Model and Property Releases
Lesson 13 from: The Outdoor Enthusiast's Guide to Photography & MotionIan Shive
Model and Property Releases
Lesson 13 from: The Outdoor Enthusiast's Guide to Photography & MotionIan Shive
Lessons
Bootcamp Introduction
06:35 2Storytelling with Stills and Motion Overview
14:35 3Elements of a Well-told Story
22:12 4Storytelling in Motion
34:19 5Choosing the Best Gear for Your Outdoor Project
16:24 6Gear for Drones
02:53 7Gear for Motion
05:23 8Inside Ian's Gear Bag
20:07General Advice for Preparation
14:19 10Virtual Scouting
03:54 11Weather
10:17 12Permits and Permission
03:09 13Model and Property Releases
04:43 14Health and Fitness
03:04 15Checklist
03:20 16Location Scouting Overview
15:18 17Location Scouting in the North Cascades
15:24 18Drone Introduction
14:59 19Drone Safety
03:26 20What Kind of Drone Should I Buy?
02:58 21FAA Part 107 Test: How to Prepare
06:18 22Telling a Story With a Drone
06:15 23Drone Camera, Lenses and Movements
04:34 24Selling Drone Footage
02:39 25Why Does a Photographer Need Motion?
10:59 26Establish the End User
06:35 27Identify Your Audience
03:12 28Build a Production Plan
05:28 29Create the Story Structure
04:26 30The Shooting Script
07:08 31Production Quality
08:37 32Composition for Stills
08:04 33Composition for Stills: Landscape
08:15 34Composition for Stills: Telephoto Lens
14:48 35Composition for Stills: Macro Lens
07:50 36Techniques for Capturing Motion in the Field
25:15 37Lenses and Filters for Outdoor Photography
26:20 38Capturing Landscapes - Part 1
28:12 39Capturing Landscapes - Part 2
23:36 40Capturing Movement in Stills
32:17 41Shooting Water, Sky and Panorama
29:40 42Understanding Stock
20:45 43Editorial vs Commerical
03:57 44Pricing Stock
05:40 45Producing Stock
14:49 46Shooting for Social Media vs Stock
11:37 47Choosing an Agency
08:58 48Assignments and Capturing Stock
13:49 49Stock Photography Market
05:28 50Create A Style Guide
05:30 51Stock Shoot Analysis
21:29 52Workflow for Selecting Final Stills
27:43 53Initial Editing in Adobe Bridge
21:02 54Reviewing and Selecting Motion Footage
11:02 55Keeping Track of Your Story Ideas
22:40 56Script and Story Structure Evolution
04:34 57Editing to the Content
05:00 58Music as a Character
05:41 59Business Diversification
07:07 60Business Strategy
04:57 61Pillars of Revenue
17:09 62Branding
06:36 63Partnerships and Brand Strategy
05:12 64Galleries and Fine Art
03:11 65Budgeting
05:21 66The Future of Photography
26:12 67Q&A And Critique
1:09:39Lesson Info
Model and Property Releases
modeling property releases are very important. They are what makes your work most commercially viable. It's the paperwork I was talking about earlier. So you want. Make sure you have him. I strongly recommend, uh, staying up to date on your model on property releases. Um, you know, you need them any time anything is in there, people say, Oh, well, you see the hands. It's not identifiable. Well, some people make a living with their hands being photographed pets, someone's dog, its property release considered property by law. So get a release. I've seen that go south many, many times before. People like, Oh, I don't need its fight out. Like now you need it. Um, you know, especially especially as you know, your images could become extremely commercially viable, and they start getting published everywhere. Imagine when they're, you know, toothpaste ad or something like that. Or the dog food ad. Trust me. You want to make sure you're protected. This is for you to make sure that you have goo...
