Stock Photography Training Manual
Stock Photography
Recommended Standards for Stock photos The technical and quality standards defined for Stock Photography are aimed at creating useful images and visual elements that designers can confidently include in their projects. Inspectors of Stock photography Sites apply these standards to every image uploaded there in order to ensure that: The images will reproduce accurately across different digital and print media. The images do not contain any kind of technical imperfections at full size that will limit their usefulness. The images contain no unreleased people or property, copyright or trademark elements that could limit their commercial application under the standard royalty-free license. In other words, the priority is to provide designers with images that are ready to use for any application or project. All of the standards boil down to meeting this goal. Image Requirements File Format: Standard Stock photography Sites accept RGB JPG files only. TIFs, PNGs and PSDs are declined. CMYK images are also declined. Image Size: Standard Stock photography Sites generally accepts files 1600 x 1200 pixels or larger. Any file smaller than 1600 x 1200 pixels will be declined. These Sites offer different sizes of each image on the site and the file pricing is based in part on the image dimensions, so it's often in your best interest to provide an image in the largest pixel dimensions possible. The Site will automatically create all the different smaller size files from the full resolution file that you upload. The Site will not accept files that have been up-sampled or "rezzed-up". In other words, you can't increase the pixel dimensions to be larger than the file's native size. Quality Standards What Stock photography Sites Look ForThese Sites generally have millions of images. There are subjects that they always need more variety in, and others that have been picked clean. Search any such site and explore what's been done before in great detail. If you're tackling a common subject, approach it in a different fashion and with your own style. Better yet, look for missing items in the collection and fill them in. Images that generally Stock photography Sites do need: Corporate shots: Illustrate the many sides of modern business. Concepts and Visual Metaphors: Go beyond the literal, and help a designer explain something in a new way. Food and Beverages: Cuisines from around the globe. Groups & Teams: People working together. Holiday & Seasonal Themes: Show all the ways we celebrate. Include more than religious celebrations; let's see local festivals and customs as well. Non-Business Jobs: The word is filled with mechanics, garbage men, baristas, and more. People Interacting: Human interaction is a constant in this world. Religion and Spirituality: The rich tapestry of the world's beliefs. Science and Technology: Accurate and true depictions of the cutting edge of human knowledge. Social Issues: Poignant looks into the issues that impact us. Sports: For fun, for fitness, for glory. We'd love to see more team sports. Images that generally Stock photography Sites do not need: 3D – Simple Renders: Go beyond the easy and obvious presets. 3D – Extruded Text: Simple 3D text is not enough. 3D – Simplistic Modeling: Spend more time with your polygons. Airplane Wings (& out the window shots): Wait until you land to shoot the vacation shots. Flags: 3D or real, give us something more than the basic flags. Light Blurs: Fun for photo clubs, but rarely is it good stock. Nature Snap Shots: Sweeping vistas and insect macros are great – yet another forest floor is not. Photoshop Backgrounds, Fractals: We've all had fun with filters. Designers are looking for images that they can't quickly make themselves with a few button pushes. People Doing Nothing: Get your models doing something! Shadows of People, Headless People: Photograph people or do not. There is no try. Single Apples (or Green Peppers or Oranges) Isolated on White: The day of the single fruit isolated on white has passed. Sunsets, Cloudscapes, Skies: Be sure the sky really is stunning before uploading. Symbols: !$%@ – Whether rendered or photographed, typographic symbols are less interesting than you think. Your Immediate Environment: There's life beyond your front door! SuitabilityIn addition to technical quality, Stock-Sites judge images on their suitability as stock. Stock images need to be useful to designers. An image is suitable as stock when it has a well-defined subject, care has gone into the composition, and it describes or shows an object or concept clearly. The difference between a stock photograph and a snap shot comes down to the thought and direction that goes in before hand. Images may come in a variety of concepts or literal representations. They may demonstrate different degrees of technical execution and overall production. However, if an image is just thrown together – a snapshot – then it won't work at all for a designer and is not suitable for Stock. Before you press the shutter, think about your topic and what you're trying to create. Have a clear idea and try to execute it in the best way possible. Have an idea and plan ahead. Don't snap everything and settle for accidents. Look at what you're shooting and give it some thought. Always ask yourself: What is the best way to approach this subject, and how should I try to show it to get across the idea I want to share? Move around and explore more than your immediate environment. Resist snapping the things laying on your desk or in your garden. Think about more than