brian yarvin

<p>I think the first owner and how they used it will make much more difference. Nothing in the way Hasselblad has built their cameras compares with the sorts of uses that we photographers have put their gear through.</p>

<p>Wonderful! A very special camera body with an amazing and unique image quality. I'm looking forward to more reports from you!</p>

<p>I too, hate these stories. But here we go ... who's right legally? You'll need two lawyers, and a judge to figure that one out, and expert witnesses for both sides too. It's a big deal to find out. Who's right ethically? To my mind none of them. In the several decades I spent in the NYC photo world, I saw hundreds of trade shoots between models and photographers but never heard anybody talk this way.<br> Keep us posted, I really want to know how these things go. Tales like this one make me very curious.</p>

<p>I haven't seen many of these comments myself, but I have seen many services that do just this. I have no idea how many still exist and cannot remember any names.</p>

<p>Thank you Laura!</p> <p>I should have said New Jersey Turnpike south to I-78 West. I was so excited about the thought of a trip down there (and I was there not too long ago) that I slipped a bit!</p>

<p>Hi, It's at least a ten hour drive from New York City to the beginning of the Blue Ridge Parkway and a fourteen hour drive back. The route is simple enough; I-78 south from the New Jersey Turnpike until it merges with I-81 near Harrisburg, PA, then south on I-81. 81 parallels the parkway closely so you can just hop over when you're ready. However ... I would suggest that instead you begin your photography and scenic driving at the north end of Skyline Drive, it's many hours closer to NYC (by the same route) and offers the same great landscape. </p> <p>On the way, I would suggest you visit my own home turf; Lancaster County, Pennsylvania. It's known for it's pastoral farm landscapes and many Amish residents. To get here, exit I-78 at Route 501 south. You'll be in farm country within minutes.</p> <p>My only gear suggestion is to make sure you have a car charger for those batteries.</p> <p>Have a wonderful trip!</p>

<p>JD, thank you for the kind words and have a great shooting day.</p>

<p>I don't do microstock alongside Alamy because Alamy gets better prices and requires less non-photography effort. I save my remaining energy for the big guns. In photography, you go big or go home.</p>

<p>David, I just want to clarify one point; you state that "Lawyers don't work for free." But this isn't always correct - in this case, the OP has a chance at free representation though an organization that offers legal representation to creative professionals. Sometimes it will be because they will deem you as a sort of charity case, but far more often, your case will be handled by a law professor who'll use the specifics to teach future IP lawyers. You'll be amazed by what's out there for free.</p>

<p>You're welcome! Keep us posted and tell us how it goes. I wish you the best of luck, I know how these letters can be very upsetting.</p>

<p>Okay, I suggest you make this group your next stop. People there will know exactly what to do and how to go about doing it.</p> <p>https://vlany.org/</p>

<p>(and since when does a yoga instructor, not a model or actor, have a talent agency?)<br> Craig, I think that this is just as good a question as the one that began the thread and I actually have a better answer for it than I thought I would. If a yoga instructor (or anybody else) is seeking to appear in media, they're likely to have a talent agent. If their goal is to host a TV show, they're even more likely to have one. Many well-known chefs (for example) have talent agents and it wouldn't surprise me if others craftspeople did too. In today's world, it's easy to imagine yoga instructors ambitious enough to want their own programs and agents who'll back them up.</p>

<p>Matt, without knowing where you are, we can't even answer that basic question - the proceedings in big markets and small markets are really different, as are the huge differences in the way these documents and events are seen by courts in different states and countries. The best possible outcome? The lawyers negotiate without telling you what they said, you wind up with the yoga instructor and talent agency as lifelong clients because of your professional response, and the firm the lawyer works for likes you so much that they hire you to do the headshots for their website. It may not work out that way, but that's the goal.</p>

