Get a good face shot: Use Higher quality cameras at entry areas.

Doors, gates and other entry areas need a good quality, high resolution camera to record a good ‘face shot.’ The video from this camera should be considered a highly valuable since it can be used as evidence in identifying a person in a court of law.

Wide Angle Cameras for large surveillance areas

Once you can get a good shot of a persons face, you should use a wider angle camera lens for the interior surveillance spaces of the building. Using color cameras inside your building is a good idea because you can readily identify a person by the clothes they are wearing. Used in conjunction with the face shot at the entry point, you have an excellent record of all people and activities in your surveillance areas.

Consider the following when choosing a CCTV camera:

1. Sketch out a Floor Plan: Put in all camera locations.
Consider the distance to your surveillance zone: Are you 5 feet or 15 feet away from your surveillance target area? It is best to locate your camera as close to the surveillance area first, then choose how much zoom you need. Do you need 4mm, 8mm or 12mm lens?

2. Field of view or area of surveillance: Take photos of areas you want to cover from the proposed camera locations.
What lens you need depends what you want to see and how far away and how wide a viewing area. Wide angle and fisheye lenses are available.

3. Resolution: Do you want to capture a persons face or a car license plate? Each camera location will determine which lenses would maximize your surveillance potential. Do you need 50mm lens or standard 8mm?

4. Vandalism potential: Will your camera be subject to damage? Damage resistant cameras are available.

5. Lighting: Is the space well lit or dimly lit. Are the lights turned off at night? Do you want to monitor the area with the lights turned off? Do you need infrared cctv cameras or low light cameras?

6. Budget: Just like any technology, the more you spend, the better the system you get. Keep in mind a low cost camera is better than no camera at all.

About CCTV Cameras: Closed circuit television also known as CCTV is the industry standard in surveillance cameras. CCTV can be a single network of cameras or multiple networks of camera linked together via switches, internet or wide area computer technology. CCTV Video data is analog but can be converted to digital via CCTV Digital Video Recorders. Once the video data is digital it can be managed just like any other computer data and can be stored automatically on computers and network storage devices.

For more information on cctv cameras visit Camera Security Now or call toll free: 877-422-1907

John Beagle is president of Xponex Web and Media Services and can be reached at 513-422-1907×222. Xponex.com/

As a professional wedding photographer I get this question asked more than anything else. Rarely will somebody ask me about my wedding photography education, awards, or professional memberships. I believe the root to this question lies on misinformation about the different qualities of film and digital.

Film

For a photographer with no computer experience or who does not want to spend the time correcting digital files film is the way to go. Film allows the photographer to photograph a wedding or event and at the end of the day be done with the process. When the time comes to print the photographs the photo lab will take care of color balance adjustments and retouching.
From a technical aspect film has a wider dynamic range than digital. This means than in high contrast scenes film has the edge. It can handle them better without blowing the highlights.

Digital

The greatest advantage for digital is the control of the photographic process in the hands of the artist. The photographer is not longer at the mercy of the lab to produce a photo that reflects his inspiration and vision.

Digital allows the photographer to shoot more frames without the expense of film and development, which can translate into a more complete coverage. After the event the photographer simply edits out the bad photos and you as the customer end up with the best selection of the day.
The digital medium is ideal for backup. Multiple copies of the event can simultaneously exist in different locations in the event of a catastrophe. With film there is always only one copy of the negatives, which could be duplicated, but the second copy suffers significant quality degradation.
With digital it is possible to produce different versions of the same photo including black and white, color, sepia, etc. through a very simple process.

Digital allows for a faster workflow. If your photographer offers digital gallery previews your photographs can be available in a matter of hours for viewing and ordering. In addition, slide shows and DVDs can be produced for the client.

Digital retouching in the hands of an expert can create amazing results.
Since there is no chemistry involved to develop digital the digital process is more environmentally friendly.

Resolution

In terms of resolution both film and digital can produce similar results. With the advent of 11 mega pixel and above digital cameras, digital has the edge for enlargements due to its lower noise levels and the lack of grain.
Many purist talk of the film look, which is basically film grain and noise that gives film its unique look. This film look can easily be simulated with digital image processing techniques.
Many people would be surprised to know that most photo labs will scan film prior to printing. In other words direct film to print is a myth. Digital photos when printed on true photo paper are virtually indistinguishable from their film counterparts.

