Photography Blog

John M. Lund asked:




Your life can be a great source of inspiration for your stock photography.  I am going to provide a number of examples of how I have used my life experiences including visits to the doctor and even my own surgeries to directly benefit my stock photo career.

Stock pictures are all around us, but often we just fail to realize it.  If you can stay aware and observant you will find your own life can provide some great inspiration, locations, models and more.

 

Medical Operations Provide Inspiration and Locations

A few years ago I had to have the meniscus cartilage in each knee operated on.  On my left knee I had a meniscus repair; that is the tear in my cartilage was sutured back together.  My right knee simply had the torn portion of the cartilage removed.  I asked the surgeon if it would be OK if I had my assistant photograph the operation.  He agreed and I ended up with some good medical stock photos without having to pay models or location fees (OK, the operation did cost me $10,000.00.oh well!).

The same doctor had his own physical therapy facility for the rehabilitation of his patients.  I asked him if I could use the facility for a stock shoot in exchange for his use of some of the photography.  Again he agreed.  We used several of his staff for models. They both kept an eye on the facility and provided accurate physical therapy information and poses.  The shoot worked out great and our physical therapy stock photos sell extremely well.

In yet another medical example, a year ago I ended up having an emergency abdominal operation.  No time to set anything up with that!  But I ended up having an incisional hernia from the first operation.  Once again, I managed to talk the hospital and surgeon into allowing me to not only have my operation photographed, but videoed as well!  Those images are now up on Getty and the first sales have started coming in.

Offices Provide Great Opportunities to Add To Your Business Stock Photo Collections 

A different opportunity came to me when I dropped off some work at an Art Director’s office.  It was a great office and I asked her if we could use the office for a stock shoot.  She agreed and even ended up as a stylist on our shoot.  We shot for three days in the offices and got everything from the lunchroom to the board room to an office fit for any CEO.

Less than a year ago I found myself in a meeting with my fellow Blend Images photographers. I had my camera with me and during the breaks was shooting mainly for fun.  Fun or not, back in my own studio, when I edited the images, I was happily surprised.  I ended up getting a number of those images, primarily out-of-focus shots of my fellow shooters, into Getty images and I am happy to report that they are making sales.

These are just a few instances where what was going on in my life provided inspiration, locations, and material for my stock shoots.  If you keep aware of the fact that your life experiences can provide material for your stock shoots, and you aren’t afraid to dive in and make it happen, your life can truly boost your photography career!

Jackie Johnson asked:




Digital cameras have increased in popularity, which means that there are a lot of people that own one that do not know how to use it. Because of that, many people are choosing to enroll in photography courses in order to learn how to use their camera in a suitable way. Not all classes are the same, though, and it is important for students to know what they need to get out of a class before they enroll.

First, it is important that a class allows students to be able to use their own vision when taking pictures. Students should be encouraged to use their own voice in the process. The personality of the student should be able to reflect in the picture. That will allow students to own their pictures in a way that they would not be able to if they were only using the vision of their instructor.

Classes should also be easy to understand. Beginners are not going to know all of the language that goes into taking pictures. Instead, they will need something that they can grasp onto. Photography courses that use difficult language are not going to be beneficial to the students. Instead of learning, students will have to attempt to figure out what their instructor is talking about.

A professional instructor is also important. Some classes are taught by people who do not have the experience needed in order to teach the class. Students are not able to adequately learn what they need to learn when taking such classes. That means that it is important to take a class that is taught by a professional.

Students should be able to see samples of the pictures the professional has taken before they enroll in the class. That will show them that the instructor has the skills necessary to teach them in the way that they wish to be instructed.

Another thing that people should look for when comparing photography courses is what happens when the class is over. Some classes allow for students to follow up with questions even after the class is complete. This allows for students to digest the material and then think of questions over a period of time. That is very helpful for beginners that are just learning how to take pictures.

Students should also have easy access to their class. There are companies that offer online classes, which make it incredibly easy for students to attend. People who work full time have a difficult time traveling to a class that is conducted on site. For those people, an online class will allow them to get the instruction they need on their own terms.

