tony_clark

<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>

<p>I used DPP for years with both shooting tethered and processing and I never cared for LR's interface. About six months ago, I switched to CaptureOne Pro and will never go back. I would suggest downloading the 30 day trials and compare for yourself. I don't believe the 5D is capable of tethered shooting, so you may need to upgrade to the 5DII for a backup body.</p>

If you don't believe in yourself, how can you expect anyone else to? Sometimes, you need some time away for you to rekindle the passion and discover a new style or refine what you've been doing.

The P67 Polaroid back does not have a dark slide so I considered it to be a permanent back. It is mounted on a modified P67 back with hinge, so it's not like a Hasselblad, Mamiya or Contax 645 back. Find yourself an old Pentax body and P67 Polaroid back and use it only for Polaroids. You will need to swap the lens back to the film body but that's simply how it's done. I went from the Pentax 67II to the RZ Pro and loved it until switching to digital.

<p>It contradicts what the Ringlight was designed to do. Check out their Softlight Reflector for the Righlight for a larger and softer light source.</p> <blockquote><a href="http://www.bhphotovideo.com/c/product/303445-REG/Profoto_100717_Wide_Soft_Reflector_for.html">http://www.bhphotovideo.com/c/product/303445-REG/Profoto_100717_Wide_Soft_Reflector_for.html</a></blockquote>

<p>Look at the front of the head with the reflector at position 5, there is not much more to hold onto. </p>

<p>At this point, both of you have handled the situation badly. It looks like the damage has been done and if she has commented to one potential client I would not refund a penny and I would tell her so. I'm sure that you've learned the value of a well written contract, securing a signed contract with retainer (because the word deposit suggests that it's refundable) and dealing with people in a timely manner. The damage has been done and she'll be making bad comments till she's blue in the face.</p>

<p>Ellis covered just about everything except for factoring in how the images are to be used and for how long. There is a big difference between Editorial (one time use) and Advertising and Marketing usage. I would nail down the usage before quoting a fee.</p>

<p>As a freelancer, a Work for Hire contract is unacceptable unless the fee is 3-5X the normal fee. I have had a number of times when a magazine has come back to me wanting to reuse an image for additional uses. They could potentially license your images back to the subject, his Publisher, a Sponsor for use in Advertising or any number of other applications. On the other hand, the images may only be used once but you never know at least you will profit if they are licensed. I would tell the magazine that WFH is the tipping point and see if they will edit it out, if not wish them luck and part ways because $800 is not that much money.</p>