Ask Harriete

Rings Photos, Eye Do, and I Don't - Part One of Two

The previous post was about getting quality photographic images of earrings.

This post is about common mistakes with ring photos. Today is the "eye don't" bad ring positions in photos. The next post is "Eye Do" for quality photo images.

"Eye Don't" use an commercial ring display through the ring. This is a guaranteed bad photo option no matter how beautiful the ring.

 

 

"Eye Don't" use a stick or mandrel through the ring.

 

 

 

 

 

"Eye Don't" prop up the rings with sticks or any other fixture. It looks awkward and hides the ring.

 

"Eye Don't" hold the ring in the photo. No matter how interesting the ring, most people have unattractive hands, thus the photos looks awkward.

 

"Eye Don't" wear the ring in the photo. We can't see the entire ring and hands are usually unattractive and distracting.

 

 

"Eye Don't" lay down the ring. This creates a lifeless image obscuring part of the ring. The image of the ring is too small not filling the frame.

 
While this ring photo isn't bad, it isn't as good as it could be. Laying down the ring is lifeless, and we should see more of the stone on top. In addition, the hallmark (inside the ring) is upside down. Standing up the ring (as shown in the diamond ring to the right) looking at the shoulder of red stones, and the hallmark inside the ring would be a vast improvement.

Stay tuned for better ring photos in the next post on ASK Harriete.

If you have a ring photo as an example...please email me at: bermaid [at] harriete-estel-berman.info.

Earrings Up, Don't Take 'em Lying Down

One of the questions that frequently comes up is:  "What makes a good photo?" There are many possibilities of good photos....too numerous to mention, so I would like to focus on earrings. Below are the most common mistakes in photographing earrings AND earrings solutions for good photos. 

MISTAKE #1
Generally, earrings should NOT be photographed lying down at an angle. Common problems include getting the entire earring in focus, awkward compositions, and poor to weak display of the earrings.  The photos below show these problems.

 

 

 

MISTAKE #2
Don't hang earrings on teacups, or bowls. These "props" actually distract the viewer's eye more than help to display your work.  This does not produce professional quality photos as shown in the examples below.

 

MISTAKE #3
Do not photograph earrings in groups.  Group photos usually distract the viewer by appearing cluttered, disorganized and individually unimportant.

 

 

 

 

 

Below: OPTIONS FOR EARRING PHOTOS

To create good photos, make an interesting composition consistent with the style of the earrings. These angular earrings have angled ear wire and the rectangular format fills the photo. It works!  Earrings by Biba Schutz at Facere

 

Or stand the earrings up while focusing on an interesting composition. This photo works well because it shows both the side and the face of the earrings.  Earrings by Emiko Oye

 

 

Using a mannequin to model the earring offers a flawless simple modern solution. It makes a great photo with no hair and make up concerns, but the down side is that you can show only one earring at a time. Earrings by Andy Cooperman. Photo by Doug Yaple.

Poke the post or ear wire into a piece of paper. This is a very simple graceful solution but avoid distracting paper. Gold & Silver "Strata Earrings by Sydney Lynch on the Artful Home.

 

Poke the post through a photo of a model printed on photo paper. The great part of this solution is that you can find a fabulous looking ear without fussy little hairs that are usually distracting. AOL Earrings by Harriete Estel Berman

 

Create an interesting composition with two earrings and scan using your computer scanner. Earrings by Harriete Estel Berman available at the SNAG Trunk show in Phoenix, AZ. This option requires a scanner and PhotoShop skills.

Here is a photography solution from Emiko Oye. She hangs her earrings from a rod for the photo shoot. Then PhotoShops out the wire.

Left  is the "raw" photo. Below is the photo after PhotoShop.
Thank you Emiko for sharing your photo magic.

 

 

 

iced windows LEGO earrings medium by Emiko Oye on Etsy. The wire has been PhotoShop-ed out for a professional quality photo. 

 

The most challenging photo option  involves using a live model. Read previous posts on ASK Harriete for tips and tricks with photo sessions with a model. Earrings by Harriete Estel Berman. Necklace by Emiko Oye.