just the main subject. Stop and look around the viewfinder. What is visible and what shouldn't be? What should be visible that's cut off? Always look at your frame with the whole composition in mind. FocusUsually when Stock-Sites reject images for focus, it is because of one of three main problems: The image is out of focus in general — it appears soft or even blurry. The camera moved during the exposure. There is focus, but it's on the wrong place in the image. What and how much should be in focus depends on the kind of image. In a straight-on portrait, it's important to have clear focus on the eyes. In an abstracted action shot of a bicycle race, you have a lot more leeway. Stationary objects and macro still-life images are different from fashion shots, all of which are very different from fast-paced sports images. Any kind of texture, like an image of a brick wall that will be used as a background or a full frame worth of coffee beans, needs to be absolutely tack-sharp with sufficient depth of field from corner to corner. You can do it all manual or leave it to your camera. What's important is to identify the important elements and make good decisions about how to treat them. Image size is a factor in all of this – bigger is better, or at least, more forgiving. A big 24 MP image from a modern digital back gives you more tolerance as far as slight softness goes. If that image is downsized to 3 MP, minor focus issues won't be visible at all. However, we are only talking about minor problems here. If you have completely missed the focus, then the size doesn't matter. Full-frame background-type shots with front or top-view perspectives need to be in focus with enough depth of field from corner to corner. This one is too soft at 100%. Tips:· Depending on your subject and preference, you may want to explore everything your camera offers in the AI department. Learn those as they usually work very well for the particular things they were made for. Small depth of field (depending on your focal length) needs careful attention. Manual focus and specialty lenses require a lot of practice to master proper focus. If you've slightly missed focus, do not selectively sharpen the area. Minor mistakes are tolerable if you have a big image. 3.4 LightingStock images must be well lit and properly exposed. This makes them useful in the most possible situations. Flat light, bad shadows, and poor exposure are all serious flaws in an image and will not be accepted. Light comes from a variety of sources – sometimes you can control them and sometimes you cannot and have to work with what you've got. In all cases you need to be away of the light and the kind of images you can create working with it. In the great outdoors available light usually exceeds what your sensor can reproduce, overexposing the image. Weather and seasonal phenomena like snow or fog can fool your camera metering, producing underexposed images. On-camera flash can produce harsh shadows, blown-out highlights, and generally unpleasant light. If you must use it, find some way to diffuse it. Always watch your white balance: if your image is yellow or blue where it should be white, your white balance is wrong. This can be corrected if you shoot RAW, but it's always best to get it right in-camera. Be particularly aware in situations with multiple light sources, as each may have a different white balance. Tips:· When shooting outdoors, learn what time of day for the season works best for what you want to produce. Use colour correction filters, neutral density filters, and polarizers to compensate for certain kinds of light. Learn when to under or over expose on the spot given the weather conditions. If you're stuck with your on-camera flash, carefully learn its operational functions and use some kind of light diffusers to illuminate your subject gently. If you have access to studio lighting, try different setups with strobes and modifiers, and explore the many different ways available to illuminate your subject. Shoot RAW, calibrate your monitor, and learn about colour profiles. Try to use better than consumer level monitors. 3.5 Isolation & CroppingIsolationIsolating a subject against a solid (generally white or black) background can make for great stock images. There are some important considerations while doing it – following these guidelines can help your file get accepted and have a better chance of attracting downloads. Here are some things to consider: Shoot the entire subject: A cropped isolation is often less useful than a whole subject. Lighting and reflections: A subject that looks like it was cut out of its original context is often less useful than an isolation that looks like it was intentionally shot as an isolation. Depth of field: An isolated subject that has all its edges in focus may be more useful than an isolation with a narrower depth of field. Negative space: After the background is removed, has the subject been left floating in too much empty space? Finally, consider whether an isolation is even the best way to show the subject or convey the concept. Isolations that leave foreground elements (like grass) overlapping the subject. Tips:· Useful copyspace lets a designer add text without having to alter the image – shallow depth of field and out of focus areas, in a well-composed ratio of subject to background. Pure white/black and/or evenly lit uniform colours aren't useful copyspace - a designer can add that themselves. With isolate studio shots, particularly various objects on tabletops, pay attention to background leftovers. In general, crop tightly. Do not add simple colours just to achieve pseudo-copyspace. This particularly goes for isolated objects pasted onto a colour canvas. 