What does the film vs. digital war means to the client? I believe that when selecting a wedding photographer the client has to focus on the end product more than anything else. At the end it doesn’t matter if the photographer uses film or digital. What really counts is the quality of the photographs that he or she will produce for your wedding day.
There are good and bad photographers using film or digital. Your task as a client is to weed out the bad ones and select a photographer that will capture beautiful memories of your wedding day.

Juan Carlos Torres is a very respected and awarded wedding photographer in Oregon. He has a Masters Degree in Remote Sensing with a strong background in digital image processing and photography. He is a member of the several professional photographer organizations including the Professional Photographers of America, the Professional Photographers of Oregon, the Wedding Photojournalist Association, and the Oregon Wedding Photo Guild. His wedding photographs are unique and very artistic and have been featured in national and international magazines. For a sample of his works please visit oregon
wedding photographer and
salem oregon wedding photographer

Millions of dollars are spent every year on cosmetics by women who want their skin to appear smoother. The portrait of themselves that they like the best will make their skin smooth and silky, their eyes shining in gem like clarity and their hair glowing with natural shine. Unfortunately, the camera lens sometimes portrays them in merciless detail, every blemish and pore etched in clarity. Their hair lies dark and dank and their eyes dull and shaded.

But all is not lost. The proper soft focus application can solve most of these problems. There are many ways to soften a portrait.
Soft filters fall into three categories. The simplest is the diffusion filter. Examples of these are a filter made of stretched nylon stocking, a glass filter with raised rings or a randomly etched pattern on lucite. A second category is the soft focus lens or the Hasselblad Softar filter. A new type is often included in digital imaging software.

The advantage of the diffusion filter’s low cost is mitigated by the soft effect being accompanied by a lowering of contrast and a muddying of shadow detail. All of the light coming through the lens and the filter is diffused over the whole picture, thereby diminishing the sparkle in the highlights and throwing unwanted light into the shadows. The effect does soften the skin tones, along with dulling the eyes and hair. Only a super close portrait could be satisfactory with this type filter.

The soft image lens replicates the achromatic spread of light inherent in the early portrait lenses. In those days, only two, three or four lens element lenses were used for portraits. Only when stopped down to F16 or F32 were they completely sharp. On the other hand, when opened up to F8 or F5.6 these lenses produced a glow of uncorrected light spreading out from the sharp image.

Unlike the diffusion filter, the soft focus lens adds light to the highlights and prevents the diffused light from reaching the shadows. The effect was a soft portrait overlaid with a gradually diminishing circle of light stretching from the point source. Skin appears smooth and unblemished, the eyes taking on a wet glow.

Fortunately, contrast is not diminished with this type of diffusion.
The Hasselblad Softar I and II glass filters simulate this effect quite nicely. There are even inexpensive ($35.00) clones made of French acrylic plastic that do the same job. The most effective modern equivalents are the Rodenstock Imagon lenses. These soft imaging lenses can be adjusted from super soft to quite sharp with graduated pierced attachments inside the lens.

For the digital portrait artist, Adobe Photoshop, ArcSoft and other professional imaging software include a soft filter or two. The effect is quite strong and should be used at fifty per cent or less for a good look. There is a strong inclination to sharpen the eyes and hair with the sharpening tool, but too much sharpening is quite noticeable and should be used with discretion.

A soft image portrait can be extremely flattering and beautiful
When done properly and with restraint. Try it out on your loved ones, she’ll love you all the more.

Retired portrait photographer. Now writes and sings.

You may need the ultimate in patience, but photographing groups can bring rewards for the photographer and even lead you to be asked to do more work.

There are some simple rules to remember:

Always fill the frame with groups. Don’t let people be cut off the sides of the viewfinder or let their heads be chopped off the top of the screen. Similarly, you don’t want too much space at either side. However, don’t exclude the background completely as this gives a sense of “where” for your group. People always like to identify their environment.

Make the group informal in position - they are not soldiers - different heights and postures is what you are looking for. This adds interest for the viewer and avoids the formal look.

If you have 2 or 3 in the group, get their heads at different heights and try getting your subjects to tilt their heads to the side (towards each other) slightly - it will make for a more pleasing effect.

If you are going to use flash, make sure it is powerful enough (small cameras will have weaker flashes) otherwise some people will be illuminated and others not.

Go outside if you can. The light is more diffuse even on a sunny day and you may not need flash. You can use reflectors if necessary to lighten shadows. Avoid the hottest part of the day - early or mid-morning or towards the late afternoon will be fine.

Make sure your subjects are not looking at the sun otherwise they will squint. Use fill in flash if you have to and have the sun behind the subjects.

