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Shooting for Books and Addendums

Lesson 12 from: Animal Photography

Rachael Hale McKenna

Shooting for Books and Addendums

Lesson 12 from: Animal Photography

Rachael Hale McKenna

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Lesson Info

12. Shooting for Books and Addendums

Lesson Info

Shooting for Books and Addendums

If you are fortunate to get a licensing agreement with somebody and you think there's a lot of things to consider, do you want to hand your images over to somebody and then get them to do the whole process? Or do you want to keep it and actually have total control yourself with the rachel hail brand way? Did most of the we had total control in house or when when we like to hit a licensing company, we would supply them with the images, but then they would bring you seemed us the designs, and we had to approve everything before it went out into the market, which is if I can recommend that is probably the best way to go if you can it's, but not everybody can get that right at the beginning, because some people, some licensing agencies or companies and things like to have a little bit more control and they but they know you've also gotta trust them now because they know the market, but they're not going to put something out there, which it's not going to sell because it's, just not benefic...

ial to them and all to you, is a photographer either. But what we did in with director, how brenda's we on dh what would also do what I do with my public current powers publishing company, we create what's called a style guide so with a style guide you've got that first starts off with having like a little bit about the photographer a bit a little bit about your history that sort of thing that why you create the images then you'd go into design guidelines were you've gotta tell them about how you want your images cropped the the color changes of somebody like you photographed it against a blue background but they actually want a pink background you've got to make sure that you're comfortable with them going in digitally enhancing a color on the background or changing it completely and things that that's you you do need to make sure you keep control over those types of things and then of course what fonts you want do you happy with them to use whatever fond on the cards, calendars and things or do you want to have control over the fonts they use? How do people get your images like you've got to give them a process of who they contact to get your images? Did they contact you directly or do you have somebody who has your images and storage which if they've seen them the code numbers they can then supply you with the images and things you've got but it also supplied them in the right format to them so you make sure that if you if you were possible make sure you find out what the printing the actual printing processes what keller profile? They've got it set it and it she trying adjust your images to be at that color profile before you actually seemed it to the printer. Otherwise caliskan changed dramatically if your profile doesn't match what the print is goingto gonna print and also you might wanna make sure you do have to supply them with high res high resolution images because you don't want your images tto be printed looking really pixelated and things to make sure that they've got the best quality image possible to actually produce a product. Yeah, I've seen ice, I supplied my images in an eight by ten inch size it three hundred dp, which is plenty big enough for greeting cards and things that someone is creating more of a wall calendar with the images of much bigger than yourself will supply them with a large format, but normally that size is put it is plenty big enough for her during cards and things you got things done it's a deuce light logo specifications like positioning on product, the use on on different packaging, they've got all sorts of things. What if you have got a logo what's the minimum size you're going to allow them to use the logo there's so many things to consider it's this unbelievable the amount of things actually which you do have to consider when you are doing doing licensing at work at wood at the approved the artwork approval procedure like who do they contact within your company? Is that you the sole person or do you have someone who's going to do your design approval for you so a company might seem tio I say they're designing jigsaw puzzles so they put the design together there will be in sin do the initial design you khun if you're happy with that, you can approve it seemed back I mean they can go on to the to the production stage if you're not happy with something, make suggested changes and then insists that they send you back for a second of design approval before they go on to the production stage and samples. How many samples do you want within your from your product waste that when we first started out we got quite a few samples and then we ended up just getting way too much stuff. So in the end we just said just one sample of each is fine and this is a product which you really like and that's great is giveaways to clients or that sort of thing. Then you can ask for him or get him a box fall in the in your storage cupboard so that you can actually use them as giveaways and things which is really, really great and it's also nice to have a product for to be able to donate toe rescue centers for for charity auctions, giveaways rifles that sort of thing it is always fun to have to be able to donate plenty of product in that regards and then of course you're gonna have your call your contact information like address who to contact for certain departments that you designed person you're the person for correspondence and regards toe if people want to do media interviews or anything like that so just make sure you got all your contact information there for people to I know who to contact so this is cropping examples so let the you've got the original image here up in the right hand side this image is perfect for going into either a poor trait square or landscape you know not all of your images are gonna work on all four minutes so you need to be very very clear as to which images are able to use within what formats I'm terrible at having heaps of landscape images like all my street portrayed I've got to remind myself all the time bring the camera back ground bringing back around but I'm here about your husband's away santo landscape duel isn't but when you're working with animals