last wish first sale

Last Wish, First SaleWriten by Kenneth C. Hoffman

As a new employee of a large studio, I was afforded several one time perks. The boss took me out to lunch at a nice restaurant, some of my previous attempts at portrait photography were allowed to occupy a small corner of the display window and I was permitted to print one negative of my own in their custom lab.

The picture I chose was a photograph of King Ludwig's castle I took while on a trip through Austria. This is the famous castle Walt Disney used as a model for his Disneyland Castle. The print came out beautiful and I mounted, textured and sprayed it with clear lacquer. I planned to enter it into a photography contest as soon as I had enough to satisfy the rules.

A couple of weeks later, a rumpled-looking gentleman entered the studio and asked if I had any pictures of an Austrian castle for sale. I was puzzled as to how he knew that I owned such a picture since I had not shown it to anyone and certainly not to this person. I invited him to sit down so I could hear the rest of the story. He told me that he had just come from the hospital where his Dad was dying. In a moment of clarity, his father asked his son to bring him a picture of the Austrian Castle of King Ludwig, his memory of the famous castle rose in the mists of the Austrian mountains not far from where he grew up. Not wanting to refuse his father's last wish, he searched the local galleries with no success. He said that he would pay any amount to please his father.

I quickly went through my basket of samples and found the picture of Ludwig's Castle. The owner told him that the regular price of this large wall picture was $250.00 but he could have it for $100.00 and she would also frame it for no charge. The man was amazed and ecstatic at this stroke of luck. He had little hope of finding the exact item that his dear father wished, but felt he had to keep trying until the end. After he left, the owner turned to me and gave me $50.00, half of her surprise sale, saying, Your talent for photography was what made the sale. This early experience figured importantly in my confidence as a beginning photographer.

Occasional trips to Europe feed my brain with ideas.

male nudity and the realities of war

Male Nudity and the Realities of WarWriten by Jay Dezelic

There are two areas of photography that are especially void in America. The subjects of sans-macho male nudity and the realities of war are considered taboo for most photographic artists. Before the invention of photography, painters recorder and interpreted life through art. Photography is just another medium for recording and sharing non-verbal concepts. War and male nudity are very different subjects, but they share the same resulting suppression of truth.

With war, there is a blatant and intentional governing force that keeps the raw realities of individual death (of allied soldiers) out of the media. - It's just bad for the business of war if people really knew what happens on the battlefield. If all were witness to the harshness and finality of war, it would sway popular opinion and quash the machines of war. Conversely, women are photographically so overly objectified in contrast to men that it makes one wonder if any progress in equality of the sexes has been made. Gallery after gallery display women in every possible suggestive position and camera angle (sans clothes of course). The graphic exposure of women's genitalia is so common place now that someone visiting from another planet would get the impression that women solely existed for the pleasure of men.

Almost everyone who has first hand experience in the horrors of war, never wants it repeated. Finding that the heavily marketed glory of the freedom fight turns out to be nothing but a ruse, veterans of previous wars are often the most outspoken critics against war. - They know the truth first hand. Photographers are legally sequestered in the US from showing war in an unfavorable light. - This is media-supported propaganda. Society obliviously accepts the non-truth about war because the image-makers don't reveal it.

Through contrived societal conditioning (consumer marketing), the sexes have become very polarized. Girly girls and manly men adorn the halls of galleries and modern art exhibits. In reality, the sexes are not as different as depicted in modern photography. Real life women can be tough and strong while men can be effeminate and soft. Both sexes have similar desires and visual fantasies about the other. Yet, women have largely become subservient to the desires of men without retribution in the art field. This lopsided view of reality is becoming as serious as the issue of negligence in the truth about war. Whenever society beliefs are artificially altered for the benefit of a one group, the resulting tension eventually explodes into war. The whole women are from Venus and men from Mars thing is largely just marketing. - We are all really from earth and have very similar tendencies and desires when left uninfluenced.

What you don't see in almost any mainstream art display that shows nude women are nude men in similar context. Why not? Why are the visual desires of women suppressed? Maybe there is an underlying fear in the art world that by showing provocative nudes of the male figure will make men subservient to women? After all, most artists and photographers are men. For many women, it would be primordialy more interesting to see those high-contrast artsy black and whites of men posed openly, suggestively, or even submissively. The fact that showing softly posed images of the nude male form with an erection is taboo, while close up photos of breasts with erect nipples and sexually poised female genitalia is common art. Today's body of modern photography subscribes to a de facto double standard and worse, skews the truth about human sexuality in art for both sexes. As a man, my primordial instinct drives me to prefer to view women in art than other men. But, I can assume the opposite must be true for most women. Although, through centuries of male domination, I would suspect that the women's outward desires to view the male body form in the same light that men desire to view women is a bit suppressed.

