Photojournalism Photography

Photojournalism Photography
By TJ Tierney

Did you every pick up a newspaper or a magazine where a single image is used to tell a story. This is known as photojournalism. Photojournalism can fall under all subjects of photography but the image needs to be news worthy to end up being published.

There are two types of photojournalism.

The first type is where an image is used to illustrate a story. Many feature journalists work closely with photographers and commission them to produce images that will be published with their articles. There is no limit to how many images can be used. This is usually the photo editors decision.

The second is where an image is used to tell a story without any words. One single image may be used or as many as ten images are often used in magazines. If you can write - do so; it will be an advantage when you submit some images.

One of the most important qualities of a photojournalist is his ability to react quickly when he comes along a scene that may be news worthy.

Other than the obvious, here is a list of items which may be news worthy.

Impact pictures.
Pictures of the Environment
People.
New buildings.

If you are serious about photojournalism build a collection of images from your area. Many of these pictures will not be immediately news worthy but may be down the road. Take pictures of all the factories and buildings in the area. Some day a factory may close and you may not be able to get to the scene. Also have plenty of pictures of local businessmen and politicians.

Some photojournalists are lucky enough to get assignments from newspapers or magazines, most have to follow or find the news to make a living.

The world of digital photography has made the work of the photojournalist a lot easier. Being able to view, scan and e-mail images to a publisher instantly is a massive advantage.

The work of a photojournalist can be extremely harsh - taking pictures in all kinds of extreme conditions and in very dangerous situations. Many photojournalists die each year in war zones and at different natural disasters around the world.

We live in a world, where today’s news is forgotten tomorrow and the need to get the images quickly to the publisher is so important. If you have images that are news worthy don’t delay sending them to a news agency or publisher. They won’t stay in the news very long.

TJ Tierney is an award winning Irish Landscape photographer and a freelance writer. He frequently writes for the photography directory http://www.goldprints.com and the shopping directory http://www.shop-4us.com To view or buy some of his images visit his on line gallery @ http://www.goldenirishlight.com

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Turning Your Photos To Cash

Turning Your Photos To Cash - How Can Your Photos Make Money For You
By Ziv Haparnas

If you are an amateur or a semi professional photographer then chances are that you can make some money out of your photos. In this article you will get tips on how to turn your photos to cash. This article is for you only if you’re looking to turn your photos into some extra cash on top of your main income source. This is not for you if you are looking to live off your photos this is not for you.

There are plenty of ways to make money from photography. Some are very easy and only require an Internet connection while others require more legwork and directly dealing with customers. Following are five options:


Sell your photos on photo stock web sites: there are many sites that let people trade and sell photos. They vary in their terms and the way they do business but the foundation is the same: they let you upload your photos, showcase them and set their prices. The site users can browse through your photos and purchase the ones they like. While some of these sites are free to use and only collect a commission from the proceeds other sites charge a setup fee or a membership fee. Examples of such sites are: http://www.photostockplus.com and http://www.smugmug.com

Build your own site attract traffic and sell advertisements: Many sites today generate revenues from advertisements placed on their pages. To generate such revenues the site has to attract visitors. If your photos are unique and can attract viewers you can create a blog or a site with your photos alongside with some text describing them and the story behind them. Spread the rumor about your site to your friends and family and post information about it in forums and chat boards. Once you generate traffic add advertisements to your site. To create your site you can use tools such as http://www.blogger.com and http://www.typepad.com. To place advertisements you can use advertisement syndication networks like http://www.google.com/adsense and http://publisher.yahoo.com.

Sell your photos yourself: If you created the site mentioned earlier you can also sell your photos on that same site. The photos published on your site are highly compressed low resolution versions of the original ones. If your visitors want to use the photos for prints or other photo processing they will have to buy the original high resolution photos. To easily collect funds from your visitors you can use tools such as http://www.paypal.com. The original photo can then be emailed to the buyer.