Do you have an innovative earring solution for taking great photos? Would you like to share this with the readers of ASK Harriete. Let me know. I will add your images to this post or write  a new post.

Harriete

 

What information Does a Promotional Image Need?

When you send a promotional image, do you always include a description, size, dimensions? How about a link to your web site?

Did you include the price? When it's a Trunk Show or craft fair and the event is all about selling, yes, in this situation include the price.

If asked for a promotional image of your work, are you ready to send an image in the next five minutes? A successful artist or maker is always ready. The Press always wants their images yesterday.

For the upcoming SNAG Trunk Show a couple of people sent me images. They were prepared!

 

"Spectacular achievement is always preceded by spectacular preparation."
--Robert Schuller

 

Jennifer Butterfield sent this pendant image as a TIF at 6MB.

TIP #1  Send a JPG and offer TIFs for print as an option. 

This purse is by Joan Waters. It is a great idea for a Trunk Show image or standing outside the show.

TIP #2 Please include a complete description. Joan  included dimensions and materials with the image. Good for her! This sculpture is 5' high x 4' wide, made of welded steel.

 

Don Friedlich sent this image of his brooch. His images have a strong graphic appeal.

 TIP #3  Photos should be dramatic and eye catching.

 

Sheila Summerlin sent the image to the left.

TIP #4 Always include a link to your web site along with a complete description.

 

 

 

 

I am looking forward to the TRUNK SHOW at the SNAG Conference. Last year it was a huge success.

The Trunk Show is May 26, 2012.

Saturday 12:30 - 2:30p.m.
Grand Ballroom 1A & B
Westin Kierland Resort & Spa
6902 East Greenway Parkway,
Scottsdale, AZ

If you are in the SNAG Trunk Show write about it on your blog, web site, Facebook or Crafthaus page. Spread the word with images of your work and others. Send me your images if you are in the Trunk Show.

My Flower Pins are available for purchase at the SNAG Trunk Show, Etsy or my web site. Price range is $225 to $575 for one-of-a-kind work makes this a very affordable price range.

What Should Trunk Show Promotion Look Like?

The 2nd Annual Trunk Show is coming up at the SNAG Conference in Phoenix.  Lots of potential...

Every situation can be an opportunity and I always want to maximize the potential outcomes.   

But is a collective effort to "PUSH" an event appropriate?

I wonder what would happen if everyone in the Trunk Show promoted the event?

 What if the Trunk Show participants created their own whirlwind of visibility for the event and for each other?

What if we, everyone attending, posted an image of the Trunk Show poster on our Facebook pages or web sites? Click Here for the Trunk Show Banner.

What if we were all asked for an image of new work to create a new Trunk Show poster or online catalog?

What if the local television news came to cover the event? Headline; "World renown artists and makers coming to Phoenix" could be "big news", but only if the news station finds out.

Monopoly Electric Flower Pin © 2012
recycled tin cans, sterling silver,
Artist: Harriete Estel Berman
These flowers will be available at the
SNAG Trunk Show or online.

I don't think that the metal arts community suffers from too much success, but it looks like we aren't really good at making ourselves into "big news".

 

Harriete

Professional Practices with Andy Cooperman and Harriete Estel Berman

The Academy of Art videotaped a program about professional development with Andy Cooperman and me (Harriete Estel Berman).  The program was co-sponsored by the S.F Metals Arts Guild.

Now the video is online!
The program revolved around a discussion about survival as an artist and maker. The entire program was an hour and half. It started with Andy Cooperman's 45 minute lecture about his work and recommendations for surviving as an artist and maker.

Part Two (below) is a quick 8 minute lecture about my work which continues with a few more minutes of me describing additional resources for artists and makers.  Then Andy and I respond to Q & A with the audience. Here is the handout with links to the Resources and the articles mentioned.  Download HANDOUT

If you listen to both lectures....let me know what you think. I'd really like to know....and will tell you why (privately.)
Harriete

Graduation, Job, Studio, Is There a Recommended Direction?