In summary, if you want to be an honest war photographer, capture both the glory and misery of war. Someday, your work may be the fundamental imagery that prevents war. If you specialize in capturing images of human sexuality, then present an accurate representation of your subject so that it captures the essence of the sexes but doesn't loose site of the unilateral desires of each.

Why is it important? Most artists are just followers of great masters who are the influential spirits that sculpt creativity and expression for society. Regrettably for all, the masters have failed to lead in conscience. The building of barriers and differences between people leads to disparity. One side always ends up wanting what the other side has. Inequality is the basis for all conflict. Imagery artisans (especially photographers) have the ability to convey both truth and lies in the body of their works. Society has largely and superficially accepted men to be the dominant sex over women. Men have what women want - governing power. But, women have what men want - influential power. Separation of how we portray the sexes creates societal tension. If both sexes enjoyed governing power and influential power together, perhaps the world would be a more peaceful place.

Jay Dezelic is a fashion designer for http://www.jdez.com - a manufacturer of unique and comfortable informal wear for men and women. Jay is also fashion writer for http://www.justchange.net - an ezine focused on helping people make positive changes in their lives. Additionally, Jay is a freelance fashion model who's unique portfolio could be seen at http://www.jdez.com/models/jaydezelic.

35mm film a short history

35mm Film - A Short HistoryWriten by Mark Vurnum

When it comes to photography and motion picture it is impossible not to hear about 35 mm. film when going technical into the conversation. It is called 35 mm. film as it is 35 mm. wide and will have perforations on both edges at each 4.23 mm along it.

With a history dating back since 1889, when it was first introduced by Thomas Edison, the 35 mm film is still used today with some variations in format based on what it is used for but basically its form stayed the same all these years. It was first introduced into photography in 1913 and is still very popular amongst several professional photographers.

If we are to talk about film we have to talk about sound as well. In the beginning the idea of synchronizing sound and video was appreciated but was quite difficult to realize. Thats when the sound started to be stored directly to film, forming the analog soundtrack that takes out of the film a small margin to the left. In the search for perfection the display ratio changed together with new methods of storing the sound.

Nowadays digital soundtracks have been implemented. The technology break through behind this was the storage of the sound between perforations in Dolby Digital, in 2 strips along the outside part of the edges in SDDS and lately on a special compact disk synchronized thanks to a time code with the film in DTS.

With technology evolving as it does at the moment new techniques and features will probably be available in the future but so far the main format of the 35 mm film has remained unchanged with just mild modifications that are better suited for the purpose it was designed for. The most common aspects of the film nowadays is considered the one that has 4 perforations, a vertical pulldown and a density of around one frame in 19 mm.

Interested in 35mm film? Then visit http://www.your-35mm.co.uk to get all the latest news, history and events in 35mm film.

a guide to hand coloring

A Guide to Hand ColoringWriten by Kenneth C. Hoffman

Not long after I opened my portrait studio, I received a visit from the wife of a local competitor. An expert hand colorist, she was curious to know my expertise in medium oils and whether I used an outside artist. (I didn't). Upon entering the studio, she zeroed in on a wall sample of a bride.

This is beautiful, she praised, What color lab to you use?
I avoided her question, answering, That's medium oil, not natural color. Well, if she had a magnifying glass, she would have used it.

There are several problems inherent in trying to turn a black and white photograph into color. The color added to a normal image will look too dark and will also diminish the clarity of the highlights. White and cool colors are easy to produce on a black and white image, but warm colors appear subdued. The former problem is solved by printing the image two tones lighter than normal, but retaining the full spectrum of tones. If the latter problem is a concern, partial toning is recommended. In this process, the areas that will be cool colors is masked off with a waterproof removable medium, allowing only the to-be-warm areas to tone brown (sepia). The same effect can be done digitally.