Don’t forget props - chairs and benches are great. They immediately add a mixture of height and interest. Some of your subjects can stand whilst others sit or kneel.

You will take longer than you think to get the pictures you want. Some in your group will lose interest and this can get out of control. Be in charge! Talk to your subjects and tell them what you are doing. Keep it light-hearted and jovial but try to work quickly.

Always prepare beforehand if you can and tell the group what you want from them. Don’t be shy. Take more pictures than you need - there will ALWAYS be someone with their eyes closed or in mid-yawn!

Eric Hartwell is an enthusiastic photographer and owner of teh photography resource site http://www.theshutter.co.uk and discussion forums http://www.theshutter.co.uk/forums.

With digital landscape photography, one of the most satisfying aspects is that you can evaluate your pictures right there in the field. With emotion playing such a big part of digital landscape photography, you can now get a good idea right there of how much of the moment you were able to capture…

However, making the transition from film to digital landscape photography it is important to get past the technological hurdles, in order to pursue your particular vision of the landscape around you.

The first step in digital landscape photography is to ensure that you have a good theoretical grip on the technology and functions of the camera you will be using. For that purpose you should take time - before packing your tent and setting of into the countryside! - to study all you can about your camera’s specifications, as well as visiting a couple of the many excellent online guides and tutorials on digital photography.

One of the best ideas would then be to go on a field workshop. Many expert and experienced digital landscape photographers offer such field tutorial trips where you will be able to learn the ropes right from the horse’s mouth. These digital landscape photography workshops are popular. To be sure that you can be accommodated, you have to plan ahead and make your booking in good time.

One such opportunity is presented by digital landscape photography pioneer Stephen Johnson. You can spend a week with him exploring the Maine coast, where you can take part in digital image capture, exposure, and composition. You will also get the benefit of critiques and lab work in image processing, printing, and presentation.

Another way to improve your skills in digital landscape photography, is to join a seminar or workshop by landscape photographers such as Michael Reichmann, Alain Briot, Craig Samuel, Daniel Bergmann, and others. These events are usually booked up far in advance!

With digital photography now being pursued in many speciality spheres, it is even possible to attend specialized workshops on, for instance, digital landscape photography in black and white.

These events will offer you a better opportunity to get to grips with what you want to achieve in digital landscape photography. To use Michael Reichmann’s distinction, you will learn how to shoot an image that is different from a mere snapshot or just another pretty postcard picture…

A few digital landscape photography tips:

1. Point your digital camera lens upwards, and capture more of the sky. This can signify openness, freedom, and wide expanses - the effect you are striving to achieve in digital landscape photography.

2. The best time to shoot landscape pictures is during the first 2 hours and last 2 hours of daylight.

3. For panoramas: Meter all scenes beforehand and use the one with the least exposure. Then take all scenes with that constant setting.

4. Shooting in below zero degrees? You should keep your batteries warm by alternating sets between the camera and your inner pocket. Below zero temperatures shorten battery life.

5. Setting White Balance: For nature photography set WB to daylight.

More tips and advice can be found in ‘Digital Landscape Photography Step By Step’, by Michelle Perkins. This book may be compact, but it is packed with good advice about composition, the technique behind photographing sunsets, night work, and creating black and white images. This book will give any beginner a good start.

Another renowned photographer, Tim Gartside, gives detailed information about this subject in his book, ‘Digital Landscape Photography’. This volume includes topics such as software manipulation of images, but also guides the novice through composition and the basic techniques of digital landscape photography.

For more information visit Best-Digital-Photography.com

Rika Susan of Article-Alert.com researches, writes, and publishes full-time on the Web. Copyright of this article: 2006 Rika Susan. This article may be reprinted if the resource box and hyperlinks are left intact.

Do you know what ISO is? Perhaps not. And, in fact, you don’t need to know what it is - just how to use it. In very simple terms, the ISO setting is a measure of how sensitive your camera sensor is to light. A low ISO (e.g. 100) will not be very sensitive to light whereas a high setting (e.g. 1600) will be very sensitive.

How does this affect you?

It’s simple, and don’t let others tell you otherwise. If you have plenty of light around - say on a sunny day or if it is bright but overcast, use ISO setting 100 or 200. In fact, keep it at that setting for most of your shots. Then just take your pictures as normal.

If however, you are in low light levels, you may wish to use flash (keep the same ISO setting) OR use a higher ISO without flash.

Here is an example of practical use:

You want to take a picture of your friend. Normally, on a normal bright day, you would use programme mode or a semi-automatic mode which will select an aperture of 5.6 and shutter speed of 1/250. No problem.