Considering the time of year, this question from Eva, a student at the Academy of Art, San Francisco, CA, seems very timely. She asks:
"Do you suggest that we find a job after graduation or set up our own studio directly?"

Of course, there are always unusual circumstances, but I think getting a job related to your field of study gives you great experience that will ultimately channel into your art or craft. I use the term "related to your field of study" quite loosely.

Anything that is remotely connected to your interests and skills seems better than an unrelated job.

Here I am sitting at a "kitchen table"
as my work bench. This grainy black &
white photo was from a 1977 newspaper
article  from The Charleston Gazette
Photo Credit: Lou Raines 

 

 

After my graduation, I supported myself for years doing jewelry repair.  Then I had a job for about 8 years working for a plating firm repairing anything that came in the door from sugar bowls and creamers to elevator rails.

The experiences increased my skills and confidence. I learned problem solving, metalsmithing skills, a hands-on exposure to diverse metalworking assemblies and fabrications from the past 200 years . . .  AND access to a very wide range of professional tools, equipment, and plating processes.  With those well honed skills, I still do silver repair part time.

You'll be in good company.  Andy Warhol worked in advertising.  James Rosenquist painted billboards. Consider the profound influence that their work experiences had on their artwork. 
James Rosenquist and his mother in 1954 standing below a billboard he painted. The Red Shoe illustration by Andy Warhol.

I'd also recommend setting up a studio space immediately, even if it is in the other half of your bedroom or in your living/dining room.  Get your studio up and running, no matter how modest. Avoid burdening yourself with debt and expenses. It is more important that you start working with less tools and more creativity to keep ideas fresh and your mind immersed in creative expression.  If you need larger or specialized equipment, take a class at a local community college or rent time at a studio space near you. Check out the Tech Shop for an amazing resource.

In summary, try to get a job related to your degree, even if it doesn't pay much in the beginning.  The experience will help you learn so much along the way. You might even be able to use their tools or equipment.

Also keep working in your home studio every day. Even if you don't have all the tools or equipment that you had in school. there are always alternate solutions.  Use your most creative tool, your mind.

Harriete

What are YOUR TOP 3 Tools and Books for Jewelry Making?

Alina, a student at Academy of Art, San Francisco, CA asks, "What are your top 3 "can't live without tools and books for jewelry making?"*

There are so many possibilities, but as an advocate for business development, I think the practical information in the Professional Guidelines is a # 1 tool for survival in the real world outside of school.

Next, consider looking at the resources from the Professional Development Seminar available on the SNAG web site and my web site. Many years of collective experience, wisdom learned, handouts and lectures can be found online for free.

One of my favorite books is Making and Marketing Better Artwork by Milon Townsend. " While Townsend is a glass artist, the information in the book is practical and relevant to all media. There are "11 chapters including information on working with galleries; pricing your artwork; wholesaling vs. retailing, wholesale vs. consignment; literature and advertising; photography;...and practical answers to many of the questions that both the novice and the seasoned professional will encounter during their working lives."

Alina also asked about tools for jewelry making. This is much more specific. It really depends on the kind of work you make. I would keep your first tool purchases fundamental but would also advise to go for quality.  For me, as a metalsmith:

• The best quality (e.g. German) flush cutters;
• Drill and Wire gauge 1-60 (buy it from a hardware store to save money);
• Complete set of drill bits 1-60 and 61-80.
  

And There Was Light  ©  2004
Recycled tin cans, 10k gold, ss rivets.
Artist: Harriete Estel Berman
Photo Credit: Philip Cohen

 

 

Keep in mind that your most creative tool is your brain, regardless of the specific media or craft.

Harriete

*This question came from a Professional Development program co-sponsored by the Academy of Art and the Metal Arts Guild in San Francisco, CA with Andy Cooperman and myself, Harriete Estel Berman.

Harriete

Who is Responsible for Damage to Work On Consignment?

A question from Pei Sze, student at Academy of Art, San Francisco: "If we put our works on consignment and it gets damaged, who is usually responsible for the damage?"