you can't always do it like that you get the shot once the animals not going to repeat it sometimes they're having to do with portrait and the landscape all the time but if you can do it because of you because there are so many different form it's which you're which your images could get used for so and he is a cropping do's and don'ts so obviously the image on the right here I've given an example of how someone in this happens they don't do this, they send it to you and I was like, why are they cropping an image like that? But they don't do it so you just need to be very clear that this is little things like this you need to just look out for but there's a very obvious one of someone sent you design approval with an image cropped like that you'd say no can you please come out a little bit? But this is an image actually wouldn't work really in a poor trait composition it's fine for landscape you can extend the edges on the background a little bit more because it is a simple background so you could make it into a tuning into a landscape so if it was during a greeting card it would be a landscape for mit greeting card or a square thankfully there's plenty of square options out there which often works for my images so that's an example here off doing using a logo so this is the first logo we had we had for baby love we just had love with a little baby over the top but when I was doing my baby baby images, but on the back of a of a cad, you've got all sorts of information you're gonna make sure they include bar codes for in the stores, but each store will supply you with that type of thing, and you get the logo. You've got information on the way here, you've got double appeal, which is an amazing card company in the uk, and they were actually the first company which actually even published my cards, and they're still doing my cards today, which is amazing. It was, they discovered me at a I think it was one of the trade shows from my publishers who first signed me up took food. My first range of product was not a very good one, but they w p a was inspired by my images, and then they approached us because of the images, and then just all started from there. So w p l has been another amazing company, which is stuck by me and stuck with my images throughout my whole career, which is which has been tested, and so he and also with the other men's, you've got use of little little logo designs and things, and it's incorporated the colors from within the image, so it works really nicely and it's it's, easy on the eye, it's appealing, eye catching, so if you do use little design aspects within the within the range is it's always good to sort of try and use colors from within the image so everything works really well together and here's another another example of little baby picking it snows a case a shooting for books shooting for books is very different from shooting for licensing it's you've got to do got to do a lot of research and toe where your book's going to be going what market and also what will the book be about who's going to read it what's the title of the book often you have a working title like with the french and the french kept book that ended up being called being called the french cat because it which was a very very basic name but we actually had a working environment but working title called french aristocrats but french arisa kits was even though it's a catchy name when we looked into the translation off it I was way too difficult to try and translate into different languages throughout the world so we ended up going with something really really simple which was easily transfer translated into numerous numerous languages around the world you got those little things like that you've got to take into account is that what your type was gonna be? How many how many pages is your book going like how many images were going to actually have to supply to your publisher to actually create this book when I'm photographing for a book, that's, my books tend to be run about one hundred sixty pages, um for that, they use round about one hundred, sometimes a hundred fifty, because a lot of my pages actually have what I call cluster images, which are a little filler images, but sometimes it's four on a page that might be a big image on one page, and then a couple of small ones on another, so I actually team tto supply my company, and my publisher, with probably two to three times as many images, is what they need for the book. Sometimes I feel that means sometimes cause when I'm, but I have to be very honest with the people and photographing and say, I can't guarantee your dog's going to be in the book, but the everyone seems to be understanding everyone still gets the images, they still get a free print of one of one of the images, and if the dog is all dog lick it, it's included in the book, then they'll get a free copy of free signed copy of the book also, but I can't expect to only photograph the exact amount of images for a book, because there's no might not work with the quotes, which have chosen to go within the book or the the tics, which works so it was surrounds the book you've got his gun make sure you get plenty of options for the publisher to work with so it's a big, big job. Normally, most of my books have taken six months to a year to actually create in some books. I know something other photographers of working on books have taken five years to come. Pinto actually, kal eight the images they need for for a book, it's that they are big projects f if you have a publisher involved, make sure you do sign a contract and make sure that again seek legal advice. Make sure that everything is exactly how you want it. These air your images, you're the one who's putting your heart and soul into this, you're going to make sure that is goingto and it's your passion. Obviously you've got if you're wanting to do a book, you've gotta riel feeling behind it and it's, you've got a vision of how you want this to end up. Just make sure that you, andi, if you've got, if you get that the option of working with having an option of maybe one or two publishers to choose from research them, have a look at what other books they produce, what markets they go into and things and make sure you choose someone you feel comfortable with who actually understands where you're coming from with your concept, or actually you feel is goingto take the book to the market, what you really wanted to rage, but to us, it's a do seek legal advice before you sign any contracts, and make sure that it's