Editorial vs Commerical
Lesson 43 from: The Outdoor Enthusiast's Guide to Photography & MotionIan Shive
Editorial vs Commerical
Lesson 43 from: The Outdoor Enthusiast's Guide to Photography & MotionIan Shive
Lesson Info
43. Editorial vs Commerical
Lessons
Bootcamp Introduction
06:35 2Storytelling with Stills and Motion Overview
14:35 3Elements of a Well-told Story
22:12 4Storytelling in Motion
34:19 5Choosing the Best Gear for Your Outdoor Project
16:24 6Gear for Drones
02:53 7Gear for Motion
05:23 8Inside Ian's Gear Bag
20:07General Advice for Preparation
14:19 10Virtual Scouting
03:54 11Weather
10:17 12Permits and Permission
03:09 13Model and Property Releases
04:43 14Health and Fitness
03:04 15Checklist
03:20 16Location Scouting Overview
15:18 17Location Scouting in the North Cascades
15:24 18Drone Introduction
14:59 19Drone Safety
03:26 20What Kind of Drone Should I Buy?
02:58 21FAA Part 107 Test: How to Prepare
06:18 22Telling a Story With a Drone
06:15 23Drone Camera, Lenses and Movements
04:34 24Selling Drone Footage
02:39 25Why Does a Photographer Need Motion?
10:59 26Establish the End User
06:35 27Identify Your Audience
03:12 28Build a Production Plan
05:28 29Create the Story Structure
04:26 30The Shooting Script
07:08 31Production Quality
08:37 32Composition for Stills
08:04 33Composition for Stills: Landscape
08:15 34Composition for Stills: Telephoto Lens
14:48 35Composition for Stills: Macro Lens
07:50 36Techniques for Capturing Motion in the Field
25:15 37Lenses and Filters for Outdoor Photography
26:20 38Capturing Landscapes - Part 1
28:12 39Capturing Landscapes - Part 2
23:36 40Capturing Movement in Stills
32:17 41Shooting Water, Sky and Panorama
29:40 42Understanding Stock
20:45 43Editorial vs Commerical
03:57 44Pricing Stock
05:40 45Producing Stock
14:49 46Shooting for Social Media vs Stock
11:37 47Choosing an Agency
08:58 48Assignments and Capturing Stock
13:49 49Stock Photography Market
05:28 50Create A Style Guide
05:30 51Stock Shoot Analysis
21:29 52Workflow for Selecting Final Stills
27:43 53Initial Editing in Adobe Bridge
21:02 54Reviewing and Selecting Motion Footage
11:02 55Keeping Track of Your Story Ideas
22:40 56Script and Story Structure Evolution
04:34 57Editing to the Content
05:00 58Music as a Character
05:41 59Business Diversification
07:07 60Business Strategy
04:57 61Pillars of Revenue
17:09 62Branding
06:36 63Partnerships and Brand Strategy
05:12 64Galleries and Fine Art
03:11 65Budgeting
05:21 66The Future of Photography
26:12 67Q&A And Critique
1:09:39Lesson Info
Editorial vs Commerical
editorial versus commercial. Ah, lot times are here commercial referred to as creative depending on where you're looking at editorial, being newspapers, magazines, that kind of thing. Uh, commercial creative being adds, um, you know that kind of, ah, that higher end marketing usually advertising right or creative. A lot of a lot of creative collections are sometimes used an editorial very often, depending on the agency. So but I make the distinction mostly from the sense of as a photographer. Editorial for you might mean no photo, no property release, no model release and commercial means is commercially available. It could be used to market and sell products, and so or creative and again they blended. But you have releases property model, whatever. So that's a big distinction to make in stock photography. Stock is for everything. It is not just photography, and the reason I mentioned that is because this is the outdoor enthusiast Guide to stills and motion, and you may license your st...
ock photography, but you may find you are a purchaser of the other things. And I can tell you that as a ah photo ah, manager of a photo agency and as a stop photographer myself and all things. I have bought at least one of these at one time or another. Um, and you may 2. And so that's why I mentioned that. What's why this card is here? You may also have more than one talent that you want to develop, And so there is music libraries that you can license for whatever, and there are big ones on great and very, very talented. It's amazing how many musicians air out there for soundtracks and things who are doing great work, who, just like us photographers, are looking for those opportunities to be part of short films. And the prices are really, really reasonable, especially if you're just looking for Web and streaming. You can get a great track for anywhere from 75 to 175 bucks for, like a finished, beautiful, well orchestrated song. So you're not limited in that way. As you start to think about that, music could be something for you. Motion clips. Some of our projects number ones have showed you today, but some of our projects we have gotten back and realize we just missed that detail of a leaf. I didn't think to get it out there just by by us somehow right happens. So we log on and we buy clips, so you might want to buy a clip for your motion project. You don't have to shoot 100% of your own project. If you forgot something, maybe somebody else shot it helps somebody else out. Put a little of your budget towards licensing a clip, and then you can do it. The other way, of course, is you may license your clips and vice versa. So starts to go back and forth. It's interesting because we create our own content, so we often end up licensing from our own creatives. Sound effects, you know, footsteps, all that kind of stuff off ducks, birds, whatever. There's library after library of sound effects illustrations. Of course, if you're an artist store or something like that animation, same thing and video effects, video effects or another big one for licensing. If you're looking at stills in motion on your looking at finishing emotion piece and you want graphics or opening titles or any sort of little thing, there's a lot of presets that you can actually just download. The finished file and depending on the software you're using after using an advanced software like adobe after effects, you can actually download those those. I don't know if the plug ins or effects and then you can customize them so you could just change the name out and put it in on your own so you don't actually create a whole new animation. Um, it's a nice way to work. If you are looking for something that's a quick way to go. But stock is a lot of things, and it, uh, it could be something that you could be a part of. It could be something that you are a purchaser of.
Class Materials
Bonus Materials with Purchase
Ratings and Reviews
monica4
Ian was an amazing instructor.; very fun, enthusiastic, encouraging, and comprehensive. I hope to be able to return as an audience member for another of his classes. It is a privilege and a gift to have access via Creative Live to such a wealth of expertise. Thank you!
Cindee Still
Ian Shive is a dynamic speaker with a wealth of knowledge he is willing to share. He has had a magical path that led to his success. He touches on so many aspects of making, selling and creating images as well as how to market them and make an income from your work. It is so much fun to be part of the studio audience. The Creative Live staff are always so warm and friendly and they feed you like your on a cruise ship! Wonderful experience.
Cindy
What a great class this has been. Thank you Ian Shive and Creative Live! Recently retired, I have set out to learn everything I can about photography and pursue this passion to capture the beauty in the outdoors. Creative Live has served as an amazing educational platform to help me learn everything from how to use my camera, the fundamental technicals, and learn about software and tools. This class brought it all together. At the end of this class my approach to photography and my images are different. Ian shares so much valuable knowledge that will change the way you go about taking a picture; from scouting a location, to thinking through the story and adding elements to an image to evoke an emotional response. My personal growth has been significant and I have changed to the way I approach creating an image from an Outdoor Landscape to an Outdoor Experience. Loved every minute of it, sad the class is over.
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