Art of Nature offers photography courses that include all of these things. They teach concepts that incorporate their students’ visions into the pictures. They use the natural talent of their students in order to create great pictures. The class is taught online by Erik Gunzel, a professional with years of experience. Students are able to contact Gunzel with their questions for up to a month after the class is complete. For more information and to see samples of Gunzel’s work, visit the company online at http://www.artofnature.com.

John M. Lund asked:




John: Trevor, you’ve shot bloody-faced polar bears, pristine operating rooms, women in Vegas, winter camping and Olympic athletes in your studio.  If we were going to hang a label on you as a photographer, what would it be?

Trevor: Years ago I was showing my work to some photographer reps in NYC and one of them said, “I’m not sure what to do with you – you’re a Generalist!  You shoot everything.  Just pick one thing, and then I’ll know what I could do with you.”  Being called a Generalist was like some sort of foul language.  Maybe that’s why I gravitated towards stock photography.  I really enjoy being able to shoot lots of different styles of photography, it keeps things interesting, and I love being able to draw on all those different experiences.  I think shooting one particular style or subject matter would bore the hell out of me.

John: How did you get into photography?

Trevor: I freelanced for newspapers while still in high school.  Then worked with a studio in my home town, before heading off to photography school.  After graduation, I assisted for several years with a variety of studios, and freelanced for a number of photographers as well.  I really tried to expose myself to as many different types of photography as possible.  I truly feel that assisting was the best education I could have given myself, and I eventually started taking on more of a shooting responsibility with those studios.

My first experience with stock photography was working with a studio on a contract they had to produce custom stock for Microsoft. I spent a summer shooting table top stuff in their studio.  Interesting to start learning about the pressures cost-per-image and return-per-image can put on you.

Next, I was hired by Hemera to be the Lead Photographer for their in-house photographic production team.  I worked with that company for about two years, producing about 15,000 images for their Ablestock brand. After that I realized how much I loved shooting stock.  I set out again on my own.  The first agencies I signed with were Iconica , Uppercut, and Jupiterimages.

John: You shoot a really wide range of subject matter, both in the studio and on location.  What do you enjoy shooting the most?

Trevor: Every shoot brings its own set of challenges and unique energy.  I think that’s what I love about a career in photography – the variety!  I love being in the middle of a huge production with lots of locations, models, and crew!  At the same time, it can be equally rewarding to be shooting food with my wife on our kitchen table.  Plus there’s always something around the corner that will test me in new ways, like photographing a surgery for a healthcare client or winter camping for a book publisher.

John: For you, what is the most challenging aspect of being a professional photographer?

Trevor: The biggest challenge for me has always been trying to find the time to work on all of the different projects I want to work on – and of course, balancing it with a busy family life at home.  

John: I know you shoot stock for Blend Images.  What percentage of your business is stock and what agencies do you work with?

Trevor: The majority of my business is stock.  I think Blend Images is doing some great things right now, and they have a fantastic relationship with their contributing photographers.  I’ve really enjoyed working with Veer as well. 

Also, I’ve kept myself very busy with Jupiterimages in the past.  Great relationship with them over the last 4 years – producing about 6000 selected images a year.  Plus, I have images with a handful of other agencies as well.  

John: How do you determine which agency to send work to?

Trevor: I don’t spend a lot of time shooting unsolicited images and trying to find a home for them after the fact. I work closely with my editors at each agency, so that I focus my efforts on producing images that the agencies have a need for. 

John: Do you do any direct sales?

Trevor: I’ve never done any direct sales.  I think that will change in the near future.

John: Does Micro stock have any allure for you?

Trevor: I’ve been approached by a few different agencies, but I’ve never shot Micro.  Maybe that will change if the right scenario presents itself.  At this point I’m focusing my efforts on Rights Managed and direct sales.

John: Do you have any plans to move into video?

Trevor: Yes.  At the moment, I’m looking for the right project to collaborate on, with a friend of mine who’s an incredible cameraman.