The ANSWER is in your consignment contract. BEFORE SENDING WORK or delivering work to a gallery or store, ALWAYS discuss the consignment contract. The Professional Guidelines has a Consignment Contract that will help negotiate this and other issues before there is a problem.

In the Professional Guidelines Consignment Contract look in:

Section 8. Loss or Damage.
"The gallery shall be strictly liable for loss or damage to any consigned artwork from the date of delivery to the gallery until the artwork is returned to the artist or delivered to a purchaser. In the event of loss or damage that cannot be restored, the artist shall receive the same amount as if the artwork had been sold at the retail price. 
If restoration is suggested or pursued by the gallery, the artist shall have veto power over the choice of the restorer.  The artist shall be responsible for all repairs to artwork necessitated by artist’s faulty workmanship."

To explain  further:
If damaged work can be repaired or restored, the artist should be compensated for the time and materials for repair.

If the work is lost or damaged: The artist or maker should be paid the wholesale price.This is the "same amount" that the artist would have received "if the artwork had been sold at the retail price."

"Even in the best relationships based on trust and a good working relationship, there is no substitute for a contract.  To minimize and hopefully avoid possible conflicts, the rights and obligations of both the artist and the gallery should be clearly written in a contract. 

Do not rely on assumptions and the memories of verbal conversations.  A good contract, such as the consignment contract developed by the Professional Guidelines, is fair to both parties.  It is in the interest of both parties to discuss all the issues presented here."

"Many galleries are accustomed to using their own contract.  If the gallery already has a contract that it wants to use, it can be signed “as is”, or it can be viewed as a starting point for further discussion.  The artist can use the Professional Guidelines example contract as a checklist or guide for negotiating modifications and revisions.  Your business relationship with the gallery may include specific arrangements that require additions or deletions, which you should initial.  In addition, amendments that arise after the original contract has been signed should also be put in writing and signed by both parties (see clause #18)."

The above text in quotes was taken directly from the Consignment Contract in the Professional Guidelines.

Below are copies of the Consignment Contract in the Professional Guidelines as a Word and PDF.

Download CONSIGNMENTcontract2010 Word
Download CONSIGNMENTcontract2010 PDF

Please feel welcome to share this with your friends and fellow artists.

Harriete

Reality bite, you are the best spokesperson for your work.

Three Bracelets by Harriete E Berman
Post consumer recycled tin cans
Society of Arts and Crafts    2007

In the previous post on ASK Harriete a student asked, "What is the first step to get my artworks shown in a gallery?"

My guess is that the real sentiment was "How can I get my work in a gallery so that the gallery will sell my work, and I can just focus on making and not selling?"

Many makers hold on to the fantasy that a gallery will sell all their work so they can dedicate their time to making work.  The reality is that those days are gone forever (except for a few rare individuals).  There are various reasons, including the Internet and this tough economy.  But it is incredibly important to realize early in your career that you are the best seller of your work. 

Just as movie studios came to realize that actors should participate in the marketing of their movies, and publishers understand that authors should appear on television and radio to sell their books, artists need to participate in the marketing of their work. The visible and articulate artist/craftsperson is the most effective tool there is for marketing.

Harriete E Berman & Alyson Stanfield
at the Loveland Museum exhibition 2010

People (i.e. buyers, collectors, and viewers ) want to see, hear and meet the artists. Whether it is meeting at an opening, participating in social networks, offering to do interviews, writing about your own work on blogs, or standing in your booth at a show, the creative spirit is what people want to see and hear.  They want to learn your story.

Showing your work, telling a story, or explaining the meaning behind your work are steps you need to take to achieve success. No gallery can perform this job better than you can.

A gallery that sells your work is a partnership. They may be providing a retail location with a customer base, but the better you are at your job, the better they can sell your work.
Harriete

First Step to Get My Artwork Shown in a Gallery?

