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Model and Property Releases

Lesson 13 from: The Outdoor Enthusiast's Guide to Photography & Motion

Ian Shive

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Lesson Info

13. Model and Property Releases

Lessons

Class Trailer
1

Bootcamp Introduction

06:35
2

Storytelling with Stills and Motion Overview

14:35
3

Elements of a Well-told Story

22:12
4

Storytelling in Motion

34:19
5

Choosing the Best Gear for Your Outdoor Project

16:24
6

Gear for Drones

02:53
7

Gear for Motion

05:23
8

Inside Ian's Gear Bag

20:07
9

General Advice for Preparation

14:19
10

Virtual Scouting

03:54
11

Weather

10:17
12

Permits and Permission

03:09
13

Model and Property Releases

04:43
14

Health and Fitness

03:04
15

Checklist

03:20
16

Location Scouting Overview

15:18
17

Location Scouting in the North Cascades

15:24
18

Drone Introduction

14:59
19

Drone Safety

03:26
20

What Kind of Drone Should I Buy?

02:58
21

FAA Part 107 Test: How to Prepare

06:18
22

Telling a Story With a Drone

06:15
23

Drone Camera, Lenses and Movements

04:34
24

Selling Drone Footage

02:39
25

Why Does a Photographer Need Motion?

10:59
26

Establish the End User

06:35
27

Identify Your Audience

03:12
28

Build a Production Plan

05:28
29

Create the Story Structure

04:26
30

The Shooting Script

07:08
31

Production Quality

08:37
32

Composition for Stills

08:04
33

Composition for Stills: Landscape

08:15
34

Composition for Stills: Telephoto Lens

14:48
35

Composition for Stills: Macro Lens

07:50
36

Techniques for Capturing Motion in the Field

25:15
37

Lenses and Filters for Outdoor Photography

26:20
38

Capturing Landscapes - Part 1

28:12
39

Capturing Landscapes - Part 2

23:36
40

Capturing Movement in Stills

32:17
41

Shooting Water, Sky and Panorama

29:40
42

Understanding Stock

20:45
43

Editorial vs Commerical

03:57
44

Pricing Stock

05:40
45

Producing Stock

14:49
46

Shooting for Social Media vs Stock

11:37
47

Choosing an Agency

08:58
48

Assignments and Capturing Stock

13:49
49

Stock Photography Market

05:28
50

Create A Style Guide

05:30
51

Stock Shoot Analysis

21:29
52

Workflow for Selecting Final Stills

27:43
53

Initial Editing in Adobe Bridge

21:02
54

Reviewing and Selecting Motion Footage

11:02
55

Keeping Track of Your Story Ideas

22:40
56

Script and Story Structure Evolution

04:34
57

Editing to the Content

05:00
58

Music as a Character

05:41
59

Business Diversification

07:07
60

Business Strategy

04:57
61

Pillars of Revenue

17:09
62

Branding

06:36
63

Partnerships and Brand Strategy

05:12
64

Galleries and Fine Art

03:11
65

Budgeting

05:21
66

The Future of Photography

26:12
67

Q&A And Critique

1:09:39

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 Materials

Bonus Materials with Purchase

Slides

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.

Student Work

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