John: What are some of the challenges facing stock photographers these days?

Trevor: I think the biggest challenge is deciding where to put your images.  Will there be a resurgence in Rights Managed?  Has Royality Free become too bloated?  Is there still time to make money in Micro?  Will I recover my investment before the industry shifts again?  

John: Do you see your involvement in stock photography changing?

Trevor: I see me moving away from the high-volume work I’ve been doing in the past, towards a much more targeted approach.  Less images with more added value.

John: What currently is your favorite image?

Trevor: I’m so bad for this… I think I may have ADD or something because I’m always flip flopping on new favorites, then I see older images and I get excited by them all over again.  I was in Mexico a few years ago with Willie McElligott, a friend who was teaching a photo workshop. 

While driving to a location for the morning shoot we came across a farmer herding sheep along the side of the road.  I made an image of a lamb being carried by one of the horses.  It became one of my favorite images from the trip.  No production, just a simple photograph.  

John: Getting back to the assignment world, how do you market yourself?

Trevor: Most of my assignment work is spin off from subjects and locations I’ve sourced for stock photography productions.  Other than that, it’s a mix of good ol’ cold calls and introductions from editorial shoots.  I wish I had a better answer.  I think I just like getting in the same room with people and selling myself.  I enjoy building relationships.

John: What role does the internet play in your marketing?  Do you have any plans to expand that role?

Trevor: I’m still very new to the Social Media scene, but I love it and I see amazing potential!  I have a presence with the usual suspects like a website, blog, Twitter, Facebook, Flickr, LinkedIn, etc. 

At the moment, most of my existing clients are not very involved so I’m looking for the best Social Media to reach them.  An editorial client of mine has been discussing building something more interactive that I would have a large presence on.  I’m pretty excited by the initial conversations, but we are still in the early stages.

John: Any photographers that have influenced your career?

Trevor: The earliest inspiration I can recall is in 1988 when I was still in High School.  Sports Illustrated ran a story of Muhammad Ali and his entourage shot by Gregory Heisler.   Beautiful black and white portraits.  I had never seen anything like that. 

Years later I heard a talk he gave to RIT called The Appropriate Response.  He spoke of the virtues of being a well-rounded photographer, and being able to draw from a diverse pool of photographic styles and techniques.  It stuck with me for a long time.

More recently, I’ve been so damn lucky to be able to call so many incredible photographers not only influences, but friends as well.  The photographers who make up Blend Images are probably the most open, encouraging, and inspiring people I’ve been fortunate enough to sit in the same room with.

John: Can you tell us about a memorable shoot that you have had?

Trevor: Hard to narrow it down… but I will say that I’ve been fortunate to have been a part of some Arctic Expeditions with a group called Students On Ice. An amazing organization that brings students from all over the world to the Polar regions to provide them with an intimate educational experience at the ends of the earth. 

Documenting the expeditions has been a unique challenge for me, as I’ve never really considered myself a documentary photographer.  I’m so used to being in control of the situation when I’m on set, and making great images as they unfold all around you is an excellent way to reexamine your skills as a photographer. 

Besides the experience of working in such close proximity to Polar Bears, Walrus, Bird Colonies, Whales, Glaciers, and Icebergs – it’s the people you get to share this experience with.  The team of scientists, historians, artists, authors, educators, polar experts, and the Inuit community, are incredibly open and passionate about sharing their knowledge and experiences with everyone around them. 

These are excellent virtues that I think we should all adopt into our daily lives.

John: Do you do personal work?

Trevor: No personal projects at the moment – maybe this is the year!

John: Do you do your own digital work?

Trevor: When the stock production has been really high-volume I would send the retouching to a great freelancer in Montreal I’ve worked with for years.

John: Do you have a staff?

Trevor: No staff – just me.  Some great freelancers help out from time to time when the workload gets too heavy.  But for the most part, I just don’t sleep a heck of a lot anymore!  Especially with a 3 year old and a 1 year old at home as well!!

