Synopses & Reviews
In recent years as the field of photography has exploded, many photographers consider selling their work to make a profit and to help defray the high costs of equipment. But, many photographers don't have the business and marketing knowledge required to successfully sell fine art photographs; and many of those who have tried have been met with disappointment. Until now, little information of value has been available.
In Marketing Fine Art Photography, Alain Briot offers practical, up-to-date and field-tested marketing techniques from the viewpoint of a fine art landscape photographer who earns a living from the sale of his fine art prints.
Briot teaches that by taking control of the selling process, you can increase your profits and, ultimately, direct your own destiny. Briot's approach is based on offering quality not quantity; and offering something unique, rather than something that is mass-produced. Though directed toward selling fine art, this method can be applied to other products.
After a series of trials and errors, Briot devised a marketing system that allowed him to get out of debt, pay for a state-of-the-art studio, and purchase his first home, all from the sale of his photography. Briot has taught fine art photography marketing to numerous students in seminars, through one-on-one consulting, and through his Marketing Mastery tutorial DVD.
Topics include:
- Defining fine art photography
- Wholesale, retail, and consignment
- Knowing your customer
- Where to sell and how to price fine art
- Fundamentals of marketing and salesmanship
- Profitability and honesty in business
- Packing and shipping fine art
- Common marketing mistakes
- The unique selling proposition (USP)
Synopsis
Ever wonder what it would be like to get inside the head of an accomplished photographer as he chooses a subject, works the scene, selects an image, and then edits the result into a piece of photographic art?
As a follow-up to his successful first book Take Your Photography To The Next Level, author/photographer George Barr now applies the practice to the theory. Go along with George as he searches for subjects, sorts out scenes, refines his composition, and then moves from Camera to Computer to edit his images, not only correcting flaws, but making the images match his vision.
You'll see proof sheets and "not quite there" images, and you'll learn tips on image editing from someone who is focused on creating a fine art image rather than mass producing many similar images-often the goal of commercial photographers.
With his friendly, easy-to-understand approach George goes beyond how to edit your images by teaching the whys behind the editing process. This book is certain to help you dramatically improve your own images.
Topics include: Finding photographic subjects Working the scene Practical issues in composition What to change in a captured image How to edit your images-a practical, easy workflow
Synopsis
Author/photographer Barr analyzes 50 striking images by some of the world's top photographers. Accompanying Barr's analysis of each image is an explanation by the photographer describing the circumstances of making the image, including not only the how, but also the why.
Synopsis
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This book is for the photographer who strives to achieve a higher level of results in their work. Take Your Photography to the Next Level is based on a series of essays originally featured on the popular Luminous Landscape website. Barr tackles some of the rarely discussed, yet essential aspects of successful photography. Here is where photographers will learn what is required in order to grow in their creativity and to gain a deeper understanding of their craft.
With a foreward by Michael Reichmann.
Topics include:
- Creativity
- Dealing with disappointment
- Developing an \"eye\"
- Making stronger images
- What photographs well
- Where to go looking for the best photographic subjects
- How to approach subject material
- A great image is just around the corner
- Dealing with failure
- Mind games
- Becoming a self-aware photographer
- Framing, cropping, & manipulating prints to create mood and transmit your message
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Synopsis
Ever wonder what it would be like to get inside the head of an accomplished photographer as he chooses a subject, works the scene, selects an image, and then edits the result into a piece of photographic art? As a follow-up to his successful first book Take Your Photography To The Next Level, author/photographer George Barr now applies the practice to the theory. Go along with George as he searches for subjects, sorts out scenes, refines his composition, and then moves from Camera to Computer to edit his images, not only correcting flaws, but making the images match his vision. This book will appeal to those who want to go beyond the books that just tell how to edit images, by teaching the why and what to edit. Readers already love George Barr's friendly, approachable style, and most importantly, they are certain to improve their own images as they follow along while George takes the reader step-by-step through his image editing processes.
Synopsis
Every photographer, from weekend enthusiast to professional, can learn by studying the "greats". In Why Photographs Work, author/photographer George Barr analyzes 52 striking images by some of the world's top photographers. Accompanying Barr's analysis of each image is an explanation by the photographer describing the circumstances of making the image, including not only the how, but also the why. Also included is each photographer's biography, a reference to his or her websites and publications, and brief technical descriptions of the equipment used in making each image.
With guidance from Barr, we learn to decipher that certain intangible "something" that makes an image go beyond the ordinary. As we gain an understanding of and appreciation for the elements that make an image truly great, we are bound to improve our own images as well.
Included are images by:Charles Cramer, Bruce Barnbaum, Harald Mante, Dan Burkholder, Nick Brandt, Hans Strand, Roman Loranc, Huntington Witherill, Susan Burnstine, Ryuijie, Beth Moon, Phil Borges, Shaun O'Boyle, David Ward, Michael Levin, Michael Reichmann, Michael Kenna, Cole Thompson, George Jerkovich, Bengt Ekelberg, Sandra Davis, Brian Kosoff, Joe Lipka, Gordon Lewis, Lawrence Chrismas, Craig Richards, and many more.