Last Monday night, Andy Cooperman and I gave a presentation with Q & A for an audience of students and emerging artists. Co-sponsored by the Academy of Art San Francisco and the S.F. Metal Arts Guild, the event drew an the audience of close to 100.  My only disappointment was that we didn't have time to answer all the questions (including a list submitted by students).

Therefore, I plan to answer some of those questions through ASK Harriete over the next few weeks.

Here is one question that always comes forward:
"As a young artist, what is the first step to get my artworks shown in a gallery?" - Eva

Some parts of the answer have been answered in four articles under the heading, SUBMITTING WORK to GALLERIES and RETAIL ESTABLISHMENTS written by Don Friedlich, Andy Cooperman and myself, Harriete Estel Berman.

Galleries: Are They Right for You?  by Don Friedlich

Introducing Your Work to a Gallery by Harriete Estel Berman

The Nuts & Bolts of the Gallery.Artist Relationship  by Andy Cooperman

Galleries: Issues to Consider After Your Work Has Been Accepted by Andy Cooperman

The information is as solid now as it was in 2009 even though the economy and the Internet have vastly changed the dynamics.

1. There are fewer galleries and stores than there were ten years ago. Galleries and stores have closed there doors for a variety of reasons. Places that were barely surviving could no longer thrive in a bad economy.

2. The craft fair circuit is vastly different. Established shows are not as big, while a new mix of venues have opened up with a more informal flavor.

3. Membership events hosted by museums featuring artists and makers are much more common.

4. Open studios, while not new, are far more frequent.

5. The Internet is the most radical influence. Places like Etsy continue to grow, but there is a huge number of other online marketplaces without a definitive market leader for a juried, exclusive online marketplace.

6. Every gallery now has an online presence.

7. Every artist and maker now can and should have a web site and/or blog. 

I intend to continue this topic on another day, but let's look at the question again from Eva. "As a young artist, what is the first step to get my artworks shown in a gallery?"

I am wondering if the question is really, "How can I get my work in a gallery so that the gallery will sell my work, and I can just focus on making and not selling."

Stay tuned to the reality bite....

Harriete

Follow Your Own Path -- Be Resilient, Postive, and Passionate

I was reading an article about "Pinterest's Ben Silbermann to 'Treps: Make Something Beautiful" on Entrepreneur.com. Though the article lists three pieces of advice for entrepreneurs, it struck a cord in me. A resounding echo that could be solid advice for artists and makers. Each one builds on the other.

Below is my short version for finding success:

Follow Your Own Path. Close the books on technique. Invest in play and experimentation to find your own path. This is a solitary, lonely activity. Many books and studies of cognitive thinking demonstrate that it takes around 10,000 hours of practice to become an expert. Become an expert in your own work.

Be Resilient. Overnight success and instant fame are fairy tale fantasies. Invest time and commitment into following your own path. Everyone, yes, everyone is rejected and discouraged along the way. Learn from your mistakes, analyze failures and successes. I don't care whether you can only work one hour a day on your own work. One hour a day is seven hours a week. 30 hours in a month, and  360 hours a year. This is enough time to make one fabulous artwork a year.

Surround Yourself with Positive Energy. Ignore the naysayers. Ignore the devil on your shoulder. Listen with half an ear if there is any credibility to the comment, and the other side needs to be resilient and keep moving forward.

Don't listen to all those negative "it can't be done" opinions. Ignore people who say, "It's too hard,"  "Don't care so much", " It's not your job".  Ignore them. Surround yourself with positive energy even if it is one beautiful flower. Be resilient and follow your own path.   

Develop a thick skin.   Whether or not you make money from your art or craft, money is a poor measure of success. Surround Yourself with Positive Energy, Be Resilient, and Follow Your Own Path.

Be Passionate. Passionate may mean you will work harder. Passionate should definitely include working smart.  Day or night, be passionate about your goal, or the big idea, even when it is inconvenient and no one else cares. Passionate about your singular path, holding on tighter, pushing through the barriers. 

My upcoming class at Revere Academy "Prepare for Success" can only give the tools you need.  You still have to follow your own path, be resilient, surround yourself with positive energy, keep your thick skin and be passionate.