d protection on the legal stuff. So make sure you have all your releases. Um, I like the S and P American Society and media photographers. They have releases good organization. Be a member of a lot of good paper. Resource is their legal resource. Isas. Well, in general, there are there is a difference between motion releases instills relation releases. So you want to make sure that you have, uh, you know, the proper release for video likeness? You in motion, you hear someone's voice. So you want to make sure you have that kind of coverage that you don't necessarily have instills. So those are the kinds of basic things that you want to think about modeling property releases. I recommend the S and P. There's a good video releases out there as well you want, Take a look and see what the resource is our, um, but commercially viable meaning not in editorial magazines, not stories. You don't necessarily need him for your social media. Any time the image is going to be used for sale anytime that motion clip is going to be used for sale commercially viable, you need the releases. That's when you need it. Is any questions on that one? So you usually get a question on that stuff? No. So if the image is already published, Mount Rainier many times and I've already got two covers off of Ah, Travel magazine. It's only here in Washington state, but other people in it. No. Well, I mean, it's a great question. And that falls square right in the middle of the grey area. Um, you know, I mean, it's tough because theoretically, if you're on vacation, you take a picture. Your intent is not necessarily sell it. If you're just out enjoying yourself in taking pictures, the a lot of it gets into intent. You know, I'm not a lawyer, so I can't give exact, precise legal advice. But what I can tell you is in every situation is very different. But you can reach out. And I have reached out to Parks in retrospect and said, I went out. I got a bunch of great images. Um, you know, I put him up on a site, and this is often how in my social media lesson, this is actually something I will really cover is a lot of editors. Or using social media, an amateur photographers or posting images and saying That's the exact trail we need for our article. We'd like to buy it from you. A person never intended to sell that image, but they're not going to say no to making 100 bucks off their image or whatever it's gonna be. And so, in general, that becomes a really complicated, convoluted area to go into. It never hurts to go in hindsight, but generally, a magazine will fall under editorial guidelines, and different parks have interpreted it differently. But because its editorial guidelines, theoretically, you don't need a permit for that. And that is something that I would probably argue successfully, that you don't need a permit for it because it's editorial. It's a magazine cover talking about a story. Your intent was not necessarily to sell it. Maybe it was, but maybe not. And the, um and there's no people in it, necessarily. But even if there's people in it, it would also fall under editorial because you're in public. So people who are in public second you step out your door, you lose what's called a reasonable expectation of privacy. And so if you're out on a trail hiking, you're basically for going that right to privacy. And so someone does take your picture and it appears somewhere in news, just like news. You see the six oclock news of people in the background. Whatever they don't need a release from those people, it's you're out in public, so you become. You've given up that expectation of privacy. So I do hope at some point that there is more clarity to this process. I think, as photography and motion stills in motion in general evolved that there will probably be, and I certainly hope there will be more clarity on the permit process. I think it be great for all over federal lands A have a more clear and concise process to that, Um, so we'll see what happens. But again, each park is different. Hindsight can be really challenging, though just depends. It really just depends.
Class Materials
Bonus Materials with Purchase
Ratings and Reviews
monica4
Ian was an amazing instructor.; very fun, enthusiastic, encouraging, and comprehensive. I hope to be able to return as an audience member for another of his classes. It is a privilege and a gift to have access via Creative Live to such a wealth of expertise. Thank you!
Cindy
What a great class this has been. Thank you Ian Shive and Creative Live! Recently retired, I have set out to learn everything I can about photography and pursue this passion to capture the beauty in the outdoors. Creative Live has served as an amazing educational platform to help me learn everything from how to use my camera, the fundamental technicals, and learn about software and tools. This class brought it all together. At the end of this class my approach to photography and my images are different. Ian shares so much valuable knowledge that will change the way you go about taking a picture; from scouting a location, to thinking through the story and adding elements to an image to evoke an emotional response. My personal growth has been significant and I have changed to the way I approach creating an image from an Outdoor Landscape to an Outdoor Experience. Loved every minute of it, sad the class is over.
Cindee Still
Ian Shive is a dynamic speaker with a wealth of knowledge he is willing to share. He has had a magical path that led to his success. He touches on so many aspects of making, selling and creating images as well as how to market them and make an income from your work. It is so much fun to be part of the studio audience. The Creative Live staff are always so warm and friendly and they feed you like your on a cruise ship! Wonderful experience.