3.6 Noise & Noise ReductionAs lighting conditions become less desirable, photographers adjust by bumping up their ISO to capture more light. Boosting the ISO kicks more electricity through your camera's sensor allowing it to see more light, but this extra electricity heats up your sensor and can introduce pixel discoloration, or noise. These discoloured pixels begin to appear speckled throughout darker areas of your image. The higher the ISO, the warmer the sensor, and the more noise that can appear. Noise is becoming less and less of an issue as digital cameras and software (RAW converters for example) continue to develop. A typical modern camera body should have no problems with a decent reproduction for an outdoor daylight shot at ISO 400. And it is always better to use a higher ISO and get a proper exposure than to try and fix the exposure later by pushing up the curves. Be careful with night skies and even-toned images. Also watch out of focus and background areas. Tips:· Use low ISO settings if possible. If you need to raise your ISO, be sure to nail your exposure on the spot. It's better to use a high ISO to get the right exposure than to try and fix it in post-processing later. Underexposed shots will most likely introduce some visible noise after editing, especially when bringing up detail in darker areas. Shoot RAW. The latest RAW editing and conversion programs give you lots of options, as long as the exposure of your original shot is close. Noise ReductionIf you do end up with visible noise, there are applications and programs out there to help remove it. Always use these carefully and sparingly. Noise reduction programs can be very hard on image detail and if you aren't familiar with the software you can quickly destroy an image and leave it worse than when you started. Tips: First, only use a noise reduction program if you absolutely have to. Modern camera sensors are very good. ISO 400 is beautiful, just make sure your exposure is correct and be careful with your post production. And a little bit of visible noise is preferable to a plastic, damaged de-noised image. When you have too much visible noise, start the reduction process carefully. Chrominance noise reduction will generally give you a more pleasant, "grainy" look. This is better than Luminance de-noising, which destroys detailed in a particular polished looking way. Generally, some grain is fine. You may end up using both methods. Proceed carefully, apply small amounts at a time, and observe your detail structure along the way. Downsizing may improve the overall appearance – you don't always have to work with your camera's maximum native output pixel size. A good looking downsized 8 MP image is better than a lousy over-edited 20 MP image. 3.7 CompressionCompression, and 'Compression artifacts', refers to visual distortion which occurs in an image when information is lost. The JPEG file format literally compresses an image - makes it smaller - to reduce the file size during saves. The particular compression method it uses is a lossy format, which means that it loses some information to shrink the actual number of bytes used in the file. When too much information is lost it can have a visible impact on the image. This can also happen during the image editing stage. These days, improved camera technology and lots of available storage have helped. Most of the compression that we see now is a result of excessive image editing. Pushing certain filters or processing techniques will cause information to become lost and introduce compression damage into the file. Compression typically results in a few different kinds of visual distortion, which will typically be called 'artifacting', 'contouring', or 'posterizing': Curved edges in detailed areas take on a jagged stair-case like appearance. Checkerboard style blocks appear. Color gradients become 'banded', meaning that instead of a smooth transition between colors, there are instead abrupt changes from one color to another making visible bands across the image. This often happens in large areas of subtle color change, like a clear blue sky in a landscape. Tips: Use a DSLR and not a compact digital camera with a tiny sensor. Shoot RAW. Edit your files with care, always observing changes in the detail quality at 100% all around the frame. Watch out when selectively correcting exposure, adjusting curves, or boosting saturation – these can all introduce compression. Do not sharpen too much. If you're using RAW software for conversion only, you might benefit (especially with your nice blue skies) by converting the image to a 16 bit TIFF and downsample the edited TIFF file to an 8 bit jpg at the end. 3.8 Over-filtering“Over-filtering” is a broad term we use for technical and compositional problems that a photographer introduces into their image. Basically, it means that you've gone too far with some kind of editing or processing technique. The top candidates for over-filtering are over-sharpening, excessive combinations of sharpening and de-noise applications, and selective blurring to try and solve compression issues (skies are the most common). Selective blurring of people's faces (often done to try and avoid model releases), and sloppy editing of logos and banners can also lead to over-filtering. We often commonly apply this rejection to mixed-media compositions of limited usefulness. Designers are looking for the raw materials for their projects – images that go too