exactly how you feel comfortable with keep and also keep you copyright. I can't stress that enough, I know, I see said I told you about how I've lost was a completely different scenario, and regards to how I, unfortunately, don't own the copyright of my images pride in two thousand seven, and there was nothing to do with publishing or licensing. It was just a decision I made tow walk away from the rachel hail brand so there's, nothing detrimental about the publishing licensing side of things? It was just a decision I made for certain reasons. Also, when you do, you need to consider do, does the publisher want youto actually just supply some text for your book? Or if you're self publishing yourself? Do you want to put your story in the book, or what information are you going to include? So you need to really think about that while you're creating your images, what that the ticks needs to relate to what you're actually photographing, when I haven't got a copy here to show you, but I did have book which I mean she knew snake or why dogs are better than kids so I had what bradley to river grieve wrote the ticks for so I had the completed written book before I photographed the images for this so even when we had the layout when you exactly what images were going to be going and what area of the book and it was so I was creating some of the most hilarious images I've ever created actually to go with the ticks because the critics was just so funny and just bazar is again if you love cats and dogs that's a really, really great book ticket and read actually yeah so so that you've got different scenarios I have been so fortunate was photographing the french can't the french dog and my latest but the new york dog I my publisher would be publishing with them for years now or since two thousand two so they trusted me they basically just let me do it which was amazing it's I'm very, very fortunate to have that opportunity to just go out and do it, but I had to do I had to do a lot of tics and everything so I um I I wrote journals I had journals every day I was at the end of a day I would write down what I'd experienced so that we know supplying text too the publisher it was really from my hat because I had actually written it while I was doing it try not to leave it till six months later when you can't really remember how you felt when you were doing doing your project and things it's really good to to write it down as you're doing it even if even if you're photographing people people's pits or people in general it doesn't have to be a book about animals that we just happened to be doing animal workshops I'm talking about animals but anything you're doing interview the people you're photographing make sure you get is much actual hat in the text as possible so it's really and it might be great to actually bring on a journalist type person to work with you on a project so that you have someone who interviews them as you're photographing them it's always a really nice time to do it because people tend to open up to you in the being photographed so it is a really nice time toe actually interview people and it should get get a little bit more feeling and emotion within the text of the book as well because there's not just the photographs which sell the book it's the story which goes behind her as well so you got the process you've got the idea approaching publisher look at self publishing if we can we're going to go into more into self publishing at the end because I haven't done it myself so I actually would be really interested to know maur what other people's experiences of being because that's I can't tell you a lot about it because I haven't done done it before so we will at the end of the sixth segment we're gonna talk about that more um signed the contract with the with the publisher you need to sign what's called a deemed um I've been working with my publisher for since two thousand two so I've had fourteen books with p q blackwell which is a new zealand based company and one book with andrews mcmeel so I've now got fourteen addendums with pick you blackwell which basically just I'm going to show you a copy in a minute I'll go through what you include on an addendum then you've got you've got a research a subject matter before you even start you could have just do it go into a lot more detail about what what you need to capture within your image is what you need to show and that sort of thing then of course once you've done all that you can start shooting this stuff that is the fun stuff but you've got to make sure everything this well planned you know exactly what you're doing with the french cannon the french dog I got on the phone and I was I phoned chateaus and being bay's everything all around the country's to actually try and find beautiful properties which I knew would make amazing photographs so I found out who head cats and dogs who would be interested in being involved in the project so I actually head before I started on the road instead of just jumping in the car and driving here there and like going on gold where do we start I actually had a root which I was going to follow which covered the majority others going to get this wrong probie I think there's twenty three regions in france we covered twenty one of them yeah so in france is a huge country yeah so I made sure that I was pretty much getting the entire so tool of france when I was ueno is photographing for the book because it was it was really important I didn't want the french person to open the book and say it's not a book not there's no image in here from bringing dealer from the longer doc region and things like that so I wanted people to feel that I had covered the country for them so it's really important to make sure that you do research into what what is going to be right for the book and then so when you say actually that's really important to win if you if you are working with the publisher to drip feed your images to them so they can start working on design process is and things and now hopefully seemed you different layout ideas, and then they can you can sort of get a feel for how it's going because they're actually really helps you with your shooting as well, but a sze yu go along it's really nice to actually sort of get it have a vision of the book before while you're actually shooting, so, you know, well, that's going to work for that, but no that's not gonna work for for the sort of things you can actually keep that in consideration with the types of images you're creating, do you need to allow