Monday, April 25, 2011

Sindicato de Fotografos

Después de varios años trabajando como fotógrafo y no sintiéndome respaldado como tal en mi país, opte por encarar mi mercado laboral fuera de Argentina. En los últimos 10 años he hecho muy poco como fotógrafo en mi país, pero en su defecto he trabajado sin cesar para otros países y he sido y soy respaldado tanto por asociaciones profesionales así como también pudiendo debatir sobre el mercado, valores, etc con otros fotógrafos ( también extranjeros)
Me di cuenta que en mi país ( Argentina) el fotógrafo no es dueño de lo que crea. Para el resto de los países del mundo el fotógrafo es dueño/autor de su material intelectual desde el momento que la adrenalina nos invade y nos lleva a esa necesidad de tomar una cámara y querer crear una fotografía.

"En contradicción con el principio que sostiene que el derecho de autor sobre su obra nace con la creación, para gozar de la protección que la ley otorga deberá registrar la misma en la Dirección Nacional de Derecho de Autor, pues en la Argentina persiste esa perjudicial formalidad que ha sido en tiempo presente eliminada completamente en TODOS los demás países del planeta. 

La Dirección Nacional de Derecho de Autor es un organismo estatal que depende del Ministerio de Justicia y cuya sede se encuentra en la calle Moreno Nº 1228, Ciudad de Buenos Aires.
El registro tiene como principal función administrar el sistema de publicidad establecido en la Ley 11.723.
Allí se deberán realizar los depósitos de las obras inéditas en un sobre cerrado y lacrado, previo pago de la tasa correspondiente. Dicho depósito deberá ser renovado cada tres años. En un sobre pueden ser guardadas varias fotos bajo el mismo título.
Si la obra ya ha sido publicada, el trámite deberá realizarse en la misma Dirección, que realizó un acuerdo para que el mismo se instrumente vía la Cámara del Libro ubicada en Av. Belgrano Nº 1580, Piso 4º. El plazo para efectuar el depósito es de noventa días a partir de la primera publicación.
Si se omite dicho registro, sus derechos patrimoniales quedan “suspendidos”. Se produce la paradoja de que si bien el autor es titular del derecho, no lo puede ejercer. Si otra persona hubiese utilizado la obra en infracción mientras el derecho se hallaba suspendido, nada podrá hacer el titular para hacerlos valer durante ese período.
El registro es requisito necesario e indispensable para gozar de la protección legal del aspecto patrimonial, excepto que la fotografía hubiese tenido su primera publicación en un país que no la exija.
Si la obra se encuentra comprendida en una publicación registrada, como por ejemplo un diario o una revista, la misma se encuentra protegida.
No obstante, la obligación de efectuar el registro pesa en cabeza del autor, y si la editorial no lo hubiese efectuado, el fotógrafo no queda eximido de hacerlo.
Mantiene los derechos morales sobre su obra, conservando por lo tanto su paternidad y la facultad de exigir que sea publicada respetando la integridad" 

(Parte de un articulo escrito por Ana María Saucedo y Mónica Nielsen Estudio Jurídico)

En Argentina la gran mayoria de los nuevos fotógrafos no pueden definir su valor como autores ni son capaces de decidir cuanto vale su tiempo, su trabajo ya que el cliente no ha sido educado como corresponde desde su mismísimo nacimiento.
Desde aquel que quiere un book hasta aquel que quiere distribuye una revista o el que sea que requiere de una imagen digital o impresa para difundiar graficamente su producto. Todos sin excepciones han bastardeado al fotógrafo y a sus derechos.

Por miedo a perder el trabajo nos obligan a trabajar gratis o en su defecto a hablar mal de nosotros solo porque no quisimos hacerlo gratis como otros si lo hacen. Y una vez que accedes a lo gratuito no hay vuelta a atrás. Seras gratuito o seras reemplazado. 