A lightly textured surface is preferred like Ektalure G or Canvas, however, any luster surfaced paper will do. If an inkjet paper is used, use a heavy weight (90 lb.) matte surfaced paper. A protective coat of matte lacquer will be needed for color oil application. Apply Marshall's Oils Flesh 2 to the lighter areas of the face and Flesh 3 to the shadow areas. Work from the center of the area using a ball of long fiber cotton. Blend and wipe until an even coat covers the skin. Lightly rub out the highlights with a fresh ball of cotton. Do not get any oil color on the other areas. If you do, go over the line, use extender to clean off the error. Clean out the eyes with extender on a cotton tipped stick and apply the eye color. Add a small dot of cheek to the corner of the eye and a little blue to the whites. A light coating of black suffices for the pupil. Clean out the highlights.

Apply cheek color using a patting motion. Delicately blend the color without removing the under layer of flesh. Apply lip color with a pint of cotton on a stick in a heavy layer. Wipe down with fresh cotton starting from the corner of the mouth toward the center. Use a pointed fresh cotton stick with extender to clean out the highlights. A soft ended stick without extender creates the nose highlights and a cotton ball the forehead, cheeks and chin.

Next, color the hair using blends of Verona Brown, Ochre, and Flesh2. The darker the hair, the more Verona Brow, the blonder the hair, use more ochre. Clean out the highlights only about 80%.

Add color to the background, blending carefully into the hair and overlapping into the clothing areas. Clean out and rub dry the areas of clothing that received some background color. Color the clothing last. If rich color is indicated, use the intense variety of Marshall's Oils. Work quickly to achieve an even coat, wiping out the lighter areas with fresh cotton balls.

If you would like to try your hand at the latest fad of partially colored black and white photographs, choose or create a photograph with solid, large areas for coloring. In a photograph of a child holding a rose, color only the rose. A high key head shot of a pretty girl would look great with only the eyes or lips in bright color. Allow the portrait to dry at least two weeks before framing. With proper care, your charmingly hand colored portrait will be enjoyed for at least one hundred years.

A retired portrait photographer with too much time on his hands.

color management the digital darkroom and adobe photoshop

Color Management, the Digital Darkroom, and Adobe PhotoshopWriten by Nigel Lew

Preface

In order to understand color management, it is important to get your hands around some of the workflow. It is also important to understand a little bit about the ICC itself. The ICC or International Color Consortium was created in 1993 by a number major corporations with the goal of assisting end users in creating consistent color throughout the entire reproduction process. ICC profiles are a means by which one device can translate the same color information to another. This process is applied in graphics programs like Adobe Photoshop, and created in color management systems like X-rites Pulse or ColorVisions Spyder software.

How is a profile created?

In order to have a fully color controlled environment you must have all devices displaying or printing color, profiled. How is this accomplished? Color management software (CMS) takes readings from your specific devices and compares their color with reference files of what color should be as defined by the ICC. For example, to profile a scanner you would scan in what is called an IT8 target. This scan is then compared with a reference file by the CMS. The differences between what the reference file says the color should be, and what the color your device actually output is meat of the profile. Basically, a profile says whats not perfect about your particular device. If your scanner always seems to scan things in a little green, or your printer always seems to print things with a magenta cast-these are the things that are taken into account when color profiling your devices. To complicate matters a little further, this process also takes into account the differences in color between various paper and ink combinations.

Understanding Your Environment.

Color Model: When you hear the term color model we are referring to the method from which we define or classify the color we are to work with. Examples of such are RGB, LAB, CMYK, etc.
Color Space: A color space is simply a variation of your color model. For instance, within your RGB framework some common variations are, sRGB, Adobe RGB, and so on. Some of these spaces are better for display e.g. sRGB and Wide Gamut RGB while other color spaces are more suited to printing e.g. ColorMatch RGB and Adobe RGB.

Now, it is important to note that every device in our workflow utilizes it's own unique color space. Meaning, while your monitor, scanner, and printer will base their color spaces basically on what we can see their actual gamut (range of colors) will differ. This is where we lose our consistency across devices. This is the problem we must attend to.

Color Management Using Adobe Photoshop: Step-by-Step

Okay, so now were ready for the whole process-its a big one, so keep with me. In this section I will describe how color management works with entry-level CMSs like Monaco EZ Color or ColorVisions Spyder2-programs like these >b>utilize actual hardware colorimeters for monitor calibration and a reflective target for scanner calibration. Scanning the printed target with your home scanner creates the printer profile. Entry-level programs like these generally retail between $150 and $500.

