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The Outdoor Enthusiast's Guide to Photography & Motion

Lesson 13 of 67

Model and Property Releases


The Outdoor Enthusiast's Guide to Photography & Motion

Lesson 13 of 67

Model and Property Releases


Lesson Info

Model and Property Releases

modeling property releases are very important. They are what makes your work most commercially viable. It's the paperwork I was talking about earlier. So you want. Make sure you have him. I strongly recommend, uh, staying up to date on your model on property releases. Um, you know, you need them any time anything is in there, people say, Oh, well, you see the hands. It's not identifiable. Well, some people make a living with their hands being photographed pets, someone's dog, its property release considered property by law. So get a release. I've seen that go south many, many times before. People like, Oh, I don't need its fight out. Like now you need it. Um, you know, especially especially as you know, your images could become extremely commercially viable, and they start getting published everywhere. Imagine when they're, you know, toothpaste ad or something like that. Or the dog food ad. Trust me. You want to make sure you're protected. This is for you to make sure that you have goo...

d protection on the legal stuff. So make sure you have all your releases. Um, I like the S and P American Society and media photographers. They have releases good organization. Be a member of a lot of good paper. Resource is their legal resource. Isas. Well, in general, there are there is a difference between motion releases instills relation releases. So you want to make sure that you have, uh, you know, the proper release for video likeness? You in motion, you hear someone's voice. So you want to make sure you have that kind of coverage that you don't necessarily have instills. So those are the kinds of basic things that you want to think about modeling property releases. I recommend the S and P. There's a good video releases out there as well you want, Take a look and see what the resource is our, um, but commercially viable meaning not in editorial magazines, not stories. You don't necessarily need him for your social media. Any time the image is going to be used for sale anytime that motion clip is going to be used for sale commercially viable, you need the releases. That's when you need it. Is any questions on that one? So you usually get a question on that stuff? No. So if the image is already published, Mount Rainier many times and I've already got two covers off of Ah, Travel magazine. It's only here in Washington state, but other people in it. No. Well, I mean, it's a great question. And that falls square right in the middle of the grey area. Um, you know, I mean, it's tough because theoretically, if you're on vacation, you take a picture. Your intent is not necessarily sell it. If you're just out enjoying yourself in taking pictures, the a lot of it gets into intent. You know, I'm not a lawyer, so I can't give exact, precise legal advice. But what I can tell you is in every situation is very different. But you can reach out. And I have reached out to Parks in retrospect and said, I went out. I got a bunch of great images. Um, you know, I put him up on a site, and this is often how in my social media lesson, this is actually something I will really cover is a lot of editors. Or using social media, an amateur photographers or posting images and saying That's the exact trail we need for our article. We'd like to buy it from you. A person never intended to sell that image, but they're not going to say no to making 100 bucks off their image or whatever it's gonna be. And so, in general, that becomes a really complicated, convoluted area to go into. It never hurts to go in hindsight, but generally, a magazine will fall under editorial guidelines, and different parks have interpreted it differently. But because its editorial guidelines, theoretically, you don't need a permit for that. And that is something that I would probably argue successfully, that you don't need a permit for it because it's editorial. It's a magazine cover talking about a story. Your intent was not necessarily to sell it. Maybe it was, but maybe not. And the, um and there's no people in it, necessarily. But even if there's people in it, it would also fall under editorial because you're in public. So people who are in public second you step out your door, you lose what's called a reasonable expectation of privacy. And so if you're out on a trail hiking, you're basically for going that right to privacy. And so someone does take your picture and it appears somewhere in news, just like news. You see the six oclock news of people in the background. Whatever they don't need a release from those people, it's you're out in public, so you become. You've given up that expectation of privacy. So I do hope at some point that there is more clarity to this process. I think, as photography and motion stills in motion in general evolved that there will probably be, and I certainly hope there will be more clarity on the permit process. I think it be great for all over federal lands A have a more clear and concise process to that, Um, so we'll see what happens. But again, each park is different. Hindsight can be really challenging, though just depends. It really just depends.

Class Description

Great outdoor photography starts with a love of adventure and exploration. Learn to maximize your skills and optimize your potential with this complete guide to capturing photos and video in the great outdoors. Award-winning photographer and filmmaker Ian Shive will go in-depth on how to create a story through stills and motion in any environment.

Throughout these lessons, Ian will cover scouting and planning, capturing photo and video, and understanding how to get an audience for your final project
Ian will cover:

  • Permit needs and location scouting essentials
  • Gear basics & prep
  • Introduction to using drones
  • Fundamentals of moving from still photography to capturing video
  • How to capture landscapes 
  • Composition and lighting techniques
  • How to handle low-light situations
  • How to capture for stock photography and video
  • Getting your work seen in print and publications
  • And more!

For four weeks, Ian will be your outdoor guide to capturing the beauty and greatness in nature. If you have a love for nature or adventure, join this class to learn how to turn your passion and social media posts into profit or exposure. 


  1. Bootcamp Introduction
  2. Storytelling with Stills and Motion Overview
  3. Elements of a Well-told Story
  4. Storytelling in Motion
  5. Choosing the Best Gear for Your Outdoor Project
  6. Gear for Drones
  7. Gear for Motion
  8. Inside Ian's Gear Bag
  9. General Advice for Preparation
  10. Virtual Scouting
  11. Weather
  12. Permits and Permission
  13. Model and Property Releases
  14. Health and Fitness
  15. Checklist
  16. Location Scouting Overview
  17. Location Scouting in the North Cascades
  18. Drone Introduction
  19. Drone Safety
  20. What Kind of Drone Should I Buy?
  21. FAA Part 107 Test: How to Prepare
  22. Telling a Story With a Drone
  23. Drone Camera, Lenses and Movements
  24. Selling Drone Footage
  25. Why Does a Photographer Need Motion?
  26. Establish the End User
  27. Identify Your Audience
  28. Build a Production Plan
  29. Create the Story Structure
  30. The Shooting Script
  31. Production Quality
  32. Composition for Stills
  33. Composition for Stills: Landscape
  34. Composition for Stills: Telephoto Lens
  35. Composition for Stills: Macro Lens
  36. Techniques for Capturing Motion in the Field
  37. Lenses and Filters for Outdoor Photography
  38. Capturing Landscapes - Part 1
  39. Capturing Landscapes - Part 2
  40. Capturing Movement in Stills
  41. Shooting Water, Sky and Panorama
  42. Understanding Stock
  43. Editorial vs Commerical
  44. Pricing Stock
  45. Producing Stock
  46. Shooting for Social Media vs Stock
  47. Choosing an Agency
  48. Assignments and Capturing Stock
  49. Stock Photography Market
  50. Create A Style Guide
  51. Stock Shoot Analysis
  52. Workflow for Selecting Final Stills
  53. Initial Editing in Adobe Bridge
  54. Reviewing and Selecting Motion Footage
  55. Keeping Track of Your Story Ideas
  56. Script and Story Structure Evolution
  57. Editing to the Content
  58. Music as a Character
  59. Business Diversification
  60. Business Strategy
  61. Pillars of Revenue
  62. Branding
  63. Partnerships and Brand Strategy
  64. Galleries and Fine Art
  65. Budgeting
  66. The Future of Photography
  67. Q&A And Critique



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.


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.