Reading Time: 3 minutes

The magazine publishing my pictures requires images to be at least 300 ppi. How do I change the resolution to 300 ppi?

Editorial Note: DPI (or dots per inch) is commonly accepted but not technically correct. It refers to the resolution of output devices such as laser or inkjet printers, plate setters, or film imagesetters. For accuracy, we will use the term PPI (or Pixels Per Inch).

I’m often asked this question based on misunderstandings, and I hope we can clarify them in this newsletter.

First of all, you rarely need to do anything. They request an image with a resolution of 300 PPI when printed to a specific size. A request for 300 PPI or any ppi without any associated width and height dimensions of the print is nonsense—the dimensions of the print need to be known.

The Formula:  

Width x 300 = a
Height x 300 = b

Multiply a times b to determine the minimum size of a megapixel camera needed to make the photo.

Here’s an example for an 8 x 10-inch print.  Width 8 x 300 ppi = 2400.  Height 10 x 300 ppi = 3000. 

 You need an image that is at least 2400 x 3000 pixels. Multiply 2400 x 3000 to get 7,200,000 pixels or 7.2 megapixels. Now we know the minimum size of the megapixel camera needed, but how do we change the resolution?  Photoshop to the rescue…. again.

The dialogue to change the PPI-number in Photoshop is Image->Image Size.  When you choose it, you get a dialogue box like the one in Example 1.  Be sure the Resample Image checkbox is left unchecked.  This prevents accidentally throwing away pixels that will diminish the quality of the image.

The Image Size box is a resolution calculator. Your camera manufacturer has a default setting, such as 72 ppi. In this example, the default setting is 240. Remember that you can change this to 300 ppi, which tells you the maximum size print you can make with this image. As long as the Resample Image checkbox is unchecked, you will not accidentally damage your image.

Take a look at Example 2.  You can see that the Resample Image box is unchecked, and the Resolution was changed to 300 ppi.  Note: The width and height remain the same for the Pixel Dimensions.  The actual image didn’t change.  You now have a calculator that tells you the print size you can make at any ppi.

There are many different output devices.  Let’s look at printers. Canon and HP desktop inkjets are usually optimized at 600 ppi, while Epson’s are 720 ppi. The Fuji Frontier, used in many minilabs, is generally optimized for 300 ppi; some laser jet printers offer a choice between 200 ppi and 400 ppi.  You should refer to the manufacturer’s specifications or ask the lab to determine the optimum resolution for a specific printer.

Please know the best PPI for your printer to determine the most significant print size you can make.  Just be sure the size image is not larger than your printer’s quality capabilities.  You want it large enough, but there is a slight chance it can be too big. An often forgotten aspect of quality prints is the distance from which the prints will generally be viewed. The viewing distance changes everything.  You do not need a 300 ppi image to produce a billboard.  You only need about 6000 total pixels for a Billboard. 

The chart below can help you make display prints for trade shows or places where you need large images.

Determining PPI by Viewing Distance

To determine an optimal PPI (resolution in Photoshop) for a photo, the calculation is as follows:

7000 / viewing distance in inches = PPI

This is for optimal results.  Using half that number will still provide good-quality results. If you do anything lower, you will begin to sacrifice image quality.

A Quick Chart for Determining PPI by Viewing Distance

Under 24 inches = 300 PPI

24″ to 36″ = 200 PPI

36″ to 60″ = 120 PPI

5′ to 10′ = 60 PPI

10′ to 20′ = 30 PPI

Billboard = 10 to 20 PPI

 I hope this information about PPI, image size, viewing distance, and printer capabilities has been helpful to you. Nothing is EVER simple.

Reading Time: 4 minutes

I get this question all the time:
“How much should I charge for my photography?”

I teach classes that help students understand pricing each year. I’ve noticed that many students simply copy each other’s numbers instead of doing the math for themselves, which is a big mistake.

There are a few dangerous myths about pricing your work. Let’s break them down.