Step One: The Monitor

This step is quite easy and is generally conducted entirely in the CMS program of your choice. The CMS will guide you through the process of adjusting you monitor brightness and contrast to its proper settings and then, with the hardware colorimeter, take readings of the colors your monitor can produce. Your CMS should also set this profile as your default profile for your operating system. Take note if your CMS doesnt already explain it, you should remove Adobe Gamma Loader.exe from your Startup folder after creating a new monitor profile. AGL is a very minimal monitor correction tool and will conflict with your newly created profile.

Step Two: The Scanner

For the scanner profile you will be using an IT8 target. This is a printed color reference of approx. 250 color patches. These targets are manufactured under strict controls and are measured by ICC approved methods to produce accurate reference files. Kodak, Coloraid, and Fuji are the major manufacturers of IT8 targets and should be included with your CMS package but may be a required separate purchase. There are two forms of IT8 targets: reflective and transparent. Reflective targets create a generally consistent profile for scanning reflective images. Transparent IT8 targets are printed on to the specific film to be profiled and therefore cannot be used as globally as reflective targets.

Profiling of the scanner involves scanning the IT8 target under the same conditions that will be used to scan originals. This has to be taken to the nth degree, as every setting in your scanner software needs to be exactly the same for scanning the target as it is for every other original that you will scan. Turning all hue/saturation/brightness/contrast controls off in your scanner software generates the most effective profile. Any auto correction adjustments need to be turned off so the same conditions the profile gets generated under will apply to each consecutive scan.

At this point you will scan in the IT8 target, most likely at 200 dpi, and save the file. Some CMSs will have you scan the IT8 target out of their own interface, but I would recommend scanning the target with the same application that you will be using in the future-if possible. When scanning into an application like Photoshop, remember to save the image without any profile attached (in Photoshop when saving you will see a checkbox under Save Options>Color that is labeled ICC Profile-make sure this is not checked). Now load this image into your CMS, it will take this image and calculate the differences between what your scanner sees compared to what the colors of the IT8 really are.

Step Three: The Printer

Now, the last piece to the puzzle, printer targets. Like transparent IT8 targets, printer targets are more complex. Similar to film, different papers or media can produce incredibly different color results. This has to be taken into account in the profiling stage. When creating a printer profile, you are essentially creating a description of the differences between what is ideal color and what is the result of the specific paper/ink/quality setting you choose. A profile created for a professional glossy photo paper will generally not produce good results if used to print on a matte heavy weight paper. The same holds true for differences in ink or quality/speed settings.

In your CMS you should be given the option to save your printer target for printing within your chosen graphic app. If asked choose not to apply a profile when opening. In Photoshop choose File>Print with Preview. Change the Output dropdown to Color Management. Under Source Space choose Document. Under Print Space choose Profile: Same as Source. You are now set up in Photoshop to print your profile target. You arent done yet! Now go into your printer driver software and set any color options to none, or zero, or whatever shuts off any color changes by the driver. Now print your target.

This is where professional level CMSs and entry level ones differ. At this point with the entry level you will scan in the printed target and the CMS will actually use the before generated scanner profile to correct the scan, so it can the correct your printed target. A professional level CMS will have a separate hardware device designed specifically for reading printed media targets.

Step Four: Utilizing the Profiles

Okay, now that weve created all of the profiles, time to implement them. You monitor profile should be getting applied upon startup by your operating system, so lets move on to your scanner. Scan in an image-once again using the exact same settings that were used to create the profile (other than resolution). In Photoshop choose Image Menu>Assign Profile. Then choose Profile: Your Scanner Profile. Having done all of the previous steps in Photoshop correctly, you should now be amazed at how your image colors changes to appear incredibly like the original that youve just scanned in.

From here go to Image Menu>Convert to Profile and choose working RGB from the profile selections. This will convert your document to the native RGB working space of Photoshop. When printing you will apply the printer profile by once again choosing File>Print with Preview, select Document as your Source Space (which this time should be your Working RGB space) and in your Print Space choose Profile: Your Printer Profile. Remember once again to disable any color options in your printer driver. Finally, Print!

Other Notes on Profiling

I would recommend using Relative Colorimetric as your Rendering Intent when doing the Convert to Profile step and when printing with Print with Preview out of Photoshop. Rendering intents control how the profile is applied to either the scanner or printed image. Relative Colorimetric has proven to be the best in my testing. Read the documentation that came with your CMS in order to learn more about the other available rendering intents.

