Welcome to 2020 everyone!

It seems almost unreal that I am celebrating 10 years of The Dancers Eye this year.  10 years of capturing now thousands of dancers from all over the world, traveling all over our country to do so.

I'm proud of what the last 10 years of TDE has been.  I started this with a few key thoughts... that I would show the world the way that I see bellydance - all of its' many facets.  I wanted people to see photos of bellydancers of every size, shape, creed, gender as I know they are in this community.  I wanted dancers to have the beautiful photos of themselves they had always wanted - at a price they could afford.

I think a lot of folks think this is a very glamorous way of life, what I do.  I'll be honest, there are some cool parts, but it's hard work.  I travel a lot - being away from my husband on almost monthly basis for anywhere between 4-12 days depending on the trip.  I have no co-workers other than my dogs and all of my editing is done at my house - which can be very isolating.  I have to hustle - if an event folds or people cancel, there is no automatic paycheck - and there are no benefits.  I work when I am tired, I work when I am sick.  But there are good things too. I can be flexible with my schedule.  I can go run errands in the middle of the day or go to an appointment if I need to and just work later.  I get to see our country and be able to experience new spaces and places and people.  And the absolute best thing?  I have made beautiful lifelong friends that genuinely care about me and mine.  

If there's one thing I can impart for the new year at hand... if you've been waiting to shoot with me, stop.  Do it.  Do it this year.  Don't put it off anymore.  Life is really freaking short sometimes.  Do the thing.  Stop talking about doing the thing.  In 2010, I did the thing.  I opened The Dancers Eye.  I was scared to death and wondered if anyone would care or want to work with me or if it was the right thing to do , leaving the corporate world to start my own business with a dance niche that other photographers made fun of me for thinking I could do.  But I did the thing.  And here we are, 10 years later.  I did the thing that I wanted to do.  I'm proud of what I have accomplished.  But more than anything, it taught me to stop waiting to do the thing.  

I'm opening this year with ATS Reunion and Migrations and opening to be adding a lot to my schedule soon.  I am going to be announcing some local Florida events here in the next week or two.  I still have room on my dance card for the upcoming year, so if you are interested in booking a shoot or having me come to your event, I'd love to talk to you.

Do the thing.  You won't regret it.  And even if you do, at least you tried. 

Love, light and shimmies...
​Carrie

​The resolution of an image refers to the number of pixels or dots that make up that image.
 
A higher resolution will mean your image or graphic will look more crisp and a lower resolution will mean it will resemble Mario in his Super Mario Bros 3 days. Although I do enjoy a good 8-bit image, sometimes it’s just not appropriate.
 
Image resolution is measured in PPI (Pixels Per Inch) and DPI (Dots Per Inch). There is confusion about these terms because they are incorrectly being interchanged. Without going into too much detail, PPI refers to the number of pixels on a screen and DPI refers to a printed piece and the cyan, magenta, yellow, and black dots.
 
The two resolutions you need to pay attention to are 72PPI and 300PPI. A 72PPI resolution is used for web-only images and 300PPI resolution is used for digital images that will be printed.

When I send you your photos, your web resolution are always 72PPI.  Your print resolution photos are always 300PPI.



​You need to make sure you are downloading your photos to an actual computer desktop or laptop and not to your phone.  You want to make sure you are saving your photo files at the appropriate file sizes.  Then when you put your photos up on a social media site, use the 72PPI file for your upload.  This will make sure that the file you are using looks crisp and clear and exactly as they should.  

If you need to upload photos from your cell device, then send the file via email to yourself and then save it to your photos on your phone.  That will keep the file resolution looking appropriate.

A screen shot from a cell phone is going to make your photos look fuzzy, out of focus and yup… just a little bit like that 8-bit image.

If you have questions about file resolution or usage, please reach out to me.  I want your photos to be just as beautiful as the finished files are supposed to look!

This year I have gone to using Dropbox as my primary delivery system for your finished photographs.  

Dropbox is a far superior way to get your photos versus having them sent through email.
 
Digital images taken with a modern DSLR, even when exported as JPEGs, are generally a few megabytes in size. Most email services limit the size of attachments to 25MB. Even in the best-case scenario, you’ll at most be able to attach five or ten images.  Dropbox allows me to get you all of your photos at one time in a simple and effective method.  While it does require you to make a FREE account, this is absolutely the best and safest way to receive your photos.

It is imperative to save your photos off to an actual computer and backed up to a secondary offline source.  Please DO NOT just screen shot your photos from your phone – they will not be the proper format or resolution and will not look appropriate.

To download an entire folder directly from dropbox.com:

Sign in to dropbox.com.

Find the folder you want to download.

Click the … (ellipsis) icon to the right of the folder's name.

Click Download.

Your browser will then download the folder as a single compressed file (known as a "ZIP" file). Once it's downloaded, open and decompress the ZIP file to access the contents of your folder.

