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| The Complete Commercial Photographer |
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Instructors: Charlie
Borland/Aaron Constant/Joe Baraban
Duration: 6
Months Cost: $1,995 Starts: Jan 8, 2010 |
A PPSOP Exclusive Not Found at any Photography School in the World!!!
Can it really be that you can make a living with your photography? Is it really true that commercial photographers can get paid $1,200, $2,000, $5,000 per day and more-PLUS EXPENSES for a corporate or advertising assignment? Yes, and they often get to travel to some pretty exciting locations, but then again, any destination is pretty darn exciting when you know you are getting paid that kind of money! Have you ever dreamed of shooting a corporate brochure, annual report or a regional or national ad for some of the Fortune 500 companies?
Do you think you have what it takes to be hired for this kind of commercial assignment work, but have no idea who to call or who to see? Do you know what needs to be (and what should not be) in your portfolio to get these kinds of jobs? What is the biggest mistake you can make AFTER showing your portfolio? Who is the most important person to know when seeking advertising jobs? Can you use social media to bring paying clients to you? Can you produce quality large scale prints (tomorrow) if a client needs them? What are the three biggest things you need to know before sending a job to the printer? Is having an agent a good idea? What is the difference between a graphic designer and an art director? Which is more important to show your portfolio to? Do you know how to estimate a job so you don't end up giving away the farm? What are the right tax forms? What is a deductible expense-what isn't? Should you be a sole-proprietorship or perhaps form an LLC?
Are you thinking of attending or are you already attending a two or four year photography program at a prestigious photography school, (along with their prestigious tuitions of $40,000 and more) or are you one of their graduates who now finds yourself in the role of a "starving artist"? This exclusive six month course does something those other schools DON'T, CAN'T or WON'T: We will fill your head with so much potential for marketing that you will soon be out the door not only knowing how to speak the language, but who to talk to and what you need to show in your portfolio in order to get the assignment! As the saying goes, "Give a man a fish and he will eat for a day, but teach a man to fish and he will eat for a lifetime!" As is true with every course here at PPSOP, all of our instructors are committed to teaching every student how to fish for a lifetime-failure is NOT an option!
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To become a truly successful commercial photographer, you must realize that you are NOT a photographer who is waiting for the phone to ring just so you can shoot images of somebody else's ideas! You must change your thinking into a photographer who is called upon, who is sought out because you are a talented and gifted visual problem solver-you are the specialist! The many assignments in this course will flush out your strengths and weaknesses, offering you much needed guidance and a much tighter focus on where you need to direct your talents so you can in fact achieve your dream of becoming a successful free-lance photographer!
Do you feel you need help in studio lighting, location lighting, portraits or landscape? Do you feel you need help in becoming far more inventive and creative? Do you feel frustrated at being unable to get any real work with your current portfolio? Is Photoshop still a mystery? Have you yet to overcome your shyness when approaching/photographing people? Are you long on ideas but short on knowing how to execute them?
Over the course of these next six months, you will have EVERY opportunity to create a portfolio of images that will get you work and you will finish this course "armed and dangerous" with the vast marketing knowledge that we promises to deliver. Some of these assignments may come easy, while others will truly push you further than perhaps you ever imagined.
In addition to valuable lessons/assignments that are offered in this six month course, the greatest benefit to be had by all is that you will learn what makes a GREAT image and, of course, WHAT to shoot and HOW to shoot it. Truth be told, it is not just an opportunity to learn all about photography that sells, but perhaps most of all, it's a course that will teach you a great deal about yourself as well.
Course Outline:
Lesson#1 - Aaron Constant - Introduction to Freelance Work Commercial, Consumer, Editorial & Fine Art. The difference? Developing A Strategy Selling Ideas Discovering Your Client or Market.
Lesson#2 - Aaron Constant - Developing Your Vision Presenting Your Work Website Considerations Print versus Electronic Portfolio Tear Sheets Portfolio Presentation Getting Your Work Out There Social Networking.
Lesson#3 - Aaron Constant - Editorial Work (Part 1) Regional and Trade Magazines Model Releases Things You Should Know.
Lesson#4 - Aaron Constant - Editorial Work (Part 2) Assignment Time Shoot Lists Assignment Examples Tips, Captioning Images.
Lesson#5 - Charlie Borland - Intro to Lighting Equipment
In this beginning lesson on lighting, we'll cover lighting equipment from light stands to background supports, umbrellas, light boxes, beauty dishes, grid spots, and more. We'll show you how your strobes work, how to use a light meter, and then how they all work together finishing with light theory.
