Fine Art Print - Street and Architecture Photography by Tyrone Z. McCants. This photo series scope and title is “Water Towers.” A water tower is an elevated structure supporting a water tank constructed at a height sufficient to pressurize a water supply system for the distribution of potable water, and to provide emergency storage for fire protection.
Sprouting from the top of the bush was a flower. It sat there trembling from the season's strong winds. Its vibrant color stood out amongst the people coming and going, and it contrasted against the tall building towering in the far background.
Arizona Designer, Tameca Howell of Kingdom Stylz International brings culture and runway to the AFASA 2018 African Festival - Bring Africa to Arizona. Photography by Tyrone Z. McCants / Zire Photography
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The love and the music vibrated the entire park. People young and old dancing, people sung along to every song! It really amazes me to see children who really know the words, ha. Hundreds of look-alikes of all versions of MJ were there in Full Effect!
Here is a photo from a night in Tempe, Arizona. I was with some fellow Arizona Photographers. We were experimenting with long exposure photography. We photographed the city night line, the AZ Skyrail, burning wool, and light wands. Night Lights Series by Tyrone Z. McCants / Zire Photography
Fine Art Print - Night Lights Series - Brooklyn Library at Night. I actually went to shoot the meteor shower from Prospect Park at like 3am, but it was too cloudy. I captured this image on my way back home.
Flying Over California Momma Ocean was beautiful. Check out these aerial shots over the beach and west coast.
Dear potential photo buyer, If you have been directed to this page, it is likely that you have requested the use of an image or images for free or minimal compensation.
As professional photographers, we receive requests for free images on a regular basis. In a perfect world, each of us would love to be able to respond in a positive manner and assist, especially with projects or efforts related to areas such as education, social issues, and conservation of natural resources. It is fair to say that in many cases, we wish we had the time and resources to do more to assist than just send photographs.
Unfortunately, such are the practicalities of life that we are often unable to respond, or that when we do, our replies are brief and do not convey an adequate sense of the reasons underlying our response.
Circumstances vary for each situation, but we have found that there are a number of recurring themes, which we have set out below with the objective of communicating more clearly with you, and hopefully avoiding misunderstandings or unintentionally engendering ill will.
Please take the following points in the constructive manner in which they are intended. We certainly hope that after you have had a chance to read this, we will be able to talk again and establish a mutually beneficial working relationship.
Photographs Are Our Livelihood Creating compelling images is the way we make our living. If we give away our images for free, or spend too much time responding to requests for free images, we cannot make a living.
We Do Support Worthy Causes With Images Most of us do contribute photographs, sometimes more, to support certain causes. In many cases, we may have participated directly in projects that we support with images, or we may have a pre-existing personal relationship with key people involved with the efforts concerned. In other words, each of us can and does provide images without compensation on a selective basis.
We Have Time Constraints Making a leap from such selective support to responding positively to every request we get for free photographs, however, is impractical, if for no other reason than the substantial amount of time required to respond to requests, exchange correspondence, prepare and send files, and then follow-up to find out how our images were used and what objectives, if any, were achieved. It takes a lot of time to respond to requests, and time is always in short supply.
Pleas of “We Have No Money” Are Often Difficult to Fathom The primary rationale provided in nearly all requests for free photographs is budgetary constraint, meaning that the requestor pleads a lack of funds.
Such requests frequently originate from organisations with a lot of cash on hand, whether they be publicly listed companies, government or quasi-government agencies, or even NGOs. Often, it is a simple matter of taking a look at a public filing or other similar disclosure document to see that the entity concerned has access to significant funding, certainly more than enough to pay photographers a reasonable fee should they choose to do so.
To make matters worse, it is apparent that all too often, of all the parties involved in a project or particular effort, photographers are the only ones being asked to work for free. Everyone else gets paid.
Given considerations like this, you can perhaps understand why we frequently feel slighted when we are told that: “We have no money.” Such claims can come across as a cynical ploy intended to take advantage of gullible individuals.