<p>You are asking photographers for legal advice! Not the best source. If you're in the USA, contact the Lawyers for the Arts organization or the bar association in your state, find a lawyer that knows the photo business, and get a proper opinion. Otherwise, there will be a similar organization. </p> <p>As a photographer, I recommend that you tell the lawyer you hire that you want to be on good terms with both the yoga instructor and the talent agency when it's over - and then stay out of it and let the pros negotiate.</p>

<p>Gary, if you shot in raw, you should also check your processing software. Something could be wrong there too. No matter what the case, serious detective work is in order here!</p>

<p>There is more out there these days. This is one company I know about:</p> <p>http://www.largesense.com/</p> <p>Are there more?</p>

<p>Eric, Alamy may not ask for ID at signup, but they require it at a later point. You won't get paid without giving bank details for example.</p>

<p>It's an interesting story, but nowhere as interesting as the ocean of rumors surging across the internet today.</p>

<p>Sure, many of the parking areas on Seven Lakes Drive in Harriman State Park will do the job. It's not the best, but for the New York Area, it's pretty amazing.</p>

<p>Wow. View camera portraiture. Once one of the most important genres of professional photography - I'm delighted to see somebody trying to keep it alive! However, as somebody who did such work back in the dark ages, it's my opinion that this just isn't the right camera. The meter is perfect for calculating extension factors for extreme closeups, but a simple modern flash meter will do a better job with portraits. Same with the lenses, those fancy shutters won't be as good for your work as plain old compurs that sync at 1/500th. </p> <p>BTW ... because of the huge magnification, your portrait subjects will be anything but still, even though they may seem so when shooting in digital or 35mm. It's a whole new old world and I'm a bit jealous!</p>

<p>It doesn't sound like your problem is your back - more likely, it's the natural inconsistency of camera gear in general. Years ago, professional photography textbooks were filled with methods for calibrating gear and making sure it all worked as one. </p> <p>If you wish to take a page from those days, choose one light meter, make it your reference standard, and adjust the iso to compensate for each piece of gear. Do NOT ever use a camera as a light meter. It has all sorts of internal compensations for these variations and you'll just be starting farther away from where you want to be.</p> <p>My current gear (Canon and Sony) is far more consistent from frame to frame than film ever was, but is no more consistent from camera and/or lens to camera.<br> <br />Does anybody besides me remember using a gray card?</p>

<p>Josh, Model Mayhem has a pretty good list of rental studios. Big markets like New York and London have their own resources (and play by their own rules). As for contacting models, simply write, speak and act like a gentleman and clearly describe the shoots you have in mind. Every model and every stylist (and every studio) will have their own way of interpreting and will ask follow-up questions. Always treat these responses positively, take a deep breath, and put on your biggest smile.</p>

<p>I don't dare answer the first questions - you'd need a lawyer to get the real story and even then, different lawyers might offer very different opinions.</p> <p>However, question #3 is easy. With a bit of planning, you can book studios anywhere in the world. Many will also be able to introduce you to stylists and other resources too. Back in the days when I did this myself, it was always a thrill to walk into a studio in a new place and be welcomed.</p>

<p>Sylvain, when it comes to these internet photo discussion groups, you'll hear lots of negativity. Be wary.There is plenty of business out there, it just takes skills and marketing to get it.<br> That being said, there is no way to know how you'll fare as a professional from the portfolio you've linked to. You'll need to show a strong specialty and even stronger lighting and production skills. (I'm not saying you don't have them, I'm saying that you need to be really strong in at least one specialty.)<br> Finally, when you're a professional working for commercial clients, the only equipment that really counts is your lighting gear. I have seen dozens of people fail because they blew every last penny on fancy lenses and couldn't buy the basic lighting they needed to deliver the goods.</p>

<p>All of these companies have extensive websites with all sorts of information. PhaseOne, Mamiya and Leaf are all one company. Many of the etc ... firms are really small and sell only a few dozen units a year. Here in the States, you have to buy them through specialized pro studio gear dealers.</p>