Por eso cree en facebook un Sindicato de Fotógrafos. Para todos aquellos que trabajamos en el rubro Publicitario, de stock, comercial, moda, personal, artístico, editoriales, cinematográficos, etc

Monday, April 18, 2011

Wednesday, January 05, 2011

False friendship

I found today someone that i thought was my friend... This moment  was 
more like what Bob Seger says in his song  Against the 
"I found myself alone surrounded by strangers I thought 
were my friends"

 In this case was only one person and i've found her real 
face just after my birthday's day.
This just happen a few hours ago. 

I've recieved a disguised message about my birthday (day later) it was like a hidden request about  removing an image, my signature of it and if its not to much to could also delete them all because if i google my name the only images google found are the images you took of me and nothing more.
The thing is i want you to delete them so i can get more presence in google through other people..

so wrong! And by the one in this country knows what i know about SEO. Unless not the people i my biz...just a few 
 New year new recycle bin 

Saturday, October 09, 2010

SEO - CookBook

Im pretty sure many of you guys are wondering what SEO means. Well here is the answer:  Search Engine Optimization (SEO)
Everything I've learned about this subject is because I'm a member of Photoshelter (the best place for professional photographers)
Here I'll share with you (a bit) what they tough me.

If you’ve spent more than an hour on the Internet, you have probably visited a
search engine. Maybe you searched for a camera, or a restaurant, or a DIY video on how to power wash your deck. No matter the search, your experience was the same: You searched, found a set of results, clicked on one of the top results, and were on your way. In the information society, search engines are a part of our ingrained behavior.

When a photo editor searches for an image or a bride-to-be looks for
a local wedding photographer, the process is no different. We have all
become reliant on search engines.

Over 3 billion searches are conducted on Google daily. 

A disproportionate number of users click on the top 3 search results on
each of these pages. In other words, if your website isn’t showing up on
the first search page for a relevant term, you’re potentially losing out
on a tremendous amount of free website traffic. In classic marketing
parlance, SEO helps build your visitor “funnel,” and the wider your funnel,
the more likely you are to convert people into paying customers.
Search Engine Optimization (SEO) is a technique that helps your website
rank higher in searches on Google and other major search engines. The
better your ranking for specific keywords, the more likely that you are to
drive traffic to your website, which leads to more potential new business.
This guide is designed to familiarize you with the inner workings of search
engines and give you a systematic approach to improving your SEO. The
first version of this guide, released in 2009, was downloaded thousands of
times by photographers (and companies) across the industry. While the
base principles of SEO remain unchanged, we’ve revamped our toolkit
for 2010 to integrate current search engine practices and algorithmic
changes (which are bound to change again as the web evolves!).

Marketing Pre-Internet
In the past, photographers used outbound marketing techniques to get to their audience: calling customers, sending postcards, or appearing in person at events (e.g. portfolio visits or youth sports photography sales). These “active” techniques are still important in an overall marketing
strategy, but the rise of the Internet has also created inbound marketing opportunities. But this is not only for photographers. the know how about SEO applies for every single business in the world. No matter how tiny your biz is...from a Dog Walking person to the biggest multibillonaire company on earth.
Im focused on what it matters to me what Photoshelter team wrote in my new professional  life. It might looks like im promoting PS and at some point I am, because I'm part of it and I really believe that there's no other place for photographers than there. So, if you really wanna boost your photo biz let PhotoShelter power your business online!

Ok, getting back to the point...

SEO is like jumping into the path of a prospective client exactly at the
moment they’re looking for someone like you. A user searching for
a wedding or fashion photographer is a qualified lead, and having good SEO
increases your likelihood of turning that lead into a client.

Stay tunned for more
Join PhotoShelter & Save!

Tuesday, June 01, 2010

Everybody & Lack of Ethics

 Lets brake apart a model portfolio, but only in terms of photography services.
What do you need to have to make this happen in terms of how the model,agency or rep reach you and get interested in working with you.