We Have Real Budget Constraints With some exceptions, photography is not a highly remunerative profession. We have chosen this path in large part due to the passion we have for visual communication, visual art, and the subject matters in which we specialise.
The substantial increase in photographs available via the internet in recent years, coupled with reduced budgets of many photo buyers, means that our already meager incomes have come under additional strain.
Moreover, being a professional photographer involves significant monetary investment.
Our profession is by nature equipment-intensive. We need to buy cameras, lenses, computers, software, storage devices, and more on a regular basis. Things break and need to be repaired. We need back-ups of all our data, as one ill-placed cup of coffee could literally erase years of work. For all of us, investment in essential hardware and software entails thousands of dollars a year, as we need to stay current with new technology and best practices.
In addition, travel is a big part of many of our businesses. We must spend a lot of money on transportation, lodging and other travel-related costs.
And of course, perhaps most importantly, there is a substantial sum associated with the time and experience we have invested to become proficient at what we do, as well as the personal risks we often take. Taking snapshots may only involve pressing the camera shutter release, but creating images requires skill, experience and judgement.
So the bottom line is that although we certainly understand and can sympathise with budget constraints, from a practical point of view, we simply cannot afford to subsidise everyone who asks.
Getting “Credit” Doesn’t Mean Much Part and parcel with requests for free images premised on budgetary constraints is often the promise of providing “credit” and “exposure”, in the form or a watermark, link, or perhaps even a specific mention, as a form of compensation in lieu of commercial remuneration.
There are two major problems with this.
First, getting credit isn’t compensation. We did, after all, create the images concerned, so credit is automatic. It is not something that we hope a third party will be kind enough to grant us.
Second, credit doesn’t pay bills. As we hopefully made clear above, we work hard to make the money required to reinvest in our photographic equipment and to cover related business expenses. On top of that, we need to make enough to pay for basic necessities like food, housing, transportation, etc.
In short, receiving credit for an image we created is a given, not compensation, and credit is not a substitute for payment.
“You Are The Only Photographer Being Unreasonable” When we do have time to engage in correspondence with people and entities who request free photos, the dialogue sometimes degenerates into an agitated statement directed toward us, asserting in essence that all other photographers the person or entity has contacted are more than delighted to provide photos for free, and that somehow, we are “the only photographer being unreasonable”.
We know that is not true.
We also know that no reasonable and competent photographer would agree to unreasonable conditions. We do allow for the fact that some inexperienced photographers or people who happen to own cameras may indeed agree to work for free, but as the folk wisdom goes: “You get what you pay for.”
Please Follow-Up One other experience we have in common is that when we do provide photographs for free, we often do not receive updates, feedback or any other form of follow-up letting us know how the event or project unfolded, what goals (if any) were achieved, and what good (if any) our photos did.
All too often, we don’t even get responses to emails we send to follow-up, until, of course, the next time that someone wants free photographs.
In instances where we do agree to work for free, please have the courtesy to follow-up and let us know how things went. A little consideration will go a long way in making us feel more inclined to take time to provide additional images in the future.
Wrap Up We hope that the above points help elucidate why the relevant photographer listed below has sent you to this link. All of us are dedicated professionals, and we would be happy to work with you to move forward in a mutually beneficial manner.
Note to photographers: You can use the above text under a Creative Commons Attribution-ShareAlike 3.0 Unported License. Please ensure that you include a link to this page. If you’d like to add your name to the list below, please use the contact form. Text by Tony Wu.
Joseph Zoboi, Founder & Instructor of The Rising Son Project facilitated a workshop along with Photographer and founder of Proud Poppas United, Tyrone Z. McCants, gave an introductory lesson on photography as a tool for communication. The focus was on what symbols and imagery and how they could use to represent the theme of "Our Story.”
Aerial Photography by Tyrone Z. McCants. Flight somewhere btw Dallas and Arizona.
Landscape photograph of Prospect Park in Autumn. Brooklyn, NY.