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Myth #1: Everyone’s Situation Is the Same

People say they know everyone’s situation is different, but then they go online, see what others charge, and copy those prices.

Here’s a typical example:
A new wedding photographer sees that most people in the area charge $2,500 per wedding. They look at what’s included—prints, a photo book, maybe an online gallery—and figure, “I can do all that and still make money,” so they charge the same amount.

They often don’t realize that photographers may be losing money or barely breaking even. Learning whether your pricing works takes time (and frequently a few financial hits).

Myth #2: Better Work = Higher Prices

Many photographers think that the better your work, the more you can charge. Unfortunately, it doesn’t work like that in the real world.

Let me explain it with a business concept: Return on Investment (ROI)

Here’s the formula:

ROI = (Net Profit / Investment Cost) × 100

Example:
If you spend $1,000 on marketing and make $1,500, your ROI is 50%.
You earned 50 cents for every dollar you spent.

In photography, better quality doesn’t always lead to better ROI. A real-world example: Sports teams often need basic photos for websites or media guides. A high school doesn’t need a Sports Illustrated-level photo—they need one that works. The incredible image might be admired, but it won’t necessarily generate more revenue for the school.

Even at the professional level, the value of a photo often depends more on who’s in it than how technically perfect it is. A great action shot of an MVP might sell. The same quality image of a benchwarmer? Probably not.

So yes, quality matters—but it’s not the only thing that matters.

Myth #3: New Photographers Should Charge Less

I hear this mostly from students:
“I’m still in school, so I should charge less.”

But here’s the truth: Clients look at your work first, not your resume. They’ll hire you if they like what they see and your price fits their budget.

The only time being a student matters is when the client is seeking a bargain and believes hiring a student is a way to save money.

Experience does help in some cases. But sometimes clients prefer a fresh perspective over someone with decades of experience. There’s room for both.

Clients really care about whether your photos look like what you say you can deliver.

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So… What’s Your Situation?

Before you can price your work correctly, you need to know where you stand and what you want.

Here are the three main types of photographers:

1. Hobbyist

You love photography but don’t plan to make it a career.

• Some hobbyists fund their equipment and share photos for fun or access.
• Others try to offset the equipment cost by charging a little for their work.

2. Part-Time Photographer

You have a primary job but shoot gigs on the side.

• Teachers who shoot weddings in the summer.
• Professionals who do editorial work in their field, like scientists contributing to National Geographic.

3. Full-Time Photographer

You make your living entirely from photography.

If you want to move from hobbyist or part-time to full-time, you must price accordingly.

Want to Go Full-Time? Here’s How to Start

If you’re serious about going full-time, you need to do three things:

1. Know Your Budget.
   Use tools like Excel’s “Household Budget” or free resources like Kiplinger’s online budget worksheet:
   http://www.kiplinger.com/tools/budget/
2. Know Your Business Expenses.
   It all adds to gear, insurance, marketing, software, and subscriptions.
3. Estimate Your Workload.
   How many shoots do you think you’ll realistically book in a year? Start small and base your estimates on real jobs you’ve already done, even on the side.

Once you have those three numbers—your budget, business costs, and potential jobs—you can figure out what you need to charge to go full-time.

Myth #4: “I’ll Figure It Out Later”

Many photographers tell themselves they’ll figure out pricing once they’re “ready.” But that kind of thinking can delay or even sabotage your success.

Here’s a little secret: Many full-time photographers don’t create mind-blowing work.
How do they remain in business?

They know their numbers.
They understand the costs of operating their business and the revenue they need to earn. They stick to their pricing and don’t discount out of fear. They don’t work for free or less than cost.

When you’ve done the math, you’ll have the confidence to say,
“This is my price.”
And you’ll know you’re running a sustainable business, not just chasing your passion.

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Which kind of photographer are you today?
And more importantly, where do you want to go?

Pricing isn’t just about numbers. It’s about clarity, confidence, and building the kind of career—or hobby—you want.