Commercial Shoot Advice

[bethtphotos]

<p>I've got a commercial photo shoot this week, and the client has asked me for industrial shots with no "feel" to them. Straightforward shots. He's also asked that I bring my laptop so he can view the photos as we take them so that he can be sure I've got the right angle, color, clarity that he wants. <br>

How do commercial artists do this? Do I take a round of shots, then transfer the images to the computer for viewing, or do I just cable my camera to the laptop, & view using Windows Picture Viewer to see what his thoughts are? <br>

I've never done this before, & want to be smooth in front of my client, so any advice & recommendations about commercial photo shoots are welcome (this is only my 2nd gig, so I can imagine that there's a lot that I don't know).</p>

<p> </p>

[garry edwards]

<p>The way I do it is to tether the camera to the computer, so that lighting, focus, composition and exposure can be checked. That way, everyone knows that the shot's acceptable before moving on to the next one.<br>

This requires a camera that can shoot tethered, and the necessary software. I imagine that this is what your client expects.<br>

But I suppose that simply downloading a shot on to the laptop would be better than nothing</p>

[Matt Laur]

<p>Just because the client doesn't want an overtly "artsy" shot doesn't mean that you necessarily want to show them what comes right out of the camera (unless you're quite sure you can nail the exposure and composition, and the customer understands that there will likely be cropping and whatnot later).<br /><br />There's nothing wrong with tethered shooting, provided you have the equipment, software, and shooting circumstances to support it. The native Window image preview tools aren't necessarily the best way to go. You might want to just use a card reader, and rotate a couple of cards, dumping as you go ... and then use your normal workflow tools to show things the way you'd normally review them yourself. <br /><br />So... what camera are you using? What operating system on your laptop? What software do you use? Do you work in RAW files (as you likely should, for a commercial job)? <br /><br />What is the subject matter? Is this corporate employee head shots, or product shots, or office interior architecture... ? Will you be moving around with the camera, or working in one place?</p>

[bethtphotos]

<p>Thanks for the help, I appreciate it. Since I don't know how to "tether" I'm pretty certain I don't have the necessary equipment. <br>

The client wants to see the shots just to be certain that everything is the way he wants it in terms of lighting, setup & focus. <br>

I'm using a Pentax K10d, my laptop is a Dell with XP (though I usually do my post processing work on my Mac at the office) & in Photoshop. My XP has elements on it. The client understands that I'll be doing some post processing work at the office, but...<br>

I'm photographing glue...bottles & sticks of glue. Maybe a couple of hands holding the glue, but thats about it. The shoot will take place in the client's conference room, and I'll be bringing my strobes, flashes, and backdrops. I'll primarily be working in one place, & will have a tripod with me. I would probably shoot in RAW, but take a few test shots in JPEG to show him quickly if I use Elements to view the shots in. <br>

Now for the supreme stupid question (drum roll, please): card reader? special gadget to hook up to my computer? I can't believe I don't know this...</p>

[Matt Laur]

<p>Up at the top right of this screen, change the search widget's drop-down list to "Adorama Store" and then type in the phrase "card reader" for your search. You'll see plenty of examples at under $30. <br /><br />But if you need it this week, you can walk into ANY consumer electronics store (Best Buy, etc) and have your choice of several. You just plug them into a USB port on your computer, and then dock the memory card into it. You'll see it as a drive on your computer. Just remember to tell your computer to disconnect the card <em>before </em>you unplug it!</p>

[bill_mussett1]

<blockquote>

<p>"I've never done this before, & want to be smooth in front of my client..."</p>

</blockquote>

<p>My suggestion would be go with what you know and the workflow you are comfortable using. It sounds like you'll literally have the client looking over your shoulder; do you really need to be remembering how to do/use something new?<br>

Along with everything else, don't forget the power cord for your laptop! Good Luck!<br>

<br /></p>

<blockquote></blockquote>

[philfx]

<p>have him ship you the items . get as much info of what he wants. Do your thing and email him a few low res samples/options. This way you dont have to tell him to buzz off your back while working.</p>

[bethtphotos]

<p>Phil, that is exactly what I'd like to do, but as of yet I'm not in the position to assert myself with this client.<br>

Bill, thanks for the practical advice...going in with a flow that works for me will probably make me more confident, and my client will feel that. Power cord: check!<br>

