greg jansen

Put it in the lesson learned department. The kind of thing they don't teach you in school.

 

Your situation reminds me of the first time I shot a school event in hopes of selling instant prints to the couples attending The person in charge told me I could expect to sell 200 or so prints, at $15 a 5x7. I think I walked out with about $300, a tenth of what I expected. Now I charge by the event, and base the print cost on the number of attendees.

 

I won't do a pay-per-print event unless I get a minimum of $500 "location charge" which will at least cover my expenses of set-up, teardown, and a few hours of my time. Haven't lost money on an event like that since.

 

Learn from your mistakes, and don't be afraid to make them.

I have an old Norita 6x6 slr loaded with Portra 160 NC.

No amount of Photoshop can give the look that that does. It has a 80mm f2 lens with just the right amount of contrast and softness to it.

 

Sometimes I use a 35mm point-and-shoot loaded with infrared B&W.

Strobist has a lot of info, but the basics are no modifier is best for every situation.

 

Ceiling height, distance from subject, and camera settings all affect the outcome.

 

Some are better close-up, some better far away, some better with tall ceilings, etc. etc.

 

First test would be to look at what distance you typically are from your subject. If 85% of the time you are indoors and 8' from your subject, then I would look for a modifier that works best in that setting. Check your camera settings, too. Do your tests at the normal settings you use indoors, be it 5.6, 30/sec, iso 800, 50mm, or whatever

 

After you master that, then learn what works best when you are closer or further away. You may find removing the modifier works best in certain situations, flipping it a certain way, whatever.

 

Lots of different situations. Don't expect to master the settings on your first run.

Crouching down another foot or so would have helped get more light under the eye sockets.

If you have a flash with a flip-up white card, like an SB800, then point the flash straight up at the ceiling, with the white card pulled out. In my experience it works better than any gizmo attached to the flash when you are close to the subject.

 

Doesn't work well for vertical shots- you need to find a wall or something to bounce off.

Got it.

 

In LR I was looking in the Develop module. Also, I was typing in EXIF in the help.

 

In the LIBRARY module under Metadata is the selection "Edit Capture Time."

 

Duh.

 

It's one of those menu items I have probably glanced over a hundred times, but never read.

 

It allows you to adjust all by a set amount of time (to compensate for daylights savings time for instance), or change the date. Nice.

 

Changes cannot be undone it says. Best to try it on copied files first.

 

Thanks for all the help everyone.

Hi

 

I shot an event with two different Nikons, a D200 and a D3. My assistan's camera

was set to an hour off.

 

I can sort the images by the forder prefix to seperate out the two cameras.

 

How can I change the D200 image Exif data up an hour?

 

I have LR, CS3, Nikon View.

 

The main thing I want to avoid is going through each file and changing the info

idividually- there are about 500 images I need to change the time on (so I can sort

both camera's files together chronologically).

 

A search on Photo.net just came up with some complicated DOS type programs

for very computer savy people.

 

I use Windows XP.

 

Any help would be appreciated!

 

 

Thanks

 

 

Greg

Use a thin black marker on the glass. You can always rub it off later. Be sure to mark vertical and horizontal markings. Some art stores carry a roll of super thin black tape, in different millimeter widths.

Use ISO 800 when you are at the long end of your telephoto lens indoors. That would have kept you at 125, not 60.

 

Don't worry about the grain so much. Most better cameras preform fine at 800. Better to get a nice, balanced, sharp photo.

 

If you don't want to use 800, then try to get closer to your subject and not use a telephoto lens.

 

The basic guidlines for lens length/shutter speed apply. The rule of thumb is to use a shutter speed about the length of your lens or faster. I have found you can cheat on that a bit.

 

So if you were at 200mm, the rule says to use 200 sec (250) or faster. You found 125 worked, but anything below that got blurry from camera shake. 125=no shake, but underexposed background. Shoot at 800 and you bring the background up a stop (so the 125 @800 shot will look like the 400 @60 shot in the background).

 

Other option is to move closer and not zoom so much. If you backed off on the zoom a bit, say 125 or 150mm, and walked a few steps closer if possible, then chances are you could have shot it at 60 and 400 ISO like you wanted to. Less zoom=less camera shake. The more you zoom, the faster the shutter speed you need to avoid blur.

 

If bouncing is not working at a location, then don't bounce. Sometimes NOT bouncing is a good idea. If there is all sorts of mixed lighting, I.E. some flourecants, skylights, etc. pointing the flash straight at the subject will overpower all the mixed lighting and give you a nice consistant color temp in the shots as the subject moves from one style of light to another.

 

You want to have enough background light (controlled by shutter speed) to blend with the on camera flash so it doesn't look so direct. I sometimes point the flash straight on the subject, but dial it down (the flash output) a stop or two. Helps avoid mixed lighting messes.

I like casual groupings, but if you just let the groomsmen fall into place on their own, the shot gets a bit too wide.