About the Author
George Barr is a photographer living in Calgary, Canada. Serious about photography since age 12, working initially with a WWII Zeiss Ikonta in a basement-bathroom "darkroom", he has progressed through medium format, 4X5, and now digital SLR's. He earns his living as a family doctor with a special interest in psychiatry but his primary passion has always been the fine art print.
Major milestones include learning to make quality prints from Fred Picker, learning to really "see" photographs from Hubert Hohn of the Edmonton Art Gallery, looking at Edward Weston prints bare, attending workshops, working with galleries, and being published.
George has had his images published in the magazines Black and White Photography, Black and White, Focus, Lenswork, and Outdoor Photography.
By the time George closed his darkroom, he was making very high quality prints and carried on this quality with digital cameras and inkjet printing, producing some of the finest inkjet prints made, surprising many traditional 4X5 photographers with the level of quality.
Throughout his life George has been a teacher of medical students & residents, patients, and fellow photographers. A writer of understandable patient newsletters and handouts, it was a short step to writing essays on photography. George has bravely tackled the challenging subjects of aesthetics, seeing, and composing in a style that is clear, practical, and applicable to many.
Table of Contents
Dedication; Introduction; Chapter 1: Circular Chimney; 1.1 George's Analysis; 1.2 The Photographer's Perspective; 1.3 Biography; 1.4 Technical; Chapter 2: Iparo; 2.1 George's Analysis; 2.2 The Photographer's Perspective; 2.3 Biography; 2.4 Technical; Chapter 3: Elephant Drinking; 3.1 George's Analysis; 3.2 The Photographer's Perspective; 3.3 Biography; 3.4 Technical; Chapter 4: Glowing Autumn Forest; 4.1 George's Analysis; 4.2 The Photographer's Perspective; 4.3 Biography; 4.4 Technical; Chapter 5: Tree and Pond in Fall; 5.1 George's Analysis; 5.2 The Photographer's Perspective; 5.3 Biography; 5.4 Technical; Chapter 6: Bridge To Nowhere; 6.1 George's Analysis; 6.2 The Photographer's Perspective; 6.3 Biography; 6.4 Technical; Chapter 7: Pillow of Sickness; 7.1 George's Analysis; 7.2 The Photographer's Perspective; 7.3 Biography; 7.4 Technical; Chapter 8: Two Cape Breton Miners; 8.1 George's Analysis; 8.2 The Photographer's Perspective; 8.3 Biography; 8.4 Technical; Chapter 9: Traigh Eais Barra; 9.1 George's Analysis; 9.2 The Photographer's Perspective; 9.3 Biography; 9.4 Technical; Chapter 10: Tree Detail, Autumn, Zion Valley, Utah; 10.1 George's Analysis; 10.2 The Photographer's Perspective; 10.3 Biography; 10.4 Technical; Chapter 11: Stones in Window; 11.1 George's Analysis; 11.2 The Photographer's Perspective; 11.3 Biography; 11.4 Technical; Chapter 12: Moore Hall Interior # 1; 12.1 George's Analysis; 12.2 The Photographer's Perspective; 12.3 Biography; 12.4 Technical; Chapter 13: Shiprock Storm; 13.1 George's Analysis; 13.2 The Photographer's Perspective; 13.3 Biography; 13.4 Technical; Chapter 14: Manipulation; 14.1 George's Analysis; 14.2 The Photographer's Perspective; 14.3 Biography; 14.4 Technical; Chapter 15: Sleeping Halls; 15.1 George's Analysis; 15.2 The Photographer's Perspective; 15.3 Biography; 15.4 Technical; Chapter 16: Comp 16/07; 16.1 George's Analysis; 16.2 The Photographer's Perspective; 16.3 Biography; 16.4 Technical; Chapter 17: White Delphinium; 17.1 George's Analysis; 17.2 The Photographer's Perspective; 17.3 Biography; 17.4 Technical; Chapter 18: Caixa 1; 18.1 George's Analysis; 18.2 The Photographer's Perspective; 18.3 Biography; 18.4 Technical; Chapter 19: The Temple Of Godless Aphaia; 19.1 George's Analysis; 19.2 The Photographer's Perspective; 19.3 Biography; 19.4 Technical; Chapter 20: Sunflower Coal; 20.1 George's Analysis; 20.2 The Photographer's Perspective; 20.3 Biography; 20.4 Technical; Chapter 21: Fugue; 21.1 George's Analysis; 21.2 The Photographer's Perspective; 21.3 Biography; 21.4 