tony_clark

<p>I still use a Compact 300ws along with my Acute2 1200ws kit without an issue. The use of hyper sync will cut the output by several stops but that is to be expected. As long as you have a back up flash tube you should get years usage out of it. I've only had to replace one tube in about twenty years but that was because of my own clumsiness.</p>

<p>Considering the location, the Industry the Client is in and the economy, I would think that $500 a person plus about $2500 for licensing would be where I'd quote. What about the time it takes to process, edit and deliver the images? The labs in my area (Atlanta) charge $75 an hour for editing, so I'd quote the same. Only you can determine your CODB and pricing to get the job and feel good about the fee. </p>

<p>The button is to reposition the handle. Simply turn the handle counter clockwise to loosen, place on light stand, position flash head and tighten securely.</p>

<p>I would certainly limit the usage to the list above, no Advertising or other applications without further compensation. Ellis has suggested a great resource in the Getty pricing guide. Let us know how it works out.</p>

<p>It would be easy to recover the highlights and bring up the shadows in CaptureOne Pro. I imagine it would be even better if you lit your subjects with a little flash.</p>

<p>I wil not format a card until it has been downloaded to the computer and then copied onto two separate hard drives. Besides, I cannot imagine a wifi connection fast enough to transmit to begin with without a lengthy delay. As it's already been pointed out, cards are cheap, quick to be replaced with little delay in shooting and pretty dependable.</p>

<p>I would agree with Michael, imagine if they line up 50 people on the first day and they expect you to shoot until the last one is shot. You will need to set limits to things like time spent on set, usage and term of use. Otherwise they may assume that they own the images and you for the day. You can get to the same number by charging a $1500 Creative Fee and $50 per person plus $750 for editing and delivery of images. Let us know how it works out, both negotiating and then the shoot.</p>

<p>There are always a couple Profoto 600/300ws Compacts on eBay for good prices. I have an Acute2 kit and just added a 300ws Compact which will get plenty of use. There is no reason to not take advantage of used gear as long as it's in good shape.</p>

<p>There is no shame in monolights. I own a Profoto Acute2 1200ws with three heads and have owned their Compact 600ws kit and D1 500ws monolights in the past. I'm always changing up my kits and think the D1's are great lights and durable. I may try to make the commitment and but a D1 again.</p>

<p>Curtis said internal and external marketing so I responded to his specs. I've shot People, Fashion, Food and other subjects, so I think that I have a decent knowledge of our Industry. Perhaps I would price myself out of this project but I wouldn't feel bad about it. Perhaps after a conversation with the Client, I would justify a slightly lower fee but I'm going by the original post.</p>

<p>It is depressing to read how little photographers regard their Intellectual Property. I would have the client commit to a specific number of images, say up to ten images and a fee of $1500 for use in Marketing for two years. I would shoot the event, focus on the manor in which the client will use them and deliver proofs for them to pick up to ten images for their application.<br>

Do we not understand that what we produce has value? Whether it's grip and grin, Marketing or Advertising, there is value. Do you think the client will receive free services from a Marketing Firm, Advertising Agency or freelancers? Otherwise, you are handing over their content for free.</p>

<p>I have no experience in this specific area so I'd suggest looking at a Stock Agency online calculator. I'd be charging a Creative Fee plus usage similar to the number that Getty Stock or other calculator. You are creating custom images and should price accordingly.</p>

<p>I haven't loaded an A12 back in a long time, have you mounted it on the body and try to advance it?</p>

I will start by stating that I've only shot six wedding back when I started my career back in '94. I am a Commercial

Photographer and I have a minimum fee in order to stay in business, time is very low on factors considered in pricing

projects. I would go with your Option 1 and tell them that you have quoted them your lowest priced package and cannot

beat that price no matter the time spent with them. Otherwise, they can apply the money toward another shoot.

<p>Pardon me, it's on the bottom right. I did not see how it was oriented in the picture.</p>

<p>It's on the top left of the monolight. Elinchrom sync cords screw into the head. You might want to go to their website and see if a manual is available.</p>

<p>I fell in love with the Elinchrom 74" Octa when I was assisting many years ago and bought one when I started making money. Fifteen years later, that Octa is gone and it's been replaced with the Elinchrom Rotolux 59" Indirect and I'm very happy with the results. I also bought a Profoto 5' Octa for a large shoot but it didn't produce the quality of light that the Elinchrom did, so I sold it not too long ago.<br>

I have recently purchased a Profoto 2x3' soft box to be used for a clients ongoing product project. I've added the soft grid for the Profoto and it does exactly what I want, it's all about having a style and picking equipment that achieves that look. I've used Profoto Acutes for twenty years because they suit my needs, the fact that I can use Elinchrom modifiers is a bonus.</p>

<p>A pretty girl, short by agency standards and the tattoos are a problem for Commercial and Fashion work. The pictures are dated but that could be the photographer that you work with.</p>

<p>I use the Elinchrom Indirect 150cm Octa with my Profoto Acute kit. I do remember an issue when trying to use it on a D1 monolight with glass dome attached, it would not fit in the speedring. I would check with your local Rental House to confirm compatibility.</p>

<p>The post on Rob's site is quite different than Daniel's project. A Pharmaceutical project should have a larger budget than a College or University but the line items could be a good example of what needs to be accounted for. Perhaps a search of his posts will bring up a similar job.</p>

<p>The creative fee is pretty straight forward but it's all about the licensing fee on a project like you've described. I would ask what is their budget for Media Buy for the campaign, two to three years? On a Commercial project, you can look for 3-5% of the total budget including Media Buy for your fee both photo and video. How you divid it is between you and your partners. Is it a State or Private College? Is it a bid situation or are you the only party they are talking to? I would certainly keep the video and photo separate unless you'll be splitting it equally. As a side note, I hope that you have a written document covering your business arraignment with your friends or it could turn ugly later. </p>

<p><strong>I try to keep it as light as possible but some projects require more gear, flexibility is a must. I normally utilize natural light but when I need the Profoto Acute2 kit and a Profoto monolight, I include the Profoto Trolly case. I don't shoot flash with my largest client, so I take the Tenba grip, tripod cases, backpack, monitor case and a set of wheels. If I drove a SUV, I'd buy a Multicart but don't have the room right now.</strong></p><div></div>

I carried mine in a Lightware Multi Case when I owned one but would opt for a large Tenba backpack now. My Tenba has

wheels and a retractable handle which would work well with such a heavy kit.

<p>No I just can't carry more equipments for now. Wrong? Give me a break.<br>

Because Michael offered knowledge and you responded with a snarky comment. How can a broken down soft box be too large to transport? It's about the same size as an umbrella and would easily fit in a Profoto D1 monolight case. Add a set of wheels and you just pull it all. How long have you been shooting?</p>

<p>You should actually look at how a soft box is broken down, then apologize to Michael.</p>