 

Try this for a casual yet controlled shot of them all.

 

Pick the spot in the pub you want to shoot them. Set your camera. Tell them all to gather around, no particular order, but also tell them they can't go any wider than your outstreched arms (stretch your arms out). It forces them to get close, some will natually kneel or sit on the floor, some may sit on a table, whatever. Let them do what they want, as long as they are in the space you dictate. You will find they will naturally fall into a nice arrangement, without any coaxing on your part.

 

Now do the same, but a different part of the pub, or maybe outside the pub. You can rattle off a bunch of different groupings in a matter of minutes. You have to know your camera well, and have it set up BEFORE you call them to gather around. If you spend just a few seconds ffddling with your camera after they are in place, the natural expressions will fade some. Have fun with them and be in charge.

$300 for a hour shooting and postproduction. If you do it again and the client wants all sorts of outfit changes, add $200 for the next shooting hour.

 

Bill your client $150 plus the cost of the prints.

It's all about the lighting. Get them out of the harsh, contrasy sun, Try to look at the light BEFORE you take any pictures. Good lighting comes first, then work with the background.

 

TIme of day is going to have a lot to do with it. Try shooting late in the day, A good test of the light is to place one hand about 6 or 8" over your other hand. Look at the shadow it casts on your lower hand. Are the edges of the shadow crisp? If so, the sun is too harsh.

 

Try the same test on an overcast day. You will see the shadow edges cast are nice and soft. That's what you want. The camera can't handle extreme light and dark (sun and shadow) areas like in your posted shots. You need to eaither tone down the sun by using diffusers or waiting until it isn't so contrasty.

 

After you learn that you can play with how to add a bit of fill flash to lighten up the eyes.

 

ALl of this is just practice and trial and error.

 

After some practice you should be able to look at a scene with your eyes and tell if the light is too harsh or contrasty.

I'm a fan of using a portable battery powered off-camera strobe for weddings. Mainly for two things, formals at the altar (group shots), and sometimes for addtional fill on the dancefloor at receptions.

 

I have used Norman, Quantum, and Lumedyne.

 

They all get used basically the same way. Manual flash, good for lots of repeated firings.

 

For formals I always use a Wescott Halo. SImple and easy to set up. Nice one-light coverage for group shots.

 

I never carry the units. They are just too cumbersome. Always on a lightstand.

 

I prefer the Quantum. I use an older original model. What I like about the quantum over the others is that you have a ton of manual adjustments. With the Norman there is only three. 50, 100 and 200 WS. That's fine for most applications, but I like to fine-tune things a bit more sometimes. I also like that the Quantum has an audible "beep" when the flash fires. It's such a simple little feature, but I have become so accustomed to hearing it. Usually you can tell when a flash doesn't fire, even when you are rattling through the group shots, but with no beep after the shot you know for sure. It also has a long beep when it fires but not completely.

 

I also use the head extension for the Quantum. The base unit of the flash stays eye-level on the lightstand, and just the lightweight head is up high on the stand. Safer if you have the head way up and the stand falls over.

 

One more advantage is the Turbo battery (2+2 is great) can be used to give your on-camera flash quicker recycle. You just need the proper cable.

 

All three are good reliable systems, but my vote goes for the Quantum. They can be found used all over.

I really dobt you would be able to make any money shooting those kinds of parties. Most "parties" have very limited budgets, even ones in larger venues.

 

What you would gain is a portfolio of strong candid, night-life, people shots. The portfolio could be valuable to a rep or ad agency. They may hire you to do some similar shots.

 

There is a market, but a small one, for event photographers in the corporate world. Once you have a strong portfolio you could contact some of the better known event coordinators in Chicago. Chicago is a great market for corporate functions.

 

Larger companies frequently have sales meetings and events. Sometimes you'll be hired to shoot a boring meeting, an awards banquet, lots of handshake kinds of things, etc. Sometimes they have larger "wrap" parties after a few day conference.

 

There is some money in this type of shooting. Generally it is easy to quote, too. Just charge an hourly rate. Most companies just want a high-res disc after the event, or images FTP'd to their graphic design dept.

 

Part of the event shooting can be instant printing. You can charge a bit more for that. Generally you would charge a flat fee, and each couple at the company party, or each award receipiant would get a 5x7 in a nice folder.

 

So in answer to your question, yes, you can make money doing event photography, but the events are usually not too glamourous or exciting.

 

I find the corporate events I shoot a refreshing change from demanding corporate advertising shooting, or time-consuming wedding shooting.

 

The part I like best about the corporate events is when you're done, you're pretty much done. A quick edit, FTP the images, that's it. No nit-picking over images and cropping, etc. I never have trouble getting paid from the larger comppaine, either. Many times the event coordinator has a check in hand day of the event.