Lesson#6 - Aaron Constant - On Assignment - Basic Techniques Basic Portrait Introduction Environmental Portrait Introduction Interiors - Bracketing Exposures Processing / Exposure Blending.
Lesson#7 - Charlie Borland - Portraiture and lighting
Photographing portraits is one of the largest segments of assignment photography. Mastering portrait lighting will enable you to compete in this area of professional photography and we'll show you how to master it. This lesson will cover the basics of lighting; creating patterns, fill light and options for creating it.
Lesson#8 - Charlie Borland - Beyond Portraiture
This lesson covers advanced lighting for portraits including beauty lighting, using large light sources, groups, and lighting accents for defining your subjects. Posing is also covered and we'll finish with a few Photoshop retouching techniques.
Lesson#9 - Joe Baraban - UP CLOSE AND PERSONAL Over coming the fear of getting too close to your subject whether living or inanimate.
Lesson#10 - Aaron Constant - Fine Art Photography Process and Purpose Creative Vision Photo Project Processing Techniques Toning Images Creating the Perfect Print.
Lesson#11 - Joe Baraban - SHOOTING WITH AVAILABLE LIGHT When I was just starting out as a very young "grasshopper", I had no idea that you could use photographic lights to take pictures. Not that it mattered, because I didn't have any money to buy them. There was only available light and that is all we use this week.
Lesson#12 - Joe Baraban - SHOOTING IN BAD LIGHT Ever wake up the morning of the shoot, and it's gray outside? There is one thing we can't control and that is the weather. Second thing is the dates of the shoot. Arrive to your shoot confident no matter what cards mother Nature dealt that morning.
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Lesson#13 - Charlie Borland - Product Photography
Everywhere we look there are images of products for sale in magazines, brochures, the web, and advertisements, all showing products for sale. Somewhere a photographer took the picture. This makes product photography a huge business for photographers. But it is not as simple as just taking a picture of the product. Lots of thought, creativity, and photographic skill go into making a great photograph and this lesson will show you how.
Lesson#14 - Charlie Borland - Lighting Color Management
As you leave the studio and photograph on location you will be lighting ‘scenes' rather than just a person or an object and this presents some new challenges. Managing color in your lighting is critical no matter what your location subjects is and Auto White Balance is not always the answer. In this lesson we'll explain the theories and provide practical solutions for solving color issues.
Lesson#15 - Charlie Borland - THE DIFFERENCE BETWEEN REFLECTIVE AND INCIDENT LIGHT: Most don't know the difference, but you will and this will separate you from the pack.
Lesson#16 - Charlie Borland - Location Lighting
In today's market most photographers need a diverse set of skills to compete. This lesson shows you how to shoot portraits on location as well as products, building interiors, workers on the job, how to use portable flashes, and much more.
Lesson#17 - Charlie Borland - Corporate Photography
Whether you are a freelance photographer or an in-house staff photographer, this lesson will show you how to showcase the company. Included will be examples of how to shoot the CEO as well as the workers operating the machines. Techniques on how to "snazz up" your images of dirty and filthy industrial locations will be covered along with how to dig in and find great shots.
Lesson#18 - Charlie Borland - Shooting for Photoshop
No commercial photographer will be able to compete in the future without mastering Photoshop. This lesson will show you how to shoot a variety of assignments in stages and elements and then use Photoshop to composite them together. From products to architecture to industrial, this is the future!
Lesson#19 - Aaron Constant - Processing, Printing & Workflow Color Management. Overview RGB / CMYK Contact Prints / Guide Prints / Proofs Asset Management Archiving Strategies and Backups Printing Overview and Settings.
Lesson#20 - Aaron Constant - Business Practices and Marketing Things to Consider Business Management Software Selling Print On Demand Books Creating a Brand or Identify Create Mailings Self Promotion.
Lesson#21 - Joe Baraban - PREPRODUCTION AND SCOUTING: Nothing is more embarrassing than being at the right place at the wrong time.
Lesson#22 - Joe Baraban - BIDDING JOBS TO WIN: How to come in close to everyone else, so only individual styles will determine who gets the assignment. Here's forty years of inside information, all for you.
Lesson#23 - Joe Baraban - THE DIFFERENCE BETWEEN TAKING A PHOTOGRAPH AND MAKING A PHOTOGRAPH: A storytellers approach to great imagery.