far mixing 3D renders and raster images, rasterized vectors added to other images, and overly-artificial raster manipulations, especially in background textures and wallpapers, can all be of limited use. Avoid making a finished design, and instead try to provide a designer with useful building blocks. Particularly avoid weird plugins and filters that simulate water reflections, sun flares, rainbows, or any kind of artificial glow. Tips:· Shoot RAW. Edit your original files with care, watch for possible issues and try to correct them properly instead of trying to hide them with something exotic. Avoid specialty filters and plugins: they generally lack detail quality and just don't look good If you are going to try serious collage and manipulation of different 3D or other raster elements, we expect you to be a master of the tools, and have the production and artistic skills to execute your vision in an original way. In other words, we will only accept the really good stuff. Do not download various NASA planet images, slap them onto a simple 3D sphere, and export it as a raster image. 3.9 Chromatic AberrationChromatic aberrations, or purple (or blue/cyan/red/yellow) fringing occurs when not all the wavelengths of light hitting your lens are focused properly on the sensor. This usually causes a coloured fringe or halo around the edges of your subject outlines. It is annoying, looks bad, and will show up in print production, so you need to get rid of it, especially if the appearance is severe and visible on important parts of the image. Tips: Close down your lens if possible. Watch the angle of your light source and where you point your lens. Quality lenses will be much less prone to this problem. Old lenses without proper coating, or very cheap lenses, will fringe easily. They also are generally less sharp and will produce poor quality detail. There are a variety of plug-ins and applications out there to help reduce and remove chromatic aberrations. You can manually remove fringing in your preferred image editing program. 3.10 Sensor Spots & Hot PixelsSensor spots happen when various tiny bits of dirt and dust enter your camera body and find their way to the sensor. If you change your lenses frequently or work in dusty environments, manual sensor cleaning becomes a routine. Skies and frame corners are particularly vulnerable, and the more you close down your lens, the more visible any dust on your sensor becomes. Watch for these spots when you edit your files – they are easy to remove. We don't want to see any dust spots on the images you submit. Hot pixels may show up on an image if the sensor has overheated. This may happen during a long exposure. Sometimes a single pixel in your sensor may become completely dead and won't record any data at all, causing a single dead spot to always appear in the same place in your images. These dead pixels aren't a huge issue – a few of them out of the millions in your sensor will naturally die over the years. Learn where they are and always remember to edit them out before you upload. Tips: Clean dust off your sensor regularly, as often as your workflow, location, and environment require. Some people do it once a week, some once a year. Some people do it themselves, some give their camera to a local shop. Many cameras include a sensor mapping feature, that lets you teach the camera to find new dust spots and hide them, requiring less frequent cleaning. Be very, very careful if you are cleaning your sensor yourself. It is possible to damage the AA filter or the sensor itself. Review your images carefully at 100% corner to corner, especially with big depth of field shots. Dust spots and hot pixels are easy to find and remove – there really is no excuse for having them. For “hot and noisy” pixels caused by long exposures, carefully spot-use a de-noise application, either in-camera or during editing. For long exposures, try your camera's 'long exposure' or 'dark frame subtraction' noise reduction. This should remove almost all noise with no reduction in quality. The downside is it will double your exposure time. 3.11 Lens FlaresLens flares are a technical anomaly that can make or break a shot. When included deliberately as a compositional element, they can add that wow effect to the overall lighting and visual impact. However, the majority of lens flares are unintentional and can ruin images. Lens flares are difficult to master and we recommend avoiding them. Tips:· Always observe the angle of your light source(s) and the direction of your lens Use a lens hood Step down your lens 3.12 Image HygieneWhether you're doing fashion photography or macro shots of isolated tabletop objects, your subjects should be presentable, neat, and good-looking. We call this "image hygiene." Take some time before your session to look over small details and make sure that everything is clean and in order. Designers do not want to spend time removing bits of hair and spots of dust and dirt. Tips: Clean all objects before doing macro-shots. Watch for dust and finger prints. Check your background / backdrop for footprints, cracked or torn areas, patches of dirt, etc. Examine clothing before and during the session for dust, falling hair, etc. Keep an eye on fingernail hygiene in any close-ups of hands: handshakes, typing, writing, etc. While editing, carefully review the image at 100% from corner to corner for small bits and pieces that you may have missed. Watch for sensor dust spots as well. 3.13 Borders & RotationBorders:We do not accept images with strokes, borders or border effects applied to them. The subject or background of the image must extend to the edges of the file. RotationThe files that you submit must be rotated to the correct orientation so that the subject appears in the proper position. Improper rotation can result from changes in your editing software that cause the file's metadata to define the image orientation as horizontal instead of vertical, or vice versa. 