room with in your images for takes to go on top, that sort of thing? So you need teo, and I haven't done a lot of that in my box. Most of my images sit by themselves without text, but your publisher might never this gorgeous books out there with amazing design, which you've got beautiful eyes text over to laid overtop of images and things you just need to make sure that your images, if your publisher, wants to do that with some of the images, make sure you supply images, which they can't do that there's an area within the image which takes khun, go on, I didn't talk about this before, but what? What I give my participants, you gotta make sure somebody who's involved in the book process who you're photographing, khun, get something out of it. Some people might be willing to do it all for free. I must say the french were incredible when I was going around france. They well, just it was such a foreign idea to them, like completely that neighborhood of anyone going around photographing animals for a book and they were everyone jumped at the opportunity and the amount of gorgeous letters I received and they were all hand written french don't email and things I received. I've got piles of handwritten letters from the owners of the animals just saying how all in france short, but I had to get someone to help me translate them because my french is still very pigeon that's no, I'm not not that good I can get by, but the was so gorgeous how I received letters from them after sending them a copy of, like after I'd send a copy of a print, and then they received the book when the book actually got published and there were overwhelmed like they're overwhelmed when they received a print of an image which had created for them. But then when they got the book, my goodness, that was just like, oh my goodness that's incredible and they and some of the species with some of the people in paris with dogs that photograph they said that it had lots of people photographed dogs before and people had promised toe seen them an image and they never had and so when they actually did get something from me, they were like, just overjoyed and just, you know, amazed that I had followed through with what I promised that if you say something to somebody do follow through and do what you're going to say, I've had a couple of incidents were someone's giving me the email and it's it's quite frustrating, actually and it's being miscommunication and something within the email's not being quite right and I haven't been able to get back in touch with that person. I've actually I've actually been known to be toe hunt the streets trying to find these people before there was one, men I photographed his boston interiors in new york and I still can't find him and that's he's he was so lovely and I just really, really would love to be able to give him an image which I created and I can because I can't find this man, so if you're out there, if you're listening, please contact me because I really want to give you give you your images this is you probably can't see every well so that's why I'm going to go through it. This isn't what I was talking about the deemed him, which I signed with the company so basically unless you've got the title of the work, of course or or the working title normally it states, then you've got a description of the book so here it says, this is the new york dog addendum, which I signed, so but the description the books that gift book containing between one hundred fifty to two hundred images of dogs photographed on location in new york and including the photographer's images, text and other associated material off the photographer's experiences in and around new york. So there's all sorts of things I need to supply in regards to that so they wanted even things just in case they wanted for the design they wanted tickets of me going to visit things all sorts of little things like that, but mainly it was supplying the images and text which related to my experience of my time in new york, then you list the trademark. So the trademark for this particular title is rachel hail maquina delivery requirements so between for a bit between fifty to seventy five images for presentation at the london book fear we were on a very quite a tight deadline for the new york dog, so I actually hid five months to create the images which was for me quite a short period of time, so in that so there and that states that the date of the first of march and then the balance of the images in other materials and high rears um on the first of october two thousand thirteen project to actually was brought forward, I had to get them because they know they'd made the decision to publish the book early so I had to deliver them to them and end of september I think it was and no, not the end of august it was a month earlier than what I had actually thought I had and that it all happened really quickly it's like panic state trying to get it all done. But we got there we got there and I'm so thrilled with the book it looks fantastic. So thank you everybody who was involved in publishing and really thrilled with them. Then we have just list the images so it's original images of dogs photographed on location in new york. So you need to make sure you don't give them anything which is photograph somewhere else or photographed by somebody else which is not your original work copyright notice seances here were you list what covering what copyright by line you want within book where the images of hell copyright I hold all my images within a trust so that my trust the rachel hail trust owns all my copyright this is just for protection if anybody ever came to me tried to sue me for something if I had held my copyright within my company it's very easy to take property from a company but in a trust it's protected you can't legally take any items from a trust so I do highly recommend that you do keep your copyright of your images within a trust. What species? If you start publishing and having images reveal publicly released number of samples so this is really because I supply the people who are involved in my book with a copy I have to make sure that I'm not going to have to go out and buy a copy a of a book just seem to everybody because it would cost me a lot of money and I have to put a lot of my own personal money into my projects anyway to actually produce this these images so here I state that I one hundred fifty copies of the english edition on because it's an english book so with the french king and the french dog I asked one hundred