John: Optimistic or pessimistic about the future?

Trevor: Even though it may seem absurd at times, I can’t help being really excited by all of the changes that are happening in the industry.  New technology in imaging equipment… new developments in web 2.0…the shift in the industry of being more open and community focused… We’re on the verge of some truly important times in image making and storytelling.

Pankaj Snv asked:




Wedding photography is a highly important job that needs precision, accuracy and yet a splendid human touch with a perfect understanding of emotions and feelings. It is not easy capturing the most memorable moments of the life of two persons on lens and that is why you need to have the best in this art on your side.

There is a worldwide group of top professional international wedding photographers who have the experience, talent, and reputation to deliver outstanding wedding photography to their clients. Among them, there is a small number of well-known and very talented Vancouver wedding photographer who also do international wedding photography. These photographers also work in the area of Edmonton and are very good at clicking lifestyle portraits too. These esteemed photographers use the wedding albums and prints of the highest order to showcase their fabulous work as Vancouver wedding photographer that also bag assignments international photography assignments. Most of them also give out all computer files related to the wedding photography in the digital format and advise their customers to go for printing these beautiful only when it is extremely necessary. This shows that they are concerned about the recent climate issues that bug the planet and they are doing their bit in alleviating the people of this problem by making the most sustainable choices in the whole international photography work that they do. The job generally involves a lot of traveling but they have no qualms about it, in fact they love going to and discovering new places.

Often their approach to wedding photography is simple: they select the weddings that they do, very carefully and give them a candid, sensitive yet elegant treatment. They do not cut corners on technique or material for their wedding commissions – they will either do it right or not at all. Living and working internationally, fluent in many languages, they welcome the exciting challenges of multicultural, often border-spanning wedding events. Quite simply, the more unusual the venue and creative the event, the better it is for them. The common strand that binds their photography together is the mixture of traditional, fine-art and photo-journalistic sense that they all seem to have. All of them have separate specialization in the choice of weddings that they make and they consider themselves blessed to have photographed weddings at some of the most beautiful venues in the world. These acclaimed international wedding photographers follow a very simple and basic philosophy in her wedding photography – she captures images, just as they unfold, in their most natural form and ambience without rushing them up, slowing them down or forcing them.

These international wedding photographers offer great deals to all their customers and clients. All photography deals include an engagement session, album credit, and a high resolution DVD with your wonderful photographs stored on it.

ose that intend to wed, there is much to consider. Flowers, the wedding location, the reception location, the guest list, the wedding cake, the bridal party, the wedding attire, there are so many important factors that make up the dream wedding. Couples must not forget the importance of getting appropriate entertainment for the reception, and to capture every single fantastic and happy moment, excellent wedding photographers are a must!

The future bride and groom should definitely shop around and compare the various offers that local wedding photographers are supplying to their clientele. The yellow pages may offer listings of nearby wedding photographers, but the Internet is a priceless asset in the search for high quality, experienced, and savvy wedding photographers too. Directories on the Net list wedding photographers, and most wedding photographers have purposefully established a visual web presence, so potential clientele can view their portfolios. If portfolios are not made available on the Internet, the future bride and groom definitely need to request a look at them before signing a contract with any wedding photographers.

The future bride and groom also need to have a good grasp on the different photographic styles that many wedding photographers tend to have. Many wedding photographers take photos using a photojournalist method of taking photos at weddings; they seek to create a storyline out of the different photographic captures collected before, during, and after the wedding at the reception. Many couples appreciate the photojournalist style of photography because it gives the couple a great diversity of shots, and captures moments from all the events that transpire on the special day. Couples should bear in mind that in such a style of photography, the individuals and events captured in the photojournalist photography method are not posed in any way. The pictures are therefore merely captures of the natural moments that transpire.