Matt, thanks for all the input you've given me here & in my other thread. So much to learn! I also agree about not necessarily wanting to show my client all the straight off the camera shots...I'm not sure he understands about post processing at all, or my need for it.</p>

 

[michael del rossi photogra]

<p>Beth,<br>

Request samples of what they would like the photos to look like, tear sheets links to web pages etc… .<br>

You need to be upfront with your client.<br>

Let them know that you will need time to set up. When you have the first image you'll let them know so that they can direct you as necessary. <strong>Explain to them that you do not want to waste their time and that doing it this way will make the best use of everyones time and resesources.</strong> Clients appreciate that you respect their time.<br>

Days before the shoot go and buy a bottle and stick of glue (prefferably the clients product).<br>

Do a test shoot and make detailed notes of your set-up and camera settings. This way you'll be able to get most of the bugs out of the system. <strong>Bring these notes to the shoot.</strong><br>

link for tethered shooting:<a href="http://www.photo.net/pentax-camera-forum/00M6mX">Shooting a tethered K10D - Photo.net Pentax Forum</a><br>

Preperation is key. Being able to work under pressure (client breathing down your neck), is an abiltiy that some are born with but most have to learn. <b>Don't let them see you sweat! ;)</b><br>

good luck</p>

[patrick_f]

<p>Better question is did you price this correctly? </p>

[philfx]

<p>patrick ...:-)<br>

Beth, have you tried to let him know that before you do the shoot you want the product to setup and so forth?<br>

This way you address Del Rossi's good points. And once he sees your ability he might not even need to be present.</p>

[bethtphotos]

<p>Hi! I had the shoot today & it was a bit of a pressure cooker, but if I do say so myself I stood up under the pressure well...Michael: I keep repeating what you wrote "Don't let them see you sweat!" Though there was a lot to shoot & only a few hours to shoot it in, the mood was friendly, and light.<br>

The products were all ready for me in advance, & the ad agency guy (my boss, so to speak) had some comps worked up for me to work from...he let me use some creative license (and liked it) but also wanted what he wanted. <br>

In addition to the ad guy being present, the end clients kept coming in & out...interested in the "creative" process. There wasn't alot of creativity...just sterile, industrial shots of glue products. I'd shoot a series, then upload them & viewed them in PE so we could zoom in to guage clarity. The light was tricky as some of the products were packaged in plastic bags which reflected glare, but it worked out all right. At any rate, I got client approvals right away, and the ad guy was happy when we parted. Now I'll post process & send him the finals. I was concerned that my edges seemed a little "soft" even at a f/22, but I'm going to ask questions about that in another forum. :)<br>

Thanks to all of you for your help. It was huge. And Patrick, I charged a straight daily rate...but wish I'd bumped it up to cover the rum I bought after the shoot :)</p>

[michael del rossi photogra]

<p>Beth I'm glad it went well.<br>

Regarding ƒ22 and "a little soft" you may have hit the diffraction limit. Usually once you get to ƒ11 every thing starts to get a little soft. It has to do with the size of the sensor/film and the quality of the lens.<br>

If you were to shoot 4x5 or 8x10 ƒ22 would have not been a problem.<br>

Maybe renting a shift tilt lens, or a wider one and moving closer, need to see the setup.<br>

Post some of the shots I'm tired of looking at kids and kittens;)<br>

mdr</p>

[bethtphotos]

<p>Michael, I'll post a couple of pictures...one of the application process & one of one of the products. I used two lenses: one a f/1.4 50 mm, and one a f/3.5-5.6 50-200mm. The setup was nothing extravagant: just a white backdrop set behind a conference table in a teeny tiny conference room with overhead fluorescents & one square window at one end. I did bring two strobes with me, but didn't use them. I would have preferred to set up in my home studio because I have a tent type system set up there, but I did what they wanted.</p>

[bethtphotos]

<p>Michael, I'll post a couple of pictures...one of the application process & one of one of the products. I used two lenses: one a f/1.4 50 mm, and one a f/3.5-5.6 50-200mm. The setup was nothing extravagant: just a white backdrop set behind a conference table in a teeny tiny conference room with overhead fluorescents & one square window at one end. I did bring two strobes with me, but didn't use them. I would have preferred to set up in my home studio because I have a tent type system set up there, but I did what they wanted.</p><div></div>