fifty french copies so that I could supply it to the french people involved in the book, but so I want to english language conditions so that I can supply them to the people who have been involved in the book so there's a really nice thing to have to sign a book and give it to the people who have been involved on dh. Then if there's any license products upset, I'd like tin tin product samples of each category. So if it's greeting cards or get tina veach greeting card calendars, teen of each calendar um, here we hit, I've blanked it out the advance claws, of course, but this this states, if you're going to agree to get an advance from the publisher to help you with the funding of the project so that's where you would state but all the clarifications within within that area and also book royalties so he needs. This is where you need to discuss with your that's common that you get run about twelve point, five percent off the wholesale, right? So really it's peanuts it is. I have to be really honest with you, but public, you don't do book publishing to make money. I do it for the love of it. I absolutely, that I get so much pleasure of sharing my images with other people that I do this and, thankfully, my public, my books do sell really well to make money from books, you have to sell thousands and unfortunately, these days, but the book industry has bean completely taken over by the digital world, so you've got e books to compete with you've got so it's so devastating that all the little bookstores and just going under they don't people can't survive anymore because people don't go in and pick up the book and my type of books sell better when people can actually picked them up, flick through them and see them it's not the type of book, which well, I know once people know the book and the recommended, they can go to amazon and buy it, but people team toa much prefer to pick up my books and flicks through and think, wow, that would be great from my grandma. She loves cats. What a fantastic gift! So it's really hard for the book, the gift book industry now, just purely because of the digital world and how it has taken over, but it's not impossible, I don't say, don't do it, it's just edit it's more difficult. Where was up to all the royalty? So here. So here you, you state, and so on. All copies of the work sold by p q with his books or similar volumes, blah, blah percentage of peak use net receipts being the mel amounts actually received by p q on sales of the work being made up off twenty per cent royalties lease any food party royalties, which is a greek within parties, there sounds it's all legal garbage, which was I should say garbage because it's very, very important, but it's all it's, you've got to make sure that it the contracts do say all these things like here is talking about the food parties, there's people who supply quotes or maybe with we've got a another writer who's coming who's actually a little bit of ticks for the book who will get, say, and a few a little bit of percentage of what the royals that's what the book brings in with royalties, so you're going to have all those things in there, then you've got product royalties if I heaven contract with my licensing was my publishing company to do the licensing for me, so my publishing company actually does oversee all the licensing for the french get a french dog and now the new york dogs, as well as all my baby baby images, and then you've got the cm if couldn't contribution cm if stands for the I'm not gonna hurt a total blank. I hate that we have it it's, the the commercial marketing fund that's, right? Sorry, I hate that when you have a blank it's um I always just call it the cm if I don't have to say but that that's just relates to a ll the work the publishing company has to do for you they go to the book fears and things that they've got a huge expense which they have to cover a swell so you have to go agree with your publisher that you're going to let them take an extra a little bit of percentage from what you earned to cover the expense which they in cure for actually promoting your book and things so that's in a deemed, um sounds or it's all very um official but it has to be done if you are working with the publisher so this is going back to win before when I was talking about trying create within when you're creating an image trying create different options so are portrayed option which make it used is a is a portrait single page or give them an option of a landscape image which could be used across a double page spread so you got planted so this so this was easy this was a man walking down the street in a really funky street in new york so I was able to get him to do it numerous times so I could actually get different angles and teo that the publisher had had different images to work with then of course you've got your content of your book a book on new york dogs so therefore I've got to make sure I have plenty of different breeds you don't want them all to be the same breed within the book and this of course is a book on a certain break then and also you're going to make sure you were on a varying number of different locations so you're going to make each each image visually appealing in different from another there might be some images within the book which is shot in similar scenarios and things but you do have to make sure that there's plenty of variety to keep the the people interested in it she's somebody too by the book because of it's all the same thing throughout then that's you it didn't end this is well once thie images have been finalized do you have say in the flow of how they're laid out in the book definitely yeah I belive I'm fortunate that I have been working with my publisher for like twelve fifteen on fifteen years and it's so often if they see me designed layout I'll send them back quite a number of pages of changes like actually no I'm not happy with that image is image being used here that needs to be just used as a cluster of magic can you replace it with this image is a larger former image within the book so I'm I'm lucky that I could do that sometimes you know when you're first starting out you might not have quite so much state say but if you have a great establish a really good relationship with your publisher, then you should be I want to do that, but on dove course, if you do self publishing himself, then you khun do it however you want, but it is always good. I I I would say if I was going to self publish, I would profligate get plenty of a different opinions because as