've been shooting pictures for many years. What got you into the craft, and was it a sudden thing or something you worked into after practice and repetition? Do you have any favorite photographers whose work you follow closely, or ... from whom you've drawn inspiration over the years?

I can’t remember my first photo or my love for it. My passion for photography started at a very early age. The first camera I can vividly remember was a Kodak InstaMatic that used MagiCubes for flash.

I carried my camera proudly and took photos of everything from scenics and landscapes to embarrassing photos of family members and sunsets.

My love of photography was instant and grew year after year. When I got my first “real” camera, a Minolta SRT 101 with a black body, my father told me it was a fad that would pass. Dad passed away a few years ago, and I was still taking photos. He and I joked about it in his last days. My mother, who is also deceased, always supported my photography.

There are several photographers who have impacted my life. Far and away the most prevalent, big-name pro was Leonard Lee Rue III. His true excellence in wildlife photography was a perfect tie-in to my interests. I am now 53, and my idol is 83 and still shooting. We have recently begun exchanging emails, and Lennie has joined the World Photographers Organization. Having such an international icon accept me and my group was almost unbelievable to me.

There are many photographers I followed over the years. Richard Avedon was my favorite “people photographer.” Ansel Adams is a part of every serious photographer’s life. Richard Witmore gave me my start as an assistant in his studio and darkroom. There are countless others who have impacted my photography, and I truly thank them all.

Since you're been a photographer for so long, talk to me a bit about how your choice for gear has evolved through the years, beginning with the very first piece of film equipment you owned and used, your "favorite" lenses and/or camera-body upgrades you've made through the years, what digital equipment you use now ... and last, but not least, how easy or difficult it was for you to make the transition from film to digital (and when did you finally bump up to digital). Do you ever shoot film anymore?

A Minolta SRT 101 was my first single-lens-reflex (SLR) camera. I later changed to a Canon AE-1. Then I went to Canon A1 bodies. I could not afford the F series or the L lenses, but I used mostly Canon lenses. When I went digital, I went with a Canon 10D. It was okay, but I upgraded to a Canon 5D. I still have that one and now use a Canon 5D Mark II most of the time.

My favorite lenses have always been macro lenses and strong telephotos lenses. I love macro, nature, and wildlife photography, and these are the tools of my trade. Presently, my lenses are as follows:

All Canon L lenses
180mm F 3.5 macro
65mm MP-E F 2.8 5X macro
17-40 zoom F 4.0
70-200mm F 2.8 zoom
400mm F 5.6

Non-L lens
100mm macro F 2.8

I was resistive to change to a digital format. It seemed like there would no longer be “real” photographers. Instead of having a split second to catch an image on KodaChrome slide film, digital photographers could take mediocre photos and fix them on a computer. I was against it. But now, I love it! And no, I do not even own a film camera at this time.

I see from your biography at your Lone Wolf Enterprises Web site that you are multi-skilled. You are savvy in plumbing, remodeling, real estate, book-writing ... and you've even logged time as a law enforcement officer. How did all of those pursuits evolve, and how do/did you find time for them? How did your photography fit into the mix?

This is a question with long answers. I left high school and went into law enforcement for three years. I was shot twice, stabbed once, and sliced open once for $8,040 a year. Money was not my motivator. I loved the job and served as the department’s crime-scene photographer in addition to my undercover work. At the time, I was one of only three officers in VA who were 18 years of age. Due to my youth, I was a perfect operative in the drug world.

When I left law enforcement I went into plumbing. From there I went to owning my own business in 1979 and never looked back. Photography was always there. I was represented by Globe Photos, in NYC as a stock photographer. My local activities were occasional paid shoots. The camera provided a stress-reliever for me throughout all of my other professional aspirations.

I have always built on one thing to create another. This took me from plumbing 365 townhouses a year to bath and kitchen remodeling and plumbing. They tied together nicely. Then came home building. In 1983 I was building 60 single-family homes a year in VA. During this time I began creating and presenting photography seminars.

In 1987, after the tax-law changes, I moved to Maine. The wildlife photography opportunities are great, and the nature shots are outstanding. Presently, I live on about 150 acres of wooded Maine forest with Leona, my wife, have my office building on site, and enjoy the private life with our children stopping in when they can.

Along the way I wrote and illustrated magazine articles by the dozens for such magazines as Outdoor Life. That led to writing how-to books for consumers. Most of the books were home related, but I also did travel books and The Complete Idiot’s Guide to Photography (the film version).

My photography was out there as stock photography throughout the years. I also did weddings, magazine covers, pet photography, nudes, boudoir photography, portraits, advertising work, model portfolios, in-home photography and the other routine commercial photography assignments.

After writing many books, I established Lone Wolf Enterprises, Ltd. as a book producer that has grown into a publisher. Personally, I have published more than 100 books for major publishers, such as Simon & Schuster, John Wiley & Sons, McGraw-Hill and others. As a book producer, Lone Wolf has probably done 75-100 professional reference books for major publishers. This work has allowed for me to shoot book covers and do inside book photos.

You're currently living in Maine. Talk to me a little bit about all the things Maine has to offer for a photographer looking for an intruiging outing ... or a resident, just in need of a photographic getaway. Have you "seen it all" ... or is there plenty to discover?

As a macro photographer, I could easily spend the next decade in my backyard without seeing it all. Maine is an outdoor photographer’s dream. Coastlines and beaches are expansive. Wildlife is abundant. Wilderness is often less than 3 hours away from almost anywhere in the state. Lakes, rivers and streams seem to be everywhere. Snow comes early and stays late for great winter shooting. Mountains are scarce, and I regret that, but the mountains of NH and VT are not too far away. Anyone who says they have seen it all must have had their eyes shut or their lens cap on. There is far more than a lifetime of photo opportunities in the great state of Maine.

At what point did you get into wildlife photography? What percentage of your shooting entails wildlife? Did you have the necessary gear to handle such work before you got into it, or did you have to acquire things -- long-focal length lenses, filters, special tripods or monopods, weather-protection gear, etc.

I went after robins and squirrels on the lawn as soon as I had a camera. Wildlife photography has never been a profit center for me. It is a passion. Guessing, I would say 30% of my work is with wildlife. As to having the equipment, have you ever met photographers who had all the gear they needed? Or is that wanted? Umm. I built my system over the years to include what I felt was necessary. This meant buying and selling some items and keeping others for life.

Is there a certain kind of wildlife work you're most interested in? Birds? Exotics? Beasts? Insects, Reptiles? The African wild? What advice would you give someone who realizes they would like to do more of that kind of work but isn't sure how best to develop their skills? Would it help to be able to spend one or more outings with someone who is skilled at it?

I tend to photograph animals of all types. I suppose moose and deer would be my big game and insects would be my macro hunting.

Spending an outing with an experienced photographer isn’t going to get the job done. Study and experience are needed first. Learning how to read and anticipate nature is essential. A great wildlife photographer has either been a hunter or a naturalist.

I would suggest a quality course to start with and then an excellent workshop to follow it up. After that, I would hire a professional guide to get me off on the right foot if I am not familiar with an area, my subject, or the general needs of a photo expedition.

Are there any shoots in particular that stand out -- have a good anecdote or two? Any brushes with danger while out on a shoot?

I don’t recall any particular outstanding shoot, but I can tell you a lot that I learned the hard way.

* Alligators are faster on land that you might think.
* When a bull moose is swimming towards your canoe, don’t wait for the perfect shot, start paddling in the opposite direction, and do it quickly.
* Timber rattlesnakes are sometimes completely black. This is a good one to remember.
* If you have allergies, don’t belly down in poison oak, ivy, or sumac for that great macro shot.
* Cameras don’t float well.
* Insure your equipment with a special rider policy to cover it under working conditions as a photographer in the field.
* Swooping owls look like stealth aircraft up close.
* A deer or a moose pawing at the ground is telling you to vacate.

There are hundreds of these to tell whenever someone is interested in what not to do.

Have you spent much time pursuing your wildlife interests in Africa or South America or any continent outside of North America? How about in Canada? I realize that IS in North America, but since you're so close to it in Maine, I can't help but wonder if that is a natural destination for you.

I keep my feet on US soil.

You're a prolific writer and author. What has the photography book-writing side of your career been like? Isn't that time-consuming? To develop a topic, organize your thoughts, edit the text and collect, edit and output images? Do you have help with that? You've also written books about other subjects -- plumbing, real estate, land development and home building and remodeling, to name a few topics. Are any of those works more hugely popular than the others? You also maintain a regular blog online, right? How do you find time for it all?

My writing career has been a bit of a fast track. In one year, I wrote a total of 13 full-size books for major publishers. When it comes to making R. Dodge Woodson come to life, I normally do all of the manuscript work. Leona sometimes assists me in obtaining line drawings.

My pro reference books pay out the most royalties. A large percentage of my books are best-sellers and offered in various languages internationally.

The blog is related to World Photographers Organization. I also produce, design, and publish World Images Today (WIT), an online magazine. Samples of the magazine are available on the WPO home site.

The trick of putting extra sand in the hourglass is one that will remain a mystery. My doctor would not approve if I told you how many hours I work and how many I sleep.

As if you needed another diversion ... you recently launched a new global photographers' network, World Photographers Organization. There is a growing number of online photography networking groups -- photo.net, PictureSocial, Professional Photographers of America come to mind immediately. Talk to me a little bit about how you felt the WPO can distinguish itself from the others ... what it will offer that the others might not?

My life changed about this time last year when I nearly died 3 times in two months due to a rogue infection in my leg. It was while in the hospital that I decided to go public with WPO. Up until them, it was a tight-knit group of pros in Maine. Now it is worldwide and growing and growing, and growing some more.

World Photographers Organization not only can distinguish itself from others, it already has! Picture Social is a class act. I was a member prior to creating the WPO social site at WPO Press Room. Picture Social and similar sites are good for photographers, but they don’t go the extra mile that WPO does in helping their members, guiding people from the experience of established professionals, and offering direct publishing and money-making opportunities that are NOT pie in the sky. They are very real.

Professional Photographers of America (PPA) is a top-shelf organization, but it is very different from WPO. I have been a member of PPA. The last time I looked the annual dues were in excess of $300. WPO’s Premium Membership is only $139 a year and a Gold Membership is $195 a year. During my time as a member, PPA focused very heavily on wedding photography. This makes perfect sense in terms of earnings, but it leaves a lot of photographers wondering why they are getting the organization’s magazine. I have no interest in bashing any group of people. What we do with WPO is our vision, and everyone is entitled to their own choices of who they wish to join.

You ask how WPO is, or will be different. Here are my goals, beliefs, and thoughts:

WPO and WIT offer, or will offer, the following:

* What members ask for
* Paying freelance markets
* Behind-the-scenes information due to my unique positioning in the industry
* Places to get published now
* Press credentials
* Model consultant credentials
* An online portfolio on the WPO site
* Direct email contact with working pros to answer questions
* Extensive online resources
* Pro pointers on the WPO site and in World Images Today to help amateurs and professionals
* An open door for point-and-shooters to pros
* A non-judgmental environment
* Cyber friends and nearby photographers
* Unbiased reviews of products and services
* Rip-off Tip offs
* A listing in a searchable database so that customers can find you
* Non-fiction writing advice and how to publish more pictures when you also provide words to go with them
* Photo contests
* Inside information on what makes editors and publishers tick from an expert publishing consultant
* Access to professional business consulting with Creative Consulting Inc.
* Photo industry updates
* Secure testimonials and endorsements
* Opportunity to see your work published in World Images Today
* Become a photojournalist for this worldwide media outlet
* 20% discount on courses and workshops offered by World Photographers Organization
* Certificates of recognition
* Access to Book Busters and Ready Reports
* Professional photo critiquing
* Annual subscription to WIT
* Archived articles to learn from
* Pro money-making suggestions
* An open door to Lone Wolf Enterprises, Ltd. to propose a book that you will author
* Direct phone contact with R. Dodge Woodson for consultations
* Up to 5 free classified ads per month

This hits the high spots, and I think anyone will admit that no other club, organization, association, or group offers nearly as many features and benefits.

What's your vision for the WPO ... say, five years down the road?

I expect WPO to be a world leader in photography and related media work. WPO recently decided to accept graphic artists, book compositors, authors, writers, editors, proofreaders, indexers and other publishing professionals as members in both WPO and in the WPO Press Room. Down the road, I can see a World Media Professionals Organization to answer the needs of anyone from a major publisher to a freelance photographer a place to work with and for.

I ask a lot of my profile subjects whether they've ever had their work on display in galleries, and if not, whether they would like that some day? Given how much you've been published (and I presume that includes images in various photography and wider-scope magazines, periodicals and such), is this a moot question for you? If not, talk to me about any of the gallery displays you've been able to enjoy. And if you've had that privilege, what could you tell photographers who haven't reached that plateau about getting there?

I have never been a gallery guy. Even if I were not as well known and as heavily published as I am, hanging prints in a gallery wouldn’t do it for me. It’s the same thing with contests. When it comes to photography, I have a short list to please, and it is as follows:

* My code of integrity, honor and ethics
* My customer, if the photography is a paying job
* Myself, if the shoot is personal
* My subjects, whether it be moose or mushrooms in that I do no harm and that I do not alter nature for the sake of a marketable photo

To learn more about Dodge, his enterprises and the WPO, follow these links:

Dodge's Lone Wolf Enterprises

World Photographers Organization

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Photo contest rules--No Entry Fee

2009-12-11T22:01:00.002-05:00

We are having a friendly photo contest monthly at the WPO Press Room. The rules are as follows:

The place to enter WPO’s monthly competition where winners will be featured in WIT and get an inside front cover placement for their photo with full credit.
THESE ARE THE RULES
Photographers retain all rights to their photos and license the use of the photo to WPO for all uses related to WPO materials.

1. THE WINNER OF EACH MONTHS COMPETITION MUST AGREE FOR THEIR PHOTO TO BE PRINTED IN WIT MAGAZINE.

2. THE WINNER WILL BE REQUIRED TO SEND THEIR EMAIL ADDRESS TO DODGE SO HE CAN FORWARD AN INTERVIEW FORM TO THE WINNER TO FIND OUT HOW THE PHOTO SHOULD BE CREDITED. HE WILL ALSO INCLUDE A SHORT EMAIL INTERVIEW FOR THE FEATURE ARTICLE TO BE WRITTEN ABOUT THE WINNER.

3. IMAGES MUST BE IN JPG FORMAT, 72dpi. LARGEST DIMENSION SHOULD NOT EXCEED 1000.

4. EACH PERSON MAY ENTER TWO IMAGES ONLY.

5. YOU MAY POST YOUR ENTRIES AT ANY TIME DURING THE MONTH, BUT THEY MUST BE POSTED BY THE CLOSING DATE. THE DATE ON WHICH SUBMISSIONS WILL NO LONGER BE ACCEPTED WILL BE ANNOUNCED AT THE START OF EACH MONTH’S COMPETITION.

