Enter the Graphic Artist

Lots of folks sell through stock agencies, but how many actually get to work directly with the graphic artists who translate the basic photo into some final use?

Graphic artists (on behalf of their clients) can get really, really specific about the type of image they're looking for. It goes waaaaay beyond perfect light and focus.

I thought folks would be interested in "reading over my shoulder" on a request I just filled:

I need a photo (preferably a TiFF, but can also use JPEG) of a Kodiak bear up on its hind legs with it front legs (arms? hands?) raised above it's head, if at all possible. Alternative is with hands/paws/etc., at sides while standing up.

This is for one-time use to do some PhotoShop work on and add a sign or banner that has the bear saying, "************" (or some such). It would be on the cover of the proposal we're preparing

Thanks for sharing that Hank. Good advice and food for thought.

Thanks Hank, you bring up a good point. Brad Hill recently posted an image of an Orca in the 10 Years gallery with 1/3 of the canvas basically empty black space. I commented how I didn't like all of that negative area, and Lon pointed out that it would be perfect for text if used in a brochure or some other way which I had never thought of.

- Luke

I commented how I didn't like all of that negative area, and Lon pointed out that it would be perfect for text if used in a brochure or some other way which I had never thought of.

That's a perfect example Luke! Without seeing it, I can almost guarantee that Brad's photo would be a top seller and sincere moneymaker in commercial markets while languishing in art venues.

Shooting for "art," and especially for critique by other photographers, is quite different. Demerits in photo critiques for blank space, atypical framing and graphic simplicity are all bonus points for sales. I sincerely strive to shoot both, but the latter style dominates my income results.

I read a story by a commercial photographer that he looks at all his photographic situations and thinks how the image might be used before he even begins his composition. He thinks whether it would be used vertically (like in magazine cover) or maybe a two page horizontal spread or as a smaller 1/4 page image. He thinks about the strengths of the resulting photo and then decides which of the above three to shoot. When he does shoot, he now knows where to leave blank space for verbage. He also thinks about which magazines might use this image. He then thinks about the format of that magazine's cover and inside shots as to where the most often place verbage occurs which lets him know where to leave blank space, too. He is doing this for a living and HAS to make the right decision. He said that after he gets that shot, if time and light and etc. allow, then he shoots for art's sake or to play with the composition.

Some photographers say that right after they shoot a horizontal, the next best thing they do is shoot a vertical. The composition and thought processes will be different between the two shots.

Don't know if this fits the subject but certainly has some wisdom for commercial or want to be commercial shooters!

Troup

You and the commercial photographer are singing "my" song, Troup. In my classical (read: old) photography training using B&W mostly, we were constantly admonished to "pre-visualize" the photo. It was an outright mantra.

Time and 20+ years of pro experience has led me to modify the mantra:

Pre-visualize the USE of the photo.