Archive for April, 2012


frustration. (Photo credit: ♥)

Yeah, how about if you change that color to green and make the logo bigger, oh and I don’t like the photo of the girl or the background could you use something else? And could you have it ready by tomorrow?” Sounds familiar? We’ve all heard this kind of speech.    OH THE FRUSTRATION! Lots of time spent trying to achieve a perfect balanced composition and all the elements are in place and you are satisfied with the work, and it looks great BUT the client doesn’t get any of your ideas and he/she insists on making tons and tons of changes until you end up with a mock up of the original idea and you die a little inside.

The But Client
This is the type of client that will always praise your work, put you in a good mood and immediately after that starting with the criticizing. He/she clearly doesn’t like what he/she sees but has learned in the self help book that it’s better to highlight the pros before the cons BUT what this type of client doesn’t know is that this tactic is actually very annoying.

What’s So Difficult About Your Job Client
This is the type of client that thinks he/she can do your job much better than you and acts like he/she doesn’t need you. Their standards are usually too high and often he/she doesn’t even know what they want. Maybe he/she has some basic knowledge or is a frustrated artist. He/she also makes sure you know and appreciate his or hers artistic skills because their self esteem needs to get some extra points.

You Do Something I’ll Tell You If I Like It Client
This is a very common type of client. He doesn’t know what he wants. He gives you no indications but when you show him a version he suddenly knows what he/she doesn’t want and he/she is ready to critique everything.

I Know What I Want And It’s Awful Client
This is the type of client that comes from the very beginning with examples of others people work (the examples look dreadful). And he/she often wants you to copy them or create something very similar to that. He/she is of course often very reluctant to any new ideas.

The Tight Deadline Client
He/she always makes you work under pressure giving you a very close deadline. He/she comes in the last moment all agitated and frustrated demanding an absolute priority for the project.

The Other People Decide For Me Client
It’s the kind of client who likes your proposal when he/she first sees it, just to call you later on to tell you that …he/she has thought about it…and well, it’s too… The advantage is that this type of client is easy to convince that your version is what he/she is looking for. But the disadvantage is that after he or she leaves your office he or she goes home again.

The Needy Client
This client will take all your time, send you tons of e-mails, call you for hours on the weekends and whenever. He or she is under the impression that if he or she hired you, he or she owns all your time and is entitled to disturb you for any small thing.

The Indecisive Client
Make you do lots of changes and then change them again, just to decide in the end that your first version was the better one. He/she is never satisfied and just because he or she likes something today doesn’t mean that he or she can’t hate it tomorrow.

The Always Looking For A Deal Client
He or she will always require a discount, minimizing the value of your work. Also this type of client requires you work for a smaller fee promising that this will lead to more work in the future. This is just the type of collaboration you are going to regret sooner or later.

The One That Doesn’t Pay Client
This is actually the worst case scenario, when you find out that all your hard work was for FREE. That’s the reason that led to contracts being invented and you always have to take good safety measures to make sure that this doesn’t happen again in the immediate future.

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There’s a direct relationship to how much depth of field is created in a photo to the focal length of the lens, the aperture at which the photo is made, how close the subject is to the background, how far away the subject is from the camera, and how much the subject is magnified.

Focal Length – the more telephoto the lens, the less potential for near to far depth of field. The wider the lens, the greater the potential. For instance, an image made with a 28mm lens will inherently display more depth of field than a 100mm lens. So if you want to create shallow depth of field and you’re using a wide lens, it may not be possible. If you’re using a telephoto lens and you want to a subject close to the lens and a distant object to both be in focus, it may not be possible.

The Aperture – the wider open the lens, the less depth of field. The more it’s stopped down, the greater the depth of field. In other words, f4 will net shallower depth of field than f22 based on a given focal length. It’s important to realize the connection to focal length as explained above. If you’re using a telephoto lens, even though you set it to f22, you still may not be able to achieve near/far depth of field. Understanding how focal length and aperture go hand in hand is key!

Proximity to the Background – The farther away the subject is from the background, the more the background can be thrown out of focus. If the subject is very close to the background, it’s not possible to make the background go very soft even if you use a super telephoto lens and set the aperture to f4.

Distance From The Camera – If the subject is very close to the camera and the focus point is placed on the subject, there’s more potential to create shallow depth of field than if the subject is 25 or more feet away. Again, there’s a relationship to the focal length of the lens, the aperture at which it’s set and how far the background is from the subject.

Subject Magnification – The more macro the subject, the less depth of field. This area of depth of field is more specialized and it really is a subject unto itself but I just wanted to bring it up to let you know it’s a variable.

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