3.14 Duplicates & SeriesWhile we encourage contributors to explore a subject beyond the obvious approaches, we cannot accept endless series of images on the same subject. If you submit multiple images of one subject, ensure that each image is significantly different from the others in the series. By “significant differences” we mean images must go beyond simple changes in orientation, color, ancillary props or set dressing, zoom, or angle. The images in a series should have different compositions, moods, meanings, or actions. Images in a series should also be separate captures. Different edits of the same capture are rarely acceptable as a series. Acceptable Series: These images all feature a bagel as the main subject, but a variety of lighting setups, camera angles, depths of field, additional props, and messages keep the series from being too repetitive. Unacceptable Series: Each of these series would be unacceptable, because in each case only one significant change has been made. In the first series the message, angle, lighting and usage are all identical, and only the ancillary props have been changed. In the second series the images show a few changes in angle, zoom, and composition but don't present significant differences in usage to a client. The third series are all the same capture with only post-processing differences. This will rarely be an acceptable strategy. 3.15 NudityStock Sites generally does accept artistic partial and full nudity stock photography. However they reserve the right to decline files if the subject and composition is considered pornographic, obscene, or otherwise unsuitable to the Stock collection. Adult Content Filter: Individual images can be flagged during the inspection process as containing “adult content”. Any file so flagged will be excluded from search results by people who have opted to filter out adult content. Stock Sites define adult content as “language or material that, in context, depicts or describes, in terms patently offensive as measured by contemporary community standards for publishing medium, sexual or excretory organs or activities.” This includes patently offensive sexual or excretory references that do not rise to a level of obscenity. Filter on:· Exposed genitalia, pubic hair, female nipples Partially exposed genitalia, pubic hair, female nipples Sexually suggestive and potentially offensive subjects Filter off:· Underexposed genitalia and nipples Non-sexual partial nudity 4.0 Film ScansAlthough the vast majority of images submitted to the collection come from digital cameras, there are still many successful Stock users filling their portfolios with beautiful film or even print scans. If you are Leica, Kiev or Hasselblad lover, you probably know quite well how to take good photos, but the process of digitizing analog media may still raise some problems. It is evident that scanning requires much practice, skill and insight to get the image good. Many small cumulative problems damagingly affect the final image in the film scanning workflow. These problems might include some of the following: light dispersion in the film emulsion during exposure, halation (blurred effect at the edges of a highlight area of a photograph caused by reflection of light that passed through the film), film grain aliasing during scanning (apparent magnification of film grain; result of the CCD image sensors imperfection), Newton's rings (caused by air being trapped between the film or photo and the scanner), lack of critical film plane flatness in the camera and/or film scanner, digital noise incurred during scanning, scanner lens and focusing issues, inaccurate color interpretation by the film dyes and/or by the scanner. Most of the defects mentioned above are quite easy to spot, but not all of them are fixable. 4.1 Film SpeedFilm speed is roughly related to granularity, the size of the grains of silver halide in the emulsion, since larger grains give film a greater sensitivity to light. Photographic film contains tiny crystals of silver halide salts, which are the light sensitive component. When the film is developed, these crystals are turned into tiny filaments of metallic silver, and in a black & white negative the image is made up entirely of these microscopic threads. The threads curl up and clump together, and this is what is conventionally called 'grain'. In a colour film, tiny blobs of dye are formed along with the silver during the development process. The silver is then chemically removed from the film, leaving only this dye image. It is these small specks of dye that are called grain in colour film, although, strictly speaking, they are not grains at all. The faster the film, the larger the clumps of silver formed and blobs of dye generated, and the more they tend to group together in random patterns and become more visible to the naked eye. The apparent granularity of an image is influenced by the film emulsion, developer, development scheme and density of the negative/slide film (grain is most evident in 'middle' gray areas and least noticeable in the low values). The nature of the scene also has a great influence on the apparent film grain. Some people think that film grain is essentially