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Product Description
Product Description
Completely revised and updated, this classic book shows new and veteran photographers how to sell their work. Filled with photos, charts, tables and sidebars, Sell & Re-Sell Your Photos helps photographers focus their goals and improve their profits. Includes advice on:. Good pictures vs. marketable pictures. The web and how computers are being used in the stock photo business. How to market by mail - and present a professional image. Promotion techniques that get pictures noticed. A filing method that keeps pictures easily retrievable. How to approach a stock photo agency
About the Author
Rohn Engh is a veteran stock photographer who has sold his work to national and worldwide markets since 1960. He is the founder and publisher of PhotoStockNotes, and publishes PHOTOLETTER and PhotoDaily. He conducts photo marketing workshops nationwide.
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Customer Reviews
Most Helpful Customer Reviews
3 of 3 people found the following review helpful
Format:Paperback
great read full of information to get you started, some info was aimed at the USA more than us but its easy to know where you need to go to sell in uk.
recommend you also purchase the freelance photographer's handbook with this and you will be set to have all the uk reasearch info at your fingertips.
highly recommend purchasing this and you will spend forever using this book for reference after you've read.
recommend you also purchase the freelance photographer's handbook with this and you will be set to have all the uk reasearch info at your fingertips.
highly recommend purchasing this and you will spend forever using this book for reference after you've read.
2 of 2 people found the following review helpful
Format:Paperback
A great read, with great ideas and a huge learning curve. If you are thinking of selling your work you will find this a useful book as it will alter your perspective and open up your imagination.
Most Helpful Customer Reviews on Amazon.com (beta)
Amazon.com:
25 reviews
91 of 95 people found the following review helpful
Anything for Money
21 Aug 2005
Format:Paperback
Sometimes it's hard to write a review because the author's style is so grating that even though he has a lot of useful information, you dislike the book and wonder if you can be fair. After thinking about this book for some time, I think I can be fair.
Engh's basic point is that a photographer who wants to make money with his photographs will sell from stock to markets that are not competitive. He then tells the aspiring stock photographer how to determine what those markets are, how to find the photo buyers in those markets and how to deal with those buyers to get your stock photographs sold. Although I'm not a stock photographer most of the steps he advises have a ring of truth to them and agree with what the stock photographers I know tell me.
But if you are interested in "landscapes, birds, scenics, insects, plants, wildflowers, major pro sports, silhouettes, experimental photography, artistic subjects, (such as the "art" photography in photography magazines), abstracts (such as those seen in photo-art magazines and salons), popular travel spots, monuments, landmarks, historic sites, [and] cute animals" Engh says forget about them. Well, maybe that's too strong. He says when you put those areas on the back burner, "you'll stop wasting time, film, postage, and materials." When I came to this advice, I almost put the book down, because it was clear that Engh wasn't talking to me. Most people take photographs because they are interested in some subject matter or approach and not just to make money.
I also was disturbed by how often in the book the author shilled for his company and web-site, where, he says, useful information is available. It may be, but it appears it's always for a price.
In summary, if all you want to do is make money with your camera, without joy or pleasure, this book may be for you.
Engh's basic point is that a photographer who wants to make money with his photographs will sell from stock to markets that are not competitive. He then tells the aspiring stock photographer how to determine what those markets are, how to find the photo buyers in those markets and how to deal with those buyers to get your stock photographs sold. Although I'm not a stock photographer most of the steps he advises have a ring of truth to them and agree with what the stock photographers I know tell me.
But if you are interested in "landscapes, birds, scenics, insects, plants, wildflowers, major pro sports, silhouettes, experimental photography, artistic subjects, (such as the "art" photography in photography magazines), abstracts (such as those seen in photo-art magazines and salons), popular travel spots, monuments, landmarks, historic sites, [and] cute animals" Engh says forget about them. Well, maybe that's too strong. He says when you put those areas on the back burner, "you'll stop wasting time, film, postage, and materials." When I came to this advice, I almost put the book down, because it was clear that Engh wasn't talking to me. Most people take photographs because they are interested in some subject matter or approach and not just to make money.
I also was disturbed by how often in the book the author shilled for his company and web-site, where, he says, useful information is available. It may be, but it appears it's always for a price.
In summary, if all you want to do is make money with your camera, without joy or pleasure, this book may be for you.
79 of 82 people found the following review helpful
I owe it all to Rohn Engh!
