jpb

In my opinion, a true

professional is able to use all

industry standard equipment and

options for their given subject

matter or style and needs to know

how and when to apply and modify

each skill to its best advantage.

If you plan a natural light shoot

and then the natural light

doesn't accomodate you, the only

way to guarantee results for your

client is the improvise like a

master.

Neutral density (ND) gels. Look at what Rosco or Lee

filters offers. No need to neutralize the entire softbox,

just cover the flashtube (without letting the gel

contact it). If you want to shape the light while cutting

it you can use cinefoil for the same effect as your

garbage bags but without the color cast.

 

Good luck,

James

<p>Rick M offers good advice here.</p>

Even if you just bring a laptop or a smartphone

preloaded with an image gallery, that might be

useful. Anything you can offer that shows how you

have thought about the work you'd like to do with

them should help. maybe even just sketches of some ideas you may already have.

<p>I personally like a printed portfolio, because it shows how something looks in print, which is harder to achieve good results (shows more technical proficiency), then digital display. But if you're in a pinch, just load a nicely organized gallery onto an iPad and hope that it will suffice.<br /> <br /> Ask questions after telling them briefly what you'd like to accomplish. Don't pay them anything - be wary of solicitations. Don't bring EQ.<br /> <br /> Good luck.</p>

Lastly, do not plan to use the images you shoot while working for somebody else

unless they explicitly say it is OK. I would not consider assisting or second shooting

as a way to quickly develop your portfolio, but rather as a way to properly learn how

to be a photographer, before you venture out on your own.

Search the internet for photographers in your

area that you would like to assist. Email them

humbly and enthusiastically, highlighting your

personal strengths, and ask to assist them. Show

up on time, pay attention, and question no

professional task that they assign you until you

have gained enough confidence to know where

you're heading.

 

Also, learn how to put an invoice together and

research what the standard day rates in your area

are for assisting. Some people may advise you to

work a few free days here and there in order to

gain some initial experience, but that is up to you

- just don't do it more than a few times or more

than once for the same person. Assisting is about

learning how to become a photographer, which

means running a proper business, and treating

your assisting work as such will prepare you for

the future.

... and you have a signed model release permitting you to license the likeness of your client's child, right?

...<div></div>

...<div></div>

Lucky for me, I'm not smart enough to be an astronaut... poor guy.<div></div>

<p>Remember also, there are many different formats that can be used for resumes. Often, particular industries expect resumes to be formatted within a certain industry standard. So, for example, a programmer's resume might look strikingly similar to another programmer's, even if they have fundamentally different experiences. </p>

<p>My suggestion is to take a break from writing and look at a very general selection of resumes, ranging from a programmer's resume, to a magazine editor's, to a CEO's, to a photographer's, and everything in between. Because you are trying to create a non-standard document, which might not fit the standard for how such information is normally formatted, you might be feeling stuck because the format to which you are accustomed is too rigid to really express what's important to the readership you are currently addressing.</p>

<p>There are tons of pitfalls in mailing a resume, and often they can result from constructing the document in the wrong order or becoming trapped in the mechanics of layout. I obviously don't know your workflow for this kind of project or your experience, but if you find yourself simultaneously editing text and changing layout, I'd suggest you forget the layout aspect of this project until you have every bit of content (text) finished. This might make it less stressful.</p>

<p>Think about your past experience and how you can relate it to your current goals. Even if they seem entirely distinct, they are not, because it is the sum of all of your experiences that have determined your current ambitions, whether directly or tangentially.<br /> <br /> Part of gaining experience as a photographer is exercising your creative instincts, even in a photojournalistic setting, so the schools might be more interested in how you express and adapt your prior experience in terms of your current mission.<br /> <br /> For example, I use to be a mechanic for ultramarathon bicycle races, which might seem to have no relation to my career as a professional photographer. But, in fact, it was that experience that taught me how to work unusually long hours in perilous situations and remain focused, which is something that comes in very handy with my photography work.<br /> <br /> Another example, I use to be a departmental manager at a major university, which, again, seems to have no relation to my current job. But, in fact, it is that experience that gives me a great foundation for managing teams, which is not entirely different than my needs to manage a photo crew on set.</p>

<p>I hope this helps.</p>

<p>Edison Type, meaning like a screw in light bulb... there are other connection type as well. Just go to B&H or Adorama websites and search "AC Slave" or "AC Strobe." Good luck!</p>

<p>Each type of camera serves its ideal purpose well and also leaves room for improvement and competition. Medium format backs are up to 80 megapixels these days (Leaf, PhaseOne), well beyond 40, so they seem to be keeping pace just fine.</p>

<p>Keith Reeder, not sure I get your point about different people shooting different subjects. To each his own - but directing models on location and getting the shots you (or your clients) need - no matter how stationary and posed things need to be - can be just as challenging to get right as any other subject matter, if done properly. I understand you dislike Omega's example, but you also seem to disdain the entire concept of producing or composing a shot with strategic forethought, which is the skill that has pretty much sustained photography as a viable career since the beginning. Gorgeous owl, but the way, I'm sure you smiled after capturing that.</p>

<p>JDM von Weinberg, I'm not sure if I should believe your story because I've never heard of a Labrador Retriever puppy getting excited. :)</p>

<p>Instead of lighting the object directly, why not try lighting strategically placed bounce cards: white for key and fill, silver for specularity (which my spell check suggests is not a word, but I'll insist otherwise), and black for negative fill?</p>

<p>I am working on a fiber optic set up now and am in post-production with the initial test images... looking hopeful...</p>

<p>In my opinion, a ring light is very useful for certain applications, but it's limited in the angles of creative lighting it allows. The angle it's best at is a hard one to sculpt.</p>