 

Once you are in good with a company, they keep calling you back. You are the photographer in their Rolodex. That's the best part. After a few years you can have a pretty good base of companies you shoot for, and they will call you for all their photo needs, many of which are repeat events every year.

expense. Typo.

"most used" is the key. I use a 28-70 2.8 90% of the time. For the 10% of the time I need wider, the Tokina is just great. Yes, it's F4, but so what? The difference between F4 and F2.8 is not that great. Even if I had a 2.8 super wide, I don't think I would shoot it at 2.8 more than 10% of the time. So, if you will only use the lens 10% of the time, and then at F2.8 10% of that time, then you really don't need a 2.8 and all the expence and weight that comes with it.

 

I find I like using the 12-24 at 5.6, super close to people during the reception dancing shots. Great stuff.

125 for me. Best looking stuff out there for natural looking people shots.

Take them off. Of course it all depends on what your contract with the employer states, but in MOST cases, if you are hired by someone or some company to take images for them, then THEY own the images and all rights to them. It is up to the owner of the images to determine when, where, and how they are used.

 

When my assistants take images at a shoot, my company owns the images. If they want to use some for their portfolio or website, permission is granted on a per image basis, after my review.

 

Most likely your boss was upset because you did not ask. Had you showed your boss the images you wanted to post, and how you were going to use them, he may have said yes. I don't blame him for having you take them down. Lesson learned.

 

Similarly, if I do a shoot for a company and they will own the images afterwards, they can do whatever they want with them. If they want to crop them, alter them, change the colors, whatever, that's fine with me. They paid for them and they own them. I have no say.

Having trouble with Quickbooks, or don't have a way to track your expenses?

 

I made a simple but comprehensive Excel spreadsheet geared towards a photo

business.

 

I had posted this last year, and have received a few more inquiries about it.

 

I have placed it online for all to download and... enjoy?

 

It has a page for each month, basic expense catagories, and a nice quarterly

and yearly summary page.

 

All you need to do is enter your expenses, and on the totals page, your revenue

data.

 

Feel free to download it and give it a try. You should be able to customize it

for your own needs.

 

Here is the link:

 

http://www.gregjansenphoto.com/excel/TEMPLATE-expenses.xls

Many reasons why you need insurance. It protects you company against claims by others, and it can also protect your equipment in case of theft or loss. Most major insurance companies offer small business insurance. Roughly $600 a year. Liability coverage is important. Say a guest trips over your lightstand, and the strobe falls and hits them on the head. If you have insurance you are protected. Some venues will insist on a certain amount of liability coverage before you can shoot there.

Nothing wrong with shooting film, either. It's easier, faster, looks great, and best of all, it's a real time saver. Once you find a good lab you should be able to get a good quantity discount. Give them a week to get your stuff done so they can print it during their downtime. They will appreciate the flexability. Work with them to get things printed how you like them, and they can dial in those settings whenever you drop off stuff.

 

Don't worry about too big of a file for the CD. The default Frontier size is about 4x6 at 300 dpi. Fine for up to 5x7. If customers want a larger size, say for a few select enlargements on the wall, have them bring in the negatives. Not a big deal.

 

Also, on an inkjet you can squeak the next highest size from those files. Almost all of the 4x6 size scans can be printed 8x10. Something about an inkjet printer that fills in the pixels a bit better than a lab printer.

Yes, film has a different look than digital. How the prints are processed gives two different looks too. An optical printer (which is going to be harder to find) does a great job with nice colors and not too punchy contrast. A digitial printer, one which scans the negative, converts it to digital, then prints from the digital info can give nice results too. The digital printer is more contrasty, but is more consistant with colors. The Fuji Frontier is a common machine. The digital printer can print a print number on the back of the prints, and save that number to cd. Very nice for keeping things organized.

 

Find out what type of printer your lab has. Shoot a test roll, one with some people in it, and have it sent to a lab that uses an optical printer, than one with a digital printer. Make sure you tell them not to cut the negs, it will be easier for them.

 

See which one you like.

 

With the better labs you should be able to telll them how you like things printed, i.e. more or less contrast or saturation, etc. The Frontier can print a B&W from a color negative that looks better than anything I've seen.

Try some real wide shots. If the sun is bright and contrasty, you usually can't get lots of background in the shot. If overcast, you can get distant backgrounds without fighting the contrast too much. There is a nice bridge where I live where you can get the cityscape in the background. If you shoot during a sunny day, eveything in the city shot is all washed out. Overcast, it looks great. So think distant backgrounds.

Lightimpressions has nice boxes and mats. I fit 12 in a box, and give the client a small holder to display a print. They can have one on the mantle and change it out every month. Nice alternative to an album for some clients. Make sure you get nice thick mats, and be sure to buy some kind of backing board.

Most laptops have a PCMCIA slot. There are adapters the flash card fits into, then into the PCMCIA slot. It think that's what it's called. I like it becuase there is no cord, like with a card reader.