Category News

Maine photographers give back with Flashes of Hope

I’ve gotta be one of the luckiest photographers in Maine.  How do I know?  Last week I was one of four photographers taking part in the Flashes of Hope shoot at Camp Sunshine in Casco, Maine.   More than a worthy cause, it’s a great way to give back to some amazing people.

Kevin Brusie, a local commercial shooter, has organized the local response to what is a national effort–to provide ill children and their families with professional portraits taken at hospitals and camps across the United States.  This is the third year Flashes has been in Maine, and my second year shooting.   Other photographers this year were Fred Field and Jeff Stevenson.

It’s one of the most humbling and touching experiences I’ve ever had.  Selfishly, though I’m giving my time and sharing my digital files for free, I feel like I’m getting far more than I’m giving.

I see the faces of the children–from very young to 18 years old–and as a group they impress me with their poise and grace.  As you might expect, these kids are far older than their years would suggest.

I’m including a handful of my favorite photos from my portion of the day, which involved a total of 40 families.

Copyright Alliance comes to Maine

Last month I got an interesting request from Patrick Ross, executive director of the Copyright Alliance.  This is a non-profit organization that promotes the intellectual property rights of artists (not just photographers, but artists of all stripes).   I recently wrote a post about the importance of copyright registration for photographers, and really am excited about the good work the CA is doing.

Now, I get the very cool opportunity to share my perspective as a Maine commercial photographer.   I’m honored that Ross will be conducting a video interview here at the spacious Fitzgerald Photo studio this week.   I guess that means I need to get a hair cut….

If you get the chance, check out the interactive map on the Copyright Alliance website, and see what other creatives are doing and saying.

Maine State Sales Tax 101 for photographers

After many years’ experience as working, professional photographer, I’m well-versed in the technical side of my craft.  The largest part of my business isn’t photography, though–it’s business.  You know, everything from marketing to maintaining my site to keeping records and doing taxes.  That’s often where photography businesses either make it or break it.

Whether you run a retail business (selling prints and products) or a service one, where deliverables are usually in electronic form, you need to know about state sales tax laws and how they apply to you.  I’ve been confused about this in the past, as have many other photographers I know.  My accountant didn’t know the answer, and so I called the state.  A very nice lady named Mary helped answer my questions and directed me to the instructional form on the Maine.Gov website that explained what I needed to know.  Click to download the form that applies to Photographers and Photofinishers.

Chances are if you’re like me, your sales tax strategy could use a few tweaks.

This is what real work looks like…

This weekend I had the pleasure of meeting and photographing Susan Taylor of  Simply Susies Catering, a Downeast vendor who has worked every wedding, BBQ, picnic and countless other types of events for 22 years up and down the coast.  I spent just three hours with Susie and her crew, busy prepping for a family BBQ at Freeport’s Winslow Park (see a couple of the photos above from the shoot just to get a sense of the place).

Next time I even think about complaining about the long hours or physical aspects of what I do for a living, I’ll remind myself to look at the photos I took yesterday.  In a past life, I held several food service jobs.  None comes close to the amount of work Susie had to do.  In humidity so thick it feels like you’re swimming in air. In the middle of a park, out of a van.  In the rain.  On a Sunday.

Of course, the food smelled and looked great.  Once the rain really started going, I beat a retreat even after Susie kindly offered me an apron and invited me to stay and help.  Uh…I would, Susie, but I don’t think I could keep up with you.  Susie just smiled, covered her head from the rain and got back to work.  Just another day at the office.   That’s a true professional…and some truly hard work.

Architectural photography checklist makes things go smoothly

Architectural photography is both an art and a science. Much depends on details and it’s easy for clients to forget to ask key questions during the process of searching for the right photographer for their job.

The American Society of Media Photographers (ASMP) has a lot of resources dedicated to helping you choose the right photographer no matter what your editorial or commercial need. In particular for architects, builders and real estate professionals, they have a great Architectural Photography Checklist to use when talking to a photographer or interviewing one for a possible job. Just click and download to view this handy .pdf document.

Using this guide, and having a detailed discussion with your photographer will help focus the process and can result in a better, more positive outcome for all parties concerned.

Maine blueberries mean summer

Summer is when Mainers get out and get active. The warm season isn’t all that long here, and people around these parts waste no opportunity to get outside–even if that means parking it around a patio table on their front driveway. Recently I photographed organic Maine blueberries for an article on summer activities for families–picking strawberries and blueberries at local farms being a good example.

Just looking at them makes me hungry.

