تويت
تطوير نفسك أو العمل مع المختبر؟ ..
إرشادات للعمل الحر ..
التصوير الفوتوغرافي الحديث
Develop your own- or work with a lab ?
To many freelancers , processing of their own films is a waste of time and , in fact , costs more than having a custom lab do their developing and printing for them . Time spent in the darkroom might be more productive if used for additional shooting time . The cost of having someone do the lab work for you can well be far less than what you can make by doing more picture - taking . Furthermore , you don't have to worry about the quality of the prints . Everything will be top drawer and probably better than you can do your self .
Furthermore , you save all the expense of setting up a darkroom . Equipping a professional - capa bility lab will run into four figures today !
Custom labs furnish important services , too . If you are out of town shooting on location , you can mail your exposed films in to the lab and by the time you get home you will have your contact proofsheets or transparencies there for you to work up your picture selections and for captioning and story construction .
When you make your selections for enlarge ments - indicating cropping , dodging , burning - in and other controls to be used - into the mail goes the proofsheets and your prints are produced accordingly by the skilled craftsmen of your lab . They will even spot and finish the prints to per fection and - if you so wish , will even forward them directly to your client or market . In addition , most custom labs will file your negatives for you so they will always be on tap for instant re - orders or special requests .
Whether your work is black - and - white or color , a custom processing lab can be a valuable asset . You have to weigh your own needs , time and ability against what they offer in services and capability .
Working with agencies and " reps "
The beginning freelancer generally is not in a position to have an agency handle his material for him . In the first place , the better agencies will not accept work from unknown photographers . You have to establish some kind of name for yourself before they will consider handling your work . The only way of building a name for yourself is to operate on your own and to make sufficient sales to impress the agencies of your ability .
There are a few agencies that do work with novice freelancers if they consider your work " salable . " To make a " contact " with such an agency you should prepare a portfolio of your work and submit it for their evaluation . Include a cross - section of the kinds of photography you do . Make sure the prints are top quality and any transparencies you include must be sharp ; well exposed , have good color saturation and have sales potential .
Agencies work on a commission basis , taking a percentage of the selling price ( usually 40 % on b / w ; 50 % on color sales ) and returning the balance to the photographer . Personal represen tatives generally work on a 50-50 basis on every thing . Good " reps " are worth it because they handle only a few non - competitive clients and spend all of their time showing your work around to mar kets to produce maximum sales . In addition , they often manage to obtain direct assignments for their photographer - clients .
Since most freelancers do make a reputation on their own before beginning to work with an agency , they are in a position to make an agree ment that the agency will only handle those mar kets which they open up themselves . This means that you will retain those markets which you have opened up and serviced yourself . In some cases , however , you may wish the agency to handle some of these accounts because they may be able to make them more " productive " or may be able to get better prices for your work .
Whatever arrangements you make with an agency or a personal representative , have it in writing so there can be no misunderstanding at a later date . A good agency earns its fees by working for you ; a poor one is content to let your pictures sit in the files while they wait for telephone calls from prospective customers . Unless your pic tures are shown to all possible markets , you won't make money . It is up to you to make certain your work is seen and considered .
Specialize -- or range the spectrum ?
Many freelancers have the idea they should specialize on one or two particular subjects . This sounds like a good idea on the surface but not many photographers are capable of being special ists and making a living out of it . The photo grapher who does is rather rare .
Of course there are specialists who make top dollar incomes in five figures annually . But , for each such individual there are a thousand who cover the broad spectrum of freelancing .
There's nothing wrong with developing a specialty within your overall operations . You might have a particular interest , i.e. , in fishing as an avocation . When coupled with your vocation of photography you could create profit - making action photos of fishing trips while having the fun of participating in both operations .
Your inherent interest and knowledge of the particular subject be it flowers , farming , ani mals , insects , fashions , automobile racing or what ever will be helpful towards getting better pictures than someone else who knows nothing of the subject . But , you have to depend upon doing many types of income - producing photo graphy to be able to afford that " specialty . "
There are some specialty markets that are unique because of the type of products . These concern picture postcards , promotional and ad vertising folders , catalog pages and brochures . Restaurants , night - clubs , taverns , motels . hotels , resorts , manufacturers and thousands of other pos sible clients can be sold these kinds of things in which you become a " partner , in effect " with the printing house that specializes in these kinds of product operations .
