Your Photos Need A Self-Critique

When you are next out on a photographing excursion, begin the habit of asking yourself, "Is it marketable?" before you snap the picture. Gauge whether the piece of film or digital file that you're exposing in your camera has a good chance of resulting in a sale for you.

If it's color: Is it saleable? That is, -is it a picture a photo buyer will need ...not one he already has access to. Will that transparency one day be on a photobuyer??s desk? If it's B&W, will the negative result in many future sales?

One photographer friend said she could not break the habit of snapping pictures of anything and everything on a photo excursion, then trying to make the marketing decisions a week later when the processed film returns. To make the change-over, she placed a label on the back of her camera that read: "Is it marketable?" It took her only two weeks to finally break the habit. The label is now removed. She no longer aims her camera at silhouettes of sea gulls against the setting sun (and other such "classic" shots, that do sell, but that are individually very difficult to market because thousands upon thousands of similar photos are available to photobuyers).

Instead, she now photographs specific subject matter geared to specific market areas that match her own interest areas. She found (and continues to find) dependable markets for her material by doing some sound marketing homework. >The MARKETING QUOTIENT Critique

In my seminars, I offer a free critique of photos based on their marketing potential. Since the persons who attend my seminars are photographers, I don't comment on the artistic value of the photograph, only the marketing potential. I use what I call the Marketing Quotient (MQ), a number factor ranging from 1 to 10. (Ten equals high.)

Since there's no mystery about the MQ, you can make a self-critique of your own pictures. Here's how to start:

A key factor in selling anything is the law of Supply and Demand. If there's a great supply of something, it's not going to sell briskly (e.g. the silhouette of the sea gull). If on the other hand, the supply is limited, the demand will be great. (A volcano erupting in Washington.)

Seventy-five percent of your photo's marketing worth will have to do with supply and demand. For example, if there's a reasonable demand for a picture, and it's not the kind of picture easily available in agencies, your MQ can start at 7. From this point, your MQ will go up or down.

Here are some of the factors that will cause your MQ to increase: 1.) You have an established track record with the photobuyer, or you are a "name" photographer. 2.) Your picture is available to meet a deadline. 3.) Your picture is: a) timely, up-to-date; b) lends itself to a publishing house's needs; c) matches the photobuyer's interest area; d) available for one-time use; e) has not been used recently by the competition; f) available for commercial use also and therefore has a model release; g) technically acceptable; h) good.

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Your Photos Should Have a Theme

"I think I'll choose a Pepsi," the lady says in front of the vending machine.

Out comes the soft drink can of her choice.

She makes a choice based on preference (or need) and makes payment for it. Vertical marketing works much in the same way. If you were to open the interior of the machine, you would find that the soft drink cans are all lined up in a vertical row. All soft drinks of one selection are slotted into one vertical column, ready for dispensing.

There's no crossover. The cans must be lined up in the same dispensing vertical row, or they will deliver a wrong selection to the customer.

If you were the serviceman and haphazardly placed the cans in the machine in random positions, the results would be chaotic and unsatisfactory to customers.

NO CENTRAL THEME

Most beginning stock photographers make the mistake of building a stock file in random fashion, with no focussed marketing themes. Their picture-taking choices are "all across the board."

Because any one photobuyer's publication appeals to a vertical market (gardeners, pilots, medical technicians, teachers, etc.) photobuyers turn to vendors who can supply them pictures within those specialty areas. They can't afford to waste time on a vendor who does not offer an extensive selection of the product in the vertical market they need.

NO TEARS MARKETING

If the customer at the vending machine is served up a soft drink that doesn't fit their choice, they become irritated and pound on the machine and demand a return of their money. "This is not what I wanted!"

The soft drink they received may be of excellent taste and quality, but it doesn't match their needs. This realization may help to assuage your disappointment when a photobuyer rejects your submission of excellent pictures. The pictures may be of high quality, but you are vending them to the wrong buyer.

Stay within the vertical markets that you enjoy photographing in, and match with markets who need photos in those subject areas. At this moment, buyers are searching for you. Don't waste film or time on picture-taking that doesn't fit into your vertical market areas.

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Zeroing in on Flash

Professional photographers rely on the flash on their camera to capture the action at a wedding or other social event. They are probably not aware of the effect of their flash on the faces of their subject. Here is an analysis of the effect of different distances between the flash head and the lens.

The proper position of the flash is directly over the lens. This will ensure that any shadows from the flash will occur behind the head and body and not to one side. Of course, when shooting square format like Hasselblad, the flash can be fixed in that one position. For shooting with a rectangular format like Bronica ETR or Canon DSLR, the flash must be mounted on a swinging bar so that the flash can be positioned over the lens in either a horizontal or vertical shot.

I have determined through many tests that the ideal distance of the flash head above the lens is twelve inches. There are many advantages to using this distance. First, the unavoidable reflections on the forehead, nose, cheeks and chin are conducive to making the subject look good. The forehead reflection is positioned higher on the forehead, almost into the hair line and much diminished in strength. This leaves the flat portion of the forehead reflection free and retaining the natural color of the skin.

The shape of the nose is determined by the fall off of light along the sides and the position of the reflection on the bridge of the nose. When the flash is positioned closer to the lens, the bridge or indentation receives no highlight but rather the bony lower part of the nose is emphasized. The tip of the nose also benefits from the twelve inch distance of the flash head by appearing smaller and less intense.

Cheek reflections are considered acceptable when they are centered on the upper portion of the cheek. With a lower positioned flash head, the reflection highlight the unattractive line of muscle from the cheek to the nose. The twelve inch flash position also enhances the cheek bones. Chin reflections lower down on the point of the chin are unattractive and make the chin look wet. Alternatively, the twelve inch flash position just places a small crescent shaped highlight under the lip. An added benefit also occurs in the form of a more defined chin line and the placement of some double chins in shadow.

Those terrible eye glass reflections are greatly minimized with the twelve inch flash. The flash highlight now appears near the top of the eye glass, completely avoiding the area of the iris and pupil. The eyes are the most important feature of the face and ugly flash reflections can wipe out the eyes completely. An added benefit is a slight darkening at the bottom of the picture, enhancing the composition with a natural fade out.

Remember that since most natural light comes from a position over the horizon the most natural flash lighting will do the same for the face. Don??t let convenience prevent you from capturing your flash subjects in the most attractive light.

Retired portrait and wedding photographer. Modestly, I was once awarded the title of Best Wedding Photographer in Passaic, Bergen and Hudson Counties in New Jersey.

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Djogja

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