6. THE WINNER OF EACH MONTH GETS TO CHOOSE THE THEME FOR NEXT MONTH’S COMPETITION

7. ALL PHOTOS REQUIRE A TITLE.

8. ENTRIES MUST BE POSTED TO THIS GROUP ONLY.

BY ENTERING THE COMPETITION YOU ARE AGREEING TO THESE RULES.

Information contained in this work has been obtained by World Photographers Organization, Creative Consulting, Inc, Lone Wolf Enterprises, Ltd., authors, employees or freelancers of either company do not guarantee the accuracy or completeness of any information published by either company. World Photographers Organization, Creative Consulting, Inc., Lone Wolf Enterprises, Ltd., authors, employees and freelancers of either company do not guarantee any work offered by either company to be free of any errors, omissions, or damages arising out of the use of the information. All work is published with the understanding that World Photographers Organization, Creative Consulting, Inc., Lone Wolf Enterprises, Ltd., authors, employees and freelancers of either company are supplying information but are not attempting to render advice or professional services. Anyone requiring services or professional advice should seek such services and/or advice from qualified professionals who offer the advice or services being sought.

Press Credentials and Model Consulting ID

2009-12-11T01:14:00.002-05:00

Get Your Credentials HERE!

Maine Unseen is in its second printing.

2009-12-11T01:06:00.004-05:00

Get Your Copy Here!

World Images Today, the official online magazine of World Photographer's Organization is now available to the general public.

2009-12-11T01:02:00.001-05:00

What Does World Images Today offer that you will not find in other photography magazines?
The following list answers this question. While some publications offer some of what World Images Today (WIT) does, I do not know of any that offer a full package like WIT does. Take a look and decide for yourself.
R. Dodge Woodson
Founder and Publisher

Here is what you get when you subscribe to World Images Today:

• An outstanding go-to-guide for photographers that up until now was available only to full members of the World Photographers Organization (WPO)
• This is your chance to subscribe to some very privileged information that was previously offered quietly only to Premium, Gold, and VIP members of WPO.
• There is very little advertising
• Average size ranges from 50-75 pages in length, with some editions running longer in 2010
• What subscribers ask for
• Paying freelance markets
• Behind-the-scenes information due to R. Dodge Woodson’s unique positioning in the industry
• Places to get published now
• Extensive online resources at the World Photographers Organization (WPO) site
• Pro pointers to help amateurs and professionals
• An open door to point-and-shooters to pros
• Unbiased reviews of products and services
• Rip-off Tip offs
• Non-fiction writing advice and how to publish more pictures when you also provide words to go with them
• Photo contests
• Inside information on what makes editors and publishers tick from an expert publishing consultant
• Access to professional business consulting with Creative Consulting, Inc.
• Photo industry updates
• Opportunity to see your work published in World Images Today
• Become a photojournalist for this worldwide media outlet
• 20% discount on courses and workshops offered by World Photographers Organization
• Access to Book Busters and Ready Reports
• Professional photo critiquing
• Archived articles on the WPO site to learn from
• Pro money-making suggestions
• An open door to Lone Wolf Enterprises, Ltd. to propose a book that you will author
• Up to 5 free classified ads per month

Okay, as you can see, World Images Today and World Photographers Organization bring you value-packed information at very affordable, below market, rates. We care about every photographer, regardless of your level of experience.

How much does a subscription cost?
Money is always an issue, and in our present economy it has become a very important element in making wise investments. The retail price of World Images Today is $8.95 per issue. When you consider all that you get, that is a very fair price, but I have a limited-time offer for you. And unlike scams and frauds, this really is a limited-time offer.
If you invest now in yourself and your photography by subscribing to World Images Today for 12 issues, plus the End-of-the-Year Extravaganza for 2010, you can get your monthly online edition of World Images today for only 12 cents a day! I am not kidding, and I am not done.
What can you get for 12 cents today? Forget the “dollar” meal. Focus on your photography and for only 12 cents a day, paid in the form of one payment for a 12-month subscription, you will get the following added bonuses:

1) 3 free pro critiques by the Ed Boards of WIT, WPO, and Lone Wolf Enterprises, Ltd.
2) A GUARANTEE of one photo chosen by the subscriber and approved by the publishing committee to be published as a WELCOME to the new subscriber in World Images Today
3) A 25% discount on either type of WPO membership purchased within 90 days of the date of your subscription

All of this for only $43.80
PayPal-Visa-M/C

It Doesn’t Get Any Better Than This.

Subscribe to World Images Today Now!

Makes a GREAT HOLIDAY GIFT!

Laurin Rinder and R. Dodge Woodson

2009-12-11T00:59:00.002-05:00

I was talking with famed photographer, Laurin Rinder on the phone today. We are discussing potential plans for Laurin and his team to come to Maine to present one of his internationally-known workshops. The event is not yet confirmed, but I will let you know when it is.

R. Dodge Woodson

Online marketing

2009-12-07T13:03:00.002-05:00

Mark Goodwin, the President of ArcWin Media has been a tremendous help to me as I venture deeper into Internet marketing. I have been in business since 1979 and consider myself fairly savvy when it comes to business matters, but I found that online marketing has a strong learning curve. Mark and his team can flatten the landscape and give customers a downhill run to the finish line. The team at ArcWinMedia is professional, knowledgeable, accessible, helpful, and most of all, trustworthy. On a scale of 1 to 10, with 10 being the best, I give ArcWinMedia a 10. Mark Goodwin goes above and beyond what should be expected of him, so he rates a rare 12.

Mark Goodwin - Pres.
2559 Webb Avenue, Suite 7
Delray Beach, FL 33444

Main: 561-948-4438
Direct: 561-922-3731
Fax: 561-892-5718

Mark@ArcWinMedia.com
www.ArcWinMedia.com

R. Dodge Woodson
Lone Wolf Enterprises, Ltd.
Creative Consulting, Inc.
World Photographers Organization

Active Publishing Markets

2009-12-07T00:06:00.001-05:00

Purpose: Our primary goal is to publish a lively and informative magazine that provides detailed and accurate coverage of all aspects of commercial fishing and the construction of commercial fishing boats.
We are a hybrid: We are a trade publication, but we are not the "nut-and-bolt monthly". The fishing industry has a very real pulse from the grass roots up and our readers expect material that is as lively as they are. Over the years, our ability to produce compelling, well-illustrated stories has to led us to great success on the newsstand.
If most of our readers are fishermen, we nonetheless have a sizable audience of academics, politicians, bureaucrats, sport fishermen, environmental advocates and armchair mariners. As a result, our features must be appealing and comprehensible to people who are interested in the fishing industry but who are not be directly involved in catching fish.
We try to accomplish this by publishing stories about people. Yes, there are boats and fish and regulators and nets and engines and all the rest, but they must be part of stories that are engaging, honest, and unpretentious accounts of the people, equipment, and events that make commercial fishing the exciting and very human business it is.

Features
Features usually run from 1,500 to 2,500 words. Basically, our front-of-the-book stories fit into one of these categories:

• At-sea Writer makes a trip on a fishing boat and comes home with story and pictures, including one of him/herself with the captain and crew. (2,000 words plus fact box)
•Profile Profiles can address individuals or communities. They should include at least one "vintage" photo, i.e., subject when he was young, town in days of old. The people do not need to be icons of the industry and the community doesn't have to be a top-10 port. If you're interested in someone or someplace and write well, we'll be interested too. (1,500 to 2,000 words)
•History History pieces are akin to profiles, with a greater emphasis placed on the subject's evolution. A history piece can focus on a boat or a dock, though, as well as a community or fishery. (1,500 to 2,000 words)
•Analysis Our analysis stories look at current events in the fishing world. Warning: We look for subjects of interest to a national readership, which generally means writers must pitch stories that would interest fishermen from coast to coast, and they elicit comment from sources around the country. Grass-roots looks at local management issues are unlikely to cut it for us. (1,500 to 2,500 words) Other areas of interest for analytical features:
•The business of fishing Given what they're given, how can fishermen use efficiency, ingenuity or market savvy to make more money.
•The science of fishing Habitat and weather issues come to mind.
We are not interested in sport fishing (with the exception of articles on conflicts between sport and commercial fishermen), pleasure boats, cruising stories, pleasure boat equipment, or boat racing.

Last, but by no means least: My job as editor is to find a way to get good stories into the magazine, not keep them out. If you have a good idea that you don't think fits any of these categories, think again. Figuring out what would it take to make it fit could be the difference between getting an assignment and not getting one.

In any event, query us first (Senior Editor Linc Bedrosian at lbedrosian@divcom.com or Editor in Chief Jerry Fraser at jfraser@divcom.com , and read several issues of the magazine before you try to pitch a feature-length story.

Boats & Gear stories

Articles in the Boats & Gear section are about boats and equipment used by commercial fishermen, not charter-boat, workboat (tugs, ferries, etc.) or pleasure-boat owners. Though the readership is a professional audience that usually has owned more than one boat and has spent several years on the water, the article shouldn't read like it was written for a technical journal. Take the story elements and weave them into a narrative with local color, history and anecdotes thrown in to keep the story moving.
A boatbuilding story includes design information, construction details on how the boat was build, important equipment, something on the owner and builder, and a mention of the fisheries the boat is being built for.
Gear stories cover any of the equipment that a fishing boat utilizes. It might be sonars, gillnet haulers, trawl design, or developments in diesel engines. If it can go on a fishing boat - any kind or size of fishing boat - it's eligible.
But no matter how good your writing is, we need photographs and illustrations. So, think about how you can take photographs - with people in them - that explain the article.
Please query Michael Crowley, Boats & Gear editor at mscrowley@gwi.net.
Front of the book

The "Around the Coasts" section in the front of the book is a new writer's best chance to break into National Fisherman.
Each month we run about 20 "ATCs," which are commercial fishing news briefs from across the country (including the Great Lakes). Remember, though, that we are a monthly with a fairly long production cycle so breathless news leads aren't we're looking for. Ideally, we want briefs with a news element and that have a "voice" or a "take" on the news. Quotes are essential. Tip one: Read some ATCs. Tip 2: Consider the definition of an ATC as 250 words. If the story absolutely positive must be longer, pitch it as a feature or forget about it. Nor do we want anything shorter. Please query Senior Editor Linc Bedrosian, lbedrosian@divcom.com , before submitting material.

Artwork

If you're writing a feature story for us, you must supply us with accompanying artwork. Art will also help sell us your ATC. For more information, please see the photgraphers guidelines.
Handling of submissions:

E-mailed submissions are best. I recommend that you attach your document to an e-mail, as well as paste it into the body of the e-mail. You should consider floppy disks as a last resort, but if that's all you've got, send it - along with a clean, hard copy. (Manuscripts that are typed should be double-spaced with I-inch-minimum margins. Do not use erasable typing paper and please don 't type over errors that have been covered with liquid or paper whiteout. If you choose to send us a photocopy of a story, please make sure that the reproduction is of good clear quality.)
Please don't fax submissions to us as we do not have the time to retype.
We try to acknowledge all editorial submissions as soon as possible, but don't worry if you don't hear right away. Material does pile up at certain times each month, especially when we are on deadline. Payment is generally made upon publication unless otherwise arranged.
National Fisherman buys first and limited reprint rights to all copy and accompanying photographs. Limited reprint rights permit us to approve the occasional request from a company or nonprofit institution to reprint an article. These rights in no way interfere with the author's ability to sell an article to another publication after it has appeared in National Fisherman.
We frequently find ourselves with a backlog of material on hand and competition for the available editorial space can be fierce. It's always a good idea to query us before submitting a story. Usually we can give you a fairly good idea of the article's chances of running in a given issue.
Some Important Points

Use your imagination when thinking up story ideas, but not when preparing facts. Be absolutely sure of what you re writing. Double-check the spelling of all names as well as technical information. No matter how well a story is written, its credibility - and its chances of being published - rest on its accuracy.
Unless you're reporting on an event that clearly occurred in the past, try to use present tense. This makes a story more dynamic. Also use the active rather than the passive voice. ("I caught the fish," instead of "The fish was caught by me.")
Unless other arrangements have been made, send all feature submissions to jfraser@divcom.com , all Boat & Gear submissions to Michael Crowley at msc@acadia.net , and all ATCs to lbedrosian@divcom.com .
Finally, please let us know how you'd like your name to appear in a byline. You might also send along a brief outline describing your background as a writer and your involvement in any other activities that relate to your area of expertise.
Don't hesitate to ask us for help if you have any questions about our requirements or editorial style. We'll be happy to help in any way we can.
Jerry Fraser
Editor in Chief
________________________________________
Photographer's Guidelines
If you're writing a feature story for us, you must supply us with accompanying artwork. Art will also help sell us your ATC.
All photos should be marked with a credit line and should include the sender's full mailing address. Captions are required for all submitted photographs. The best way to provide this information is to type out each caption on a separate piece of paper and index it to the appropriate photo. (If you're submitting prints, do not write on the backs of photos with grease pencils or felt-tipped pens. Grease pencil invariably smears and ink from felt-tipped pens is readily transferred to the faces of photos that are stacked for mailing.)
We generally prefer color slides taken on 100 speed Elite Chrome or equivalent film, although film shot with medium- or large-format cameras also works for us.
Please send duplicates when possible because of the risk of losing originals during shipping.
Digital Images:
Scanned images can be e-mailed or sent on Zip disk or CD to art director Jennifer Finn at the address below. Images should be at least 300 DPI (resolution) at 100% of final print size. Final print size varies. 5X7 images will meet most magazine layout criteria. Images from many digital cameras do not meet these criteria or have a final print size about that of a postage stamp and low resolution. Scanned images are preferred, in jpeg, tiff or eps format. If you cannot tell if your image meets the criteria, don't hesitate to call.
Jennifer Finn, Art Director
National Fisherman
121 Free St.
Portland, ME 04101
207-842-5669
jfinn@divcom.com

BIRD TALK Photographer's Guidelines
Guidelines for submitting photos to BIRD TALK magazine
Updated: June 2, 2008, 2 p.m. EDT

Thank you for your interest. BIRD TALK magazine is dedicated to better care for pet birds. All bird photos are of exotic birds available in aviculture today. We avoid using photos of hybrid birds. We also seldom show mutations, unless they are of a species known for mutations (budgies, canaries, etc.), the mutation is quite popular, or the article is about the mutation.
The following guidelines will help you understand what we’re looking for when choosing photos for BIRD TALK magazine, and assist you in making submissions with the highest probability of acceptance.