But if the light is fading and you don’t want to use flash, then the shutter speed for the same aperture might reduce to 1/30 or 1/15. At slow speeds like this you will find your shots are not as sharp due to camera shake. Here, you can switch to a higher ISO setting - for every doubling of the ISO you can halve the shutter speed. Therefore you will be able to use a faster shutter speed in low light conditions with a higher ISO.

That’s it really.

There are two drawbacks. First, you will get a “noisier” image at a higher ISO setting (more grainy - but this can often create a nice effect) and secondly you must remember to switch back to your usual ISO after the shots have been taken (so that your usual images have the optimum ISO setting).

Eric Hartwell runs the photography resource site http://www.theshutter.co.uk and the associated discussion forums as well as the regular weblog at http://thephotographysite.blogspot.com.

There are also some excellent online courses available and some of them are free, just type “Photography free online courses” into your search engine. Morguefile is an example they offer sound technical advice on a variety of subjects, as well as aspects of types of photography, it is a good point to start with, showing the resources Jodie Coston, a freelance photographer, has made available online, after a series of classes she gave. The New York Institute of Photography offers an online course over a period of about eight months, with a few hours work a day at your own pace, they offer courses in Photography and digital photography. Whilst they state they have been teaching photography for a hundred years, they do not quote their prices online, you have to contact them direct. They offer the information that most of their students are mature. Photo seminars offer a free workshop and a free lesson, so that you may you may evaluate the course before you buy. The enrolment cost is 39.00. U.S. dollars. They also offer links and resources. Better Photos, also offer a wide range of courses at different prices, with differing lengths, the subjects are either technical or cover “How to take more dramatic photographs”. For these courses you need to transfer the photographic assignment you were given to a web page on their site, so you need access to a computer.

There are times when the free courses cannot teach you any more and you have to pay for further knowledge. There are excellent resources in the forms of e books that give you invaluable practical information.

If you are just starting digital photography, you will find that you need skills that are not covered in analog photography. You will need to learn how to use an editor Adobe Photoshop, which is the industry standard for desktop imaging. Whilst Adobe produce their own official training manual’s, they are not the easiest resource for total beginner’s (my apologies to the author, but they are hard), there are on line courses available at Beren Patterson is a professional photographer who offers free online courses at his Sister site tribalcog, most of his work is in the travel area, but he has interesting tips about telling a story with your photographs.

There are excellent resources for the committed photographer, as well as the passionate hobbyist offered by the Kansas public Library, they offer galleries, informative articles, history resources, and general photographic resources. It is a very easy place to lose yourself for a couple of days; it is certainly worth more than a cursory glance.
As well as on- line courses there are excellent resources available to the photographer.

There are several sites for the professional photographer. The American Society of picture professionals is an association of professional who sell photographs overseas and at home. They have four types of members, and their fees range from 25.00 to 100 U.S. dollars. The American site of Media Photographers, have three aims. To protect and promote the interests of photographers whose work is for publication, to promote professional standards and ethics, as well as the promotion of friendship between photographers. They also have several classes of membership, as well as buying and selling photographs. The National Press Photographers Association has available some interesting free reports, and you do not have to be a member to read them.

There are an assortment of lessons both free, and paid for and also those available only to member’s at the Web Photoschool, they offer a tour around their site, so you can familiarise yourself with its feel. The lessons cover all levels of experience from beginner’s to professionals.

The Epsom Online Experience offers a unique and innovative course, for the digital photographer. For $29.95 you will receive five new video lessons per week for 12 weeks. It is run by professional photographers, Greg Gorman, Jay Maisel, and Bruce Dale.

They are available to teach you how the techniques, that they utilised to get their award winning shots. There is a library of “how to” that you have access to, as well as tutorials on how to use the scanner and printer to the best effects. Previews of the video are available on their site.

For those of you that feel you learn better under tutorial guidance, the School of photography offers courses 24/7 for you to work at your own pace. The courses are from beginner to the professional with a course on “how to freelance”. They have a free course available on aspects of night photography, which is in three parts.

Exposure 36 specialise in photographic education, most of their courses are in centres in Canada and the U.S.A. but they offer CD’s and also offer training on a one to one basis, or for yourself and a group of friend to set up a photographic workshop. They also have a series of articles aimed at all levels that are available for purchase.

For the nature lover in the U.S.A. there are online newsletters available that cover all aspects of photography in America, they are an invaluable introduction to the photographer who wants to explore new areas. The newsletters have been published for fifteen years, and back issues are available.