Some couples prefer to ensure that every moment captured by wedding photographers is defined by the photographer; this results in the couple requiring a traditional collection of wedding photographs. In the traditional style of wedding photography, the wedding photographers will capture images after they have directed individuals to pose in a certain way, or they will take photos of specific things in the wedding and the reception. Couples may alternatively prefer a creative or an artistic method be used when wedding photographs are captured, and the style of artistic captures will clearly vary between potential wedding photographers for the job. Finally, a combination approach gives the couple a little bit of everything in the final wedding collection; the couple can hire wedding photographers that will use a photojournalistic style, a traditional style, and a creative style to create a wedding photo collection like no other.

Whatever style a photographer seemingly displays, the couple must absolutely adore the portfolios they examine. The end result of a wedding and reception photograph session is photos that will fill the couple with warm and spontaneous memories of the special day. The poses and style of the photo play a big role in whether or not the couple will forever appreciate the photos taken of the wedding. The angles, the unique poses, the uniquely captured moments, the lighting, and the artistic vision of any wedding photographers must be aligned with the bride and groom’s desires. If the portfolios are displeasing when they are viewed, then the couple should move on to research other wedding photographers.

When meeting with one or more wedding photographers, price will obviously be a topic discussed. Couples will need to precisely define and communicate their desires, so the wedding photographers can give accurate price quotes. The couples will need to explain what photos they want, when photos should be taken, and what styles the couple wants the wedding photographers to use. The couple should question the wedding photographers thoroughly, and ask about special discounts or packages. They should also request a printed price list, so they can refer to it with ease when selecting a wedding photography package.

If the wedding photographers a couple is thinking about hiring have more than one photographer, the couple should be clear on the fact that the individual they are speaking to is the actual photographer that will be at the wedding and the reception. Sometimes, teams of wedding photographers will send whoever might be available the day of the wedding; for the sake of clear communication, the couple will want to speak to the available photographer directly long before the wedding day. The future bride and groom will need to make sure that whatever photographer is hired is fully aware of what the couple expects. On the same token, the wedding photographer selected will need to clearly communicate to the couple exactly what he or she will offer in terms of services.

By: Mandy Chagger

About the Author:

1. Avoid Excessive Contrast

2. Use the appropriate Camera Settings

3. Use the appropriate photographic techniques

4. Miss-with the Flash

5. Excessive JPEG compression

Compact digital cameras are brilliant, offering more versatility and restraint than many conventional compact haze cameras. However, like most high-tech plans, you may find it frustrating if you aren’t receiving the outcome you want.

For best outcome you should understand how to get the best out of your camera in every shooting clause and know how to stop shared mistakes. Here’s a conduct to help you forestall the top 5 digital photography no-nos.

Digital photography tipped # 1- Avoid undue disparity

On living with harsh sunlight many digital similes can be precious by very high compare.Like untold shadow areas and very snappish highlights.

Excessive brightness is more problematic with a debit of conscript in the burned out areas, for example the brides dress or filthy coastline.

You can accepted ultimate differ from photo control software (such as Adobe Photoshop or Ulead Photoimpact) but even the most sophisticated software cannot truthful highlights by adding factor that was not captured by the camera.

preventive techniques: To preclude high disparity recall the following tips

- If your camera offers compare adjustment contain, exclusive the colors choice, not high disparity backdrop

- Select the low location in cheerful conditions which will help neutralise diverge and evaluate the highlights and shadow areas. You can forever raise the disparity in situation production. (Photo contact)

- Make surely your focus is situated in even lighting or better still, a sheltered quarter and not in diverse lighting (both sun and shadow across the theme)

- If your photographing people or subjects that are close by (1-2m), use your cameras in built update to cram in shadow areas. You will essential to disable the certain jiffy sort and instead change the bulletin on form on.

Note. Your cameras sparkle may not be real if your topic is a long space away, so try to get close to your issue or standing manually so the sun is behind you when charming the photo.

Overexposing merely compounds the conundrum so catch the exposure on your LCD protect and if you think it is overexposed, adjust the exposure with exposure compensation (e.g. -0.5) and take it again. That’s the beauty of digital!!!

The best shooting conditions: Naturally, exposure and differ will not be a catch if the lighting conditions are right to launch with. Overcast or somewhat unclear time are best for creating even lighting conditions for photos with balanced differ.