GENERAL GUIDELINES
• All photos must be labeled with the correct bird species and photographer’s name. A unique ID number for each photo also helps with contracting.
• Digital images are the preferred format, though we will accept transparencies and slides and we can also use exceptional print photos
• Digital images must be high-resolution, 300 dpi and at least 3 by 5 inches to be considered for publication
• All photos must have the entire bird in focus (unless you’re trying for an artistic effect)
• Lighting should be even, with no dark shadows behind subjects
• The bird’s image should dominate the photo when it’s a portrait-type shot – do not permit a lot of space around the bird
• All birds should be looking at the camera, unless they are playing or involved in an activity
• Be aware of the background (see section on backgrounds below)
• Frame the photo so that the bird is cropped properly (do not cut off the tail when shooting a full-body shot, zoom in on only head when shooting a head shot, etc.)
• Be sure that all subjects are well-groomed (both bird and people)
• Be sure that if a bird is shown on its perch, the perch is the proper size for the bird
• Birds should be interactive – this is hard to describe in words. We want photos that show a bird’s personality. We want to avoid the typical bird-on-a-stick look. If a bird’s head is cocked or its foot is up or it’s looking at the camera like it’s a toy it really wants – that’s what we’re seeking.
• Try for different angles, instead of the usual “head-on” shot; have the camera above or below the bird (note: avoid strange side angles like in a Hitchcock film – it’s too distracting)
We encourage photos of owners with their birds. We need photos of birds in their home environments involved in their daily activities: chewing, climbing, bathing, eating, preening, interacting with people and other birds, looking into mirrors, holding items in their feet, talking, screaming and even biting. For species profile articles, we need attractive portraits of birds.
We also need: pictures of birds visiting the vet and the exam process, grooming photos (Be certain that if wings are being trimmed, it is done correctly, with the wings held in such a manner that the bird is not at risk), etc.
BACKGROUNDS
• Please make sure that any plant shown in a photo with a bird is safe for birds and identify the plant.
• Be sure that the background color contrasts with the color of the bird.
• Please be sure that the background is slightly out of focus so that it doesn’t compete with the image of the bird.
• If furniture appears in the photo, please ensure that it is does not look out-of-date or well-used.
• Avoid clutter
COVER PHOTOS
For cover shots, it is no longer necessary to leave space at the top for our logo. All cover shots now have the background knocked out. Our main concern with cover shots is that the bird be in focus, the lighting be good, the bird be well-groomed and, perhaps most important, the bird be looking at the camera and be interactive (head tilted, foot raised, great expression on face – something to show the bird has personality).
ACCEPTANCE & PAYMENT
Upon accepting a photo (be sure you label each one with a unique identifying number, the species of bird in the photo, and your name and address), we will send you a contract containing the acceptable photos’ numbers and hold these pictures in our files for possible future use. We do not accept submissions in which the subject is not correctly identified. Please include any “courtesy of” information, if needed, on the submission.
If a photo is used, payment is made during the latter part of the cover issue month in which the photo appeared. (A photo used in the June issue will be paid for in June.)
Payment rates are as follows:
- $250 for 4-color cover shots and 2-pp poster $50 for black and white, full page
- $125 for 4-color, full page $40 for black and white, 3/4 page
- $100 for 4-color, 1/2 page $20 for black and white, 1/4 page
- $75 for 4-color, 1/4 page
- $10 for 4-color, second-use in TOC
*Use of black and white photos is rare; however, we reserve the right to convert any color submission to a black-and-white photo in the magazine.

We do our best to return used slides in a timely manner but, because of our small staff and constant deadlines, some delays may occur. Your patience is appreciated.
Please include an inventory list, model releases (if applicable) and a self-addressed, stamped envelope with your submission. We cannot return your submission without a self-addressed, stamped envelope. We do not work with photographers who charge holding fees. After we receive your submission, allow at least eight weeks for a response.
Please send your submissions to either of the following addresses:
BIRD TALK Photo Editor
P.O. Box 6050
Mission Viejo, CA 92690 or BIRD TALK Photo Editor
3 Burroughs
Irvine, CA 92618
We will also consider your material for our sister publication, BIRDS USA, unless you indicate otherwise.

Submission Guidelines for Defenders Magazine
Defenders magazine is published quarterly for the membership of Defenders of Wildlife, a national nonprofit organization devoted to wildlife conservation. Defenders has a circulation of about 350,000. Content reflects the organization’s dedication to endangered species, public lands, habitat preservation, biodiversity conservation, the international wildlife trade and related subjects.
Issues contain a mix of full-length features as well as shorter departments and an organizational "newsletter." Most content features North American wildlife, although we occasionally focus on international issues. We emphasize current threats to wild species and habitat, worthwhile action to save wildlife and informed discussions of government programs and policies.
Please familiarize yourself with the scope of Defenders of Wildlife’s work prior to submitting a query. You may browse our website or request a back copy of the magazine by sending a SASE to the address below.
Process for Article Submissions
Query first! Include a brief description of your background, qualifications and how your ideas relate to the mission and work of Defenders of Wildlife. Most of our articles are assigned following a query. Please include two or three previously published general interest articles.
We do not accept fiction or poetry and rarely use essays. We do not accept previously published work submitted either by author or publisher. Proposals and manuscripts submitted simultaneously to other publications are not acceptable.
Length and Format
Department stories run from 500-800 words, features from 1,200-2,000 words.
We do not want encyclopedia extracts or scientific manuscripts. Content is directed to a general audience but we seek to maintain a high literary, reportorial and graphic standard. Scientific and grammatical accuracy is essential so please carefully edit all submissions.
For time and paper’s sake, we prefer email correspondence. For written correspondence, please include a SASE. We accept no responsibility for unsolicited submissions.
Contact and Submission Information
Submissions Editor
Defenders Magazine
1130 17th St, NW
Washington, DC 20036
Phone: (202) 682-9400
Fax: (202) 682-1331
mageditor@defenders.org
Process for Photo Submissions
Defenders accepts submissions of photographs of endangered wildlife and habitat. Submissions should be emailed to photobuyer@defenders.org. Attachments must be low resolution jpegs totaling no more than 1 MB in size per e-mail. A link to a viewing platform may also be submitted. Please provide detailed information on the subject matter of the photographs when submitting. Defenders accepts no responsibility for unsolicited photos or artwork; materials sent via mail or other delivery services will be returned only if accompanied by proper postage.
Contact and Submission Information
Photo Buyer
Defenders Magazine
1130 17th St, NW
Washington, DC 20036
Phone: (202) 682-9400
Fax: (202) 682-1331
Email: photobuyer@defenders.org

How to Submit Articles and Photographs to Florida Wildlife
Submissions
We prefer to purchase first-time, one-time rights to manuscripts and photographs. If submissions are being considered by other publishers, please notify us of this fact. Articles, artwork and photographs may appear on the Florida Wildlife Web site.
Submissions are on speculation. Florida Wildlife reserves the right to use either all or part of your submission and to edit for content and/or size. Proper credit is given to authors, writers and photographers. Queries will be answered as time permits. Self-addressed return envelopes with sufficient postage should accompany all submissions you wish returned.
Writers' Guidelines
Florida Wildlife is looking for well-written and exciting Florida fishing, hunting and nature-based recreation stories. These stories should emphasize the appreciation of the overall outdoor experience and not focus solely on the taking of game. Stories should also reflect the concern hunters, anglers and other outdoor enthusiasts have about conserving wildlife and the habitat.
Typed manuscripts of 300 to 1,000 words may be submitted via e-mail, computer disc or in hard copy format. We prefer that electronic copy be composed in MS Word, but will accept other formats. The first page should include the writer's name, address, telephone number and e-mail address. Poetry and handwritten manuscripts will not be considered for publication.
Manuscripts that include photographs or artwork are more likely to be considered for publication. Include the photographer's name, address, telephone number and e-mail address (if not the same as the writer's) and a description of the action, person or place pictured.
We are looking for:
• Freshwater and saltwater fishing articles.
• Hunting and hunting-related stories.
• Articles about outdoor activities such as tracking, diving, boating, hiking, wildlife watching, etc.
• How-to articles with tips and techniques for both beginners and experienced enthusiasts.
Tips & Techniques
• Be sure to include who, what, where, when, why and how in your story.
• Maintain a tight focus on your subject matter.
• Write in the active voice, not the passive voice. An example - Passive: Three suspects were arrested by wildlife officers. Active: Wildlife officers arrested three suspects.
• Use present tense when possible.
• Use quotes and attribute them accurately. Quotes add to the reliability of a story.
• Include sidebar information such as where to get additional information, the best place(s) to participate in the activity, how-to tips, how family members may join in or how they may participate in complimentary activities, etc.
• Thoroughly research your story—use at least four sources. Include a wide range of perspectives to give your story depth and balance.
• When citing research, be specific but avoid being pedantic. Readers want to know what the point of the research was, what was learned and what it implies for them, wildlife and the management of resources. Remember, Florida Wildlife is not a technical journal for researchers.
• Avoid anthropomorphism -- attributing human feelings or thoughts to animals.
Photographers' Guidelines
Florida Wildlife has a long history of showcasing outstanding and award-winning photography and artwork. In order to continue this tradition, only extremely sharp, in-focus and well-lit photographs are considered for publication. We prefer high-resolution scans rather than film to avoid damage to or loss of original work. Low-resolution images enlarged via a computer program and other obviously retouched images will not be considered. We cannot accept soft-focused or blurred images.
When taking photographs which include people, look for shots illustrating that everyone enjoys outdoor activities—young and old, male and female, able bodied and disabled and those from various cultural backgrounds. Take advantage of naturally occurring shots—set-up shots are easily identified as such.
Each image submitted, whether digital, transparency or glossy print, should be labeled with the photographer's name and a number. The number should correspond with a separate caption sheet. The caption sheet should describe the action, place and/or person pictured. Include the name, address, telephone number and e-mail address of the photographer.
Images may be cropped, rotated, flipped or otherwise edited by a graphic artist to suit the magazine's style or to fit in available space.
We accept:
• High-resolution digital images, at least 300dpi and 2M-15M. If e-mailed, larger files should be sent singly and as JPEGs. If submitted via CD, images may be JPEG, TIFF or EPS.
• 35mm or larger first-generation slides or negatives.
• High quality color prints, preferably 8x10.
All images should:
• Be shot in Florida or illustrate species living in Florida.
• Portray hunting, fishing and all other activities conforming to Florida's legal regulations, safety practices and to high ethical standards.
• If the photograph is taken on a boat or dock, any people in the photograph should be pictured wearing personal flotation devices.
Other Policies
All submissions are on speculation, and payment is made upon publication. Payment varies, depending on length, complexity and quality. In general, we pay $50 for each photograph (up to $200 for a front cover) and $75-$250 for articles.
Materials will be handled carefully, but due to the risk of mailing and shipping, Florida Wildlife and its agents will not be responsible for damage or loss of submitted material.
Stories and photographs will not be accepted for publication if they:
• Refer to alcohol or tobacco products.
• Use profanity or picture profane printed products such as explicit t-shirts.
• Advertise or promote a business or product.
• Fail to show respect for the game being taken and/or contain overly graphic details of the harvest.
• Are strictly "trophy" in content—pictures of a sportsperson with harvest or "how I got my biggest . . ."stories.
Deadlines
Publication Speculation Submission Deadline Assigned Article Deadline
January/February July 15 September 1
March/April September 15 November 1
May/June November 15 January 1
July/August January 15 March 1
September/October March 15 May 1
November/December May 15 July 1
Mail address: Editor, Florida Wildlife, 620 S. Meridian St., Tallahassee, FL 32399-1600
E-mail: floridawildlife@MyFWC.com
Fax: 850-488-8974
Phone: 850-410-4944 or 1-800-416-4081

The Horse is a monthly magazine devoted to equine health care. The publication focuses on educational topics and news and is geared towards the professional, hands-on horse owner.
The Horse pays on acceptance. Writers should submit a resume and samples of their writing before submitting a manuscript, and including an e-mail address will expedite our response to you. Query letters or complete manuscripts will be reviewed after this process. The Horse will not accept unsolicited manuscripts. A byline is given and acceptance for publication includes first rights and online rights unless otherwise agreed upon.
The Horse prefers "how-to topics," technical topics, and topical interviews. It accepts no first-person experiences except from professionals--this is a technical magazine to inform horse owners.
Clips (writing samples) should ideally show an ability to organize technical information to maximize the understanding and education of the reader, as well as a smooth, correct writing style.
If you have a specific article topic in mind, save yourself some trouble by first checking to make sure we have not done an article on the topic recently, and do not already have one assigned on it in the near future. You can check recent issues (by issue or via a topical search) and our calendar of upcoming topics.
Articles range from short news items at 250 words to 4,000 word cover stories; payments vary depending on length of article.
If photos are to be submitted with a submission, please do not send originals. The Horse is not responsible for unsolicited, lost, or damaged images. Please see the complete Photography Guidelines below.
Contact:
The Horse: Your Guide To Equine Health Care
Kimberly Brown
Editor-in-Chief/Publisher
PO Box 919003
Lexington, KY 40591-9003
kbrown@TheHorse.com
**Please see our writer's style guidelines as well.
Photography Guidelines
-View 2009 Photo Needs Now!
Magazine Needs: About 40 photos/issue; 20-30 supplied by freelancers. Contracts required. Captions preferred. Published work ok. Buys one-time rights. Payment based on photo size and use ($35 for online usage; $40 for less than 1/4 page; $70 for 1/4 page to less than a full page; $90 for a full page; $120 for a spread; $350 for cover). Please do not send originals. The Horse is not responsible for unsolicited, lost or damaged images.
SUBMISSIONS
For digital images:
• Please do not submit low resolution files. All pictures submitted to The Horse must be at least 300 dpi at a 4 x 6 inches.
• Take the time to fill in properties (metadata) on your photos. (Even when they are e-mailed, because it is very hard to sort the images and file them for appropriate use.) This is mandatory for all digital photos submitted. Even though this is time consuming, please at least put your name and a few (1-3) general keywords (ie. eating grass, flies, water, farrier, etc.). All basic photo software has this capability. This will help ensure that you receive proper photo credit and payment.
• Please do not send CDs with locked images. For our purposes, we do change the name of the photos when they are filed into our system. However, properties on photos do not change even when photos are renamed. So, please put your name in the properties for all submitted photos.
• If you are having trouble e-mailing images, it is most likely because your files are just too large. If you are sending very large files, you can upload them to the FTP site ftp://production:pogo051@ftp.bloodhorse.com Please e-mail Megan Arszman (marszman@thehorse.com) for more information.
For slides and photographs:
• Please do not submit without discussing with the Photo Editor. Photographs and/or slides that are received will be handled carefully, but we are not responsible for their safety or return. Do not submit original photographs or slides. All submissions of slides and photographs must be issue-specific. We just do not have the room to keep stock slides or photographs. So please try to submit stock photos in a digital format.
When you are published in The Horse:
If you are published in The Horse, we will send you a PDF file of the page of the magazine with your image on it upon your request.
Photo Needs:
Photo needs can be viewed at the following link:
http://www.thehorse.com/ViewArticle.aspx?ID=1405
(Or you can just type in 1405 in the article search from the homepage).
If you would like to look ahead, and send future images (which we would love because we are really trying to get things in sooner and work further ahead) please take a look at our editorial calendar. (Which is accessible from the homepage.) http://www.thehorse.com/MediaKit/pr_edit_calendar.asp
Final Tips:
• Only high-quality, professional images will be accepted. No blurry shots please unless they are blurred to show motion of the horse. Make sure photos are not too dark for reproduction. Check that dark horses do not blend into dark backgrounds and white horses do not fade into a light background. Backgrounds are always important. Ask yourself if the focus of the photo is on a cluttered background or on the subject of the photo. Also, colorful images will grab attention of those lacking color. Keep this in mind while shooting.
• It is recommended that you send in samples of your work if you have not worked with us before. If the photos are deemed acceptable based on the criteria above, a photo needs list will be provided.
• Interaction shots are always needed--horses with people, horses with horses, owners and veterinarians, owners and farriers.
• Also needed are photos of a horse with an actual illness or injury (i.e. equine herpesvirus, colic, narcolepsy, etc.)
• We tend to use seasonal shots to correspond with the issue (such as winter shots for winter issues), so images for the winter issues might need to be shot way in advance. Plan ahead.
• Please put your name on every photo or slide; this will help us get them back to you.
• Please keep us updated as to your contact information (including a mailing address, shipping address for the return of photos, phone, e-mail, and a web site if applicable). This is so we can make sure payment, magazines, and photos go to the right place and also allow us to get in contact with you if any unexpected photo needs arise.
• Please observe all deadlines listed if sending in for a specific issue.
• Please call Megan Arszman at 859/276-6833 or email her at marszman@thehorse.com if you have any questions.
• View the Photo Needs list periodically for updates.
***Please include your name and 1-3 keywords on every digital photo submitted!***
Contact:
The Horse: Your Guide To Equine Health Care
Megan Arszman
Photo and Newsletter Editor
PO Box 919003
Lexington, KY 40591-9003
marszman@thehorse.com