Notes:
You'll find the file wherever your browser normally downloads files, as set in your browser preferences

The ZIP file will have the same name as the original folder, but will end in .zip

Make sure after you have unzipped your files to back up your files to an additional offline source

An item that can often be forgotten when planning for performances is knowing what color the backdrop is (or if there is one)!

When you are on stage, you are often between 30 and 100 feet from your audience.  So thinking about your costuming and how it is going to interact with the elements of the stage is important.

Stages often have a black curtain backdrop.   If your venue has a dark backdrop and you are in a dark costume -- you might just disappear! If you add dim lighting to the mix, it’s possible that the only bits of you that are going to be seen are the body parts that aren’t covered – so you could literally just be a floating head and belly if you aren’t careful!

I always recommend going big and bold with color on stage unless you have a very good reason for using black or a dark color.  If you are going to use black or a darker color, then think about how you can embellish the costume to make it shiny or bright – some element of additional POP that can be seen from the audience.

If going to a large festival, check out the previous years photos/video to find out what has been used in the past and what the lighting looks like as well.  You can always ask too.  If  local, just ask your promoter or call and ask at the theater.

This little bit of planning can really make a huge difference in your visual presentation!

“Copyright” describes the rights given to creators for their literary and artistic works.

But we often don’t consider copyright when we look at our professionally taken photos, or go to get them copied. Even though it is so easy to copy an image—with scanners, photo-quality printers, and copy stations—it is still illegal. 

Things to remember about copyright:

• Copyright is a property right. 
• Just because you buy a print does not mean you have purchased the copyright.
• Professional photographers are the smallest of small copyright holders. 
• Under the Federal Copyright Act of 1976, photographs are protected by copyright from the moment of creation.
• Photographers have the exclusive right to reproduce their photographs (right to control the making of copies). 
• Unless you have permission from the photographer, you can’t copy, distribute (no scanning and sending them to others), publicly display (no putting them online), or create derivative works from photographs. 
• A photographer can easily create over 20,000 separate pieces of intellectual property annually.
• Professional photographers are dependent on their ability to control the reproduction of the photographs they create. 
• It affects their income and the livelihood of their families. 
• Even small levels of infringement—copying a photo without permission—can have a devastating impact on a photographer’s ability to make a living.
• Copyright infringements—reproducing photos without permission—can result in civil and criminal penalties.

Put copyright in perspective:

• 65% of photographers are self-employed relying exclusively on photography as their primary source of income.
• 47% of studios rely on reprints as a profitable source of income.

How to get legal copies of professional photographs:

• Contact the photographer/copyright owner. Photographers are happy to discuss options for reproducing photos with you.
• Check both the front and back of a print for a copyright notice. If it is a school, sports or similar type photo, you may want to contact the institution where the photo was made.

 

So, as many of you already know - I am a one woman show.  As such, I wear every hat possible for my business.  A lot of time is spent corresponding with clients, setting up appointments, answering questions and taking orders.  One area you could help me in going forward is when you are placing orders, there are ways you can give me information that will speed up the process greatly, so that I can get to editing faster!

All proofs - be from a show or a session - are put into SmugMug albums.  What I need you to give me is the actual file number. If I have this, it makes it MUCH faster and easier.  File numbers for each photo can be found at the lower middle portion of the screen.

Example if you are on a laptop of where to find the file number:

​Example of where to find the file number if you are looking at them on your phone - bottom left hand corner:

Please do not send links or screenshots of photos (actually, please note, do not remove proofs for any reason from the proof albums).  Sending me the actual file numbers is really what I require to start work!  

Also, when placing show orders, please note what show the photos are from and what evening you danced in.  At any given time, I can be handling up to 12-15 shows from 3-4 different events, so this information is critical.

Please also provide me with a email address that I can send your PayPal invoice to if you have ordered additional photos. PLEASE PLACE THOSE ORDERS WITH ME VIA EMAIL AT: CARRIE@THEDANCERSEYE.COM  

One final note - pricing for performance photos (show photos) do not extend to portrait sessions.  The packages that are offered for performance photos are only for performance photos.  All portrait session photos (full, half-hour or mini) include full resolution, print quality, fully retouched files.  Prices for those are included in your personal proof links.

Helping me help you will ensure that I can get to work on your photos faster and get them to you even sooner.

I appreciate your help in this matter!
Love, light and shimmies...
Carrie

I have written previously about use of photos off the internet in my blog post of September 2016 - FROGNESS or "An Excellent Rule of Thumb for using Other People's Photos", but have been asked several times to break it down a bit further and give some resources as well, so here we go!
 
Understand that most photos on the Internet are copyrighted
 
As soon as I snap the shutter on my camera, I obtain the copyright to the image I just created. I own that photo and I can decide how it is used.
 
Copyright is an automatic right. I don’t have to file papers to obtain copyright to a photo I made.
 
I don’t have to use a copyright symbol or use the word copyright when I post the photo on my website; I still own the copyright to my photos.
 
Some people put the words copyright right on the photo to discourage theft. I don’t do that because I think it makes the photo less attractive for my readers. But I still own the copyright.
 
