brian.

<p>Invest in a lot of white paint.</p>

<p>John,<br>

The two examples you posted were cross-processed to get the color, not mixed light sources. If you want different colors in your shot from mixing light sources, you have to decide which one to balance to first. If you balance to daylight, your tungsten will be yellow/orange, and if you balance to tungsten your daylight will be blue. That's all there really is to it unless you are going to gel the lights for color. I guess I don't fully understand what you are after...</p>

<p>These gloves allow you to flip off the thumb and first fingertip for better control, they are fly fishing type gloves.<br>

http://www.basspro.com/webapp/wcs/stores/servlet/Product_10151_-1_10001_10203193_175008003_175000000_175008000?cmCat=CROSSSELL_PRODUCT</p>

<p>Flash exposure is also dependent on distance. Areas that are closer to the flash will always be brighter than areas farther away. My suggestions: get your exposure combination of shutter/aperture closer to the ambient only exposure, make the on camera flash less powerful, use a secondary flash through some diffusion to light up your background, record a frame with grey card/color chart for white balance and shoot raw. Hope this helps some.</p>

<p>I was amazed to find today (12/22/09 ) that my page at Zenfolio comes up <strong>number one</strong> for the generic term "<a rel="nofollow" href="http://harrington.zenfolio.com/" target="_blank">Photos for Sale</a> " on a Google Web search.<br>

Today (12/23/09) you are number seven after three sponsored links.<br>

Go figure... still pretty good though!</p>

<p>Postings like this are very difficult to answer properly. What kind of furniture are you photographing? Are they soft upholstered pieces or dark woods, shiny reflective pieces with glass tops, painted rustic pieces, or pieces with multiple components? You can't answer what kind of lighting you need without knowing these things. How are these furniture pieces going to look on the web? Are they going to be outline/strip-out shots, are they going to be shown in an environment, will they ever be used in printed pieces?</p>

 

<p>What market do you live in? Are there professional photographers working there? It's pretty simple really, find the type of pros you want to work for and contact them and let them know you want to assist.<br>

Oh, and by the way, the "business of photography" IS to make money. Good luck!</p>

<p>In Dallas, a commercial photo assistant's day rate is around $200.</p>

<p>Angie,<br>

When you have a job like this with so many shots to do, start with some simple math like Charles suggested. If you have 130 shots to do and you spend 10 minutes on each one (composing, tweaking the light, cleaning the product, shooting it, opening up the processed image, etc....) you are looking at 22 hours total. Now add to that delays, problems, tricky products requiring lighting changes, possible battery replacements, unforseen delays, and the "creative" shots that were requested, and lunch, a glass of water now and then, and restroom break... In other words, you are looking at a two or three day shoot depending how fast/competent you are at this type of shooting. Depending on your skill level and your market, I would suggest a day rate times the number of days you think it will take, plus expenses, plus post production time.</p>

<p>I'm with Daniel on this one.</p>

<p>Jared,<br>

I'm not sure you are going to like the look of an 8x12 in an 11x14 mat. That leaves you one inch border on top and bottom and only one and a half on the sides.</p>

<p>Place your copyright over the images on Flickr.</p>

<p>It's the dye.</p>

<p>You're going to need more power than 1320 ws. f22 depends also on your selected ISO, what you are shooting, the surrounding environment, whether you are going to incorporate some of the ambient into your exposure and so on.</p>

<p>What Tom said, plus have your SB600 flash gelled with at least a full CTO. Dial the power setting down and use it to fill in the details/balance out the ambient and the headlights. Good luck.</p>

<p>http://livebooks.com/<br>

See if these guys can help you.</p>

<p>You could try bringing 4x5 film acetates and slip the polaroid inside. Another idea is to leave the exposed polaroid inside it's sleeve and "process" it later. Make sure to write on the polaroid that it's exposed and what the subject is.</p>

<p>http://www.paperchase.net/</p>

<p>If you don't really have much sunlight, I would do as Matt suggested and use strobes through the windows to emulate sunlight. You could: put diffusion in the window and a strobe head with reflector outside it, light with one head behind a 2mx2m panel inside the room and a head with reflector also inside all from the same direction to look like sunlight. The attached sample of mine is lit entirely with strobes, no daylight. It is in the middle of a showroom. I used vellum, taped to the windows and two strobe heads with reflectors to shoot through them. A third head with reflector was inside to the left set to look like streaming sunlight. Again, if you don't have much real daylight in terms of value, then strobes will work.</p>

<div></div>

<p>Apple and/or it's advertising agency hired professional photographers, their crew, stylists, location scouts, models, make-up artists, wardrobe, and paid location fees to get these images. Yes, they look like "really good vacation photos", but that's what they were after. Good photographers get these kind of photos because they learned their craft, not because they have x camera, or y lens.</p>

<p>Will,<br>

I think your portfolio website is fine for a potential employer to see.</p>

<p>Will,<br>

The value of a printed portfolio is having something to look at and talk about when you interview in person. It allows you to talk about your work and allows them to ask questions about you, and your work, while they look at it. Personally I wouldn't stick a CD in my computer from an unknown person; too risky. A lot of people like being able to see your work online and can then bookmark it and send it along via e-mail to the appropriate people in their organization. I would recommend the combination of online portfolio and hard copy portfolio for best results. Good luck.</p>

<p>I just finished a floral shoot for Veranda magazine.</p>

<p>Shooting thirty images in three hours breaks down to ten images an hour, one image every six minutes. While this seems do-able, remember to add setup time, lighting, breakdown time, then post production time, and delivery (no time for any equipment problems). What's the complexity level of the products to be shot? Shiny? Plastic? Color matching?...This is more than one day's work. While I understand times are tough, I just wonder if there is a way to get more than $500? Perhaps the $1000 price point might seem too high to your client, but perhaps you could limit the number of shots/time and keep it in the three digit range. Client might go for that. Good luck either way.</p>

<p>It's hard to figure out: what the pupose of the website is, where to navigate, why there are two "buttons" to get to photography, and why a new page opens up when you do click photography. I didn't even look at your photographs. Sorry. :(</p>