the same artifact as digital noise, and have the opinion that they look very similar, and are there for the same reasons. That is simply not correct. Digital noise is extraneous information superimposed upon the image, while film grain is the basic atomic pattern of the image. It is responsible for acuity, contrast, resolution and detail. Whereas film grain can add atmosphere to a photograph, digital noise is generally considered to be an unattractive addition. Film grain can be very beautiful and convey texture and mood. It can be a deliberate art effect. Film grain can look desirable under the right circumstances, under the right conditions, and when the photographer is attempting to convey a certain feel to a scene. Scan SiteFor slide films (the finest color films available), the grains are 7 to 8 microns in typical size. Technically, you need to sample the scan with pixels that are 7 microns in size, meaning 3600 dpi, to gather all the information from the film. If you scan with higher resolution (available in modern film and drum scanners), you detail the grains themselves, which may be important for the aesthetic result of the scan, but it does not bring more information into your scan. Practical and subjective tests suggest that for top-quality low speed films, sampling resolution can be about 4000 DPI (or around 5600 pixels). For a 3:2 frame of a 35mm film, that means around 20M pixels. Of course we're talking about ideal shooting conditions: on a tripod, in decent light, mirror-up, with a top-rate lens and the finest-grained film. So the key question here is to what resolution can your film be scanned before the film itself and its granularity becomes the critical factor. Another problem is the optical resolution of your scanner. Only high-end film and flatbed scanners produce good results at their full optical resolution (being as high as 5400 ppi for modern flatbed scanners). Trying to get too much from your scanner will most likely produce blurry, fuzzy scans that are exaggerated in color distortion, that will be unacceptable to for collection. For the highest quality scans there is no substitute for the drum scan. This specific type of method is a varied process from average desktop scanners, by working with transparencies and negatives against an acrylic drum to capture the finest detail at high resolution from the original image. A good drum scanner has an optical resolution of 12000 ppi, which is way beyond the resolution of media being scanned. Let’s see some examples of negative films scanned beyond the optimal optical resolution of film scanner. Look at the fuzziness, lack of fine details and poor focus apparent in these scans: “Newton's rings” are an interference pattern caused by the reflection of light between two surfaces – a flat surface adjacent to a spherical surface. In monochromatic light this phenomenon appears as a series of concentric rings that alternate between dark and light. Viewed with white light, it forms a concentric ring pattern of rainbow colors. Newton rings are encountered in flatbed scanners and old fashioned film scanners with glass film holder. To get rid of them you can use Anti-Newton Glass or fluid scanning technique. Tips:· Keep scan beds spotless to avoid dust and hair showing up in your images. Allow scanners to warm up for at least five minutes to get the best quality. Use film speed under ISO 400, (100 being optimal) for quality scans. Do not submit scans of 4x6 prints to Stock. 8x10 prints (particularly B&W) may be acceptable. Use the 'oversampling' technique to get cleaner scans in low-light and shadow areas. This is the process of a scanner scanning an image multiple times then combining the data to average differences; this feature is offered by most high end scanners, but if you do not have this option you can manually scan the image multiple times with different tonal ranges, then post process the images together experimenting with blending and opacity settings). Avoid shooting on cheap consumer negatives. Use the automatic dust and scratch removal function of your scanner only if it produces good results. Remember that infrared cleaning techniques used by most high-end scanners does not work at all with silver halide black and white films and may be problematic when used to clean Kodachrome films. If you scan well-exposed, low-speed films using the optimal image resolution of your scanner, there should never be a need to minimize a natural film grain. The scanning process may introduce a digital noise that is relatively easy to remove using a de-noise application. 5.0 Title, Description & Keywords5.1 Image TitlesThink of the title as the “elevator pitch” for your image – a succinct but descriptive explanation of the file. The image title is an important part of the file close-up page, and generally a web page's title is given a little more weight by the major search engines. You want your titles to be brief, accurate, and descriptive. Good naming practices include: Accuracy and precision (eg., “Golden Delicious Apples on a Table”) Include the image's main subject in general terms (eg., “Building”, “Woman”, “Apple”) Some of the things we cannot accept in image titles are: Default camera naming (eg., “IMG_6621.jpg”) Repeated words (eg., “Apples, Apples, and More Apples!”) Personal naming conventions (eg., “Apple 21”) Leading characters intended to appear first in an alphabetical sort (eg., “01 Apple”, “AA Apple”) Model's names or other identifications (eg., “Cynthia Eating an Apple”) Characters from a non-Western alphabet (eg., “Синтия Рестораны Apple”) |