Knowledge & Expertise

- Major in Photography: US$ 35.000 (at least)
- Professional Camera: (Present Time: a digital one) : US$ 2.800 (at least) or buy this one for 40G
- SLR Lenses: US$ 1.500 (at least for fashion)
- Lighting Equipment: US$ 15.000 (at least)
- Equipment insurance/year: US$ 3.000
- Desktop Computer: U$S 1.700
- Laptop Computer for on Location Shoot: US$ 1100 (at least)
   Software: Photoshop:   US$ 699
                   Lightoroom: US$ 299
- Website for online presence and promotion: Design US$ 2.000 (at least)
- Telephone/cellphone bill: US$ 50/month
- Online Storage/year:       US$ 500

- If you own your Studio: US$ 300.000 (at least 300 sqm with make up area, dressing room, etc)
- If you rent you Studio:   US$ 300 (per day aprox.)

Assistant: US$ 100 (at least - per working day)
If you rent a Studio:             Total:  US$ 54.039
If You Own a Studio:          Total : US$ 354.039

Now...if we have these expenses (at least) why some people still believe that making an image of someone is something that everybody can do? I think, everybody can press down a button and voilà, but not everybody can understand which is your best side and at the same time manage the light till some point that you look gorgeous.
People call me sometimes telling me "Yeah, I saw your pictures and I love 'em I want to work with you, there's no purpose in having a previous meeting, please book me a day...Can you make it 2 days from now? I'd love to have your perfects shots, but only if the price is cheaper than the photographer next door"
So, I wonder...WTF ??? what is wrong with her/him ? Are they stupid or they're just acting without even know what are they looking for or maybe the do...they're looking for the cheapest price ever to do the greatest image possible. If you can't get them a lower price ( like working for the love of art, but not to make a profit of what you do) they threaten you on going with another photographer. You know...she/he loved my images because she/he didn't listen what my price was...she/he heard the price she/he wanted to hear, but not mine.
By the way, they do not even bother in answer your mail or estimate letter to tell you: "Thank you for your time or thank you for having the time to waste your time making a number that it wasn't the number i had in mind before making the call (...)" You know that's the reality...They call you with a number in their minds, thinking is reasonable number for what you do... (for them not much...just pressing down a button).

That's for why there are a lot of newbies and wannabe who charge prices that you wouldn't believe ( I mean like a 100 bucks or less for photo services, make up, hair and wardrobe, etc) yeah!! they start shooting like +6 or -6 (it can be fixed "later" they say) and they also burn a cd and give away 100 images not fucking knowing a danm thing about copyright, usages ( not only for model portfolios, but thats another story) The newbies are the ones who bought a camera and that playing around with photoshop reached some cool effects ( that they probably downloaded from the net and installed the plugin) because they have no idea, repeat no idea in HOW TO DO IT with the available light not to say using lighting equipment. For me they're not photographers. But they're CHEAP and people want that! People doesn't know what they need. So they look for the price. No professionalism, not pros...not style ...whatever...just make it cheaper!

My prices are not expensive at all, they're pretty cheap too if you have in mind my cost of living and the effort to stay in business.

Some countries need to be RE educated.

Living in Argentina where inflation is the daily currency is almost impossible to estimate but I do... I send an estimate 1st. It'd vary 10% . Then the confirmation. But my problem resides in the expertise of haggle they have. so its not about your style at about the tiny diferences between prices. They love your images but they're not able to pay you what it cost because they truly believe that making and taking a picture is something that everybody can do.

Thursday, March 04, 2010


A picture can say so many words that we can not say by mouth

Wednesday, March 03, 2010

Join me Now!

Hey there,

As a professional photographer & businessman I'm using a PhotoShelter website to handle online sales, high resolution file distribution, SEO and more. It's a great way to attract new clients, show my work professionally, and do business with clients online. And I think it might be a great fit for you too.
Make a living throught photography is more than pressing down the button and sit down for years waiting for someone who look at your image and say "hey how much for that!"
That's a WASTE of time. Learn how to license your images and organize them. Pretty much like cleaning your desk of dust. Get into the biz like me.