AUTHOR'S GUIDELINE
A note from the Editor
Dear Prospective PT Contributor:
Thanks for inquiring about the submission guidelines for PHOTO Techniques magazine. We’re perhaps the most technical photography magazine on the newsstand, and cover both traditional and digital photography. Our readership is comprised of advanced amateurs and working professionals. As the name implies, many of our articles focus on the techniques that help produce exceptional photographs. We also focus on the science of photography. We’ve closely examined, for instance, the numbers behind the superiority of 16-bit imaging, and the techniques behind the manipulation of light, the interaction of photochemicals, and useful tips for processing and printing photographs. Many of our articles have featured experiments that readers can perform at home and duplicate the results for themselves.
Many of our readers are students of the Zone System, created by photographer Ansel Adams and others. Many are well-versed in Adams’ work and teachings, and several contributing editors specifically address the Zone System on an ongoing basis. Many readers are largely or solely digital. Articles on digital photography should cover the hows and whys of some aspect of the process of creating quality digital prints, rather than illustrating what one can do with various wacky Photoshop filters. Our readers also enjoy technical articles, scientific tests and guides that we present. “How-to” articles backed by concrete examples and good photographs are always welcome.
Before you submit, we ask that you first pick up an issue or two to get a good feeling for the magazine’s content. You’ll see that most of our published photographs appear in stories about using a given photographic technique, so article ideas (or a full article, if you’ve written it) generally should accompany submitted photographs. Photographs with no article idea can only appear in our portfolio section, which makes the odds of selection long (portfolios will need an accompanying essay, in any case, if they are chosen).
Portfolios
We’re always looking for interesting images for our cover or portfolio section. Having said that, we publish only six portfolios, six covers, and less than a handful of “one-pagers” each year—and half of those are solicited privately. As with other photography magazines, the odds are long. We say this not to discourage submissions, but so that potential contributors will realize that this is not a contest: acceptance or rejection of your work is a judgment not of its ultimate quality or merit but merely of its suitability to our current needs.
We need images that go together well. Portfolios which try to show the range and adaptability of the photographer by including disparate types of standard pictures are unlikely to be accepted. Think of a one-person gallery show—most offer bodies of work on a theme or two, not random assortments of “this and that.” The exception to this is if you choose to send two groups of pictures, different from each other but each internally coherent.
To be chosen, work must go beyond competence; generic work in any category isn’t interesting. For instance, we get many, many portfolios of landscapes that aphotographer shot while on vacation, so before sending in images of waterfalls or Monument Valley, ask yourself whether the images truly show a fresh view of an often-depicted subject or whether you’re better off covering less crowded territory. No subject matter is excluded, but work that diverges radically from the norms of public taste begins with a strike against it.
We pay $400 for a four page portfolio (usually four to eight images), plus we can provide extra copies of the issue in which your work appears.
Submitting
Work must be original and not previously published. Please include your e-mail address, and home and work telephone numbers on both your manuscript and illustrations. Upon acceptance, we’ll first edit and lay out the article, then fax it to you to check for errors. Articles generally pay $100 per published magazine page.
You can send text and images via e-mail attachments. (Please, however, do not imbed your graphics into your Word documents.) Send your work to: jgordon@phototechmag.com
If sending text and images via U.S. Mail, include a disk with your article in Microsoft Word format. Items submitted via U.S. Mail must be accompanied by a return envelope (and packing) with return postage. Please package your work well, and ensure that it is easy to handle and re-package.
Text: Articles should be less than 2,500 words. Text should be submitted in double-spaced format. Please include any diagrams, illustrations or photos to be used with the article, along with captions. Captions should include type of camera used, type of film and any other technical information—including camera settings, how you processed it, type of developer, type of paper, etc.
Images: Send 8–20 prints; 8x10s are best; anything larger than 11x14 is strongly discouraged—they’re difficult logistically and hard to scan. If sending slides please enclose between 15-25 images for us to review, along a description of what’s in the photographs, where you shot them, the type of camera/lens set-up used, and type of film. Slides should be good dupes: DO NOT send valuable or irreplaceable originals without specific consent. Please indicate if digital images are comprised of more than one “negative.”
You can also send photos as JPEGs attached to e-mail, not totalling more than about 1 MB. Please send no more than 10 at a time, and the absolute minimum size 320x240 pixels (640x480 is better) so that we can see all the fabulous detail in your images. You can burn images (as JPEGs or TIFFs) onto a CD and mail it (a good option for sending more or high-resolution images).

A Division of Preston Industries, Inc.
6600 W. Touhy Ave., Niles, IL 60714-4516 U.S.A.
Phone 847.647.2900 | Fax 847.647.1155
Writers' Guidelines
Caribbean Travel & Life is in its 20th year of providing stories and photos about our fascinating region. Potential writers for the magazine must understand that our audience is made up of upscale, sophisticated and experienced Caribbean travelers who visit the region repeatedly. Therefore, our readers look to CT&L to guide them to new and interesting places to visit and to present the many facets of Caribbean culture.

The editors of CT&L are always open to ideas from writers. Our only requirements are that the writing be superb, the subject be something unique and interesting, and the writer must know his/her material. To understand what kind of stories we buy, read the magazine. We do NOT run generalized travelogues, guidebook-like island profiles, or standard stories about well-known, over-publicized or commonly visited places. Our readers demand behind-the-scenes stories, off-the-beaten-path destinations and ahead-of-the-curve knowledge about the Caribbean.

Most of the major features in CT&L are assigned to staff or to writers with whose work we are familiar. New writers will have better success starting off in one of our departments. Always keep in mind that the availability of good photographs to illustrate a story is essential.

TO SUBMIT
To submit a query, send a brief email to Dave Herndon, Editor, Caribbean Travel & Life, editor@caribbeantravelmag.com. Please do not call and do not send a complete manuscript unless requested.

Photography Guidelines
Sierra, the magazine of the Sierra Club, publishes photographs pertaining to the natural world and the environment. We use high-quality, mostly color photographs and prefer digital files.
Photographers interested in submitting work to Sierra are encouraged to send a link to their Web site, along with a stock listing of regions and subjects of specialty for us to review. Please do not send unsolicited transparencies and prints. We do not have the staff to review them or ensure their safe return.
We review photographers' stock lists (subject matter and locations in photographs) and samples and keep the names of potential contributors on file. Photographers are contacted only when subjects they have in stock are needed. We typically do not post our photo-needs list online or elsewhere.
Sierra does not accept responsibility for lost or damaged transparencies sent on spec or for portfolio review.
Please e-mail Photo.Submissions@sierraclub.org. Thank you for your interest in contributing to Sierra.

Submission Guidelines for Writers and Photographers
About Us:Yankee Magazine covers the six New England states of Connecticut, Massachusetts, Maine, New Hampshire, Rhode Island, and Vermont. Our Feature articles, as well as the departments of Home, Food, and Travel, reflect what is happening currently in the region. Writers interested in working with us should read several current issues of Yankee before querying us or sending an unsolicited manuscript.
Also read editor Mel Allen's 5 Best, Surefire Ways to Break Into Yankee.
Stories or Queries:Yankee welcomes freelance submissions in the areas of home, travel, food, and non-fiction editorial. We are not currently accepting poetry, fiction, or cartoons. Both manuscripts and queries should include a small collection of clips of your other work. Manuscripts should additionally be accompanied with a short cover letter.
If submitting by the U.S. mail, please include a SASE with sufficient postage for both a reply and your materials to be returned to you. We reply as quickly as possible, but please allow at least five weeks. All material should be sent to the attention of Justin Shatwell.
Yankee buys all rights to stories it purchases. Payment is made on acceptance of the article by the assignment editor and with the writer's submitted invoice.
Justin Shatwell
Yankee Magazine
PO Box 520
Dublin, NH 03444
editors@yankeepub.com
Photography and Art: We give assignments to experienced professionals. If you want to work with us, show us a portfolio of your best work. Contact our Photo Editor, Heather Marcus, before sending any photography to our Art Department. Please do not send any unsolicited original photography or artwork.
Heather Marcus
603-563-8118, ext. 192
heatherm@yankeepub.com

Submissions
Photo Submission Guidelines
>> View Digital Submissions Guidelines PDF
>> Download Photo Delivery Receipt
Thank you for your inquiry regarding photography in Arizona Highways. Although the magazine and our Related Products (calendars, books, cards, etc.) are all planned many months ahead, we welcome photographic submissions of original transparencies, 35mm slides and high-resolution digital files that exhibit the high quality that we demand from our professional contributors.
In order to achieve the high-quality reproductions in our publications, we prefer large format (4x5) transparencies, especially for the large scenic landscapes for Arizona Highways is famous. We will use medium format and 35mm transparencies that display exceptional quality and content. Digital files must be prepared according to our Digital Photography Guidelines (see our Web site to download a copy) and burned to a disk. Some subjects such as wildlife and people are best suited to smaller formats and digital SLRs, but in order to achieve high-quality reproductions they must be shot on fine-grained color slide film (100 ISO or slower) or digitally captured at low ISOs in RAW. Edit your photos carefully before submitting. More is not necessarily better. Submit only the images that are as good or better than those you see in our magazine, books, and calendars. Midday light is the worst for photography of any kind, but especially bad for landscape photography. Be original and creative in your composition and approach to common subjects, and avoid visual clichés like saguaro silhouettes at sunset.
Each photographic submission must be accompanied by a completed Arizona Highways Photo Delivery Receipt (PDR) signed and dated by the photographer. To obtain a PDR, visit the Arizona Highways Web site to download a copy to fill out and enclose with your submission. We may hold images that meet quality standards and suit current subject needs. All rejects will be returned promptly.
For protection and ease of viewing by the editors, please use slide file pages and clear acetate sleeves on all transparencies and slides. Each photograph submitted must be clearly labeled with the photographer’s name and detailed caption information printed on the transparency mount. This includes names of people, landmarks, and locations and positive identification of all plants and animals.
THE EDITORS WILL NOT REVIEW PHOTOGRAPHY THAT IS SUBMITTED WITHOUT THE PHOTOGRAPHER’S NAME AND CONTACT INFORMATION ON EACH AND EVERY TRANSPARENCY MOUNT. IF HIGH RESOLUTION DIGITAL FILES ARE BEING SUBMITTED, USE FILE METADATA TO INCLUDE CAPTION AND COPYRIGHT INFORMATION.
Nearly all photographs used in our publications are purchased from free-lance photographers. One-time publication rights are purchased, and all other rights remain with the photographer. All transparencies are returned after use. For digital submissions, disks containing digital files will be destroyed after use. We prefer that photographers in the Phoenix metro area drop off and pick up their photography at our offices. Long distance submissions should be sent by US Mail Certified or private express courier service. Return postage will be paid by Arizona Highways.
Mail submissions to:
Photography Editor
Arizona Highways Magazine
2039 W. Lewis Avenue
Phoenix, AZ 85009
Standard page rates are paid for all stock photographs published in the magazine. Payment is made upon publication according to the following schedule:
Front cover - $600
2-page spread - $350
Full page plus - $300
Full page - $200
Half-page plus - $150
Minimum - $125
A copy of the payment schedule for all Arizona Highways publications is available on request.

WRITERS AND PHOTOGRAPHERS GUIDELINES

Sport Diver magazine has over 250,000 readers who are newly certified scuba divers and active dive enthusiasts. Approximately 30,000 of those readers are PADI Divemasters, Assistant Instructors and Instructors. www.sportdiver.com has hundreds of thousands more. Because Sport Diver is the official publication of the PADI Diving Society, the vast majority of its readers are certified through PADI. The following statistics, compiled by PADI, reflect – in part – the composition of Sport Diver's readership.

There are 8.5 million certified scuba divers in the United States (all agencies) PADI certifies 70% of divers in the U.S. and 55% of divers throughout the world 72% of divers are male and 28% are female 62% of divers have an average income above $50,000 39% of divers are in professional/managerial occupation 58% of divers are married 50% of divers have a college degree The average age for divers is 36 years old

More specifically, Sport Diver's readership is broken into two age categories: 18-28 and 42-55. Both groups are predominantly male. Most of the 18- to 28-year-old group has been certified two years or less. Leisure travel and outdoor recreation compose the majority of vacation and free-time activities for both groups.

MAGAZINE STRUCTURE:

Dive Briefs covers the most current news and events: Political and regulatory news, record-setting events and notable happenings, plus books and videos

Regular columns are written by regular columnists, but supplemental articles are welcomed: Diver's Ed. (dive education and health), Images (still photography, video, digital photography), Gear (equipment) and
Features (articles 1,000 – 3,000 words in three main interest areas). (We're also interested in photo essays focused in any of these categories. Photo essays must have a clearly defined theme.)

Travel: represents the majority of feature articles. (It also represents the majority of submissions we receive.)

Destination: articles report the on hot destinations and their diving styles, attractions, amenities and culture. The articles are usually an overview of the flair and flavor of an island or country. Topside activity is of equal (in some cases greater) importance as the diving. We also cover exotic travel, which must have a dive angle but need not be solely about diving.