Photographer for hire: This option is more traditional and requires some more legwork. If you are willing to do some work for hire you can post your services in a local classifieds web site or paper. Many web sites such as http://www.craigslist.org let you do that for free. Make sure that you provide details about the work that you can do and your experience. It is also recommended to post examples of your work. Also – if you have a site with more of your photos post a link to that site. To get a better sense of how much you can charge try to contact other photographers in your area and get quotes for their services

Sell your photos in coffee shops and galleries: This option requires even more legwork and a more significant upfront investment. Print and frame a few of your best photos. Go to local galleries and try to convince them to showcase your photos. It is best to start with just a few prints to minimize both your risk and the risk the gallery takes. Another option which can work better for amateur photographers is to visit coffee shops and restaurants and convince them to hang your photos on their walls. It is very common today for such places to hang “photographs for sale” on their walls. This is a win-win option for both the coffee shop or restaurant and you. They get high quality free photos and provide their customers with an extra service buying photos that they really like. You get free exposure while most often only paying a commission from the proceeds.


One issue to remember when turning photos to cash is copyright. Copyright laws change from state to state and country to country. Make sure that you check beforehand that you have the rights to sell or post the photos that you take. For example taking photos of commercial symbols and logos usually requires a written permission.

There are many other ways to make some extra cash from your photos. Hopefully the ones mentioned here will give you ideas for what more you can do. Good luck!

Ziv Haparnas is a technology veteran and writes about practical technology and science issues. This article can be reprinted and used as long as the resource box including the backlink is included. You can find more information about photo album printing and photography in general on http://www.printrates.com - a site dedicated to digital photo printing.

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Photography Success Without School

Photography Success Without School
By Tom Ray

What I learned from a mentor that enabled me to go from an amateur photographer to a professional portrait photographer in very specific steps is something I like to pass on. Rather than spending countless hours in classes learning every possible detail, I learned just the necessary specifics and now I work out of my home full time and have been in business for over 17 years, but I started out with practically nothing; just an interest in photography and the need to earn more money.

For one thing, my mentor taught me the Three Classic Elements to produce “salable portraits.”

"Salable" is an industry term every photographer quickly becomes familiar with to distinguish between the everyday reality of making money versus creating those “artistic competition” or “award winning prints” which don't earn the money.

I've been in the business for over 17 years now and I'm still amazed that:

People don't buy the award winning prints that you see wearing many of the ribbons at professional photography conventions.

When my clients are faced with the choice of buying an artistic pose of their child being demure and not looking directly into the camera or buying a pose smiling close-up straight into the camera, they buy the smiling close-up every time.

Not very original, but I'm telling you now so take note:

Happy people whose faces you can readily see are the most salable prints.

They'll never tell you this at a photography workshop, seminar, Annual Convention or at a photography institute because their job is to create award winning photo artists rather than people whom simply make a living, but... if you haven't learned all the fancy lighting techniques, then you've saved time because the most important thing about light is having enough to keep the face out of the shadows.

People prefer any kind of light, as long as there is enough of it to light the face and eyes so you can get a good look at the person!

The quality of light people prefer for portraits is soft light, whether it be from an artificial source like a flash umbrella or a natural source from the sky at sunset, but other than a soft quality of light they want enough of it to SEE the face of the person you're photographing, even if it is a flat almost straight on technique.

You may not win any competitions or awards this way, but if you get plenty of light on the faces you'll create salable prints.

This leads me to talk about fill flash. There are times outdoors when you'll need a flash on your camera to fill in dark shadow areas mostly in the eye sockets. Just use one f stop less flash than the existing ambient light calls for. That's enough light to fill the shadows and don't worry about not lugging around a portable umbrella to get the perfect modeling technique.

My mentor is right again: there is no change in the sale. The customer pays for well lit faces, not perfect modeling. I've tried it both ways and the customer buys the same amount of pictures in the same sizes no matter what you do.

Element number Two: Body Positioning.

This is a little more detailed area, but it is important, believe me.

My basic education from my mentor began with the same advice I'll pass on to you:

You should rarely photograph anyone straight on.

The exception to this rule will be for family and large groups, which for reasons of body placement will often break this rule. But for individuals or smaller groups of people this rule applies.

Now, when you're not just photographing a head and shoulders close- up you'll have to understand other aspects of body positioning that makes people want to buy their pictures. Hands. They should always be turned slightly so they are seen from the edge with fingers together, or hide the hands altogether behind your subject or somebody else next to them. Never position hands straight on with open fingers.

Simply put, anything that minimizes how much hand you see works to make it a better portrait. This is always more flattering in a portrait and you'll see they are the ones people buy.

Crossing legs at the ankles refines the pose and minimizes this area of the body making it more appealing.