Photo by Tyrone Z. McCants
Fine Art Print - Interesting Things - Golden Guiding Line - Metallic Print
For Fine Art Prints by Zire, click the image or type title in the search box
"Sir Henry Hudson entering New York Bay, September 11, 1609, with Indian family watching on shore in foreground." Reproduction of a painting by Edward Moran (1829–1901). The Dutch East India Company had hired the English sailor to find a northeast passage to India. Failing to do so in the waters around Norway, he sailed west. Library of Congress.
One famous story in American history involves the sale of Manhattan. In this legend, Manhattan Island was sold by Indians in exchange for trinkets and beads. If it were true, it would arguably be one of the greatest real estate deals in history. To date, no deed of land transfer, formal title or bill of sale has ever surfaced to serve as proof of this purchase by the Dutch from the Indians. So is this transaction legal?
Housed in the Rijksarchief(the Dutch National Archives) in The Hague, Netherlands, is a letter that references the sale of the Manhattes (Manhattan) written by the Dutch merchant Pieter Schagen, dated November 5, 1626. (A copy of the letter and translation in both Dutch and English can be accessed here.) In this letter Schagen wrote, “They have purchased the Island of Manhatten from the savages for the value of 60 guilders.” Schagen’s letter does not verify either the date of sale or who sold Manhattan on behalf of which tribe of Indians. Further, historians and scholars cannot agree on which tribe actually received payment in exchange for Manhattan. Included in historical references associated with the sale of Manhattan are the Lenape, Manahatin, Canarsie, Shinnecock, and Munsee Indians. The Manahatin, Lenape, and Munsee Indians were all indigenous to lower Manhattan according to their respective histories.
Absent from the letter is the mention of trinkets and beads. Also absent is the name of the individual who actually made the purchase. Many pieces to this historical assumption are missing. Is Schagen’s letter, without a bill of sale, sufficient legal evidence to establish title for the transfer of Manhattan from its original inhabitants to the Dutch?
In one 1626 account, Peter Minuit, appointed director-general of New Netherland by the Geoctroyeerde Westindische Compagnie (the Dutch West India Company), purchased Manhattan from the Lenape, or Delaware Indians, for $24-worth of trade goods. Other accounts state that Minuit made the deal with the Canarsie, who were actually based in Long Island yet accepted gifts in exchange for land that was not theirs. The Canarsie allegedly accepted the gifts and continued on their journey home. Another account contends that it was the Munsee Indians who received the trinkets, and claimed Manhattan as their ancestral homelands at the time.
In 1613, the Dutch established a fur-trading outpost in what is now lower Manhattan. Construction was started in 1625 on Fort Amsterdam, also in southern Manhattan. Ironically, the site ofFort Amsterdamis now occupied by the old U.S. Custom House building, which houses the NMAI’s George Gustav Heye Center. Adeed for Manhattan later surfaced, signed in Fort Amsterdam on July 14, 1649. However, the Dutch had formally been occupying Manhattan since 1613, a period of 36 years. In the 1649 deed Petrus Stuyvesant, Director General of New Netherland, declared three Indians—Megtegichkama, Oteyochque, and Wegtakockken—to be “the right owners of the land.” These three Indians put their mark on this agreement. This deed provokes the questions, If Manhattan was already sold to Peter Minuit on behalf of the Dutch East India Company in 1626, wouldn’t Minuit be the owner? Or did the Indians somehow still hold title?
Essay Source: http://blog.nmai.si.edu/main/2011/08/americas-first-urban-myth.html
I was asked to produce a short documentary highlighting the life of a man from Brownsville by the name of Gregg "Jocko" Jackson. I was given 3 weeks, a bag of pictures, a phone number and no budget. So you ask, why did you do it then? Because I love my art, that's why, and because they wanted to feature it at a film festival tribute in his honor.
I missed the 4th episode of the #Cosmos series this weekend because I was on a flight returning to NYC from Alabama, BUT that early Sunday morning after midnight I got to look at the Cosmos in my own way. Neil DeGrasse Tyson, you rock!!! I will be catching the rerun.