Do not submit articles that are glorified travel itineraries or simply a dive-by-dive chronology of your last vacation. These articles will be rejected.
Adventure: anything that out of the ordinary. Adventure always means some form of unusual activity, but it doesn't always take place at far-flung destinations. There are good adventures in our backyards.

Critters/Environment: some aspect of marine life or ecosystems. These can include the quest for a rare encounter, the quirky nature of a little-known creature, how and where to find specific species, or overviews of the worldwide condition of a species or habitat.

While conservation is a priority issue for the majority of divers and the staff of Sport Diver, we will reject extremist diatribes on behalf of specific organizations, unfairly balanced articles or negative attacks. Be very careful if you are considering this type of article, and be sure that all of your sources and facts can be independently verified.

Travel News: One lead story 250-400 words and occasionally a second item 50 – 100 words. Focus on news of air travel, sea travel, resorts and globe-trotting. May include focus on expansions, improvements or new additions.
Travel News Listings are short news blurbs about destination and specials, discounts and dive-travel packages being offered at destination around the world.
WRITING GUIDELINES:
Before you submit anything, READ THE LAST TWO ISSUES OF SPORT DIVER MAGAZINE and REVIEW OUR WEB SITE. Ask yourself if your idea fits into a section of Sport Diver (if it does not, the odds are slim that we can publish something that deviates from our editorial structure and vision). Please keep in mind: It is virtually impossible to sell to Sport Diver unless you are extremely familiar with the magazine's voice and tone.

In all but the rarest of cases, manuscripts must have publishing-quality photography. We want topside photography included. Photos often sell the story. If you are strictly a writer, let us know if you can connect with a photographer and send us samples of that person's work.

Full-length feature stories are usually assigned to our editorial staff or to regular contributors, but we are always looking to establish new relationships with writers and photographers. Do not be deterred from pitching us sound ideas. (Just remember that you are selling yourself as much as the story concept.)
All feature articles need the following information included as a sidebar:
Phone, fax, e-mail and Web site URL for all cited sources and dive operators. (We don't need postal addresses).
Traveler resources: map location, transportation to destination, topside activities and/or points of interest, climate (and/or best time to dive), entry/exit requirements or taxes, currency, language, tipping practices, water potability, electrical current, tourism board info.
Dive operations: number of boats/divers on boats, equipment type/condition, type diving/parameters, ancillary services availability, (camera rental, E-6 processing, etc.). "Doing it like a local," "it" being anything -- partying, best beer, best restaurants, best beaches, local customs you need to know about, etc. All manuscripts and queries should follow these format guidelines:

Use a serif font (such as Times Roman) in 12 or 14 pt. Do not add extra hard-return line spaces between paragraphs. Indent new paragraphs using a tab space set 0.5 inches. Do not use five space-bar spaces to indent. Single-space after sentence-ending punctuation. (Do not double space between the period ending a sentence and the capital letter beginning the next sentence.) Italicize boat names, movie titles and book titles.

We pay $300-$500 for feature articles (text only). We pay $50-$150 for Briefs, Travel News opener, or short Passport stories (text only). Long Passport stories pay up to $400 (text only).

PHOTOGRAPHY GUIDELINES:
Our priority is quality. We prefer digital images on CD or DVD in RAW format, but will review 35mm slides. Larger formats are accepted. Rarely will a photo print be reproduced in the magazine, but they may be used on the Web site. Originals or dupes are accepted when reviewing slides (indicate availability of originals). Do not send original slides with queries, and never send the only copy of a digital file. If you send slides and your idea is accepted, we will request originals. Label all slides with photographer's name and address and/or phone number. A caption sheet must accompany all accepted submissions unless otherwise agreed. All submissions must include a sheet documenting the number of images submitted and the article to which they belong. We purchase one-time rights, including the use of photos on the Sport Diver Web site within the context of the original article.

PRINT RATES:
Cover $1,000 2-page spread $200 Page + $175 Full page $150 Half page + $125 Half page $100 Less than 1/2 $75 "Spot" $50
Separate rates will be negotiated for photos used on the Web site outside the original article with which they appeared in print.

SUBMISSION PROCESS:
Ideas for Feature articles should be submitted via query letter sent e-mail or regular mail at the addresses below. We will respond via e-mail unless you do not have e-mail availability. (If you don't, get it immediately if you plan to be a writer.) If you want materials returned via regular mail, enclose SASE, but be aware that, these days, most writers prefer response via e-mail. No multiple submissions accepted. Please allow 6-8 weeks to receive a response to queries. All queries must meet the following criteria:

Succinct statement of concept and style/approach (no more than three short paragraphs). Availability of photos and their source. Samples help sell stories. Send dupes of 35mm slides, or JPEG or tiff file e-mail attachments. Do not send originals. Sport Diver will not be responsible for the return of unsolicited original photos. Brief professional biography - any special credentials you hold and previous writing experience. Include photocopies of previously published clips. Sport Diver will not be responsible for the return of unsolicited original clips. Your complete mailing address, e-mail address and phone numbers.
Submissions for non-feature article items can be made either as a query or complete text submission. Include photo samples or a source for photos. (Sport Diver will not be responsible for the return of any unsolicited photos.) All submissions must include your complete mailing address, e-mail address and phone numbers.

All manuscripts must be submitted in one of the following formats:
E-mailed attachment (preferred) or CD-ROM in Microsoft Word or compatible software (plain text format is acceptable). Do not try to arrange your manuscript like a magazine page; that really doesn't help us. Do not submit hard copy without a digital attachment.
Submissions should be addressed to Connie White, Managing Editor via e-mail at Connie White.
Or, you can submit via regular mail to:
Attn: Connie White, Managing Editor Sport Diver magazine
460 N. Orlando Ave., Suite 200
Winter Park, FL 32789

Photographer guidelines
Quick links to Frequently Asked Questions:
• How to join our photographer database
• Acceptable digital file formats
• Caption and photo credit information
• Digital lightbox submissions
• Photo handling and archiving
• Payment rates and publishing rights
• Montana Outdoors Annual Photo Issue
Thank you for inquiring about photo guidelines for Montana Outdoors. We’re always seeking new talent and beautiful imagery, and photographers are welcome to submit photos for consideration.
Join our talented pool of photographers
Please send your contact information, including address, phone, E-mail and website to lduran@mt.gov. We will enter your information into our photographer database and will add you to our photo call e-mail list.
We send out six photo calls per year via e-mail, usually about two months in advance of the magazine issue. These photo calls feature specific requests for the stories we are working on. Unsolicited images are not accepted, as we simply don’t have the time or space to consider them.
Montana Outdoors purchases photographs of the highest standards in clarity, color, and sharpness of focus (when focus is called for). We also require images to be clearly illustrative, be exceptionally beautiful, sparkle with a full range of dark to light, and have a good light source.
Currently we have about 400 photographers who regularly contribute to our magazine. With only 40 pages and limited space, Montana Outdoors doesn't purchase a lot of photos from any one photographer, but we recognize that each person brings his or her own talents and specialties to our publication. Crisp, colorful photos, unique perspectives, artistic interpretation all score points with us. Please just send us your very best images. Quality over quantity is always preferred.
Photo submissions and image formats
We will take good care of your submissions but will not be able to return them for two to three months. We do not honor holding fees. We do not acknowledge receipt of submissions unless you send them by certified mail.
Montana Outdoors does not generally publish photos of captive animals. We prefer to use images of animals photographed in the wild and will give preference to wild animal photos accordingly.
We accept all photos provided that the files meet our publication requirements:
Slides and transparencies. Beginning with our May-June 2008 issue, we will no longer accept film submissions. Our workflow is entirely digital.
Digital files. Please send 8-bit, high-resolution TIFF files on a CD or DVD. We don't accept RAW format files, as there are too many versions of RAW to accommodate into our workflow. We prefer digital files that have only little or no color correction or sharpening. Some of this work must be performed on our end, in order to optimize photos correctly for process-color magazine printing.
We calibrate our color workflow and monitors to color keys provided by our printer, so it’s important that we receive images in a relatively untouched state.
Digital photos must meet minimum resolution requirements for printing. At minimum, we require a photo to be at least 8”x10” at 300 pixels per inch. Ideally, we prefer photos that are 11”x17” (a full 2-page spread in the magazine) at 360 pixels per inch. Since our magazine is printed stochastically, we require slightly higher resolution than standard line-screen printing. The bottom-line: the higher the resolution and size of your image, the larger we can feature it in our pages.
We do not return CDs and DVDs submitted to us unless specifically requested.
Caption and credit information
All photos must be labeled or include meta data and keywords that include your name, and credit written as you wish the photo credit to read. We appreciate that you add brief caption information (e.g., “Mule deer buck, Little Belt Mtns.”).
Digital lightboxes
You may also send us custom lightboxes generated from your website. We will review your lightboxes accordingly, but be advised that we consider digital images sent to us first, and look to lightboxes secondary to fill our photo needs.
Photo handling and archiving
Often, we will archive your digital submissions to a hard drive, referenced by photographer and date of submission. We do this so we can refer back to your images and consider them for future articles, magazine news items, or other FWP projects. This also helps us to learn what your specialties are and to become familiar with the subject matter you shoot. Not to mention it saves you the trouble of re-submitting the same images at a later date. Understand that we will NEVER share your images with anyone or any organization.
And if we wish to feature your photos in an FWP project other than the magazine, we will ask for your permission first. If you do not want us to archive your images, please specify your wish with your submission, and whether or not you want us to return your disk(s).
Payment information and publishing rights
Photo payment is as follows:
Front cover: $300
Inside 2-page spread: $175
Back cover: $150
Inside full page: $100
Full page + additional columns: $100 + $25 per each additional column
Inside half-page or smaller: $75
Photo sequence (for a series of small illustrative photos roughly 1" to 1.5": $40
All photos used will be credited in the magazine. We will credit your photo based on how you label your file (i.e., “John Q. Photographer”, “Photographs R Us” or “joephotgrapher.com”). Photographers whose images are printed will receive five copies of the magazine issue.
Montana Outdoors articles are featured on the Montana FWP and Montana Outdoors web sites. We may include a small JPEG version of the opening spread for each article, or an image of the cover. We will not seek separate permission nor pay additional compensation for this electronic use.
Purchase rights to your photos are for one-time use only, with these exceptions:
1. Limited, small-format, on-line use as noted above.
2. Covers and spreads may be reproduced to promote the magazine.
3. Photographs may be reprinted as part of an article reprint used for educational purposes only.
If we select your photos for an issue, you will receive a purchase agreement indicating the photos we have purchased and the total amount to be paid. Upon receipt of your signed copy of this agreement, Montana Fish, Wildlife & Parks will send a check payment to you.
The Montana Outdoors annual photo issue
Each year, we dedicate our January–February issue to photography. No stories or news items, just the most beautiful, intriguing, and incredible images that cross our desks. For aspiring photographers and part-time photo hobbyists, this is your best opportunity catch our eye. And it's the one time each year that we open the pool to all types and styles of imagery. Sometimes our photo issue is focused around a basic theme, like Montana seasons or Montana wildlife; other years, it's open to simply the most amazing photos sent to us.

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BIG $$$$$$
Contact Scrap Magazine
• Welcome to Scrap
• Scrap Staff
• Scrap Writer’s Guidelines
• Scrap Photographer’s/Artist’s Guidelines
________________________________________
Welcome to Scrap
Scrap is the bimonthly magazine of the Institute of Scrap Recycling Industries (ISRI), a Washington, D.C.-based trade association with about 1,500 member companies that process, broker, and consume scrap commodities, including ferrous and nonferrous metals, paper, glass, textiles, rubber, and plastics.

Scrap has a Threefold Purpose:
• To provide practical and useful information to scrap professionals through articles and columns that will increase the profitability of their businesses. The editorial content of Scrap is designed to stimulate--to help scrap professionals manage all aspects of their businesses more successfully. Each issue communicates a variety of ideas to achieve that objective.
• To provide an editorial environment that will complement the sales message and help enhance advertisers’ profits. A quality editorial product provides additional credence and credibility to each advertisement in the magazine. Scrap wants its advertisers to be profitable and realizes that the editorial setting and target readership it provides are key ingredients to that success.
• To ensure that Scrap generates sufficient income to cover all of its costs, as well as to support ISRI in conducting other education, information, and research programs to benefit the association’s membership.
Scrap is located within the ISRI headquarters and can be reached at:
Scrap
1325 G St. N.W., Suite 1000
Washington, DC 20005-3104

If you wish to contact a Scrap staff member by phone, fax, or e-mail, here’s everything you need to know.
Scrap Staff
Publisher & Editor-in-Chief
Kent Kiser
Phone: 202/662-8547
Fax: 202/626-0947
E-mail: kentkiser@scrap.org

Editor
Rachel H. Pollack
Phone: 202/662-8543
Fax: 202/626-0943
E-mail: rachelpollack@scrap.org
Assistant Editor
Lindsay Holst
Phone: 202/662-8531
Fax: 202/626-0931
E-mail: lindsayholst@scrap.org
Production Director
Ellen Ross
Phone: 202/662-8545
Fax: 202/626-0945
E-mail: ellenross@scrap.org
Advertising Sales Director
Bob Emery
Phone: 440/268-0501
Mobile: 216/832-5927
Fax: 440/268-0502
E-mail: bobemery@scrap.org
Circulation and Advertising Associate
Valerie Hillyer
Phone: 202/662-8540
Fax: 202/626-0940
E-mail: valeriehillyer@scrap.org
Web Administrator
Aaron B. Pryor
Phone: 202/662-8539
Fax: 202/626-0939
E-mail: aaronpryor@isri.org
Scrap Writer’s Guidelines
Though Scrap is predominantly staff-written, the magazine does hire freelance writers. Most assignments are multisource features that focus on topics of interest and importance to scrap recyclers, such as new scrap processing and handling equipment, environmental regulations and legislation, market trends, management and operational techniques, and more. Scrap pays $600-$1,000 depending on the length and difficulty of the assignment. Payment upon acceptance. Byline given.
Writers interested in freelance assignments with Scrap should mail a letter of interest and at least two feature clips to Scrap, Attn: Kent Kiser, 1325 G St. N.W., Suite 1000, Washington, DC 20005-3104.
Scrap Photographer’s/Artist’s Guidelines
Scrap uses two to three photographers and two to five artists per issue. Photography assignments usually involve taking 35mm or 2 1/4-inch color images of scrap processing and consuming facilities, including materials, operating equipment, and personnel. Scrap usually pays $600-$1,000, plus expenses, for a one-day shoot. Payment upon receipt of images. While Scrap usually buys first rights, full rights are occasionally sought. Credit line given.
Most artworks are four-color pieces designed to accompany a specific article, with concepts suggested by Scrap and its art director. Scrap usually pays $500-$1,500 per illustration/artwork, depending on the assignment. Payment upon receipt of finished artwork. While Scrap usually buys first rights, full rights are occasionally sought. Credit line given.
Photographers and artists interested in assignments with Scrap should mail a letter of interest and brochures/printed samples of their work to Scrap, Attn: Kent Kiser, 1325 G St. N.W., Suite 1000, Washington, DC 20005-3104.

