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
Pricing Stock
This is how it typically works. This is from our site. We're in the process of changing that, and I'll tell you why. But essentially, you know, people find an image in the library and they use it by searching tags. Who what you tag your images is very important because you're the only one who is there. You're the only one who knows exactly where you were. What makes it special. You want to have some tags? There's a standardized way of doing it. Um, and there's lots of resource is online for how to go about tagging. Really, the most important thing is having a good, accurate caption following a certain style, whether that's the, you know, like a journalistic style. So you might want to start with, you know, Los Angeles comma California, um, and then say, you know, city skyline of downtown Los Angeles in summer. And you know, we have things like the date and so on in case skylines typically changed very much. Do you want to have all that information? But this is essentially what a rights...
manage. We call it right specific. It's basically it's a version of rights manage, and you have different kinds of use. Editorial magazine, books, nonprofit, etcetera, etcetera, the prices air ultimately determined based on use. Whether this is royalty free or rights manage. And you don't even really need to know the technical. The general rule is the broader the use, the more expensive it is, the more people who see it, the more expensive it is. These air typically starting points for prices. So this is printed marketing materials. You know that might be like, Let's say you're creating a brochure 5000 pieces local $360. 50% would go to the photographer. Now, if you're buying all often durably bulk discounts and better rates and so on, so forth. These rates are all generally speaking, starting to come down. What you're starting to see is your starting to see a standardization based on either file size or market. Um, so you might see small, medium and large at $75.250 dollars and $ or thereabouts, kind of averaging it out, um, or you may see editorial, commercial and custom or something like that, where they're different prices. Everybody's got a different way of doing it, Um, you know, we're in the process of revising ours because there's a lot of changes happening in the industry, and we're seeing more and more people looking for a fast and easier buying process versus having to go through different steps. So as you move into the stock market, you're gonna want to figure out what you're most comfortable with. Um, one thing I will say. And I'll talk a little more about royalty free in a minute, but it's toothpaste. Once you go, you can't get it back in the tube. That's how it works. Once you've given away the rights and the royalty free, you cannot grant an exclusive. You can't have a car company say we want this image in perpetuity for our campaign, and we're gonna give you $25,000 for it. And it does exist. I assure you it exists. You will not be able to do that if you've already gone royalty free at any point in that image is passed. So it's an important thing to make Now. A lot of people say I can sell a lot more royalty free images because they're gonna sell a lot more often. How often by really getting that $25,000 car ad, only you can determine that, right, depending on what it is. There's a lot of 3 60 work and a lot of other kinds of new licensing as well. That's happening, and especially in the car ad space, where they want to be able to control the lighting of an entire scene and so on. Um, but generally speaking, talking about still photography, that's that's where things are headed. Just a thought per se share. I mean, you see a lot of photographers out there, uh, throw their images on Facebook once they're on Facebook royalty free. Ah, yeah, it's a good question. So once they're on any sort of social media platform, um, but not royalty free. Just because they're out there doesn't mean the royalty free. You're not giving away your rights to somebody to use them commercially. When you post it, you're sharing. You are publishing it. So there is an implication for copyright and punitive damages. So essentially someone would ever use that image that you've put on Facebook. And it's never appeared anywhere before that they will use it illegally, and you haven't copyrighted it prior to publishing it on social media. You'll be limited in your damages if you copyrighted prior to publication, your by law entitled to more damages. So there's that. Whether it becomes royalty free or not, that's not really based on posting. Um, that said, the fine print of a lot of organizations will say, Well, if you post, we can use it in ads and we don't need your permission. I think that's what you're asking. Maybe. You know, I've never seen it tested ever in my history. So if they are entitled to that, it's never been tested. Um, there may be some liability there, but I'm not 100% sure. But you're not limited posting things on social media, posting them on your own website. Absolutely not. That's your right. It's your copyright, and you have the sole and exclusive right toe license that to whomever you want. Until you give that right to another agency and you allow them to license it on your behalf. No one can take that away from you. It's not royalty free for to be royalty free, it has to go into an agency and theoretically and easy it licensed to because then when somebody has it and they've paid for a royalty free license, then they can use it any time again in the future. That's what royalty free is there. No future royalties essentially, and royalty free has restrictions built in as well, but not enough and not enough to grant an exclusive license somewhere down the road.
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.