You can use the link below to save some money on sign-up, and I get an account credit too!

I think you're really going to like what you see, so come join me on PhotoShelter!

Join PhotoShelter & Save!

Friday, July 31, 2009

Friday, July 03, 2009

Photography is...

Photography is... more than pressing a button.
Photography is... a point of view
Photography is... a private view
Photography is... behind Photoshop and photoshopers
Photography is... light,
Photography is... light control while you're shooting, but not after
Photography is... film & digital
Photography is... art
Photography is... a lifestyle

If you cannot accept it and live for're far from being a real photographer, but a digital geek of image manipulation.

Wednesday, June 17, 2009

Digital Era -Self-Schooled Photographers

A photographer who is homeschooling himself typically spends a lot of time pursuing all the information related with basic to advance techniques. And of course they have a religion name Shoot, shoot, shoot everything around.

These people shoot a LOT!
They try to recreate some techniques they've seen, or to create a technique to express an image that's in their minds.
The good thing about teaching yourself is that you make mistakes. Sometimes mistakes are the greatest thing because thru them you're able to discover something cool that you weren't trying to acomplish. Better than what you were trying to acomplish a goal.
I've heard somewhere that a good photographer is not one who doesn't make mistakes. he's someone who can REPEAT his mistakes (over and over).

If you're not incredibly motivated, or if you're not 100% confident about your vision, you can fizzle out. While any method of learning photography requires strong motivation, the lone wolves among us need to especially self-reliant in this regard.

Finding a mentor, someone who is established in the bizand is willing to show you his/her experience and help you to build your style, sharp your vision and network to find clients, is a fantastic way to jump start your carreer.

Monday, June 15, 2009

War Stories in Photography

The other day I was thinking in a situation I had after a photo assignment with a client about the ownership, usages, copyright, etc. She wanted my RAWs. I said, politely, I can't do that and I saw a "don't understand" look on her face.
I've start surfing the net looking for some stories like mine and I've found a very intersting article. I'm going to post the part was similar to mine.

" War Stories
A few years ago, I had a client who informed me that he had never heard of usage rights prior to meeting me and that he simply bought all the images from the photo-grapher after the shoot was completed. From my point of view this was alarming! It gave me a strong indicator as to how some photographers make money and is cause for considerable concern since, they're not playing with the same set of rules I am.
In other words, some photographers shoot for a "consumer market" where images become the product that is sold like any other over-the-counter commodity. This is fine if this is what they choose to do for a living, I don't have a problem with this. I however, as commercial photographer work for publications where what is sold is a LICENSE to use my image(s) for a specific period of time. Apparently, these consumer based photographers have crossed this "boundary" by shooting commercial jobs for publication and pricing/selling them with a consumer-based price structure.

This practice destroys the legitimacy of commercial price structures in the photographic industry and it becomes a battle to negotiate with some clients under these conditions...

Author: Don Werthmann
Originally published: 20 January 1995
Updated: 15 February 2000"

Thursday, May 21, 2009

Assignment Photography - Basics V



A. Include your terms and conditions. When you fax your estimate to the client you might also want to send along your terms and conditions. This way the client knows ahead of time the guidelines that you will work within. It is best to get this straight before you accept the job as more and more companies are wanting more rights but are not willing to pay for them. Watch what you agree to when the client sends you their purchase order or contract.

B. “That's too much money.” If your client balks at your price tell them this is what the job will cost for the parameters they outlined. Ask what they would like to cut out or change to get the price lower (usages, no aerial shots, less talent, a closer shooting location etc.). Ask if they are shopping for value or for price. Negotiate back and forth until the numbers look good to both of you. If you do lower your price always have a valid reason for doing so. See if you can get the client to agree to less usage rights to bring the price down. They can always ask for more usages down the road. If you can not come to an agreement about the price be willing to walk from the assignment.