Technical; Chapter 22: Huangshan Mountains, Study # 19; 22.1 George's Analysis; 22.2 The Photographer's Perspective; 22.3 Biography; 22.4 Technical; Chapter 23: Three Crosses; 23.1 George's Analysis; 23.2 The Photographer's Perspective; 23.3 Biography; 23.4 Technical; Chapter 24: Code; 24.1 George's Analysis; 24.2 The Photographer's Perspective; 24.3 Biography; 24.4 Technical; Chapter 25: Bluefin Trevally Herding Akule; 25.1 George's Analysis; 25.2 The Photographer's Perspective; 25.3 Biography; 25.4 Technical; Chapter 26: Precipitation; 26.1 George's Analysis; 26.2 The Photographer's Perspective; 26.3 Biography; 26.4 Technical; Chapter 27: Labyrinth 01; 27.1 George's Analysis; 27.2 The Photographer's Perspective; 27.3 Biography; 27.4 Technical Information; Chapter 28: Franciscan Church, Vilnius; 28.1 George's Analysis; 28.2 The Photographer's Perspective; 28.3 Biography; 28.4 Technical; Chapter 29: Color Prayer Flags - 2; 29.1 George's Analysis; 29.2 The Photographer's Perspective; 29.3 Biography; 29.4 Technical; Chapter 30: Fire and Ice; 30.1 George's Analysis; 30.2 The Photographer's Perspective; 30.3 Biography; 30.4 Technical; Chapter 31: Terminal Mirage 8; 31.1 George's Analysis; 31.2 The Photographer's Perspective; 31.3 Biography; 31.4 Technical; Chapter 32: Two People/Two Doors - Carlow, Ireland; 32.1 George's Analysis; 32.2 The Photographer's Perspective; 32.3 Biography; 32.4 Technical; Chapter 33: Dancer; 33.1 George's Analysis; 33.2 The Photographer's Perspective; 33.3 Biography; 33.4 Technical; Chapter 34: Sir Edward James Garden Sculpture; 34.1 George's Analysis; 34.2 The Photographer's Perspective; 34.3 Biography; 34.4 Technical; Chapter 35: Trumpet Plant; 35.1 George's Analysis; 35.2 The Photographer's Perspective; 35.3 Biography; 35.4 Technical; Chapter 36: Asylum Doors; 36.1 George's Analysis; 36.2 The Photographer's Perspective; 36.3 Biography; 36.4 Technical; Chapter 37: Waiting; 37.1 George's Analysis; 37.2 The Photographer's Perspective; 37.3 Biography; 37.4 Technical; Chapter 38: Front Towards Enemy; 38.1 George's Analysis; 38.2 The Photographer's Perspective; 38.3 Biography; 38.4 Technical; Chapter 39: Melange Un; 39.1 George's Analysis; 39.2 The Photographer's Perspective; 39.3 Biography; 39.4 Technical; Chapter 40: A June Evening, Hornby Island; 40.1 George's Analysis; 40.2 The Photographer's Perspective; 40.3 Biography; 40.4 Technical; Chapter 41: Vincente, Nebaj El Quiché; 41.1 George's Analysis; 41.2 The Photographer's Perspective; 41.3 Biography; 41.4 Technical; Chapter 42: Dancing in Bubbles; 42.1 George's Analysis; 42.2 The Photographer's Perspective; 42.3 Biography; 42.4 Technical; Chapter 43: Black Oaks, Morning Mist, Yosemite Valley, California; 43.1 George's Analysis; 43.2 The Photographer's Perspective; 43.3 Biography; 43.4 Technical; Chapter 44: River, South Coast, Iceland; 44.1 George's Analysis; 44.2 The Photographer's Perspective; 44.3 Biography; 44.4 Technical; Chapter 45: Auschwitz # 14; 45.1 George's Analysis; 45.2 The Photographer's Perspective; 45.3 Biography; 45.4 Technical; Chapter 46: Fe2O3 # 6, Kos, Greece; 46.1 George's Analysis; 46.2 The Photographer's Perspective; 46.3 Biography; 46.4 Technical; Chapter 47: Times Square; 47.1 George's Analysis; 47.2 The Photographer's Perspective; 47.3 Biography; 47.4 Technical; Chapter 48: Mrs. Nishimoto; 48.1 George's Analysis; 48.2 The Photographer's Perspective; 48.3 Biography; 48.4 Technical; Chapter 49: Birch and Window, Colmar, France; 49.1 George's Analysis; 49.2 The Photographer's Perspective; 49.3 Biography; 49.4 Technical; Chapter 50: Chrome Handle; 50.1 George's Analysis; 50.2 The Photographer's Perspective; 50.3 Biography; 50.4 Technical; Chapter 51: Descending Angel; 51.1 George's Analysis; 51.2 The Photographer's Perspective; 51.3 Biography; 51.4 Technical; Chapter 52: Tulips #55; 52.1 George's Analysis; 52.2 The Photographer's Perspective; 52.3 Biography; 52.4 Technical; Recommended Photographers; A; B; C; D; E; F; G; H; I; J; K; L; M; N; O; P; R; S; T; U; V; W; ;