This page says quite a lot – however with this subject, there is quite a lot to be said. A short version would be to say that I pay an extraordinary amount of attention to the hows and whys of everything that I do. If you would like to learn more about my process, then by all means...
EXHIBITION & PRINTS
A comprehensive account of current galleries and exhibitions will be listed on this website soon.
When presenting my work to a prospective gallery, I prefer to make my presentation in person. If you represent a gallery, please feel free to contact me via phone or email to set up an appointment. My standard policy is to avoid exclusivity agreements, so that my general body of work is not limited to a single location. I also exhibit in my own studio & gallery on Main Street of Arkadelphia, AR in the USA.
As of this writing, individuals may also purchase my work upon request and to their specification - as allowed by the restraints of numbered editions. Feel free to contact me directly.
In general, my work is presented and available in the following mediums:
Chromaluxe ink sublimation metal print, with minimal offset mounting.
Lambda C-Print on classic photosensitive chemical papers, with traditional mounting.
Heirloom quality, leather-bound, lay-flat portfolio book.
I use Hahnemühle Certificates of Authenticity on all fine art prints. Each certificate is made of premium deckle edged mold made paper with a watermark and fluorescent security fibers. A serialized numbered hologram is added to the certificate, and a second identically numbered hologram is applied to the reverse side of the print. This combination of certificate and hologram assures that each Certificate of Authenticity relates to one particular print - designed to protect the security and genuineness of limited edition prints, and also reduce the risk of forgery.
FINE ART PRICING
A common question that most fine art photographers receive at some point is: why is a simple print so expensive? One can see the logic in this, during these times of cheap digital and quick printing. However, one must also consider that most fine art galleries keep a higher percentage of the sale than the artist - and the artist is also responsible for printing costs. This leaves very little profit for the artists themselves; much like album sales in the modern music industry. I cannot speak for other photographers of course, but my process for a landscape is something along the lines of this:
1. First, I maintain a continuous study of history and culture to find subjects that inspire my creativity.
2. Then I must physically transport myself to a place that is usually if not always very far away and expensive to get to. It also usually involves a fair amount of physical conditioning to hike or climb to the final location, not to mention the local-level resourcefulness required to successfully navigate an area or culture that isn’t one’s own.
3. Once in position, it is time to explore the area and watch for hours as I study the way the light interacts with the shapes of the land. When I have a solid first-hand impression of the soul and feeling of a place, it is time to go home and reflect.
4. Now I watch the weather very closely and decide when to act on taking the actual photograph. Weather can be a tricky thing to predict as we all know, so sometimes this requires two or more trips back to the scene to accomplish.
5. After the photograph is made, I slip away into the digital darkroom. This is a process where I block out all outside distraction and focus on the art itself. With my technique, this stage is very tedious and can evolve over the course of days or even weeks on a single piece. Time is of no consideration on these matters; a piece is only finished when it is finished.
6. When all of this is said and done, the files must be color matched appropriately for the chosen print method - and even this is no simple task, as any fine art printer will tell you. It isn’t cheap either, with archival quality printing costs ranging from hundreds to even thousands for the smallest and largest size prints, respectively. This also varies based on the medium chosen, as well as the mounting and framing options available.
I cut no corners in my work, an using only the highest standard in equipment, software, and technique.
To the best of my knowledge (and with the Internet, this is statement reasonably comprehensive) my technique has not been duplicated and remains unique to me.
There is a flexibility inherent to the manual methods I employ that is simply not found in other, more automatic ways. What I do requires quite a lot of time, energy, and skill - but my belief in higher quality justifies my efforts.
My images are shot at an extraordinary resolution; higher than the archival standards of the Smithsonian Institute, and much larger than current Internet and browser technology can deliver.
This means fine art may be printed at majestic sizes while maintaining the visual integrity to withstand up-close inspection.
This also means that my business offerings will stay current. As delivery technology improves, the photography will still be adaptable with such a high resolution.
You won't have the need to re-shoot marketing efforts, for instance, unless you change the decor.
In all forms of business, I endeavor to provide as enjoyable and professional an experience as possible.
Creativity and technical quality is important. However, it is communication and understanding that define the success of a final product.
For every project I take on, this means:
1. Projects will be completed within the time frame and to the specifications agreed upon.
2. My standard policy is one half of payment upon signing of contract, with the remaining half due upon completion of the project.
3. Any expenses incurred during a project will be properly recorded and presented for approval.
4. Lee Browning Ezell LLC is insured by the Great American Insurance Group, including all equipment internationally and general liability up to USD 2,000,000. Certificates of insurance are available upon request.