A. Get a signed purchase order. Once you and your client have agreed on a price ask them to send you a purchase order. Don't walk out the door without one. Be sure and read the PO carefully and be sure all the terms and conditions on it are agreeable to you. Cross out the things you don't agree with and renegotiate with your client.

B. Create a job confirmation.
As with the estimate, your job confirmation should have your terms and conditions on the back. If there are changes made after you have sent the job confirmation use a change order form. You want to get everything in writing so email might not be the best way to confirm all the details of your job.

C. Get as many of your expenses paid up front as you can.


Stay in touch with your client and be as helpful as you can before, during and after the shoot. The more effort that you put into the job the better you will be remembered for future work.

Good luck!

Assignment Photography - Basics lV

STEP BY STEP (Chapter V)

E. Price out the usages.

F. Buyouts. Tell your client that a buyout is not a problem but that the fee is going to be much higher. Ask them if they are sure they want a buyout or do they just want to pay for the rights they really need. One photographer might charges his day rate plus 100%. His day rate is high ($5,000) so if your day rate is lower you might want to increase the percentage for the buyout. For this price he gives them the copyright because most of the things he is shooting are time dependent and specific products which are pictures that can't be used by the photographer anyway. Another photographer charges the yearly rate for the usage times five (same as a five year usage).

Saturday, December 27, 2008

Assignment Photography - Basics lll


A. Filling out the Estimate Worksheet.

While the client is still on the phone you want to have a list of specifications agreed to because you want to be estimating to the same parameters as the other photographers. Fax this to them and say are these the parameters we have agreed to. The client might get back to you and say, "No we've decided we need five days not six, and we need to change the location." Go through the list again and redo the numbers. Once you have agreed to the final parameters of the estimate tell the client you will get back to them with your price.

B. Work the numbers. You want to fill out the numbers and feel confident you can do the job. One little mistake in math can ruin your whole bid or estimate. The client is likely to change the parameters of the job at least once, (adding or removing talent, location, extra equipment...)

C. Don't underbid. In doing our research we found out that some photographers are chronic under bidders. They do this in order to get the assignment and inevitably run out of money before the shoot is over. Or they realize when the shoot is over that they didn't make a profit. You want to get paid fairly for your services so be sure and take into account all your expenses including overhead (rent, insurance, taxes, office and camera equipment, utilities, salaries etc.) when you quote a price.

D. Educate your client. It will be up to you to help your client understand the fees you are charging them. Tell them you don't make a "day rate" everyday of the year and have only a certain number of billable days a year. The day rate is just a small part of the total costs. Using the term "creative fee" is a better idea. Unlike a day rate, which only takes into account your time, the creative fee takes into account your overhead, time, experience, value added factors etc. The creative fee covers your overhead and the usage is your profit. This system encourages you to strongly resist lowering your creative fee because you will not have enough money to pay your bills if you do, and to get as much from each usage as you can because you can see it as profit.

Monday, December 15, 2008

Assignment Photography - Basics ll

STEP BY STEP (Chapter lll)

"If someone calls with a question about a usage and they want to know how much it would be for a one year, two year usage, with or without a web usage, I will make up an estimate that reflects all of their different options. They will need to sign off on the prices for these options. This prevents trouble in the future."

How will the photographs be used? What is the scope of the usage?
Where will they be published?
What size, circulation, press run, duration will be needed?
Do they need world rights?
Will they be used in trade or consumer advertisements?
Will they be used in internally produced publications?
Are the photos for the client's archives only?
Will other people have the use of these photos?
Will they require reprints?
Will the images be scanned into your client's archive for future use?

Sunday, December 07, 2008

Assignment Photography - Basics ll

STEP BY STEP (Chapter ll)

According with the last post...