Profiles are only as accurate as the CMS that generates them and the size of the targets that are used to generate them. Packages in the $150-$500 price range generally have around 75-250 patches, while $2000 and up gets you 729 patches or more. Also, the more expensive packages rely on physical hardware devices to generate printer profiles, while the less expensive packages use your scanner as the print colorimeter. In addition, the more expensive packages have numerous options for the edition of the profiles you create.

Sources cited in this column are:

Adobe

xrite/monoco

Colorvision

Shawn Tolle, Technical Consultant.

Nigel is the E-Commerce Project Manager for Ultimatech Creative Consultancy located in Carbondale, Colorado. Ultimatech provides website design for photographers, artists, and art galleries along with Fine-Art Reproduction and SEO Services.

what is a raw file

What is a RAW File?Writen by Eric Hartwell

You will hear of people talk about RAW files. What are they and what use are they to you?

With film, when you take the photo, the basic image detail is contained on the negative. It is in its original format but can be manipulated afterwards.

With digital imaging, the camera itself can manipulate and change the file so that the image data is different to that which entered the camera. The changes the camera makes includes changing white balance, changing ISO and compressing the file into a specific format.

Many cameras can discard all of these manipulations and shoot RAW files that is, a file that has not been changed in any way and is in its basic, virgin, format.

The RAW file can be uploaded onto the computer for further processing and adjustments.

The advantages of RAW files are:

-no data is lost

-the original image is preserved

-further manipulations can be made

-improved images

The disadvantages are:

-RAW files are bigger and take longer to upload

-more work is needed

-greater storage space is needed

The main problem with RAW files is that they are large. This means they will take longer to write to your card and computer and fill your memory card more quickly. Having the basic image data available, however, means that data is not lost and, if saved as a master copy, will always be there for future use and manipulation.

Eric Hartwell runs the photography resource site http://www.theshutter.co.uk and the associated discussion forums as well as the regular weblog at http://thephotographysite.blogspot.com

better travel photos with the light in the morning and late afternoon

Better Travel Photos With the Light in the Morning and Late AfternoonWriten by Soren Breiting

You probably know the yellow National Geographic magazine. If you browse through its colorful pages you can see that many of the pictures are taken in the low, warm light of mornings and late afternoons or evenings.

The photographers of National Geographic are among the best we have. You can easily mimic this practice and create much more interesting pictures than most people bring home from travels.

The low light will model the landscape you see for your eyes, so for example the plough furrows or differences in topography and texture are highlighted.

As a traveling photographer I know, that even on a photographic mission time is limited and your circumstances are often less that optimal.

I can recommend you to take the pictures you must take during the day. And then take a walk around your hotel or campground during the last two hrs. before sunset and shoot additional pictures in this special light. Try to do the same next morning before breakfast. In that way you will combine the best possibilities.

With a digital camera you can easily delete the less successful pictures later.

Low light gives long shadows, so be careful with these. Normally you should not expect parts of a picture to show up properly in both strong shadows and in full sunlight.

If your digital camera allows the raw format you will keep more details in shadows to work with in Photoshop later if you choose the raw format instead of the usual jpeg compression. But it depends on how much you like to optimize your pictures at home in a picture editor program.

In practice you should avoid the heavy shadows. When you shoot your photos in cities the big buildings are among the difficult objects. So take them from an angle without the big shadows, if possible.

If you follow these instructions I am sure that the appeal of your travel pictures will increase.

Have good travels and enjoy your travel photography during the trip as well as afterwards.

Soren Breiting is a traveling stock photographer. See examples of Sorens travel pictures in his photo galleries at A-Z Fotos, http://www.azFOTOS.com and read about pictures and marketing in Sorens ezine Stock Photo News at http://www.StockPhotoNews.com

modeling portfolio webites

Modeling Portfolio WebitesWriten by John D Williamson

In the age of home phones and 8x10's we all wondered how anyone could ever afford to get into the modeling industry. Even after you invest a small fortune in professional training and other peripheral services, you still have to purchase all of the marketing materials to send to anyone with a mailing address.

Times are changing, and if you haven't noticed, the world of modeling is taking roots on the web. There are a number of powerful resources at your fingertips to help you find opportunities. The hard part is figuring out what service will help you get noticed or help you promote yourself professionally.