World Images Today online magazine is now available, for the first time, to the general public.

2009-12-05T00:11:00.003-05:00

Media Professionals-writers-editors-proofreaders-graphic artists- indexers

2009-12-02T10:43:00.002-05:00

Media professionals including photographers, writers, editors, proofreaders, graphic artists, indexers, and publishers are now about to join World Photographers Organization (WPO). Until now, professional membership was limited to photographers. World renowned author, photographer, and publisher: R. Dodge Woodson who is the founder and publisher of WPO conducted a poll among members. An overwhelming majority voted to allow other media professionals into the group with some potential plans for creating the World Media Organization, subject to membership status.

The WPO Press Room is a free photography and media group site available at http://wpopressroom.ning.com.

World Photographers Organization is available at http//.www.wpomembers.com.

The official online magazine of the organization is World Images Today. A sample copy of it can be seen at http://www.wpomembers.com.

Join us at the Press Room for more information.

R. Dodge Woodson
Founder & Publisher
World Photographers Organization

World-Class Photographers Social Site for Serious Photograpy

2009-12-01T18:31:00.003-05:00

World Photographers Organization, a paid-membership organization of photographers ranging in skill levels from point-and-shooters to pros has created a free social site for photographers and photography topics, tips, tricks, and suggestions. In addition to photographers, graphic artists, non-fiction writers, and editorial professionals are encouraged to join in an effort to build a Media Collection of Freelance Professionals.

This new, World-Class social site is the WPO Press Room.

Come visit us at: http://wpopressroom.ning.com

We welcome your participation.

R. Dodge Woodson
Founder & Publisher
World Photographers Organization
World Images Today online magazine

Using Press Passes

2009-12-01T18:12:00.000-05:00

One of the questions I get from time to time is how do WIT Press Passes work. Here is an example from 2008 of what is involved in being validated for a special event when you have a Press Pass:

Media Accreditation/Press Credentials
2008 Rolex Kentucky Three-Day Event
Presented by Farnam
The Competition
The 2008 Rolex Kentucky Three-Day Event, presented by Farnam, scheduled for April 24-27, 2008 at the Kentucky Horse
Park in Lexington, KY, will run a CCI**** without Steeplechase (short format) and the 11th championship for the U.S.
Equestrian Team Foundation Pinnacle Cup, signifying the zenith in Eventing competition in the United States. The 2008
Event also will serve the primary U.S. Equestrian Federation Selection Trial for the 2008 Olympic Games.
Last year’s Rolex Kentucky, a competition testing some of the world’s most athletic horses in dressage, cross-country and
show jumping, attracted a record 96,478 people and if ticket sales are any indication, 2008 also will have record attendance.
The competition features this country’s best horses and riders and international stars vying for their share of $250,000 in
prize money and a chance at the $350,000 Rolex Grand Slam of Eventing crown. The winning owner will be awarded
$80,000 and the winning rider will receive a classic Rolex timepiece.
The $350,000 Rolex Grand Slam of Eventing, increased by $100,000 in 2008, is awarded to any rider who wins the Rolex
Kentucky, Mitsubishi Motors Badminton and Land Rover Burghley Four Star Events in succession. In 2003, Pippa Funnell
of Great Britain, became the first, and to date only, rider to win the Rolex Grand Slam of Eventing when she completed the
sweep of the three CCI**** events to win $250,000 and a Pink Gold 18-Carat Datejust Rolex Timepiece. The prize was the
largest in Eventing history. William Fox Pitt of Great Britain won the Burghley CCI**** in England in September 2007
which began the Rolex Grand Slam series anew.
The only Four Star Event in the Western Hemisphere, the Rolex Kentucky Three-Day Event, presented by Farnam, is the
premier competition for the top horses and riders in Eventing. Past winners include United States Olympic Medalists David
and Karen O’Connor, Kim Severson, New Zealand’s Blyth Tait and Nick Larkin, Pippa Funnell of Great Britain and
Andrew Hoy and Clayton Fredericks of Australia.
Eligibility for Press Credentials
In order to be eligible to receive Press Credentials, you MUST:
1. Be associated with or on assignment for a specific publication, news service, newspaper, website or radio or television station;
2. Submit a letter of assignment, on the assigning company’s letterhead, with the request for press credentials; and
3. Submit a copy of a published article or photograph resulting from your attendance at the 2007 Rolex Kentucky Three-Day Event.
To ensure that those receiving press credentials are bona fide members of the press, and to maintain eligibility for the following
year, you MUST provide this proof of publication.
Editors assigning more than one photographer are asked to designate ONE primary photographer.
NOTE: Photographers wishing to shoot from within the show jumping arena on Sunday
will be expected to adhere to a strictly enforced dress code.
Please note that Alltech, title sponsor of the 2010 Alltech FEI World Equestrian Games, is inviting media to its 24th
International Animal Health and Nutrition Symposium in Lexington, April 20-23. Details are available at
www.alltech.com/symposium or by contacting Billy Frey at bfrey@Alltech.com.
Use Accompanying Form to Request Press Credentials
Press credentials should be requested using the accompanying form. Press admission and parking passes will be mailed to those
approved for credentials. Please mail the completed form to Classic Communications at the address on the form.
Rolex Kentucky Three-Day Event
Presented by Farnam
April 24-27, 2008
REQUEST FOR PRESS CREDENTIALS
NAME: __________________________________________________________
PUBLICATION/ORGANIZATION: __________________________________________________________
ADDRESS TO WHICH
CREDENTIALS SHOULD BE SENT: _______________________________________________________
CITY/STATE/ZIP CODE: __________________________________________________________
COUNTRY: __________________________________________________________
TELEPHONE (daytime): __________________________________________________________
FAX: __________________________________________________________
E-MAIL: __________________________________________________________
MUST BE SIGNED BY EDITOR: __________________________________________________________
(Assignment Editor Signature)
*ATTENTION EDITORS: If you are assigning more than one photographer, please designate the name of your primary photographer. You may designate
only ONE primary photographer. A Request for Press Credentials form must be completed for each person requesting same.
PLEASE CHECK ONE PLEASE CHECK ONE PLEASE CHECK IF YOU ARE
𐂅 Journalist 𐂅 Newspaper 𐂅 Radio 𐂅 IAEJ Member
𐂅 Photographer 𐂅 Magazine 𐂅 News Agency 𐂅 Editor please check if this
𐂅 Editor 𐂅 Television 𐂅 Website is your primary photographer
[ ] I would like accreditation for the Rolex Kentucky Three-Day Event and will be arriving on ____ ______.
[ ] I am on assignment for ____________________ __________________ and a letter of assignment on the
assigning company’s letterhead is enclosed with this request along with a copy of an article or published
photograph resulting from my attendance at the 2007 Rolex Kentucky Three-Day Event (if in attendance).
[ ] This is my first time covering the Rolex Kentucky Three-Day Event.
[ ] I will attend the Press Tour of the Cross-Country Course on Thursday, April 24.
Results will be available online at www.rk3de.org.
PLEASE RETURN THIS FORM WITH LETTER OF ASSIGNMENT AND A COPY OF AN ARTICLE OR PUBLISHED PHOTOGRAPH RESULTING FROM
YOUR ATTENDANCE AT THE 2007 ROLEX KENTUCKY THREE-DAY EVENT (IF IN ATTENDANCE) TO:
Classic Communications, 38 Mechanic Street, Suite 101, Foxboro, MA 02035-2042
(508) 698-6810 - phone info@classic-communications.com
PLEASE DO NOT FAX

Lenoard Lee Rue III and R. Dodge Woodson

2009-11-27T23:37:00.003-05:00

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

The World's Wildlfe Photographer--Lenoard Lee Rue III

2009-11-27T22:08:00.001-05:00

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

Contributor Tip

2009-11-27T14:33:00.000-05:00

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

2009-11-27T14:31:00.001-05:00

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

Micro Stock Agencies

2009-11-23T12:42:00.003-05:00

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

Follower's Alert

2009-11-21T23:03:00.000-05:00

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

The Publisher's Pick for Fast Photo Sources

2009-11-21T22:59:00.000-05:00

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.

Paying Market for Bird Photographers

2009-11-10T22:14:00.000-05:00

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

Using a Gray Card

2009-11-10T22:12:00.001-05:00

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.

Government Statistics for Photographers

2009-11-10T22:09:00.000-05:00

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).

Model Magic Michael's Way

2009-11-10T21:35:00.009-05:00

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

Sell Stock Photos--Name Your Price-- With No Commission

2009-11-08T23:39:00.003-05:00

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

2009-11-08T23:31:00.000-05:00

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

2009-11-08T23:25:00.001-05:00

Stop into our affiliated e-commerce site and check out what the site has to offer.

www.ccionlinesales.com

Photographers wanted for book project

2009-11-08T23:23:00.000-05:00

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

2009-11-08T23:20:00.000-05:00

Rob Anderson is going to show us how to take a photo and do this to it in an upcoming edition of World Images Today.

RDW

Sigma Lens News

2009-11-08T23:19:00.000-05:00

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

Make part-time money with dating head shots

2009-11-08T23:16:00.000-05:00

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

Watch out for this software company

2009-11-08T23:15:00.001-05:00

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

Look at what people are saying about WPO

2009-11-08T23:13:00.000-05:00

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!

Canon D7 news

2009-11-08T23:11:00.000-05:00

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.

Wow Photo Book

2009-10-21T10:49:00.002-04:00

I am now accepting submission requests for photographers who have images that are fitting for a new book that Lone Wolf and WPO are doing together. This book is a WOW! book of photos. Contributors don't have to be pros, but the images must be pro quality. Write me at publisher@wpomembers.com for more details.

R. Dodge Woodson

Picture Social

2009-10-21T10:47:00.002-04:00

My experience with Picture Social continues to be exciting and fulfilling. Those of you who know me are aware that I am not one to join groups and I certainly don't give positive reviews that I don't believe in. So far, PS still gets a 9 out of 10 on my rating. A real-time, IM setup would be an improvement.

Dodge

Photography resources and contacts

2009-10-16T22:27:00.001-04:00

Photography Resources

Photo Forums
http://photo.net/
http://photography-on-the.net/forum/
http://www.dpreview.com/forums/
http://www.openphotographyforums.com/
http://forums.popphoto.com/
http://www.thephotoforum.com/
http://www.openphotographyforums.com/forums/
http://www.naturephotographers.net/rf.html
http://www.asiaphoto.com/forum/
http://www.naturescapes.net/docs/
http://www.photolinks.com/Photography_Newsgroups_Forums.html
http://www.freephotogallery.info/photo_forums_and_chats/
http://forums.qj.net/photography-forums/
http://www.usphotoforums.com/
http://www.nikonians.org/
http://www.phototakers.com/forum/
http://forums.powershot-a.com/
http://www.clubsnap.com/forums/forumdisplay.php?f=39
http://www.dpreview.com/forums/forum.asp?forum=1010
http://www.big-boards.com/highlight/1423/
http://www.outdooreyes.com/
http://www.ultimatenaturegear.co.uk/forum/
http://birdphotoph.proboards.com/index.cgi
http://www.birdingtop500.com/index.php?a=stats&u=pbp
http://www.birdforum.net/
http://www.macrophotography.org/
http://photography-on-the.net/forum/forumdisplay.php?f=38
http://www.fredmiranda.com/forum/board/45
http://www.worldphotographyforum.com/forumdisplay.php?f=7
http://www.wildaboutbritain.co.uk/forums/wildlife-photography/369-macro-photography.html
http://www.sportsshooter.com/
http://forum.digitalcamerareview.com/showthread.php?t=754
http://www.thephotoforum.com/forum/
http://ilovephotography.com/forums/
http://www.aristoncollanderphotography.com/blog/photography/the-best-portrait-photography-forum-posts/
http://www.luminous-landscape.com/forum/
http://www.outdoorphotographer.com/forums/viewtopic.php?f=6&t=2513
http://www.californiaphotoforum.com/forum/f74-california-photography-organizations.html
http://www.travellerspoint.com/forum.cfm?thread=786

Stock Photo Calculator
http://photographersindex.com/stockprice.htm

Currency Calculator
http://www.x-rates.com/calculator.html

Self Publishing
http://www.lulu.com/
http://www.iuniverse.com/
http://www.selfpublishing.com/
http://www.authorhouse.com/
http://www.booksurge.com/
http://book-publishers-compared.com/

Free Photo Forms
http://www.reedservices.com/standard.htm

Photo Magazines
http://www.naturephotographers.net/
http://www.world-newspapers.com/photography.html
http://www.photosecrets.com/links.magazines.html
http://www.shutterbug.com/
http://www.bobatkins.com/photography/magazines/
http://art-support.com/magazines.htm
http://www.magazines.com/category/photography
http://www.acecam.com/magazine.html
http://www.bjp-online.com/

Getting Published
http://www.tide-mark.com/photo_guidelines.html
http://www.outdoorphotographer.com/submissions.html
http://www.tfhmagazine.com/inside-tfh/photo-submission-guidelines/
http://www.arizonahighways.com/static/index.cfm?contentID=775
http://www.santafephotogallery.com/?p=submission_guidelines
http://cbs2.com/photosubmissionguidelines
http://www.birdersworld.com/brd/default.aspx?c=a&id=112
http://www.weather-calendar.com/guidelines.html
http://www.birdwatchersdigest.com/site/bwd_corporate/sg_photo.aspx
http://www.dfg.ca.gov/ocal/submit.html
http://www.miamicountyin.gov/PhotoSubmissionGuidelines.htm
http://www.mynorth.com/My-North/Contact-Us/Photo-Submission-Guidelines/
https://www.wsorrailroad.com/gallery/submission.html
http://www.onegate.com/go/og/text-services/onegate-photo-submission-guidelines/

Stock Agencies
http://www.shutterpoint.com/Photos-Guidelines.cfm
http://www.photographersdirect.com
http://www.gettyimages.com/
http://www.tssphoto.com/
http://www.magnumphotos.com/Archive/C.aspx?VP=XSpecific_MAG.AgencyHome_VPage&pid=2K7O3R1VX08V
http://www.betterphoto.com/forms/linkAll.asp?catID=43&pageID=1&rows=30

Photography Organizations and Associations
http://www.wpomembers.com
http://www.ppa.com/
http://www.asmp.org/
http://www.apanational.com/index.cfm
http://www.editorialphoto.com/
http://www.wpja.com/for_the_photographer/join_wpja_organization/
http://www.freephotogallery.info/photography_organizations/usa_/
http://www.freephotogallery.info/photography_organizations/
http://www.irishphotographers.com/
http://www.thempa.com/
http://www.photoshopuser.com/
http://ppaofpa.org/
http://www.nanpa.org/

Resources
http://www.landscape-photo.net/
http://www.xeromag.com/fvresrc.html
http://mashable.com/2007/06/23/photography-toolbox/
http://www.photography-world.net/
http://www.eos-pro.com/photography/all
http://www.naturescapes.net/store/product.php?productid=150
http://www.photographydirectory.org/
http://book-publishers-compared.com/

Photography Travel Information
http://www.infocustravel.com/
http://www.travel-destination-pictures.com/
http://www.fostertravel.com/MENUSHO.html
http://arizonaphotographyworkshops.com/AZ1/Home.html
http://www.2adventure.com/
http://www.ecophotoexplorers.com/travel.asp
http://www.4x4wire.com/destinations/

Macro Photography Sites:
Macro Photography for beginners - Tom Hicks offers a series of tutorials and tips for beginning macro photographers.
Wonderful Photos: Macro Articles - Some of the best Macro Photography articles on the WEB!
Dalantech's Blog "No Cropping Zone" - No Cropping Zone Macro Photography Explained.