Harriete

There is Still Time & Space to Prepare for Success

Are you looking for direction on your  path to success?

Where do you want your work to go? What insights would you like to gain from my 30+ years of experience?  

Is your work consistent with your marketing? Are you images good enough to get you free publicity? Are your short term and long term goals an effective compass for success?

On April 28 & 29th, I will be teaching a professional development workshop at Revere Academy as part of their Masters
Symposium in San Francisco, CA.

Prepare for Success

April 28 - 29, 2012

 

Internet Option
If you can't travel to San Francisco, Revere Academy is offering on line participation at the amazing price of $79. It would be nice to see you in person, but if you need to stay at home while juggling the rest of your life, this is a way to listen in on your computer.

Webinar participants will be able to view the instructor and Powerpoint presentations in real time via their computer, as will as submit their own questions and images for review by the instructor, much like the students who attend the class in San Francisco. Because this is the first time Revere has offered a webinar class, the $79 is a special, one-time introductory price for the class.

Webinar participants are required to have a computer with a high-speed internet connection. To register for the webinar, call 415-391-4179.

Appropriate for all media, this two day intensive workshop with Harriete Estel Berman will provide tons of information to super charge your professional development and gain from my 30 years of experience.

Learn how to use the power of social networking, blogs, and web sites to develop visibility and get your work noticed. Other topics will include maintaining proper records for the IRS, managing inventory, how to update your resume, and evaluate and upgrade your photos.

We can cover anything you want.  Your questions can guide the topics to be covered. 


Here are some suggestions for topics:

Professional Development resources

Your 20 second commercial

Guidelines for a critique group

Identify your business model.

Establish Your Professional Goals
   Define Objective
   Define Success
   Are your objectives and definition of success            consistent?
   How do you expect to achieve your objectives?
   Define your market.

Pricing and fabrication methods.
   Pricing Structure
   Falcher Fusager’s Pricing Formula
   Guestimation
   Comparative Pricing
   Include your Overhead
   Cost of goods sold
   Pricing Concepts.

Inventory Record Form
   Inventory Records:  Documentation and Provenance
   Hallmark or sign your work

Digital Image Package
   Label examples
   Image description sheet
   All prints and digital files information.
   CONTACT SHEET SAMPLE

Resume vs. CV
   Resume categories
   CV
   BIO

Artist Statement Recommendations
   Artist Statement Tips
   Artist Statement with description
   Envelope for your package

PUBLICITY EXAMPLE
   PUBLICITY  IMAGE
   SELF PORTRAIT
   WORKING IN THE STUDIO
   PHOTOGRAPH EVENTS

Emails and social networking

Strategies for juried opportunities

Publicity and Marketing 100+ ideas
   Book recommendation
   Pitch letter
   Mailing List strategy
   Thank you
   STATIONARY

Wholesale/Retail
   Minimum order for wholesale
   Return Policy

Delivery of work in person
   Shipping – One of a kind work
   Unpacking & Display instructions
     To Display
     Packing and Shipping
     Maintenance Instructions
     Shipping
     CONDITION REPORT
     SIMPLE PACKING LIST 

Profit or Loss?
     What are your options?
     Do you act like a business?
     Expense record examples.
     3 rules to test deductibility
     Expertise?
     Time & Effort?
     Track record
     Record of sales
     Do you act like a business?  I.R.S.

COPYRIGHT & Fair use

www.you
        Website resources
        Web what you need to do and why
        Blogs - blogosphere
        Basic SEO to implement

Any Questions: Contact me directly
bermaid [at] harriete-estel-berman.info
(area code 650) - then 571-7726
http://www.harriete-estel-berman.info

Space Available in Upcoming Workshop

Recycle, Repurpose,
                             RETHINK Materials
 There is still space left! to take this workshop with me at the Contemporary Jewish Museum  on Earth Day.
Sunday April 22,  2:30 - 5:00p.m

$18 includes admission to the Contemporary Jewish Museum, materials, and refreshments.