You can then ask if they'd like to see your portfolio or would they like to go to your website.
If they haven't seen your portfolio and have no interest in seeing it they're probably looking for a bid from you but you're not really in the running for the job. How you handle this is up to you. Many photographers won't spend much time creating a bid for them but some do it anyway with the hope of being in the running for future work.
If they've seen your work and are able to answer your questions move on the next step.

D.- Get the parameters of the job. You want them to be as specific as possible so you can estimate the job correctly.

When is the shoot?
Where is the shoot? On location or in a studio?
How many days?
how many subjects?
How many poses?
What concept are they trying to portray?
What messages is to be covered?
WWhat will the photos be used for?
How will the photos be integrated into the clients overall marketing plan?
Will there be talent hired and who will handle the casting of the models?
Do you they need props, wardrobe, special effects, aerial or underwater shoots?
Can they fax you a copy of the buyout?
What is the timeable for the project?
Can you bring an assistant?

E.- Discuss the usage. When images are use to advertise products or commercial services the fee is usually higher. Depending on the number of images produced and the usage you are granting, you fee and the cost associated with the assignment will increase. If the client doens not know what usage they need or might need in the future give them a quote for all usage they think they may need.

Saturday, November 01, 2008

Assignment Photography - PhotoQ Basics


Create a pleasant atmosphere.
B.- This is a biz meeting and you're the host
C.- A friendly attitude may ultimately get you the job


Ask the client if they're asking for a bid or an estimate. Competitive bids are
requested when price alone is the deciding factor. Once you bid a price you're stuck with that price and are obligated to it
. I give them my best estimate, then they pay what it actually costs. With an estimate you have more flexibility depending on the nature of the project. Put on an estimate that the final billing will reflect the actual cost of the shoot. Ask the client to email/fax you the exact parameters of the job after you discuss them so you're biding or estimating against the same job as the other photographers.

B.- Who is the client? Will you be dealing directly with the client's company, an ad agency or design firm? If it is a new client calling you ask about their company.
What is the nature of the company¿ How long they have been in business? Who do they market to?
Get the name, phone number and address of the person calling you.

C.- Decide if this is a serious bid or if the client is mining for prices. have they seen your work? What did they like about it? What is it about your work that fits this particular assignment?
This will help you to get a sense about the potential of you getting this assignment.

Stay tuned for the next post...

Tuesday, September 16, 2008

How is Digital Capture Beneficial?

Digital capture allows for a more immediate experience of the work being produced. Simply put, "digital capture" is the digital equivilent of "shooting film". Previously, we shot polaroids, for client review and approval. Polaroids had significant limitations. Color, brightness, shadow detail, and the small size meant that Polaroids were not the optimal method for previewing just how an image will look, but until digital came along, they were the only game in town.
With this leap forward comes a significant expense on our part. From digital workstations, cameras and digital camera backs, to specialized software, and new archiving systems that must be integrated alongside our existing systems.

Digital Workflow Benefits

Turnaround times: For film, our normal turnaround time is 2 business days. For digital work, this delay can be reduced. For images which require no post-production work, and where we have a digital workstation on site at the shoot location, images can be delivered immediately, before we leave the site. For images which require post-production work, our turnaround is 48 hours. As each shoot has different characteristics, we'll discuss with you anticipated delivery times, as well as any revisions to that as the shoot progresses and client needs change.
Eliminating Liability: When we produce film, it cannot be duplicated exactly as it is on the original film, and when irreplacable film is damaged or destroyed, the lost/damaged film charges can be very high. With digital, once the images are written to the CD we deliver to you, and our two archival CD's, the liability that normally is a part of the reciept and handling of original film is eliminated.
Distributed Image Review: In some cases, our immediate client is an art director or advertising agency, who is working to facilitate the needs of a corporate client, and with different parties being in disparate locations, the ability to simultaneously review and make decisions can be difficult. However, we can provide a solution using the internet. Depending upon circumstances, we can produce and deliver a virtual "contact sheet" on site for clients elsewhere in the country to review, or within a few days or completion. Please ask for more information on these possibilities prior to the shoot commencing.