I said before, you get really emotionally attached to your images and not everybody's going to see how you see it. Yeah, so it's e I just I would be very, very open toe, add the people's opinions and don't get offended by what they say. This is just an example of my route books, which I did when I was during the french can the french dog. So when I said before I would every day, I would actually don't create a junior when I just throw some images on on a disk, get them printed down it's, the local one hour place and she's just stick them into a junior because always I love visual, a very visual person. So it's always nice to instead of just being writing it's nice, too hip have the images to remind me, even when I'm going through the text of exactly what I was working on when I wrote down these these things and it's also, I find a fantastic way because I've got like workbooks, like when I have my bookshelf, I've got lot hundreds or more not hundreds of them quite a number of workbooks and it's a great way to actually keep the information of everywhere you wind it's like here I've got this was shattered, a bureau god and in the provence, and so I've got the the name of the person who I dealt with it eventually have actually cross that out, so you guys can see you can see it in the phone number because it was her personal line, so I don't I don't want to share that with him, really, but I've got the website there, so I know exactly how to contact her again. I've got the names of the dogs because photographing so many dogs, I must say, I've got an incredible skill of remembering the dog's names like someone can show me an image I created fifteen years ago and I'll still know exactly with the name of the dog, what breed it wass and that's what I do, I'm even amazed myself sometimes how I remember everything, but it is a really good way of keeping the knowledge of everything so instead of like sometimes I do have little pieces of paper which you lose a little piece of paper but I have always have hundreds of little things that I think at the end of every day I'll collect them write them in my journal so I know that I'm not going to lose anything for sometimes is a nor with this post interior guy can't find him yeah very frustrating and this is another one this I'll just tell you this was the most amazing place we were very fortunate we did a lot of I'm going to go into more of it when we work do the shooting on location but a lot of the time to keep costs down we we can't but we in this particular place with this guy offered for us to stay in this sixteen centuries chateau which was original like not much of being done to it's so was pretty original amazing I can even smell original really old feeling toe but way when I was photographing this image I don't know if you can see but we've got this a ket on the on the letter of the library and that's here was the original cheer which all the princes and kings which everybody had set in that year I sat in that and the indentation was a rock solid because so many people had set in that year but anyway when we were working with the cat we had to try and get up the ladder, so we were trying to write corrupt and things and it's so funny she she wouldn't man over this tear and I was like, oh my god, oh my god he's gonna pull it, but it doesn't matter because it was all just a part of it, but it was I wasn't a little bit worried about the pick the cheer might start something's not falling two pieces with the cat tearing over, but anyway, that was a great thing, so just ugh, god might just read you a little bit because then you get an idea cause a lot of the text, which actually is in the french kit ended up being my original text from my journals, which was I do get I'm very emotional about how I write things as well, but I did like to write how I feel so light just right here. As I said on the floor in the shambles here, our home for four days while visiting the loire valley, the only sounds are here at the squawking of the crows over here and the chimes of the village bills as the clock strikes the hour, my mind wanders trying to imagine what life would have been like all those centuries ago when the chateau would have bean alive with the regal french life charles hundred hungry. The current owner tells wonderful historic facts dating back to win the shadow was finally completed and then seventeen hundreds by jul gu fear who later changed his name to the marquis de cupboard cara bus ironically, this was the character in the famous tale possum boots today caramel and the resonant kit strolls the property, oblivious to its history but defining but definitely regal in her own manner this morning and he shall ease and I hit it out into the local village on our usual usual pursuit of care. After an hour of unsuccessfully and successful hunting, we arrived back in our room to find kerem or sleeping in el beard with so many rooms to truth from in the chateau we were honored she had chosen els. The mornings are getting cooler now this is not the first time my morning ventures have resulted in a no show on the cat side. The evenings are proving to be the time they kept venture out now, but still it's not going to stop me from trying the morning light is too beautiful to pass by. So that sort of gives an idea it's sort of like a real feeling of how I felt with everything and I tried toe yeah, so it's, as I say, if ahead are written it six months later, he wouldn't even ever have got any feeling out of it? Where is that actually really was able to say exactly how I felt when I was staying there. And what happened that day. And I just pages and pages. There's. Just one page of what? What I wrote and this here, this is my talking about life of a dog in paris. So when you, when you get the few purchased online access, you'll get copies of all my keynote. So you can actually see my see the workbooks and actually read them yourself and actually get a feel for how I did my experience. And here again is another. Another one. This is your captain, romeo. I was so, so gorgeous. She went into invented bryn little town village. So I sigh and provence. And every morning I went in rome. Male would be there waiting for me, which was amazing. It was a slight, so gorgeous. Like when I go into the village of different entrance every morning. But miro miro would find me. And it was just so gorgeous. A light like fire. Probably three or four days in a row. A winton and romeo would just be following me. Wherever I went around the village it was it was gorgeous.