Bug Identification Sites:
What's That Bug? - When not online, Whatsthatbug is in the garden researching your bug questions.
BugGuide - Identification, Images, and Information For Insects, Spiders and Their Kin.
North American Insects and Spiders - Explore over 6,500 closeup pictures of live, wild insects and spiders with descriptions and taxonomy.

Photography-related Newsgroups:
1. rec.photo.moderated - Messages herein screened for content
2. rec.photo.film+labs - Discussions of film and lab
3. rec.photo.darkroom - Discussions of darkroom techniques
4. rec.photo.digital - Discussions about digital photography
5. rec.photo.equipment.35mm - 35mm photography equipment
6. rec.photo.equipment.medium-format - Medium format photography
7. rec.photo.equipment.large-format - Large format photography
8. rec.photo.equipment.misc - All other photo EQUIPMENT discussions
9. rec.photo.marketplace - For sale, wanted, etc.
10. rec.photo.technique.art - Artistic photography
11. rec.photo.technique.nature - Nature photography
12. rec.photo.technique.people - Photographing people
13. rec.photo.technique.misc - All other photographic TECHNIQUE discussions
14. rec.photo.misc - All other photography discussion not covered in the above groups

Miscellaneous Photography Links and Resources
• Digital Photography - Digital Photography Resources
• Fine Art Photography - Fine Art Photography Resources and Galleries
• Landscape Photography - Resources and Galleries for Landscape Photography
• Macro Photography - Macro Photography Resources
• Nature Photography - Nature Photography Resources
• Other Resources - Other Resources
• Panoramic Photography - Panoramic Photography Resources
• Photograph Creativity - Websites that are for showcasing your photographs.
• Photographer Galleries - Photographer Galleries • Photography Blogs - Photography Blogs
• Photography Contests - Submit your photography and illustrations to win contests and prizes.
• Photography Forums - Photography Forums
• Photography Gear - Photography Gear Resources
• Photography Software - Photography Software Resources
• Photography Techniques - Photography Techniques
• Professional Photography - Professional Photography Resources
• RAW Photography - RAW Photography Resources
• Stock Photography - Stock Photography Resources

Macro-Photography
Macrophotography.org
Medium Format Macro

Agfa's Close-up Photocourse
John Shaw's Flash Technique

Macro With a CoolPix 995
More Beginner Information

Macrophotography Intro
Insect Macro Photography

Digital Information
Digital Workflow Shortcomings
Photoshop Curves How-To

Digital Preview
Digital Camera Tips

Steve's Digicams
Choosing a Digital Camera

Photoshop Curves Primer
10 Tips on Picking a Digicam

Photography Workshops
Maine Photographic Workshops
Nikon School

Sante Fe Workshops
Howard Bond Workshops

Great Lakes Institute of Photography
Gerlach Nature Photography

Rod Planck Photography
Larry West Workshops

Trail cameras for wildlife photographers

2009-10-16T22:26:00.000-04:00

Trail Cameras
R. Dodge Woodson

I looked into trail cameras recently. My son wanted on to monitor our woods with, and I thought it might put a new spin on my wildlife photography. No, I am not suggesting that anyone use trail cameras to capture wildlife photos for sale or display. The pictures you get, however, can put you in the right area with your wildlife gear.
Much of the time spent afield by wildlife photographers to establish details on their intended subjects. Granted, kicking around the woods is a great way to spend a day. But, if you have limited time and need some specific wildlife images, a trail camera can be a big help.
Let’s use my land as an example. I have well over 100 acres for critters to live in. Where are they? What watering locations are they using? Is there a particular area where they are feeding? All of these questions can be answered with the application of good woodsman skills, but a trail camera can tell you more in less time.
Let’s say that I know a large whitetail buck is walking a particular old woods road. His tracks show me where he likes to get his water from. I can estimate his weight from the depression depth of the tracks, but how big are the antlers? Try figuring that one out with basic tracking and hunting skills.
A trail camera can capture a picture of my wandering buck and I will be able to see precisely how many points can be counted on the animal’s rack. Ah, how could it get any better than this? Well, believe it or not, it can.
Imagine that you are in your office making deals. As you talk on the speaker phone, read some briefs, and toy with your computer, you are shaken back to attention by a passing bear. What? A bear at your office? Not quite. The bear is on a live feed on your computer monitor. That’s right, your trail camera has a video feed and has locked onto a strolling bear. The trail cam sends a signal to a modem. Then the modem uses a cellular connection to send the video footage to your computer. You are talking about selling a hotel and watching a bear walk along your favorite game trail at the same time.
Okay, enough of setting the stage. Let’s take a look at the pros and cons of trail cameras. Our goal here is to look at them as tools for wildlife photographers who have limited time to spend in the field.

How Many Megapixels?
What kind of quality can you expect from the various types of trail cameras? Each camera has its own features and benefits. Price is usually a factor in quality, and there is no exception here. If you want to spend top dollar, around $380, you can get a camera with a 7 mp rating. Want more? Spend $650 and you can get high definition. On the low end, you can spend $90 for a camera with 2 mp. The surveillance systems give 1.3 mp for $600. A still camera that provides 1.3 mp is $450. From what other owners have told me, cameras with 4 megapixels get the job done well and more megapixels does better. No surprise there.

How Tough?
How tough does a trail camera have to be? The quality of the lens is always important, as is the overall performance of a camera. Trail cameras are forced to endure some tough times. They get rained on, caught in high winds, bounced around, and worse. Look for a camera with a solid encasement.
One complaint I have heard of often is the attachment system between some cameras and their source of stability, which is usually a tree. Many users have experienced broken straps. I suggest that you look each camera you are considering over closely to see that their means of attachment will be dependable. You don’t want a $400 camera falling into a trail only to be walked on by a moose.

Won’t Someone Steal The Camera?
It could happen. Containers are made to protect cameras from pawing bears and such, but I doubt that any of the protection against humans would be effective. The best means of security is concealment. Get creative with some natural cover and make the camera housing melt into the background.

What’s The Difference Between IR Cameras and cameras with Flashes?
Price is the first difference that you may notice. It is common for cameras with white flash to cost less than infrared (IR) flash. The reason is simple. When a common flash fires, animals can see the light. When an IR flash fires, the beam is not visible to the animal. Smart, old animals will quickly learn to avoid areas that flash at them.
The distance that a flash covers varies greatly with trail cameras. An average distance is probably 35-40 feet. Some only reach out to 20 feet and others go out to 60 feet. The one I ordered covers 50 feet with an IR flash.

What Else Should I Look For In The Comparison Of Trail Cameras?
When I started looking for a good trail camera I figured it couldn’t be too tough for a pro photographer to pick out a viable camera. Let me tell you, trail cameras are not as easy to decide on as a Canon 5D MarkII.
My quest took me to 25 different trail cameras. Of these, there were 10 different brands. I had my work cut out for me. A lot of information was available through Internet searches. The best overall comparison I found for trail cameras was at Cabelas, www.cabelas.com. Check out the list below to see some other features to consider when buying a trail camera:

• Power Source
• How Many Batteries Are Needed?
• Does The Unit Offer Video Options?
• Can The Camera Be Powered By A Solar Panel?
• Does The Camera Have Built-In Memory? If so, how much? (16-32 mb is common).
• Will I Have A Viewer Built Into The Camera?
• What Is the Unit’s Memory Card Capacity?
• How Fast Can The Camera Fire?
• How Many Bursts Can The Camera Shoot?
• At What Temperature Ranges Can The Camera Function?
• What Do You Get As A Warranty?
• And, Of Course, How Much Does The Camera Cost?

There You Have It.
Well, there you have it. You can spend less than $100 or more than $700 for a camera. There are a few good ones available for less than $200. Until you start spending upwards of $225, don’t expect a lot of bells and whistles or long-term toughness.
I spent a lot of time compiling all of this information is my search for a suitable trail camera. Hopefully, you will find the data useful. If you enjoy wildlife photography, a trail camera might be your best next investment
RDW
www.wpomembers.com
www.rdodgewoodson.net
Life is good when seen through a Canon® L lens.

memory card storage

2009-10-16T22:25:00.000-04:00

SanDisk Memory Cards

Have you seen or heard about the new memory cards being offered by Sandisk®? When I first saw them I had to do a double take. The performance is incredible, but the price is high.
The Sandisk® Extreme Speed Pro® 64 gb can provide 90mb per second in writing speed. The card is provided with added protection from moisture and humidity. Temperature ranges of performance range from 13ᴼF to 185ᴼF. The price on this powerhouse will knock you out. How about $700? That’s about what you are looking at.
Would you like a cheaper alternative? Look into the 32 gig model. It is not as fast, but it still writes at a speed of 60mb per second. This card can make the images from a DSLR fly onto your hard drive. This one will set you back $440.
There is also a 16 gb model available at a price of $260.
I like using multiple, smaller cards in the event that a card goes rogue. If you prefer a single disk to keep up with, any of these are good choices. I would probably choose the 32-gig model.
RDW

Building a camera system

2009-10-16T22:22:00.000-04:00

Building A Camera System
R. Dodge Woodson

You don't have to be a professional photographer to benefit from a component system. But, if you want to become a pro, you have to go this route. What is a component system? It is a group of photography equipment that makes up a viable tool for handling a variety of photographic situations. At the least, it is a camera body and some interchangeable lenses. It can include independent light meters, filters, flash units, and much more. When you get into component systems, you are stepping up in price, but you can build these systems over time without breaking your bank account. If you are truly serious about wanting fantastic photos, this is the only way to go.

One Size Does Not Fit All
When you shop for a camera system, you should approach your selection process in much the same was as you would buy clothes. The gear you get has to fit and feel right. Camera designs vary. Some are more comfortable than others. Finding just the right fit is an individual thing. What works great for one photographer may not work well at all for another. You have to handle different brands and types of equipment to find what is right for you.

Most serious photographers start with 35mm systems. A few jump right into large format cameras, but they are the exception, rather than the rule. When I say this, I'm talking about serious amateur photographers. A good number of professionals start off with large-format equipment because it provides them with definite advantages in some types of work.

Medium-Format
Medium-format cameras are used to take professional pictures at weddings and in studio settings. The big advantage is the size of the negative. It is considerably larger than its 35mm cousin. This makes retouching and cropping easier. If you plan to get into darkroom work and super high-quality portraits, a medium-format system is the way to go. Most photographers, however, are better served by the versatile 35mm system.

Pick A Brand You Can Stick With.
When you choose a particular brand of camera to build a component system around, you must be judicious. Once you start with a brand, you should stick with it. There are many brands of cameras available that will give you professional-quality photos. Some brands offer more lenses and accessories than others do. This is important to a person who is building an extensive system.

When I think of professional 35mm equipment, two brand names come to mind. Other manufacturers of 35mm equipment get some professional attention, but there are clearly two, or maybe three, leaders. In medium format equipment, one name is king, while others are also respected. You don't have to buy into the best-known brands to get good service and quality, but it doesn't hurt. The important thing is to pick a brand that you can grow with.

How will you know what brand of camera to work with? Many factors may play a role in your decision. The amount of money you are willing to spend for various types of equipment is one consideration. Top-notch names command big prices. You can go with a lesser-known name and get good quality for a lower price. But, make sure that your budget-minded camera has enough lenses and accessories available to keep life interesting as your skills and interests grow.

My first 35mm camera was a Minolta®. It was a good camera that gave me thousands of wonderful pictures. This brand is respected among professionals and it offers a wide variety of options for building a component system. When I grew into a new level of photography, I switched to Canon® equipment, which I still use today. I love it! Canon is a major contender in the professional market. Over the years, I've spent well over $10,000 to develop my system. Nikon® is known for its reputation among professionals. The name is almost synonymous with professional. Any of these brands will provide you with more options than most people can afford to buy. And, there are other good brands, like Olympus®, to choose high-quality products from.

Before you buy a camera body, research your options. Look at a listing of what accessories are available within the brand. Check prices on the various brands. If you can see that there is a depth of support accessories and that you are comfortable with the price ranges, you're well on your way to picking a brand. Handle various cameras and operate them in the camera store. Have someone at the store run through all of the controls with you. Once you buy your first camera body, you are setting the tone for your entire system. Don't do this until you are sure that you like the brand.

Lens Quality
Generic lenses can be used on most camera bodies, but this is somewhat self-defeating. Why pay a small fortune for a professional camera body and then attach a dime-store lens to it? This doesn't make sense. Your lenses have a tremendous impact on the quality of your photographs. Try to keep all of your purchases within the same brand. This will normally produce the best results.

A lot of people don't know what type of camera they want even after buying a new camera. If you haven't been shopping yet, I can tell you that cameras aren't cheap. Maybe you know some people who have cameras. These individuals would probably be glad to share their experiences with you. Ask if you can go with them on their next photo excursion. Some photographers are very protective of their stuff, so don't stand too close when you ask. Using the equipment of other people under real photography conditions is an excellent way to pinpoint your needs and desires.

Used Equipment
Cameras are like cars in that they are very expensive when new and lose a lot of value once they are used. Some types and brands of cameras hold their value very well, but most don't. If you are willing to buy used equipment, you can save a ton of money. Well, maybe not a ton, but a lot. It's likely that you will pay half-price, or less, when buying used equipment. There are some risks involved with the purchase of broken-in gear. Notice I said broken-in, not broken-down. Let's talk about some of them.

There are three basic ways to acquire used photography equipment. You can consult one of the many mailorder advertisements, go to your local camera store, or watch classified ads where individuals are selling their old equipment. If you are dealing with a reputable company, you should gain some protection from cameras that are duds. Buying person-to-person doesn't afford this protection.

If you know enough about the type of gear that you are buying, you can test it before purchasing it. Since you may not yet have this type of knowledge, a reputable dealer who sells used equipment is probably your best bet. Dealers charge more than most individual sellers do, but you should be getting some peace of mind for the higher price you pay.