Lesson#24 - All instructors - Putting it all together: It's time to set up and shoot an assignment. Start to finish your assignment this week will be looked at by all three instructors from every aspect and direction!
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Course Requirement:
A portfolio review is required, so send us a link to your website and show us your strengths and, in that same email, tell us where you think you need the most help. Tell us what you think is standing in your way of becoming the Complete Commercial Photographer! After reviewing your work, we will notify you within 48 hours if you have been accepted into the course. Please send your email to contact@ppsop.com.
Instructor: Charlie Borland
Charlie Borland is an award-winning commercial photographer based in Oregon. Charlie travels extensively for a wide range of clients. People are his forte, on the job or at play. With a career spanning 25 years, he produces photography for annual reports, advertising, and editorial clients.
His photographs have been seen in National Geographic Adventure and Traveler, Outside, Women's Sport and Fitness, Newsweek, TV Guide, CIO, Sports Illustrated for Women, Time, Backpacker, and Sunset, to name a few.
Charlie's partial client list includes: Xerox, NW Airlines, Fujitsu, Tektronix, Nike, Blue Cross, Nationsbank, Precision Castparts Corp., Mentor Graphics, Texas Instruments, Pacificorp, Cellular One, Sequent Computer, Early Winters, Cascade Bancorp, and Associated General Contractors.
Charlie has been involved in the stock photography business, operating a stock photo agency out of his studio for 8 years before merging with Definitive/FPG and later Getty Images. He is co-owner of online photo agency www.fogstock.com, and Director of Aspen Photo Workshops. (www.aspenphotoworkshops.com). His blog is: www.thecommercialphotographer.net
What students are saying about Charlie Borland
and his courses?
Instructor: Aaron Constant
Aaron Constant is a commercial photographer, off set lithographer and digital printmaker. He has been photographing
and producing art catalogues and photographic / illustrated books for almost 20 years. He is additionally co-founder
and partner of Evoco LLC, a digital printmaking studio specializing in archival print reproductions for artists and galleries.
www.evocoprint.com
Aaron is known for his experience in capture to print output as well as his near continuous tone duotone, tritone and
quadtone photographic print reproductions on press. He edits and color manages cmyk fi les of important works of art
for art galleries and museums nationally and advises and collaborates with artists and photographers in reproducing
their original works of art.
Not only is his art capture and photo editing featured in many exhibition catalogues, Aaron additionally maintains a
client list of regional and national magazines and freelance commercial assignments. His passion for the printed image
drives his personal work to produce story telling imagery suited for print and short run books. To learn more about
Aaron, please visit www.aaronconstant.com or www.runningwaterphotography.com
Click here to see that is in Aaron's camera bag
Instructor: Joe Baraban
After receiving his BA in Journalism, Joe ventured out into the freelance world and never looked back. For the past forty years, Joe has shot professionally for clients from Coca Cola to Hennessy, Cessna to United Air Lines and Boeing, and from Microsoft to IBM and HP. He has shot the full line car brochures for Acura, Saturn, and Range Rover, not to mention campaigns for Acura, Jaguar, Mazda and Ford. The tourism departments for Alberta, Canada, Pennsylvania, Alabama, and Texas have contracted Joe to shoot images for their state campaigns. Just to name a few.
Over the years, National Geographic, Life, Texas Monthly, Time, Geo, Newsweek, and the New York Times Magazine have used Joe for several of their editorial assignments.
Teaching people how to use their eye has always been one of Joe’s passions, and has conducted one week workshops at the Maine Photographic Workshop (seven years), The Santa Fe Workshop, The Julia Dean Workshop in Venice, California, and the South Florida Workshop. He has also conducted continuing education classes at Rice University in Houston, Texas.
He has been sought out as a guest speaker for various ASMP chapters (American Society of Media Photographers), advertising and art director’s clubs across the country, The Art Center in Pasadena, California, and Brooks Institute. He has given seminars at Photo East in New York, Photo West in San Francisco, and Viacom (the national photographic convention in Canada).
Joe has had feature articles written about his work in Communication Arts Magazine, Photo District News, Japan’s Portfolio Magazine, and Studio Magazine. His work has appeared in CA, Photo Graphis, and The Mead Annual Report Show.
His expertise had also spurred an invitation to judge the prestigious Communication Arts Photography Annual. Joe currently serves as a member of the Fuji Corporation ‘Talent Team’. |
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