Microstock: why it’s good (and bad)

Many professional photographers complain about the growth of microstock in the past few years–inexpensive stock images (costing as little as one to five dollars) from companies like istockphoto, shutterstock and BigStockPhoto. These images on average cost pennies to dozens of dollars to use and have become standard for businesses and web designers who don’t want to commission original work for hundreds of dollars.

I don’t blame them.

Microstock has its place. Why spend a ton of money on something that you may want to change frequently, or that is part of a simple Powerpoint? Some of my business customers go through a process that starts with them doing their own photography, purchasing microstock and finally hiring a pro—that’s me— when they get busy or large enough that it makes sense to do so. I tell my clients that they should do what they can to save their money, and bring me in only when they have a big, tricky or big-splash campaign that needs to be done right. I’m part of the mix, and my client is being prudent. I like that.

Microstock is useful but it has its drawbacks too. That image of a bunch of business types interacting might be nice looking and may perfectly illustrate an ad for your conference room space rentals. But you have no control of who else uses that image. It might also perfectly illustrate the meeting space of your competitor, who decides they want to use it as well. Or it may illustrate the types of clientele an upscale escort service wants to attract and show up in some places you don’t want to associate with your brand.

My suggestion? When you decide to use a piece of stock for your primary web or marketing materials, do a search to see who else is using it. An exciting service is called www.tineye.com and if you upload an image it’ll scour the web to find where else that image is published.

The image above, sold on istockphoto for less than $10, is being used for 236 different sites around the world (see screenshots below). Interesting to note that a dozen or more companies use this same image on their “about us” pages. Wouldn’t it be better to actually show your people?

Another alternative is to hire a professional to do your work. It may cost a bit more, but the image will be totally unique—the highest value in a world of cheap copies—just like your brand. It’s yours. It’ll feature your work or your team.

Whichever way you go, it’s worth your time to go in with eyes wide open.

Fitzgerald Photo at upcoming PUG

What is a pug? No, it’s not the curly-tailed, bug-eyed kind. PUGs (Pictage User Groups) are wedding and portrait photographers organized in local groups around the US. Most attendees are customers of Pictage (hence the name), a photo lab that is much, much more.

Local PUG organizer Emilie of Emilie Inc. invited me and several other commercial photographers to take part in a panel discussion at the next gathering, July 15. We’ll be there to show some of our work, discuss questions on things like licensing, etc. and generally have a good time talking shop.

I’m excited because it’s a good opportunity to see colleagues and to meet some new talent. Although we are all photographers, there are notable differences between wedding and commercial photography–not just in terms of subject matter, but also when it comes to things like clientele and workflow. Primarily, we deal with businesses and agencies and wedding photographers work directly with consumers. As such, there are some differing traditions in terms of licensing and use of commercial images that most (but not all) wedding and portrait shooters may not be aware of.

When it all comes down to it, though, we all are creative, motivated, visual people who are lucky enough to make a living doing what we truly love. Looking forward to July!

Announcing: Aurora Photos

Aurora Photos.

I’m pleased to announce that starting last week, I’ve become a contributor to Aurora Photos. What is Aurora? They are a very well-known photo agency that licenses and distribute unique, high-end imagery to clients around the world. They specialize in outdoor adventure, sports and lifestyle imagery and journalism.

Started by National Geographic photographer José Azel, the Portland Maine-based agency features some of the most talented photographers in the world. I’m humbled and excited to be working with Aurora Photos.

Make your photo files immortal

What is a DNG file? Should I shoot RAW? I hear questions like these all the time from photographers and friends. It’s confusing out there, with each camera manufacturer using a different, proprietary type of RAW file. Sometimes the file type changes between cameras of the same manufacturer. How do you ensure that your files are readable years down the road, when that format may be obsolete (many have already come and gone)?

The best answer right now is the Adobe-sponsored format .DNG (Digital Negative). This is a standard supported by Lightroom, Aperture, Adobe Bridge, Photo Mechanic and many other image browsers, catalogs and PIEware. It’s not yet universally supported by the major digital camera manufacturers, but it’s probably just a matter of time before that happens.

It’s a good idea, if you shoot RAW–to either save the original RAW images and then convert your take to DNG, or to convert immediately to DNG and save those as originals (which they technically are). Most professional image browsing software will convert proprietary RAW files to .DNG during the image ingestion process–that is, as the software copies the images from your digital media card and deposits them on a hard drive. If you don’t have a browser software that does this for you, you can download a .DNG converter from Adobe.

For ultimate forward-backward compatibility, add .DNG file conversion to your workflow. Your future self will thank you.