Also the light is regularly softer in the early morning and deceased morning and it is easier to locate manually with the sun behind you when it is junior in the sky and not directly overhead.

Digital photography tipped # 2- Use the appropriate camera settings

Digital cameras, especially high end guess models regularly multitude an enormous scope of adjustment options besides exposure and contrast check, such as fair tally dominate, ISO, serration and digital property.

If you have invested in a report-packed camera, you will be tempted to use them all but if you don’t understand them or use the mistaken site you may be disappointed with the results. Here’s a short overview of some of the important skin.

- White remainder is a figure that is very important to the end answer of your photograph. White total refers to the colour temperature of the light and the damage venue can stroll your complete icon an extent of unnatural colours (e.g. blonde, green or blue).

Many cameras have different pre-set sallow weigh settings for fluorescent, tungsten, burst, sunlight or auto. The routine white rest location takes out the guess work a lot of the time and is regularly the most convenient situation.

Again you can always hardship the white balance by merely charming an examine look beforehand and checking it on your cameras LCD monitor.

- For coating cameras, ISO referred to the pace of the dart and the total of the ****** grain. High ISO films (400/800) were good for low light situations or sharp action sport photography.

Low ISO (100/200) films were good for regular lighting conditions and portraits as you could enlarge the likeness lacking it looking rough.

SO for digital adopts the same colors as covering. In digital cameras, ISO refers to the sensitivity of the antenna to light or the sign to racket ratio.

The signify means the figure that you want and clatter refers to the raze of pixilation: what you don’t want. When shooting in low light you could desire a high ISO (400 or 800) so the sensor’s sensitivity is heightened and can capture a better exposure, but reminisce that this may exhibit more digital sound than a low ISO (100 or 200).

Another allowance of digital cameras is that you can change the ISO for each figure you take to match the lighting term. With a layer camera, the ISO had to stay the same for the whole pictures which inevitably intended that you could be trapped with the criminal ISO movie in your camera.

- Some cameras allocate you to adjust the saturation, colour tonal variety and serration. These features are worthwhile experimenting with as they can enhance some metaphors with great results.

Portraits can look more flattering with less roughness, for example. Nevertheless often birth-looking imagery are achieved lacking these enhancements or the same effects can be achieved in postproduction using control software.

So play around with these features first before you open taking important photos. Once you understand the realize you can use it only when you want to get that outcome.

- preventive rate: Digital photography allows you to experiment without killing money on mist or processing so take help of this and take as many photos as you can, analyzing what mechanism and what doesn’t. This is often the best way to enhance your photography.

Digital photography tipped # 3 Use good photographic techniques

Digital photography applies the same principles and techniques as are worn in conventional photography. A good digital photo desires to coalesce creativity and strict dexterity. It wants a piquant, interesting issue and a good composition besides nominal aspects of exposure, focus, vigor-of-ground, lighting and contrast.

Often the summit and shoot tailor of photography may be smart and cool but also, a bit hit and neglect and achieving a good result becomes a matter of fortune somewhat than flare.

- Use gravity of pasture to enhance your portraits and landscape shots. Depth of pasture refers to the limit that is in focus, and it is achieved by selecting the appropriate ***** site.

For landscapes you should have most extent of province (large number in the opening site) for sharp focus in both the foreground and the background/horizon.

For successful portraits you should have a shallow strength of area, so the business is in focus while the background is out of focus (a small number in the aperture situation).

Most cameras will have depiction and landscape fashion settings which take the appropriate aperture setting for you and all you have to do marshal the persona.

- preventive system: The digital camera’s rear test can be worn instead of the viewfinder and gives a more accurate preview of the figure. It could also be held up to an arm’s span away to give you added flexibility in composition and perspective.

Be creative and shoot from a scope of different angles with up high or down low. Always ensure that your specialty is intense and interesting and your composition is not muddled or includes something that detracts from the idea (a daggy drivel bin in an exquisite landscape, for example).