Not only are their online courses available, but also for those who need to brush on specific techniques, such as marketing - there are electronic books (e-books) available, most of these are written by professional photographer’s already making money in a competitive market. These books cover how to market a small business, photographic techniques, and photographic markets.

Better Photos offer a wide range of courses aimed at all levels; they offer courses on techniques such as lighting, as well as courses on marketing aspects. Each week you are sent a lesson via electronic mail. Contained in this lesson is a practical assignment, which has to be completed within a fortnight.

Publisher & author: Roy Barker. Roy is the author of the popular ebook, Income from Photography - a downloadable ebook which guides the reader on how to start up and market a Profitable Photography business. It can be viewed at http://www.profitable-photography.com. Other related and reviewed services & research sources can be found at http://www.profitable-photography.com/html/117/ The information on this and adjoining pages may be reprinted and used on other sites providing all information remains unchanged and the article and all pages remain as they are found here in its current font size & image with all links in tact.

The task of choosing the correct digital camera can be both a time consuming and daunting experience without the right tools at your disposal. One of the things you can do to make your shopping experience more successful is spend some time learning about common terms used to describe the abilities of digital cameras. This article will focus on two terms related to light exposure in digital cameras: aperture and shutter speed.

One of the first technical specifications you may encounter when you look at camera information is the aperture. (’ap-&(r)-’chur) The word aperture comes from the middle English aperture and Latin apertus. Apertus is the past participle of aperire, which means to open. And this is exactly what an aperture is.

Aperture refers to the size of the diameter (distance from one side of the opening to the other) of the iris when it is open at its largest point. Aperture is measured in the units F-stop. Try to remember that the smaller the F-stop, the larger the maximum lens opening on the camera. The sensitivity of the camera to light is controlled in part by the aperture.

If you are purchasing a new camera, you should look for product with an aperture range from F2.8 to F8, while advanced photographers may need a range closer to F1.8 to F16. A large aperture means that you have more leeway with lighting conditions when you are shooting. If you have a larger possible aperture, you will be more prepared for low-light conditions. To give you some perspective, the mid-range Z650 digital camera by Kodak offers both wide and telephoto options for aperture, which range from F2.8 to F8 and F3.7 to F8 respectively.

Aperture is related in part to shutter speed. Shutter speed on cameras can range from as short as one eight-thousandths of a second up to a full thirty seconds. This time refers to how long light is allowed in through the camera lens when you hit the shutter (picture capture) button. Today’s digital cameras generally offer both an automatic and manual shutter speed mode. For example, the new Kodak EasyShare Z650 has an automatic shutter speed range between 1/8th and 1/1700th seconds. The manual mode of the Kodak Z650 goes from eight to 1/1000th seconds.

It doesn’t hurt to pay attention to shutter speed when you’re picking out a new digital camera for yourself because there are some interesting techniques you can practice with a variable shutter speed. One example is using your camera to capture an object in motion. If you follow the object and have adjusted your shutter speed correctly, you can succeed in showing the object in perfect focus and yet a blurry moving background.

An interesting aspect to keep in mind as you look around for a digital camera is that aperture and shutter speed are related terms. These two aspects of a camera work together to control the amount of light that reaches your CCD, CMOS or other digital sensor. By shopping for a camera that offers you maximum aperture size and range of shutter speed, you will be giving yourself more options to shoot different kinds of photos.

In closing, a higher maximum aperture is better, as it allows more light to hit the sensor in your camera. A smaller minimum aperture size is also good, because it gives you more flexibility when lighting is abundant. A fast shutter speed means that you’ll have greater ability to shoot fast moving objects and make use of a number of popular motion-based shooting techniques.

Phillipe Testanni is a photography hobbiest and author of articles about taking digital photographs for Elite-Cameras.com. Alex gratefully acknowledges the help and mentoring and photography lessons he received from Clara Parks.

Want To Improve your Photo Sales? Here Are Seven Marketing Mistakes To Avoid.

“Why Do I See Others Photos Published –
Yet Mine Are Better?”

My cousin in Texas told me she wanted to get into stock photography and hoped to start selling to magazine and book publishers. When I visited her a couple of years ago, she brought out an album of her outdoor and travel photography. “People have told me these pictures are as good as the ones they see published in magazines and books. What do you think ?”

“Before I look at the pictures, let me see your marketing methods,” I said.

“My what?”

If you are interested in seeing your credit line in national magazines and books, and you can produce excellent images, the following will be helpful to you.