So when you see the word “copyright” or the copyright symbol ©, you’ve been alerted that the photo is copyrighted.
 
But when you don’t see a copyright symbol, the photo can still be copyrighted!
 
Ask permission before you use a copyrighted photo
 
If you want to use something that someone else owns, ask them for permission.
 
Some people who post their photos to the Internet might be flattered that you like their photo so much that you want to use it. They may let you use it for free if you to give them a photo credit or to link back to their website.
 
Others will allow you to use the photo if you pay them.
 
Others won’t allow you to use a photo at all.
 
How do you know whether you can use a copyrighted photo from someone’s blog or website? Ask them.
 
Find sources of paid and free photos
 
Rather than taking a photo from someone’s website or blog, you can find plenty of wonderful photos that you are allowed to use.
 
Some you have to pay for. Some are free, but you have to credit the photographer and/or credit the photo website.
 
You must read and follow the conditions carefully!
 
Here are some sites where you can find photos:
 
Unsplash
All photos published on Unsplash are licensed under Creative Commons Zero, which means you can copy, modify, distribute and use the photos for free, including commercial purposes, without asking permission from or providing attribution to the photographer or Unsplash. One drawback to this site is that it isn’t easily searchable. (There is a search box to the left. You have to look very hard to find it.)
 
FreeImages
The images are free as long as you stick to the rules in the Image license Agreement. Also, in some cases you may need to notify the artists about using the images and sometimes you need to give credit to them. The quality of the images varies.
 
morgueFile
A morgue file is a newspaper term for the place where they store files after production. morgueFile says its purpose is to provide free image reference material for use in all creative pursuits and to be the morgue file for the Internet. In addition to offering free photos, this site links to other paid sites. You can easily find yourself on one of the paid sites.
 
Photos8
Photos8 is a paid site with more of a worldwide flavor rather than an American flavor. Photos suitable for the Internet cost $2 each.
 
GraphicStock.com
GraphicStock.com is a subscription-based website that provides members with unlimited downloads of stock graphics, stock images, icons, buttons, backgrounds, textures and more. Instead of charging per download, they allow members to download as much as they want. You can subscribe by the month for $49 or by the year for $588. There is a seven-day free trial.
 
iStockPhoto
This is a paid site, but it has lots of photos that are geared for blogs and websites. You can buy credits or buy a subscription.
 
 

While at the 2017 ATS Homecoming event in January, I was asked to present a poster session on Thursday night.  My chosen topic was on the importance of eye contact during performance.  Just like your audience, the camera knows when you aren't looking at it -- and you are going to see it in your performance photos and videos. Eye contact is a skill that needs to be taught and perfected in the classroom - most of us are not born with stage presence.  So, here's a bite sized way to start thinking about this important piece of the performance puzzle and the highlights of what I discussed during my poster session.

Remember to utilize your eyes while on stage!  Try to avoid looking at the leader the entire time and avoiding the audience altogether. Look around and use a mix of gazes. Invite people in to your experience!
 
Use your peripheral vision to watch the leader for cues.  You don’t want to look like you are burning a hole in the leader’s spine waiting for that next move. This is key to starting being able to make connection with the audience.
 
Even if you can’t see your audience from the stage - you’ve got to visualize and perform for that one, ideal person. Sometimes it's difficult to make eye contact at all, with the house lights turned off and the stage lights shining brightly into your eyes. But the more time you spend on stage, the easier it will become.

Think about looking into the audience like you are looking into the lens of a camera (see the attached photos for reference). This gives us a ring-shaped area around the camera that respects the taboo of not looking directly at the audience but in which the eyes – the windows to the soul – remain accessible. I call this area ‘the doughnut’ and working within it is the key to powerful performance.

You have three working areas in the “donut”:
- Looking down the lens or breaking the fourth wall.  This is making direct eye contact with an audience member.  This is saved more for the leader or for soloists. 

- Within the donut or window to the soul open.  This is widening your gaze to extend across the audience.  This will allow you to use your peripheral vision to keep tabs on the leader, but still be seen as actively connecting with your audience.

- Outside the donut or window to the soul closed.  This is averting your eyes to the ceiling, the floor, the far sides of the audience or while you have your back to the audience.
 
It’s impossible to be precise about how large the doughnut is. It will depend on the lighting, the depth of your eye sockets, the prominence of your brow and several other factors that you cannot control. It’s also not a straightforward question of being in or out. Rather, as you look further away from the audience, your eyes become less accessible until, eventually, we cannot see anything meaningful of them.
 
Rather than working within the doughnut as a purely mechanical technique, the best way to think about it is to couple it with the desire to share your dance experience with the audience and look into its’ vicinity

If you are too shy to start off with the “Doughnut,” then at least look directly into the audience, finding a point on the horizon slightly above people’s heads, to make your focal point.

Balancing connection via your eyes with your leader, your sister dancers and the audience ultimately will enrich your performance and give you more confidence on stage.