There are a number of companies that produce the postcards and folders and each has a working .
إرشادات للعمل الحر ..
التصوير الفوتوغرافي الحديث
Develop your own- or work with a lab ?
To many freelancers , processing of their own films is a waste of time and , in fact , costs more than having a custom lab do their developing and printing for them . Time spent in the darkroom might be more productive if used for additional shooting time . The cost of having someone do the lab work for you can well be far less than what you can make by doing more picture - taking . Furthermore , you don't have to worry about the quality of the prints . Everything will be top drawer and probably better than you can do your self .
Furthermore , you save all the expense of setting up a darkroom . Equipping a professional - capa bility lab will run into four figures today !
Custom labs furnish important services , too . If you are out of town shooting on location , you can mail your exposed films in to the lab and by the time you get home you will have your contact proofsheets or transparencies there for you to work up your picture selections and for captioning and story construction .
When you make your selections for enlarge ments - indicating cropping , dodging , burning - in and other controls to be used - into the mail goes the proofsheets and your prints are produced accordingly by the skilled craftsmen of your lab . They will even spot and finish the prints to per fection and - if you so wish , will even forward them directly to your client or market . In addition , most custom labs will file your negatives for you so they will always be on tap for instant re - orders or special requests .
Whether your work is black - and - white or color , a custom processing lab can be a valuable asset . You have to weigh your own needs , time and ability against what they offer in services and capability .
Working with agencies and " reps "
The beginning freelancer generally is not in a position to have an agency handle his material for him . In the first place , the better agencies will not accept work from unknown photographers . You have to establish some kind of name for yourself before they will consider handling your work . The only way of building a name for yourself is to operate on your own and to make sufficient sales to impress the agencies of your ability .
There are a few agencies that do work with novice freelancers if they consider your work " salable . " To make a " contact " with such an agency you should prepare a portfolio of your work and submit it for their evaluation . Include a cross - section of the kinds of photography you do . Make sure the prints are top quality and any transparencies you include must be sharp ; well exposed , have good color saturation and have sales potential .
Agencies work on a commission basis , taking a percentage of the selling price ( usually 40 % on b / w ; 50 % on color sales ) and returning the balance to the photographer . Personal represen tatives generally work on a 50-50 basis on every thing . Good " reps " are worth it because they handle only a few non - competitive clients and spend all of their time showing your work around to mar kets to produce maximum sales . In addition , they often manage to obtain direct assignments for their photographer - clients .
Since most freelancers do make a reputation on their own before beginning to work with an agency , they are in a position to make an agree ment that the agency will only handle those mar kets which they open up themselves . This means that you will retain those markets which you have opened up and serviced yourself . In some cases , however , you may wish the agency to handle some of these accounts because they may be able to make them more " productive " or may be able to get better prices for your work .
Whatever arrangements you make with an agency or a personal representative , have it in writing so there can be no misunderstanding at a later date . A good agency earns its fees by working for you ; a poor one is content to let your pictures sit in the files while they wait for telephone calls from prospective customers . Unless your pic tures are shown to all possible markets , you won't make money . It is up to you to make certain your work is seen and considered .
Specialize -- or range the spectrum ?
Many freelancers have the idea they should specialize on one or two particular subjects . This sounds like a good idea on the surface but not many photographers are capable of being special ists and making a living out of it . The photo grapher who does is rather rare .
Of course there are specialists who make top dollar incomes in five figures annually . But , for each such individual there are a thousand who cover the broad spectrum of freelancing .
There's nothing wrong with developing a specialty within your overall operations . You might have a particular interest , i.e. , in fishing as an avocation . When coupled with your vocation of photography you could create profit - making action photos of fishing trips while having the fun of participating in both operations .
Your inherent interest and knowledge of the particular subject be it flowers , farming , ani mals , insects , fashions , automobile racing or what ever will be helpful towards getting better pictures than someone else who knows nothing of the subject . But , you have to depend upon doing many types of income - producing photo graphy to be able to afford that " specialty . "
There are some specialty markets that are unique because of the type of products . These concern picture postcards , promotional and ad vertising folders , catalog pages and brochures . Restaurants , night - clubs , taverns , motels . hotels , resorts , manufacturers and thousands of other pos sible clients can be sold these kinds of things in which you become a " partner , in effect " with the printing house that specializes in these kinds of product operations .
There are a number of companies that produce the postcards and folders and each has a working .
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