29 Sep 2004
Format:Paperback
I read an earlier edition of this book shortly after graduating from journalism school in 1983. I wanted to make money with my photographs and Rohn Engh's book answered every question I could imagine. I followed his advice and for years was a successful stock photographer. I was also a stay-at-home mom homeschooling three kids, so I only worked a few hours a week, yet still managed to plump the family income. Now I'm a portrait photographer and still do a little stock on the side. I advise anyone who is interested in selling their photos to read this book and save a lot of time in the process.
63 of 65 people found the following review helpful
Blinded by pre-conceived notions?
11 Jan 2006
Format:Paperback
Engh has, apparently, made a good living in the field of "environmental portrature" -- people in their own natural surroundings. Unfortunately, when all you have is a hammer, every problem looks like a nail; and it seems that Engh's advice is for his readers is that their only chance lies in adopting the exact same approach.
In Engh's view, there is only one type of photo sure to sell: one which shows, in front of an appropriate and uncluttered background, a person involved with a symbol of the subject matter in question. He even reduces it to a formula of "Photograph = Background + Person + Symbol + Involvement." Anything else, according to Engh, is merely a "pretty scene" with little or no commercial potential.
Now, that may or may not be the case. However, I can't help but notice a glaring discrepancy in Engh's book. Just after enumerating his "P = B + P + S + I" formula, he gives a case study of "John," who goes through the book's recommended program of determining one's areas of marketable photographic interest. At the top of "John"'s list is gardening, and Engh notes approvingly that there is a highly-profitable market in stock photos for gardening magazines and books. After reading this, I decided to research some of these gardening publications. What did I find? That the vast majority of photos in these publications were of flowers, plants, and scenics -- the very subjects that Engh advises his readers to avoid! Furthermore, no matter how many such publications I checked, I failed to find even a single photograph fitting Engh's "Background + Person + Symbol + Involvement" formula. Given this, I can't help but suspect that Engh's approach might be a little too dogmatic.
Finally, I would note that, although this edition of the book is barely three years old, it is already quite dated in terms of technology. Engh is (was?) dismissive of digital photography, asserting that photo buyers will only consider submissions shot on film. Hence, any coverage of digital is restricted to providing quick previews of film-based work, and much time is spent discussing concerns such as the filing, packaging, and labeling of transparencies. Judging from the most recent Photographer's Market, this film-only approach is no longer the standard with publications, and Engh may wish to further revise his work with digital photographers in mind. But perhaps not. Somehow, I would suspect that an approach as rigid as Engh's when it comes to subject matter may well extend to not being able to see any other methods of doing business, either.
In Engh's view, there is only one type of photo sure to sell: one which shows, in front of an appropriate and uncluttered background, a person involved with a symbol of the subject matter in question. He even reduces it to a formula of "Photograph = Background + Person + Symbol + Involvement." Anything else, according to Engh, is merely a "pretty scene" with little or no commercial potential.
Now, that may or may not be the case. However, I can't help but notice a glaring discrepancy in Engh's book. Just after enumerating his "P = B + P + S + I" formula, he gives a case study of "John," who goes through the book's recommended program of determining one's areas of marketable photographic interest. At the top of "John"'s list is gardening, and Engh notes approvingly that there is a highly-profitable market in stock photos for gardening magazines and books. After reading this, I decided to research some of these gardening publications. What did I find? That the vast majority of photos in these publications were of flowers, plants, and scenics -- the very subjects that Engh advises his readers to avoid! Furthermore, no matter how many such publications I checked, I failed to find even a single photograph fitting Engh's "Background + Person + Symbol + Involvement" formula. Given this, I can't help but suspect that Engh's approach might be a little too dogmatic.
Finally, I would note that, although this edition of the book is barely three years old, it is already quite dated in terms of technology. Engh is (was?) dismissive of digital photography, asserting that photo buyers will only consider submissions shot on film. Hence, any coverage of digital is restricted to providing quick previews of film-based work, and much time is spent discussing concerns such as the filing, packaging, and labeling of transparencies. Judging from the most recent Photographer's Market, this film-only approach is no longer the standard with publications, and Engh may wish to further revise his work with digital photographers in mind. But perhaps not. Somehow, I would suspect that an approach as rigid as Engh's when it comes to subject matter may well extend to not being able to see any other methods of doing business, either.
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