5. Working around and adapting to unpredictable factors such as the weather, employee schedules, and product deadlines. I am also available to work during odd times and hours as needed. As always, scheduling is key.
6. Liaising with web designers, graphic artists, and printers to ensure smooth deployment of the final product.
My time is split between The United States of America and Europe, traveling back and fourth several times per year. As a result, it is best to schedule projects in advance. However, it never hurts to ask if there is an immediate deadline to be met.
A great way to request a free estimate for commercial photography is to fill the form on the contact page.
I follow a value-based model for pricing commercial work. Many photographers use a “Cost of Doing Business Calculator” to figure up their expenses and settle on the amount per hour it costs to break even with a nice profit. This is not a fair method as it does not matter to my client what my studio overhead is, how much my equipment and software costs, or how expensive a car I drive. What matters is the value the images I am hired to produce presents to my client, and if I can deliver it.
This being said, in commercial photography there are a myriad of elements that contribute to the pricing of services rendered. This makes it difficult to present a concise pricing list like a wedding, portrait, or hire by the hour photographer might have. Factors to be considered include:
1. The basic creative fee as a photographer, for actually doing the work to make a project idea come to fruition.
2. Licensing fees that are dependent on how widely and in what manner the media will be used and distributed.
3. Determination of what rights to the material will be kept by either myself as the photographer, the client, or both.
4. The production requirements to make the project happen and the expenses needed to complete the job.
5. As a final consideration, it is necessary for one to meet a price point that is fair relative to the local economy and market.
I will be happy to provide a free estimate for any situation. You may also call or email me with any questions you have.
We all know that imagery has an impact on the marketing success of any business - but modern statistics show it is the single most influential element of a campaign. With this in mind, consider how important it is to have the highest quality photography you possibly can.
94% more total views on average are attracted by content containing compelling images than content without images.
67% of consumers consider clear, detailed images to be very important and carry even more weight than criteria such as a product's information, the location description, star ratings and even customer customer reviews.
60% of consumers are more likely to consider or contact a business whose images appear in local search results.
37% increase in engagement is experienced when Facebook posts include photographs.
14% increase in page views are seen when press releases contain a photograph.
SOURCES: NEW YORK TIMES | NATIONAL RETAIL ASSOCIATION | BRIGHTLOCAL | PR NEWSWIRE | SKYWORD | WEB LIQUID | ALEXA
A wide range of Hollywood cinema-quality video services are currently being deployed for commercial use.
For instance, a specialized product aimed at the high-end real estate and tourism market would include:
1. Video shot utilizing top medium format Leica bodies and distortion free lenses for a uniquely sophisticated aesthetic appeal.
2. Camera rigs fully stabilized in state of the art three-axis motorized gimbals to provide the ultimate in smooth footage.
3. Aerial drone photography & videography to supplement traditional film with a countless variety of more extreme perspectives.
4. True studio grade portable strobe lighting used to balance complicated exposures and bring out details veiled in shadow.
5. Dramatically filmed interviews, voiceovers, and audio tracks to tie the overall video together in a cohesive manner.
6. Professional film editing, color grading, and post production all performed under industry best practices.
Please feel free to contact me if you are interested in becoming a participating client in this new endeavor.
Producing extremely high quality 360° panoramas for use as virtual tours and related media is a specialty of mine.
As a professional photographer with a background in computer science, I provide a sense of aesthetic to a field that is usually lost in technicality. Whether your goal is a single panorama or a fully interactive virtual tour, my combination of artistic intuition and technical prowess will deliver a product to inspire and captivate.
From the most simple of panoramas to the most elaborately interactive virtual tour, I help my clients explore their options and cater to the requirements of any project.
I build and design for PC, Mac, iOS, Android, and almost every other device available.
I can deliver in both Flash and HTML5, for any presentation: online, digital media, and print.
I provide customization of all elements including graphic design, floor plans, dynamic sound and video.
Each year, Lee Browning Ezell LLC takes on a charitable project and creates a professional set of promotional media at no cost.
The charitable beneficiary is able to use the media as a marketing tool, without having to fund raise to pay for it. This means that more funds can be channeled directly to the charity’s recipients.
The media provided may be in the form of donated fine art, traditional photography, video production, 360° panoramas, or a combination thereof - at the discretion of Lee Browning Ezell LLC.
If you would like to inquire on behalf of a non-profit organization, please feel free to contact me via phone or email.