Look at it this way, what's less of a distraction: two legs leading to two ankles leading to two feet -- or two legs blending into one ankle section with blended feet? Surely it's the latter.

When standing, one cannot simply cross their ankles unless they have something to lean against, so I will have one foot in front of the other in such a way that they taper into one general unit. Have them place their weight on the back leg (remember, they are at a slight 3/4 angle) and bring the front leg forward and slightly tilt the foot to face out toward the camera.

Whenever I'd show my mentor my portraits that I was just unsure of, it was these recurring themes that he patiently pointed out to me.

As I began to look for these simple things during my portrait sessions, my pictures got better!

I can't stress enough how basic, but important, it is to watch for these details.

I have people come to me who went to the contract photographer for their High School Senior yearbook portrait and disliked their picture. They want me to take one that they can proudly give out to friends and family. Usually the problem with the pictures I've seen is that the photography school graduate “intern” who works for the contract photographer took the photo without paying attention to some minor detail. I get it right and my reputation grows from “fixing” the contract photographer's mistake.

The techniques for salable body positioning are what you look for in any pose you try whether close-up or full body.

When photographing people full body standing, seated or reclining on the ground, noticing body angle, hands and feet is the way to “fine tune” your portrait and distinguish it from just a “snapshot”.

Lastly, I must share my favorite body positioning tool that makes it so easy to make a better portrait than someone who doesn't really know what they're doing: the head tilt.

A woman alone tilts her head just slightly in either direction to make a more stunning portrait. A man's head can stay straight up or tilt slightly away in the opposite direction from his most forward shoulder but never back towards his most forward shoulder.

Element number Three: Salable Composition

There are many compositional techniques in many books, but it doesn't take all that knowledge to make portrait compositions that are what the typical consumer considers good enough to call professional.

Once you know what the consumer considers salable, you will be able to reproduce it again and again for other clients. You also will thank me for saving you from thinking that in order to be good enough to sell portrait photography you have to create grand artistic images. You just have to know what works and be able to repeat it for the friends of your clients whom will be getting your business cards by way of referral.

When photographing one individual person, it's so simple I don't think you need too much input for that. In fact, I believe you know the naive simplicity with which you thought “hey, I can do this for a living” after taking some portraits of a friend or family member. Yet it truly gets challenging when there is more than one person involved.

I know of a local professional who has referred family portrait clients to me as she specializes in children outdoors. Do you know what that really means? It means she's intimidated by having to do groupings, but that's okay, most people are.

So here's the rule of salable composition:

Keep everybody's head at a different level.

Like I told you, I didn't have a fancy College degree so my mentor had to keep it simple enough for me. In some cases, you will recognize that it's not possible, but if you do your best to stagger head height from individual to individual, you will be creating professional looking images.

You will stand some people, seat some in chairs, seat some on the arms of chairs, seat some on the floor, kneel some, crouch some, lay some down, but you will achieve staggered head heights and salable compositions.

Tip heads inward toward one another for unity when photographing a family group.

Note that men are usually positioned higher than women.

No, I'm not aware of being a chauvinist pig, but I am aware that this is what usually sells. Not the images where mom's higher than dad but where dad (even if he's actually shorter!) is positioned just a head or so above mom.

Once you understand the rules, you can bend them where you need to in order to make a portrait work; but people will see that you know what you're doing as you position them for a good composition and especially when they see your finished work.

My mentor critiqued my work time and time again over several years as I brought images and questions to him. It almost always boiled down to my understanding these most simple aspects that I've shared with you.

I know it's not customary to learn photography on such simplistic terms, but trust me; I've had exposure over the years to many different photography educational venues such as classes, workshops, conventions, guest speakers, lectures, teaching videos and books but never have any of the teachers been willing to simply say “look, there are just a few rules to follow and people will be happy with their pictures”. Never have I received more helpful advice than I received from my mentor.

I guess if I could sum up the philosophy he embodied in word form I'd say it was rather like this:

“Not everybody wants a masterpiece. Most people just want to remember their loved ones as happy. It's not hard to capture that with your camera, just don't stand them in hard sunlight, standing in a straight line facing straight toward the camera.”

Tom Ray is a Certified Professional Photographer through the Professional Photographers of America. If you are interested in his full story please go to: Professional Photography: Success Without School

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