Regardless of who you are buying from, get a full demonstration of the equipment before you hand over your cash. Ask for all manuals and documentation that should accompany the camera and accessories. If no documentation is available, you might want to pass on the sale and continue your search. It may be possible to order new manuals from the original manufacturer, but don't count on this being the case. Used equipment provides an economical and sensible way to enter the field of photography, but make sure that what you are buying is in good working order.

Choice of Champions
The most versatile type of camera that you can buy is a 35mm format. You can do almost anything with this type of rig. Large- and medium-format cameras have certain advantages over 35mm units, but the handy 35mm is, by far, the more popular. This popularity is well founded.

What makes the 35mm system so desirable? It is light in weight and easy to use. The cost of 35mm equipment is much less than that of larger formats. You can equip a 35mm camera body with a wide-range zoom lens and meet most of your photo needs without ever changing lenses. Many zoom lenses incorporate a close-up feature in the lens so that you can shoot anything from insects to airplanes with the same lens.

If you want to get serious about photography and build a component system, the 35mm format will most likely be the best choice. As long as you buy into a major brand name, you will find a seemly endless supply of accessories to add to your collection. Gee, I wonder if manufacturers planned this?

Start with a camera body that accepts interchangeable lenses. Add a zoom lens, and get a protective filter to cover each lens you buy. It's much better to have an inexpensive, replaceable filter take the knocks and scratches that are common with some types of photography than it is to damage an expensive lens. If your camera doesn't have a built-in flash, buy a small electronic flash to compliment your system. This is all you need, in terms of hardware, to get started in taking serious photographs. You can add more to the system as you define your needs through experience.

Remember, the camera body is the foundation of your system. The body you buy will play an important role in the development of your overall system. Once you know what you want to do and which brand you prefer, buy the best body you can. Cutting corners on a camera body will hamper your growth as a photographer.

Buy well, shoot often, and enjoy the wonderful world of photography.

R. Dodge Woodson is the founder and publisher of World Photographers Organization, a group of photographers from point-and-shoot snapshooters to pros who spend close to $10,000 for a single lens. Photography has been his passion for close to 40 years. Woodson is an internationally-known, best-selling author and photographer with more than 100 books published by major publishers. Presently much of his writing in both E-books known as Book Busters and Ready Reports is available through Creative Consulting, Inc. at www.ccionlinesales.com, including his most recent book: Maine Unseen: A Photographic Experience That Few Witness.

Picture Social

2009-10-16T19:52:00.004-04:00

It has been a busy few weeks. I have been finalizing the remodeling of three websites. One is our e-commerce store, CCI Online Sales (www.ccionlinesales.com). There is a lot of product and information on that site. I had to enter it all, so I know. There is even a place to sell some stock photography.

Activity at Picture Social, the official off-site meeting place for WPO members, is picking up rapidly. This is one heck of a good site to be a member of.

Another site I was completing was www.rdodgewoodson.net. This gives the public a look at me, R. Dodge Woodson, the man. It exposes much more about me than I have allowed into the public eye before now. Why did I do this? Now that I am going into semi-retirement, I don't feel the need to play hardball.

Now this site, World Photographers Organization (www.wpomembers.com) has been a real pain in the butt to get done. Just when we thought it was done, there was something else to do. Some of the key elements to World Photographers Organization include:

Pro Pointers
Photo contests
Press credentials
A chance to email pro photographers for advice
A free ebook, which is a Book Buster entitled Photographers Career Guide.
Then there are the private sections for Premium and Gold members.
The official magazine, World Images Today can be seen as a sample copy.
There are Internet resources
Photography reviews, and much more.

I looked high and low, and I found no other outfit like World Photographers Organization. I will fill you in more about this at another time.

Dodge

Our latest book is now available!

2009-09-25T18:44:00.002-04:00

Here 18 Maine photographers came together to give people a view of Maine that is rarely seen by tourists and not always noticed by natives. This comprehensive paperback coffee-table book documents wildlife, landscapes, nature, macro photography, and much, much more.

You can get your copy at: www.wpomembers.com or www.ccionlinesales.com. It is also available at all major book stores.

RDW

2009-09-25T18:26:00.002-04:00

Well, I resisted it for a good while. Sort of like I did computers and digital cameras, but I have now joined Linkedin and have 30 connections. I also got into FaceBook a little. Twitter and I tweeted. So much social stuff to keep up with for an old man who lives in the woods with his wife and dogs.

RDW

Pheasant Hill Forest

2009-09-15T15:44:00.002-04:00

Pheasant Hill Forest
Bowdoin, Maine

What does Pheasant Hill Forest have to do with photography? Much more than you might think. This piece of land is approximately 150 acres of Maine woodland. There is over 1,000’ of stream frontage, at least 2 beaver ponds, mixed trees in the forest, and varied topography. Wildlife photographers, nature photographers, and macro photographers love this site.

What types of animals have been confirmed on the Hill? The list I am about to create is from memory, there are probably more animals seen and photographed than are mentioned here. Forest inhabitants include the following:
• Whitetail deer Moose Wild turkeys
• Coyotes Bobcats Lynx
• Porcupines Red squirrels Gray squirrels
• Cottontail rabbits Snowshoe hares Minks
• Red-tailed hawks Beavers Skunks
• Muskrats Fishers Raccoons
• Bald eagles Foxes Many types of owls
• Wood ducks Osprey Great Blue Heron

The list above is a short one compared to all that is native to Maine. For example, cougars are said to roam the woods of Maine. I did find and photograph a cougar track one year. I have listed the above just to give you an idea of the wildlife that the area supports.

When it comes to flora and fauna, it is magnificent and ranges from wetland ferns to heirloom columbine and lady slippers.
Insects, reptiles, amphibians, and other creates crawl, fly, or hop through Pheasant Hill Forest.

What does any of this have to do with you?
I bought this land to prevent it from being developed into house lots. There is much development in the general area, and I wanted to maintain a wilderness area. I have ridden about 7 miles on my 4-wheeler without seeing a person or a house. The land has been selectively cut as recommended by a registered forester to keep the forest healthy and growing. Trails meander and wind through acres and acres of woodlands.
It is not uncommon to see a horse and rider from time to time. You will also encounter some traffic from 4-wheelers and an occasional 4-wd truck. All and all, this is about the most wilderness that you are likely to find that is within 18 miles of cities and towns.

I bought the land to protect it and to leave it to my children when my days of caring for it are done. The land is also meant to be used by naturalists of various types. Members of World Photographers Organization are welcome on the land. They can camp on the land if they like, and there is no shortage of photographic subjects.
I am not sure how much longer I can keep the property with the economy being what it is, but I will keep and improve it as long as I can. There is a mortgage on the land and upkeep can be expensive, but I love it and want to share it with other serious photographers.

If you are around Brunswick, Maine, Augusta, Maine, or the Lewiston-Auburn Maine area, you are only about 30 minutes away from Pheasant Hill Forest. Should you like to visit it, email me for advance notice at lonewolf@lonewolfent.net. All I ask of those I allow on the land is that they do no harm.
RDW

You Might Not Be Cutout To Be A Photographer When...

2009-09-13T18:41:00.001-04:00

Dr. Dodge says" You might not be cutout to be a photographer when you ask your photography instructor to show you where to put the film in your new digital camera."

RDW

Bird Photography

2009-09-12T21:32:00.000-04:00

Active Market Tip

Here are two markets for photographers interested in bird photography:

http://www.birdwatchersdigest.com/site/bwd_corporate/submissions.aspx

http://www.birdersworld.com/brd/default.aspx?c=a&id=574

RDW

Digital Cameras With A Conversion Factor

2009-09-12T21:28:00.001-04:00

Most digital cameras, until you get into full-frame models, have a conversion factor. A 100mm lens will appear to be a 160mm lens when used on these cameras. I pulled a Pro Pointer out of World Impact Today that I hope will explain this adequately.

Pro Pointer

How does the conversion factor that I have heard about for some digital cameras affect lens performance?

Assume that you have a standard 50mm lens. On a 35mm film camera, the lens works as a 50mm lens. With expensive digital cameras that have full-size sensors the lens will work as a 50mm lens. It is when you buy a less-expensive digital camera that the conversion factor kicks in. If a digital camera is not a full-frame model, and most affordable cameras are not full-frame, you have to use a conversion factor of 1.6 for each lens.
A 50mm lens X 1.6 equals an 80mm lens. This means that your 50mm lens will magnify the image like an 80mm lens would on a full-frame camera. A 300mm lens would provide the same basic view of a 480mm lens.
All you have to do is take your lens size and multiply it by 1.6.

Words Can Help Sell Your Photos

2009-09-12T21:24:00.001-04:00

Writers: Sell Your Life Experiences
R. Dodge Woodson

Have you ever read an article or a book and found the writing style to be awkward? Did it appear that the author was standing outside the circle of knowledge and simply reporting facts? This is too often the case when writers gain their subject matter solely from research.
Authors who know their subjects convey that confidence in their writing. Far too many novice writers seek publication with topics that they do not understand fully. There is no need for this. You can do very well by writing about what you know.
People have varied backgrounds. While I might write about fly fishing, you may be more comfortable publishing a piece on skiing. It would not make much sense for us to swap topics. Both pieces would come off as cold research.
When you know your subject matter first- hand, your writing can be both conversational and informative. This is a sign of an accomplished non-fiction writer. What is your favorite hobby? Why not write a compelling article about it? You could write about your job, your experiences in college, or your love of gardening. Stick to what you know, and your writing career is far more likely to blossom.

Writing a Book
Writing a book is a big undertaking. If you have not been published previously, I believe that you should cut your teeth on articles. It is much easier to prepare a manuscript of 2000 words than it is to prepare one of 100,000 words for a book.
Book authors are expected to be experts in their field. If you do enjoy expert status, a book project might be right for you. There are several different opportunities for authoring a book. You can go for a book that will be published by a mainstream publisher. Expect this to be a difficult deal to make. Competition for large publishers is immense. Your credentials for writing a book have to be outstanding for a publisher to offer you a contract.
Many large publishers will not work directly with writers. These publishers want to deal with literary agents. The problem a budding author faces is that agents want published authors to represent and publishers want agented writers to publish. If you write how-to books for consumers, you are far less likely to need agency representation.
Modern technology makes it possible for writers to self-publish with either E-books or print-on-demand (POD) books. There is a lot more to this than just writing a book and sending the manuscript to a printer or burning a PDF.
Good books require professional editing, page composition, proofreading, art manipulation, indexing, and cover design. Most individuals cannot afford to pay for all of these professional services. But if you cut corners on your publication it will show.
Books are big-ticket items. Articles are much easier to break into and much more accessible to unknown writers.

Articles
Articles used to be published mostly by newspapers and magazines. It could take a year to see your work in print in a magazine. With online articles, you can be up and running as a published author in one day. The credibility is not the same, but published is published, and it all helps. New writers need examples of their work, and online articles are a great place to get your feet wet.
Article length generally ranges from 750 to 2000 words. Magazines seem to be paying an average of 10 cents per word. Some magazines pay thousands of dollars for articles with photos included, but the heavy-hitting pros are pounding this market.
How much will you make from an online article? You are not likely to see much income from your writing effort. However, the exposure these articles bring you and your website can be very valuable. This is a side benefit of gaining experience and building your portfolio of sample works.

Life Experience
Whether you choose to write articles or books, concentrate on your strengths through life experience. Make your readers feel as if they are sitting across a table from you exchanging information. Endear yourself to your readers. Believe in what you are writing. It will show in the finished work. Concentrate your efforts on topics that you have a passion for and tell your stories from the heart. Don’t make the writing too flowery.
Remember that you are talking in a normal conversational tone to an old friend on the other side of your words. You are not writing a press release for the Department of Tourism.

Okay, Where Do I Sell My Work?
Selling your work and seeing your work published are two very different goals. Magazines are known for “paying” rookie writers with copies of the magazine where the article is published. This doesn’t put food on the table, but it is a strong step in building a foundation as a published author.
You can do online research to see which magazines are buying articles and what they are paying. For example, if you are into fishing, check out all the fishing-related magazines for opportunities. Don’t hold out for big bucks in the beginning; be happy with getting published.
Online articles might not pay you a penny for your submission, but the exposure can be very valuable down the road. These articles tend to be short, and you can get some much-needed experience while seeing your byline almost right away.
If you have a full book project in you, check online for publishers that publish the types of books that you want to write. You can do this at online book stores. Type in “fishing” and look to see who published the books listed. Then find the publishers and learn about their submission guidelines. Expect a lot of rejection here, but one win is an awesome experience.

Lone Wolf Enterprises, Ltd.

Lone Wolf Enterprises, Ltd. (www.lonewolfent.net), is both a book producer and a book publisher. Personally, I have written more than 100 books for major publishers and dozens of magazine articles. My team produces professional reference books for major publishers. I got started writing articles in 1991 and created Lone Wolf in 1996. In the publishing world you have to build a track record and network your contacts to be successful.

Changes in the Internet
Changes in the Internet created tremendous change in the old-fashioned style of publishing. If you are just getting started, this could be the perfect time for you. Old graybeards like me have trouble transitioning from traditional publishing to modern publishing. Fortunately, you will be getting in near the ground floor, and with enough effort and ability your writing future should be quite bright. Now stop reading and start writing!

R. Dodge Woodson has been a professional photographer for more than 30 years. He is the author of more than 100 books and the founder and publisher of WPO

RDW

Photographers Wanted

2009-09-12T21:13:00.003-04:00

We are looking for photographers to contribute to a photo book on a specific region. For example, we just got Maine Unseen:A Photographic Experience That Few Witness in from our printer this week.

I would like to eventually do a book on every state. We will need around 30 photographers for each book. I am lining up photographers for future books now. If you would like to be included in the opportunity, there is NO COST to you, let me know and I will put you on our list for when we have enough photographers for your region.

RDW

Photographers and writers

2009-09-12T21:11:00.002-04:00

Active Market Tip

This is an excellent hookup for writers, photographers, and publishers:

http://www.freelancewriting.com/guidelines/pages/

I put this in the Sept. Issue of World Impact Today. It holds value to photographers and writers.

RDW

Photography site that is worth a look

2009-09-12T21:06:00.001-04:00

This is a site that I ran across and used as a Pro Pointer in this month's edition of World Impact Today. It is a handy site for photographers. http://virtualphotographystudio.com

RDW

Picture Social

2009-09-10T14:52:00.002-04:00

I am new at this whole blog thing. As an old dog, I have to work a little harder to learn new tricks. During my education, I found a terrific site for photographers. It is www.picturesocial.com. I am a member there and the site contains a group called World Photographers Organization. Stop in and join us.

I also encourage all photographers and potential photographers to visit the main World Photographers Organization site at: www.wpomembers.com.

R. Dodge Woodson