Permits and Permission
Lesson 12 from: The Outdoor Enthusiast's Guide to Photography & MotionIan Shive
Permits and Permission
Lesson 12 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
Permits and Permission
you know, this is something that will always come up. I'm gonna say it. Za rapidly changing area. It's one of those things that is so confusing. It's confusing for May um, you know, I mean, every every place works differently. Um, you know, stills are very much treated different than motion, depending on what your intent is. You know, it's like, How do you predict the intent? You want to sell it? Do you not want to sell it? Really? The research phase needs to include some element of planning and preparation needs to include some element of understanding the permits and knowing what the rules are. Um, more than ever before, there's a There's a diligent process that's happening with different federal Outlands and areas of people who are going in, especially social media. There's this. There's more of a sense of one upmanship than ever before and then So that's causing people, um, in parks and places to feel like they really have to enforce these problems. These processes and permits, um,...
you know, a tandem, I'd say every now and then. Not every day, certainly. But every now and then we hear from a magazine editor who says they couldn't run an image because when they called to do the research, they found out the photographer don't have a permanent, so they couldn't get a cover. They couldn't get a spread. You end up having to try and figure out how to get involved and make that work and figure out what the story is so really understanding it is helpful. Um, I wish I could say this is the rule. The general rule is, if you know you're gonna shoot to sell, you should get a permit. If you already know you're gonna shoot to sell trying, get a permit. If you're not sure you should still research it. Figure out what the rule is. Never hurts to make a phone call. They have somebody in public affairs, usually in a park, a place that will be able to help you with that. But the determining factor really is. Are you going to sell your work or not? If you get into motion, the state parks are the same. Um, you know, we want to figure that out as well. But if you get into motion, the rules also really change. So the motion is even more stringent. Um, the reason is because a lot of the rules are old and they existed when you know, to do emotion, shoot. You brought the big camera systems and all this other stuff. I mean, drones have forced everyone to calibrate very, very quickly and not necessarily always for the best. You know, bring in big cameras and systems are gone. We can shoot now. They're DSLR a muralist camera and get great footage. Um, the rules are not built around that They take years to catch up. So you want to make sure you understand what those rules are and how it works. You know, if your only planning using images for your personal use, of course, you don't need a permit. Um, and you know, that's that's something that you go and enjoy yourself, right? You're not You're not making a living necessarily off of it. We're selling the images. Um, privacy and private property actually could be a great way to photograph. Um, really great to be surprised when you get to an old farm. It's beautiful up in Montana or something like that. I've knocked on doors before and said, Hey, do you mind if I go out? Take a picture? I've never had someone. They say no, never Asking for permission is a great way to go. Um, I've heard of people getting chased off land before, too. That's not fun. Um, so don't don't don't just cross over. You want to make sure you, uh you get permission to do that?
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.