Digital Workflow Costs

We've made a significant investment in the process of digital production. As indicated in the introduction, we are not replacing our film-producing capability, we are investing in the parallel cabability of digital production. In addition to the costs of new cameras, powerful computers, and state-of-the-art software suites, there has been an enormous amount of time involved in the learning curve for our office as we evolve with the times.
In addition, we have developed a specialized and redundant archiving system for the files we produce, and this undertaking has been an enormous task.

*Extract from John Harrington photography. This article the is one of the best articles I ve ever read about digital benefits. And it should be read & understood by everybody who think digital capture should be cheaper than film capture.

Tuesday, July 10, 2007


The following tip on RAW vs JPEG
So, you’ve forked over at least $600 (but probably $1000) for your first DSLR camera. You have more buttons, dials, and menus than you know what to do with, even after reading through the fat booklet that came with your camera and explains its usage in ten differnent languages.
It’s all you can do to understand ISO, shutter speed, and how less is more when it comes to aperture. This beast of a camera can produce files in a Raw format, whatever that means, but it also has the nice comfortable JPEG format that we all know and love.
Like me you probably happily shoot in JPEG for quite awhile - getting used to the myriad of options available to you. One day you look at that Raw setting and ask, “should I be using Raw for the best quality? What is Raw, exactly?”
Excellent question.

A Raw file is…

• not an image file per se (it will require special software to view, though
this software is easy to get).
• typically a proprietary format (with the exception of Adobe’s DNG format
that isn’t widely used yet).
• at least 8 bits per color - red, green, and blue (12-bits per X,Y location),
though most DSLRs record 12-bit color (36-bits per location).
• uncompressed (an 8 megapixel camera will produce a 8 MB Raw file or larger).
• the complete (lossless) data from the camera’s sensor.
• higher in dynamic range (ability to display highlights and shadows).
• lower in contrast (flatter, washed out looking).
• not as sharp.
• not suitable for printing directly from the camera or without post
• read only (all changes are saved in an XMP “sidecar” file or to a JPEG or
other image format).
• sometimes admissable in a court as evidence (as opposed to a changeable
image format).
• waiting to be processed by your computer.

In comparison a JPEG is…

• a standard format readable by any image program on the market or available
open source.
• exactly 8-bits per color (12-bits per location).
• compressed (by looking for redundancy in the data like a ZIP file or
stripping out what human can’t perceive like a MP3).
• fairly small in file size (an 8 megapixel camera will produce JPEG between 1
and 3 MB’s in size).
• lower in dynamic range.
• higher in contrast.
• sharper.
• immediately suitable for printing, sharing, or posting on the Web.
• not in need of correction most of the time (75% in my experience).
• able to be manipulated, though not without losing data each time an edit is
made - even if it’s just to rotate the image (the opposite of lossless).
• processed by your camera.
These differences lead implicitly to situations that require choosing one over
the other. For instance, if you do not have much capacity to store images in
camera (because you spent all your money on the camera body) then shooting in
JPEG will allow to capture 2 or 3 times the number you could shooting in Raw.
This is also a good idea if you are at a party or some other event afterwhich
you want to share your photos quickly and easily.

On the other hand, if capacity is not an issue at all (1 GB and 2 GB flash
cards are getting cheaper every week) you might consider shooting in Raw +
JPEG, just to cover all the possibilities. If you cannot or do not want to do
any post processing, then you simply have to shoot in JPEG. Taking a picture
in Raw is only the first step in producing a quality image ready for printing.
If, on the other hand, quality is of the utmost importance (like when you are
shooting professionally), and you want to get every bit of performance your
DSLR can offer then you should be shooting in Raw.
That being said, I know many professional photographers who do not shoot in
Raw for one of two reasons: 1.) they don’t know how, or 2.) they don’t want to
take the time to process the images afterwards.