Celebrate Earth Day with an art workshop focused on recycled and repurposed materials.

Take a peek at the exhibition Do Not Destroy: Trees, Art, and Jewish Thought, roll up your sleeves for ideas and inspiration with artist Harriete Estel Berman, then gather your own creativity to make samples and hands-on projects that bring post-consumer materials and eco-awareness into your classroom. Co-presented by SCRAP.

  TuBishvat Seder plate  by Harriete Estel
  Berman titled Reduce, Reuse, Recycle,
  Assiyah, Yetzirah, Beriyah,   © 2001
  Post consumer recycled tin casn,
  Photo Credit: Philip Cohen

The workshop will be inspired by my use of post consumer, recycled materials for over 24 years to construct artwork ranging from jewelry and teacups to entire lawns and sculpture with social commentary.  Judaica focuses on the concept of Tikkun Olam (repair of the world) with the use of recycled tin cans.

This workshop is designed for teachers to gather ideas.

If you want to celebrate Earth Day with me on Saturday be prepared to work outside. I organize an Earth Day Clean Up for my neighborhood every year. Weeding for 8 hours is on the agenda, but help for only a few hours is completely fine. This is in San Mateo. Come help!

Fawn in my backyard.

Quail on my front steps.

Amazing photo taken on Jekyll Island, Georgia.

Can Photos of Your Work Compete When Surrounded by Visual Pollution?

This photo of is a great metaphor. The wires pull in all directions. It is an example of our "visually polluted climate dense with optical smog" (quoted from Suzanne Ramljak's lecture in Photography in Flux- Editor's Persepctive.) We look at, look through, look around, and/or simultaneously overlook these kinds of scenes every day.

Can the photos of your art or craft work compete with the exceptional images  on consumer packaging, in advertising, magazines, signs, billboards, television and online?

What makes a good photo for our art or craft?
In the past the graduated gray background was the standard. Now some makers prefer complete white or solid black backgrounds for the photos of their work. The influence of the highly charged images in advertising includes colored backgrounds.

What is a fabulous photo? Is there a new standard? We all want one direction, one recommendation, one correct answer.

 

REALITY CHECK: There is no ONE answer for everyone. No straight path to exceptional.

A photo of your work needs to fit the art/craft and the situation.

The style of the photo for art and craft needs to fit BOTH the style of the work and the context. One photo is unlikely to fit all situations. If your photo goes beyond the standard graduated background using white, black, colored, a stylized background, or a model, the context for the photographic image becomes even more important.

The key issue:
Does the photo convey the message intended or is the intended message distracted, confusing, or lost?

Other factors to make your photo amazing . . .

Is the composition dynamic?

Is the image of the work memorable?

Does the image describe work accurately?

What other criteria would you add?

Send me one photo of your art or craft. Describe the audience for your work and the context for using the photo. Let's talk.

Harriete
P.S. All images above by Philip Cohen, Oakland CA.

PPS. This discussion also assumes that the focus is perfect and exposure is 100% correct.

Philip Cohen photographing my installation Pick Up Your Pencils, Begin. Photo Credit: Aryn Shelander

Email Marketing Seppuku

Seppuku is a form of Japanese ritual suicide performed in front of spectators. I don't want to go into the gory details, but it is self induced and fatal. It is a apt metaphor for this recent email marketing attempt shown below. 

As my son would say, "fail."  The email was obviously sent out to a large number of people. There was no text in the email, no helpful subject line, no hello in the body, no "how do you do". My name was also spelled wrong. 

It was as rude as it gets. Even worse this email with no explanation had files and links attached:

•  5 html links
• 12 htm links
•  4 JPGs  (without titles)
•  7 MB of PDFs

What ever happened to a personal note? An introduction?

If it is spam, good riddance.  If it is someone's attempt to mass market, it is an example of social media marketing suicide.

 

I won't open it and would strongly recommend anyone else to not open such an email.

I wrote to the person asking why he sent such an "oblique" email message. Above was his reply with spelling errors and no further explanation.

Needless to say, the impression did not improve.

Harriete