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regan_wood

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  1. <p>Really? Ugh, I've lost out on two jobs this week for being too high, so I'm feeling a little gun shy. It will be only the second time the firm has hired a photographer--the first they flew in from Miami and were unhappy with the results. Thanks for the input!</p>
  2. <p>Good evening!<br> I'm looking for some feedback on pricing a job here in NYC. A boutique hedge fund is looking for 15 environmental portraits of its team (two locations/set ups) and then candid-feeling reportage/lifestyle shots in 2-3 set ups around the office.<br> I'm kinda clear on the portraits as I'm thinking $150 per subject, but I'm not sure how to price the reportage shots. A day rate/creative fee plus a fee per select? Or a flat creative fee to include a set amount of selects and then an a la carte fee for add'l selects? For example $1850 to include four selects and then $350 per add'l. So, the estimate would be something like:</p> <ul> <li>$1850 for combined creative fee/licensing</li> <li>$2250 for 15 portraits</li> <li>$250 equipment</li> <li>$350 for assistant</li> <li>$4700 TOTAL</li> </ul> <p>Anyone out there have an opinion? Would love to hear from anyone with corporate experience. Thanks!</p>
  3. <p>Hello Wyatt. Congrats on striking out on your own! Pricing is so confusing and complicated. In addition to what William said, one should also consider the value of the photos--who's going to see them, how they're going to be used, how much money is going to be made off of them, etc. I find the Getty pricing calculator really helpful (http://www.gettyimages.com/purchase/price-calculator/sb10069475ab-001) as a starting point or reference point. It always seems a little high, so I scale it down to the size of the company I'm shooting for, but it sounds like you'll be shooting for a big company.<br> Something else I did when I started getting really busy was created a spreadsheet that tracked per job: time traveling, time shooting, time editing, final shots selected by client and the rate getting paid minus expenses. At the bottom of each column I had a running average which gave me a very clear idea of how much I was getting paid per image and per hour. Now that I'm clear on that, I'm clearer on when I'm getting underpaid and when to say no.</p>
  4. <p>Mark, that's my general understanding of the law from reading about it, school and lawyers. I haven't read about those specific cases, so feel free to pass along. But a quick Google search found info on PDN and ASMP talking about the problem of using street photographs on covers of books versus inside. Here's a start: https://asmp.org/tutorials/frequently-asked-questions-about-releases.html#.V1ZAVZMrI60</p>
  5. <p>In the US you can't use a person's image to sell a product without a model release. Your cards broke the law. Now, regarding art books and the use of street photography within those...the images contained inside the book are considered art and exempt but the image on the cover--the image presumably used to sell the book--needs a release. An image hanging in a gallery or museum, no release. An image for an ad, for cards, etc, needs a release. </p>
  6. <p>I create my proposals as basically contracts that include every. single. detail. such as rate, required deposit, how I'll deliver the images, when I'll deliver them, usage/licensing, how much retouching is included and how much I'll charge for add'l retouching. If it's approved, they sign it and send back and then I immediately invoice for the deposit. I don't hold the shoot date until I get the deposit and I say that in the communication as well as in the contract. I like to use Getty's image price calculator as a launching point and tweak it to the specific job: http://www.gettyimages.com/purchase/price-calculator/sb10069475ab-001. Also, I find the Pricing and Negotiating series on aphotoeditor.com indispensable both when coming up with rates and creating the language of my contracts: http://aphotoeditor.com/category/pricing-negotiating/. <br> Good luck!</p>
  7. <p>I wanted to post a follow-up in case anyone else comes across this thread for help. I ended up getting a giant collapsible background that is black/white and it worked beautifully. Collapses to a convenient size and large enough to flag light from large windows. Here it is: http://www.amazon.com/Impact-Collapsible-Background-Black-White/dp/B0053EBFBQ?ie=UTF8&psc=1&redirect=true&ref_=oh_aui_detailpage_o00_s01</p>
  8. <p>Great ideas, everyone. I love using foamcore in studio situations, but yes, the portability is an issue not to mention storage in tiny NYC apartments! I'll look at the reflector options. Thanks all!</p>
  9. <p>Hello fellow photographers. I'm hoping you can help me add to my grip equipment. I'm an interiors photographer and I'm looking (hopefully) for ONE contraption that will a) flag unwanted light and glare when I need it without totally blocking it out and b) bounce or fill when I need it. I shoot large homes, so it has to be sizable and I would love something portable. Some ideas I've had: bringing black and white canvas backdrops and hanging them on pole system, giant reversible bounce cards or collapsible reflectors, Scrim Jims, etc.<br> Would love to know your thoughts. Would love to have one thing that's easy to bring along and will serve a couple purposes. I hate TONS of gear. Thank you for your time!</p>
  10. <p>Thanks for answering, guys. t's Neewer from Amazon. It does have a hook but it's not deep/big enough to hold my camera bag. It seems to me that the problem isn't only the lightness but the narrow circumference of the the four-part telescoping legs. It folds up to be quite small which makes the bottom two segments quite slim. That seems to affect the stability...they seem flexy. Whereas on a 2-3 part leg, the circumference on many is thicker. I shoot mostly interiors but sometimes exteriors and this is where I saw the vibration. I wanted a lighter weight because I frequently bike my gear around the city or carry it on transit and walking throughout NYC. For now, it'll work. Thanks for all the awesome input! Sounds like splurging on a Gitzo wouldn't solve the problem.</p>
  11. <p>Hello all. I recently bought a carbon fiber tripod that is deliciously lightweight especially compared to my old aluminum one. Problem is I notice some shake in some of my photos especially if used outside and there's wind. I didn't have this problem with my heavy one of course. Is this common with lighter weight tripods? Would a stone bag with some weight in it help? Is the only solution to bite the bullet and spend big money on a Gitzo? Would love some feedback on how to stabilize my current or spend only a bit more (under $250 pref for legs only) to get stability AND light weight. Thank you!</p>
  12. <p>Hi everyone. I would love feedback from experienced hospitality and interiors photographers about pricing. An int'l hotel chain has asked me to submit a proposal to photograph a new property of theirs in the US. Five interior shots only for digital and print marketing and collateral. I have a ton of interiors and architecture experience, but hospitality would be new for me. The usage is more than I've dealt with, so anyone have any thoughts around pricing? Thinking in the $3500-4500 range. Thoughts? </p>
  13. <p>Hi all. Is it legal to shoot the exterior of someone's home if the photographer is standing on public property i.e. the street? What if some of the interior is visible through the window? Thank you !</p>
  14. <p>Hi All! Wow, so many great responses. I'm only replying now bc for some reason I didn't get any alerts that I was getting responses. I do already back up onto an external drive. So, I want an off-site tertiary backup. And I'm about to hit the road and will have a lot of editing to do while traveling, so I want to access my files while I'm gone. Going to also put them onto a jump drive--it's three shoots. Going to try iDrive for now. Fingers crossed! Thanks again.</p>
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