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In their January newsletter Shutterstock provides a couple of suggestions and insights into how to get your photos into microstock photo sites, particularly theirs. First,

Why Images Get Rejected for Focus
Rejection Reasons #9
Whether you’re shooting food, a portrait, a landscape or something else altogether, you may have selectively focused on one area of your shot while allowing the rest — the foreground or background — to be out of focus. Or perhaps nothing in the image was in true focus. As a result, you received this rejection reason:

Focus. Your image is not in focus or focus is not located where we feel it works best.

Like some other rejection reasons, being rejected for focus can particularly sting for the level of subjectivity involved, i.e. what you may believe to be in focus, or a particular area of your photo with the focus emphasized, may not match Shutterstock’s opinion of where the focus works best.

Read the rest of the article.


Submission Tips from a Shutterstock Veteran
By hhltdave5, Shutterstock Submitter
David P. Smith is a longtime Shutterstock submitter and co-author of the Beginner’s Guide to Micro Stock Photography and the soon-to-be-released Beginner’s Guide to Food Photography. David recently offered up some useful advice on submitting to Shutterstock, as well as some other helpful insights for perfecting images. You can view his gallery here. For those new to the world of online stock photography, one of the most common issues people face is not knowing what stock photography specifically entails. In a nutshell, stock photos are those that help sell or promote a product, concept or idea. As a fledgling photographer, it is best to avoid sending in shots of any old thing that crosses your path.

While it does help to take lots and lots of photos to hone your photographic skills, you should always be selective in what you will send in to Shutterstock for approval. I recommend the following tips:

Read the tips here.


DPS asks guest blogger Jonathan Pollack questions on presenting and getting photography work.

You’ve built your photographic portfolio and you feel that you’re ready to present it to a potential customer, vendor, art director, or gallery. You’ve collected hundreds of photos that you think are great and representative of your style. What strategies can help you wow them with your work?

  1. Research the person you will be meeting with and their photographic style and background.
  2. Have a number of different portfolios that you shop around.
  3. You went through your portfolio, right? Good, now review it again.
  4. Don’t forget to refresh your portfolio periodically with new photos.

Read more: How to Present Your Photographic Portfolio and Get Photography Work


Phosita explains this very succintly and very clearly.

Considering how complex intellectual property law can be, it is understandable that many people – including authors, journalists, biz and tech bloggers, tweeple, etc. – confuse the terms and oftentimes speak/write of “patenting a book” or “copywriting a new gadget”.  I also receive a large number of requests asking for advice on how to “copyright an idea” – so, I thought it would be helpful to lay out a short and concise explanation of each area of intellectual property law. [via Phosita]

A must read for anyone considering protecting their intellectual property. has an excellent three-part series on the Lifecycle of a Freelance Photography Job. You begin with the Introduction.

A little over 23 years ago, I had the good fortune to be asked to create a class in the Photography department at the Art Center College of Design (Pasadena, CA), which would help prepare the undergraduates as they transformed from students to emerging professional photographers. Over the years in my Rep/Producer role I created various ways to be more efficient as I juggled jobs. I made logs, and charts, and studied time management programs all with the objective of coming up with a simple way to stay focused on getting the jobs into the studio, getting them executed, and then getting paid in a timely manner. In order to visually convey my ideas to my students I created a paradigm that I could use as an instructional tool to convey the big picture of how to run a successful photography business while concentrating on one job at a time. I called this paradigm, “The Lifecycle of a Freelance Photography Job” because I wanted to get across the idea that each day a photographer goes to work (whether it is in a studio or on location) they have to pay close attention to nine very distinct consecutive phases that are common to all jobs, and each phase represents the next step in the evolution of a job. My theory was that by concentrating on each phase in succession the photographer would be freed up to grow as an artist as well as a business owner because they would know what they had to accomplish at each step, and what was the next step to completion. [via]

Be sure to check out the other sections:

Part I: The Six Elements of an Effective Presentation
Part II: Client Contact
Part III: Self-Promotion and Marketing

David Ziser offers some helpful suggestions to photographers on different ways to present your work.

Most photographers go out shoot to photograph high school seniors, family portraits, wedding photographs, babies, executives or whatever. Once those images are out of the camera and onto the computer, the photographer has to decide what kind of presentation he’s going to make to his client of those images.

For many photographers, it’s simply getting them posted online, letting the client make their choices, place their order, and then deliver the finished images. By the way, two week’s ago, in my post, “Are You Doing Your Customers A Disservice and Cheating Yourself As Well?” I discussed that this was probably not the best way to maximize the impact of your images or your sales with your client.

Some photographers may present the images in some kind of a proof presentation. But, as I said last week, unless we are proactively involved with our clients in the sales process, expect the sales to go nowhere.

The main reason for this lack of sales, both in the Internet proofing and what has been called the proof pass for a number of years, is the fact that the client really has no way of knowing what all the different image possibilities are and in what various means they could enjoy their photographs – they are only picking out pictures, but never any product! [via Digital ProTalk]

Read the rest of the story. It’s well worth it and will help you create a more professional portfolio.

For professional photographers, optimism is both a job requirement and an occupational hazard. If you didn’t believe your work was worth money, you wouldn’t go into business. But get too optimistic—buy costly equipment, hire too many employees or count too heavily on one or two big clients and never-ending economic boom times—and you could find yourself staring bankruptcy in the face. Current economic conditions will almost certainly push a number of photographers to the brink.

Bankruptcy no longer has the stigma it once did, but it’s still a last resort, says Joel Hecker, an attorney with Russo & Burke in New York who represents photographers and artists. “It’s a last resort because of what’s at stake,” Hecker says. That includes your tangible assets (such as equipment), intellectual property (such as copyrights), accounts receivable and credit rating. Assets considered part of a bankruptcy “estate”—those available to be liquidated to help repay creditors—are subject to many variables, including how your business is set up, the state you live in and the type of bankruptcy claimed. In any case, it’s a painful process that usually requires an attorney’s advice. …

Even if you’re deeply in debt, however, bankruptcy is not inevitable. There are proven ways to buy time, save some hassle and protect your reputation. [via PDN]

Read the rest of the story and find out the steps you can take to keep you in the green.

If you’re considering or are already a commercial photographer, you’ll want to check out this interview.

Our December Client Meeting profiled L.L. Bean, the 96-year-old outdoor outfitter whose business revolves around its 62 yearly direct-mail catalogs, which they rely on freelance photographers and a creative staff of 100 to produce. Marcia Minter, a five-year veteran of the company, recently spoke with us about how she finds new shooters, what she’s looking for when she reviews a portfolio, and what she expects a photographer who’s booked a job with her to bring to the table. [via PDN]

Read the rest of the story.


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  • thebail: Reblogged this on Underwater Ap
  • Veronica Lynne: Did you use it? It's RODEO time! That might make a good pic for the fb page to.
  • Veronica Lynne: Certainly. I am flattered. Just give credit--ChromaticSoul Photos. Also, I would love to see how you use it. The rodei is this weekend! Veronica Lynn