If you have been looking around the web you've noticed all of the standard agency websites promoting their models with a few static photos that the agency placed on their website -- 3 years ago!

The problem with the standard method of going through an agency just to get your photos online is that you don't have much control in the process. The alternative is to build your own portfolio website add photos and recent work experience. Unfortunately, it can be a daunting task to create portfolio website.



Fear not! There are tools out there to help you construct a personalized portfolio website that you can use to market yourself in a variety of ways through numerous channels. And what is this portfolio website tool?



VisionPortfolio.com provides an easy to use portfolio website builder that you can construct in minutes. With the ability to customize 3 galleries and a cover shot, you have the room to upload 28 images and/or audio and video clips. Tell you story in the accompanying text sections.



Your portfolio website will be accessible through your personalized domain name. You can use it in all of your communications, postings on any other websites, and inside the VisionPortfolio Talent Directory. No more mailing expensive portraits. All of your portfolio pictures are accessible anytime on your own website.



If you want to market yourself more effectively you need to learn about the world of porfolio websites. Check out the free trial offers on VisionPortfolio.com to experience it for yourself.

John Williamson is a spokesperson and talent scout for VisionPortfolio.com

use light

Use LightWriten by Eric Hartwell

You cannot create a photograph without using light. Light paints the image. Light gives the image depth and movement. It can also ruin an image.

The amount of light that creates the image is important. That is why we have different shutter speed and aperture variables too much light causes over exposure: underexposure is the result of too little light.

But other factors are important too. Where is the light coming from? If from behind the subject you could create a silhouette. If from the front, the subject could appear flat and washed out and human subjects may have to squint.

Angled lighting gives depth and shadow detail. Great for texture and a 3D effect.

Flash can give a harsh rendition to the subject almost bleached sometimes and the amount of light may need altering (if your camera has flash exposure compensation, use that).

Morning sunlight is rich and orange and casts long shadows. The same goes for the end of the day. Midday light is intense and harsh and not very flattering. Moonlight is soft and romantic.

Diffusing the light for example using netted curtains at the window or a cloth over flash, gives a more romantic and softer effect and the use of coloured gels or filters can make a normal subject appear unusual and exciting.

Whatever light you have, you need to use it to its potential to get the best images

Eric Hartwell runs the photography resource site http://www.theshutter.co.uk and the associated discussion forums as well as the regular weblog at http://thephotographysite.blogspot.com

did you ever try selling your images

Did You Ever Try Selling Your Images?Writen by TJ Tierney

After spending a significant amount of time taking pictures, and accumulating a large library of images, it can be a daunting task looking for a way to sell your work.

With the right approach and a vast amount of hard work you soon may see a return for all the hours spent outdoors.

One of the easiest ways to begin with is holding a local gallery in your town hall, inviting all your family, friends, and especially local businesses.

This first gallery can be used as a learning point. The place where you make mistakes, but you should learn from them. Good friends will understand or even make fun at your mistakes, but will know its the start of a new business.

When selling prints in a gallery dont make unnecessary claims about the durability of your prints. Give advice on how to take care of the prints, such as: dont store them in humid conditions or dont expose them to direct sunlight. Try to print on good quality paper.

Choose your time carefully when holding your first exhibition. Dont hold it in early January; most people spend a lot of money over Christmas and dont like spending too much in the new year. Pick a time where theres a lot of visitors coming to your town. Local images should sell well with tourists. Dont try selling an image that you think is just OK. If an image isnt good enough to hang on your own wall at home, it is not good enough to be exposed to the public.

There are plenty of other ways to sell your photography. Stock Agencies require a minimum submission of 500 - 1000 images, and regular submissions thereafter, with very low returns. Sometimes its better to go it alone promoting your own work, especially if youve got the drive to become a salesperson. And no better place to start than in your local town with your first exhibition.

After getting the feel for exhibits, there is no reason why you cant go to other towns or cities. Galleries all over the world are always looking for new upcoming photographers.

There are no rules to what makes a picture sell. Sometimes having them in the right place at the right time can attract a client or customer. Images are used throughout the world to sell products and ideas, and theres no better place to start than with your local community.

If your pictures are good enough to be entered in competitions, or hang at home on the wall, they are certainly good enough to sell.

TJ Tierney. Award winning Irish Landscape Photographer. If you are looking for more tips visit Photo tips. To view some of his images visit his on-line gallery: Pictures of Ireland.