We all know that trying to sell excellent umbrellas on a dry day is difficult. Even the inferior ones will sell during a downpour.

The engine that drives the selling process for stock photographers is fueled by effective marketing methods.

Over the years, I’ve looked at dozens of collections of superb photos gathering dust in a shoe box. One important element stood between those pictures being published and remaining in the shoe box: skillful marketing techniques.

I’ve noticed that the photographers who succeed at selling to the book and magazine industry are those that have developed a strategy for selling, which today we call, marketing.

We’ve heard of the photographer who hit the jackpot with the sale of one photo for use on a billboard or an advertising campaign. This is rare. Your best bet to break into the stock photo field is the book and magazine industry.

The photography budget for a medium-size publishing house is between $20,000 and $40,000 monthly. For a major publisher, it’s twice that amount. Stock photographers who are consistent at selling their photos have learned to identify certain markets that match their own areas of interest. Once they become a “regular” at the publishing house, they receive a steady stream of photo requests and assignments.

Want to improve your marketing methods? Here are seven marketing mistakes to avoid.

CREATE FIRST THEN FIND A MARKET
Number one is probably the most oft-repeated marketing mistake. Creative people tend to produce their product first and then attempt to find a market for it. This is a recipe for disaster. The Boulevard of Broken Dreams is strewn with bodies of creative people who never learned: “Find the market first, and then create for that market.”
Most entry level stock photographers fail because they go after the “photos that sell”, not necessarily the ones they love photographing.

SPECIALIZE
When you try to be all things to all people in the publishing world, the photobuyer’s reaction is: “No one can be that good!” Discover your photographic strength areas, and go for them. Most entry-level stock photographers go have the whole pie rather than the piece of the pie.
Become a specialist. don’t photograph everything you see. you’ll burn out. Stay within a “segment” and become an expert in your area(s) of interest. Learn to speak the language of your interest areas. You’ll become a valuable resource to a certain group of photobuyers out there. If wild horses can’t pull you away from your goals, you’ll succeed. You’ll fail or get bored if you aim for only those markets that ‘pay well’.

FOR SOUL NOT FOR SALE
Writer’s rarely publish their poetry and even rarer is getting paid for it. In the stock photography field, don’t expect your ‘artsy’ pictures to sell. Consider them your poetry. Ask yourself next time you’re taking (making) a picture, “Is this for sale or is it for soul?”
Spend Sundays to take pictures that feed your soul, take the marketable pictures during the week to feed the family.

PASSING THROUGH
Give the appearance that you are a ‘permanent’ resident. Most creative people have a tendency to change their address once every five or six years. Photobuyers have a tendency to shy away from the vagabond, the wanderers, no matter how talented they might be. Buying photos is a business and they want you to be businesslike in their dealings with you, and that means being ‘reachable’ five days before deadline. Get an e-mail address and stick with it.

LOOKING LIKE A BEGINNER
If you appear to be ‘just starting out’ photobuyers will pass you on by. They don’t have the time to hold your hand or “train” you. They’d rather spend their time with someone who is “hassle-free”. You should give the appearance of looking like a pro. Build a quality website. Correspond on quality stationery, labels, and envelopes. The photobuyer will put you on her/his “white list.”
Don’t use the Internet to send a catalog of your pictures to a prospective editor. Instead, ask for permission first.

TECHNICAL FAILINGS
The automatic controls on digital cameras today make it nearly impossible not to get a technically good photo. Photobuyers expect technical excellence from you. No matter how excellent your image may be, if it does not meet the reproduction quality for the publishing industry, you’ll fail.

A 1D meg picture may be resolution enough for magazine and book markets, however, a 50 meg image is often the minimum requirement of many of your markets. Use this as a guideline when buying your next camera.

HOMEWORKLESS
Do your homework. Know what your strengths are, and then begin photographing in the areas that you love best, where you ’speak the language’ of the photobuyer. Do your homework on the web or at the reference library. You’ll find scores of powerful directories awaiting you, plus photobuyers who, at this moment, are searching for your talent and know-how. They will recognize your mini-expertise that matches the special interest of their magazine or publishing house audience.

ROHN ENGH published a book back in 1981 called, “Sell & ReSell your Photos. (Writer’s Digest Books. It’s now in its fifth printing and has become a bible for photographers just entering the field of stock photography. Rohn also publishes photo needs of national publications in three market letters ranging from a monthly to a daily. He can be reached at Pine Lake Far, PhotoSource International, Osceola WI 54020. (715) 248-3800.