Class Materials

bonus material with purchase

Black on Black
Photographing Kitten and Puppies
Shooting for Licensing and Publishing
Working with Adult Cats
Working with More Challenging Animals
Shooting on Location - The French Cat - The French Dog
Taking an Idea and Working Through the Process
Ways to Get Started in the Animal Photography Industry
Rachael on Location - Kelsey Creek Farm

Ratings and Reviews

a Creativelive Student

This course was definitely worth the investment - both time and money. With about 15 hours worth of video sessions and amazing bonus handouts - Rachael provides some really useful, practical tips that you can apply straight away regardless whether you're just beginning your photography journey or are a seasoned professional. It was great to see Rachael at work in session - especially her techniques used to calm and quieten her models if needed. She had a potpourri of helpful suggestions such as remember to take both landscape and portrait shots (if possible), know your rights to take and use images - don't assume, be extra vigilant with cleanliness especially around kittens and puppies who may not have been fully vaccinated, keep kittens and puppies isolated in pens or cages if not in their own environment as they're escape artists etc. Her extensive experience with licensing agents and publishing houses was insightful ... and not for the faint-hearted, so it seems! Thanks Rachael for taking the time to share your know-how, tips and techniques and giving us a peek into your world and workflow you follow to produce awesome animal shots.


I loved this class! I don't I tend to be a "pet photographer" but I do want to be a "Pet friendly" photographer! I have gotten lots of tricks and tools to use while photographing occasional clients pets and my own! ( I have a horse, a pony, bunnies, cats, dogs and ducks) I'm super glad I watched the class live and I'm even more glad I bought it so I can re- watch it whenever I want :) (The shoot with the mini horse, dogs, chicken, duck and people was awesome! It loomed like my family picture would look if my husband didn't say "no" on occassion! lol)

Rebecca Potter

Love, Love, Love this course... Rachael is so down to earth and inspiring and I enjoyed all the hands-on shooting which shows you how patient you need to be for this type of photography. Truly an amazing course... Thank you.

Student Work