<p>Another idea I've toyed with is to slave a bunch of Edison type AC Slaves and snake them onto my sets with extension cords and household lamp sockets. You could trigger them any number of ways and they are cheap enough to have a bunch and come in various small sizes from what I've seen. I've never really messed around with low-budget strobes like AC slaves, but for detailed macro work, I've recently considered it on a whim... </p>

<p>I am glad that this thread has taken a direction that could actually lead to some meetings. If there ever is a convention or conclave, I'd hope for an invitation.</p>

<p>Lex Wrote:<br>

"...Photo Camel..."<br>

o.O<br>

¯\(°_o)/¯</p>

<p>Please excuse, I meant how many Photo.net members do you know? Yes, I asked over on PhotoCamel too becasue I'm interested in how both communities are similar and how they are different.</p>

<p> </p>

<p>Out of curiosity, how many Photo Camel members to do actually know, in person? <br /> <br /> Have you met any for coffee to become acquainted through these forums? <br /> <br /> Have you collaborated with other members on projects? <br /> <br /> Did you know them before you connected on this forum or was this forum the impetus for establishing your relationship?</p>

<p>Hello Jose,</p>

<p>Just a brief note, because I feel bad that you might be feeling ignored here...</p>

<p>Firstly, welcome to NY! It is a tough city to live in, but the rewards are worth it. It sounds like you have the skills and attitude required to achieve your goals here, but as you may have discovered, Photo.net is not necessarily the best place to drum up such work. </p>

<p>As an experienced photo assistant, I have spent years working with wonderful photographers on commercial, editorial, corporate, and event shoots. So, I'd be happy to help you brainstorm a marketing plan and you may feel free to get in touch with me directly if you'd like to start a discussion.</p>

<p>If I were in your position, I would start by building a very simple webpage that highlights your attributes, and include a resume there too. Then, you'll have somewhere to point prospective clients. Then, spend some time doing research to find the photographers you most want to work with and make a list. In this area, you will find literally thousands of photographers in working various genres. It will take patience and persistence to reach out the as many as possible, but if you do it right, you can make a viable living and build a very reliable client base that will keep you busy year-round.</p>

<p>Make sure your email really sets you apart from your competition. You have language skills, photographic experience, and I am sure you also have other unique or unusual skills that others could not claim. Keep your email brief, but be sure to include your vital information. Also, it would be wise to have a very objective person edit your email to be sure there is not a single typo, awkward phrase, etc.</p>

<p>It can be tedious work at times - I have spent many 18 hours days doing nothing but sending email after email. Realistically, you might expect it to take 3-6 months before you have a critical mass of contacts that starts to really pay off.</p>

<p>I am sure you will find a lot of conflicting advice and ideas out there, but the system I developed for myself truly did work for me, so if I can help you fill in the blanks and make it work for you, I'd be happy to.</p>

<p>You may contact me directly through this website and you can also find my contact information on my own website at jamesburgrDOTcom</p>

<p>Best of luck!<br>

James</p>

<p> </p>

<p>OH, WHOOPS! I have a 410, not a 405... always get those two models numbers mixed up... Thanks for your input. Am waiting for a response from Manfrotto and will just hope mine was an aberration.</p>

<p>I purchased a Manfrotto 405 tripod head just over a year ago and have used it only a few times. Recently, I found that one of the rubber knob covers seems to have split, possibly because of a manufacturing defect.</p>

<p>Referring to the snapshot below, have any other users of this head experienced similar issues?</p>

<p>I'm just trying to determine if this is a common problem with this model. I can replace the part, but want to know if I should expect it to happen again.</p>

<p><img src="www.jamesburger.com/new/20121204_225334.jpg" alt="" /></p>

<div></div>

<div></div>

<p>Most young girls love Serendipity, for exercising the sweet tooth:<br>

http://www.serendipity3.com/</p>

<p>Maybe this list will also help:<br /> http://nymag.com/urban/guides/family/food/listings/manhattan1.htm</p>

<p>In taking an image from raw to print, formerly, I relied on lesser raw processing programs and then would perform the vast majority of my post-processing in Photoshop. It was easy to sense the limits of something like Adobe Raw or DPP and know when I had taken the raw file as far as I could in the first level of retouching (global exposure, global color correction, basic crop correction, etc.).</p>

<p>Once I was done with my raw file, I'd convert to tiff and begin the next level of postproduction in Photoshop, where I performed all my local adjustments, dusting, compositing, sizing, sharpening, and all sorts of other fine tuning.</p>

<p>Recently, I started to use Capture One. In a word, it is AMAZING. Aside from a having to learn new keyboard shortcuts and not yet fully understanding its capabilities, it is a total pleasure to use. </p>

<p>I am having one distinct problem, though - one of a conceptual nature. The program is so powerful and has so much overlap with Photoshop (for example, local adjustments, insanely precise color/tone correction, perspective correction, cloning, etc). So, now I can no longer clearly sense when the image has gotten everything it can get out of raw processing, so I hesitate to process out a tiff and bring it to Photoshop, always wondering if I could have done more in the raw file.</p>

<p>Don't get me wrong, this is a good problem to have, because I can spend less time in Photoshop making massive retouches to a raw file and building it into a multi-layered behemoth.</p>

<p>But I'm just curious about the experiences and inner monologues of other Capture One users experiences? When do you know in your heart and soul that a Raw file is ready to bring into Photoshop?</p>

<p>I'm in danger of getting a lot of advice and sympathy here, I know. I understand that the answers to my pondering will also come with time, when I know the application more intimately.</p>

<p>But I'm not looking for advice or to solve a problem. I just want to know how people feel about the relationship of Capture One to Photoshop and how it plays into their particular workflow?</p>

<p>Thanks!</p>