Take the same photo from different angles, zoom in for tighter framing, or capture it in both horizontal and landscape orientation.

- Always look at habits of improving the visual interest of the figure using the camera’s functions. It will only price you time, not money. Remember with digital, you can always remove the ones you don’t like and you must only download and design the best ones!

Digital photography tipped # 4- Don’t lose-use the flaunt

The speed is a valuable appear of any camera, allowing you the flexibility to photograph subjects in low light or add impart second to capture conscript in shadow areas, but it has its limitations.

The current is only effective within a certain breadth and cannot illuminate subjects at aloofness (for example photographing the bride and tutor from the back of the church) or a large subject (the interior of an infinite mineral cave). The second should never be used when photographing fireworks or soil flute windows.

- preventive system: When the flash is ineffective or unavailable, try using a support. All cameras have a standard stand ***** thread on the heart for use with a trivet.

This allows you to achieve longer exposures without the annoying haze of camera shake. Long exposures can emit very creative effects plus blurring the rush of water down a waterfall, or capturing the trail of car headlights along a road at night.

Using a tripod also offers you the plus of capturing the ambient light which is often very appealing and you also can avoid the harsh gloom and red eye stimulate which is one of the downsides of the in built flash.

Digital photography tipped # 5- Avoid excessive JPEG compression

Digital cameras allocate you to limited the resolution of each likeness to ensemble the necessary harvest, so understanding resolution and smooth magnitude is very important to your digital photography.

For printing and enlarging the photo, you should capture at the chief resolution unfilled in the camera. The record resolution employs a low reading or no compression of the sleeve, so the maximum total of information is retained.

This also means that it requires more recall so fewer metaphors can be stored on the cameras memory license. If you want to storeroom more images on your card, you can select a lesser resolution column with greater amount of JPEG compression. However, this may force on your choices when you desire to harvest the folder.

You may only be able to email the record or announce it on a website as it is too small to imprint. If you do photocopy the low res icon it may look pixilated without much detail or roughness, which has low visual draw.

If you desire to rearrange your image in postproduction, you will require to capture the supreme resolution free as editing (cropping, adjusting contrast, brightness etc) will affect a loss in quality.

 



By: Linda Hayes

About the Author:

arvind asked:




Online theft of photos can happen with anybody when some of their photos from the flicker pages or portfolio websites had been borrowed from a site without their permission. But there are some ways which can help you to avoid the possibility for theft.

Your Photos Are Susceptible

No matter what you do and how much you put emphasis on, there is no way to completely protect a photo from being used without your permission so whenever you post the photo on the internet, there is always a possibility for theft. Even if your web page uses a special script to disable the right-click “Save picture as” command, a determined photo borrower can simply take a screen shot of the web browser. We just have only one way to protect our photo, it’s just that never share them online.

How to do a Reverse images search

If you have posted some photos on a photo sharing site and you are peculiar to see whether someone has escaped with them. The simple way to find out is to carry out a reverse image search, here a smart search engine looks for a photo by detecting identical content within the image itself, rather than keying on file names or metadata, which are easily changed. A website has been found where we can actually perform reverse images searches i.e. TinEye, here one can upload a photo from the computer or point the site to a web page that already hosts the photo. TinEye then returns a list of sites using the same image. TinEye actually identifies photos which are very similar to the source image, but not exactly the same. If you get no results while searching, that does not mean that your photo isn’t being there as TinEye’s database of photos represents only a portion of what is available on the entire Internet.

How to look for the photos

You might even find any other sites which are similar to TinEye. But there is another approach which is also very helpful. Google can help you to search your image with the related keywords so that one can see whether there is a possibility for theft or not. While using this method some problems are often noticed as we cannot start with a specific photo like we are able to do with TinEye.

Thus it seems that we have just few methods available to see whether the photos are being used out there in cyberspace or not. But all of them are not very concrete and certain, so it’s very difficult to be totally dependent on them; therefore the only way out, is not to post anything online which you are not willing to give away.