eric_guel

Currently I'm shooting with a 5D Mk IV for most of my heavy lifting. I also have an EOS R for second body and as a video camera when I need one. I'll probably be a hybrid mirrored/mirrorless user for years. I just love the feel of shutter/mirror when I use my Mk IV.

This is a nice composition.

I'm being asked to supply a headshot booth for a corporate even I'll be shooting in the fall. The booth will be open for a total of 13 hours (eight hours one day and five hours the next day). What the client wants are simple headshots on a solid background coupled with onsite selection for the client. There will also be basic, global editing, but no detailed retouching. I've seen this sort of thing before, and it's usually at least a two person job (one person shooting and the other person helping the client select their images after the shoot). I have no idea how many people will get in line for a headshot, but I'm expecting at least 200 to 300 ... maybe more. All that to say, anyone with any experience in this area have any ideas on pricing for something like this? Thank you.

I own the Mk IV and the original EOS R. If it were me, I'd get the R6 over a Mk IV. Don't get me wrong, the Mk IV is fantastic. But I've fallen in love with the eye detection AF as well as silent shooting on the EOS R. With that said, I just LOVE the way the Mk IV feels in my hand, and I love the sound of the shutter clicking.

They took the video down, but they did pay me!

I love the fact that you're in your 60s and not looking for an exit ramp. I'm in my mid-40s now, and feel like I want to die with a camera in my hand. You're an inspiration.

All good insights, everyone. Thank you. The company admitted they had made an error, and that this is not the typical way they treat vendors. That was commendable. I received the check on Christmas Eve, and it has cleared my bank. All is well. Definitely learned a lesson ... and got some good info here.

Thanks, you all. Sounds like wise advice.

Hello, all. A couple of months ago I did work for an international corporate client. It was my first job with this client. Their brand is highly recognizable and they have a presence in virtually every major city in America (and many cities overseas). I don't have a contract with the client. I know, I should have had one drawn up. The shoot was put together at the last minute, and I bypassed that option in order to get the written approvals more quickly. I delivered the images to the client per their request, and they responded they were happy with the images. I sent in my invoice, with the agreed upon amount. After 30 days, I sent a follow up email. Crickets. After 40 days I sent another email, and my contact there told me, per their policy, they pay vendors "Net 45," so I'd have to wait 45 days before they cut a check. It's been 57 days now. I've sent a couple of follow up emails, but I'm getting nowhere. I get the "I'll check into this" type responses, but then don't ever hear back. What suggestions would you guys and gals have for where I can go from here? I'm at a loss, and the amount they owe me is relatively substantial. Thanks.

I use an EOS R, and I'd imagine the RP is a suitable camera if you understand its limitations. Personally, I prefer my 5D Mk IV to my EOS R, but there are some things mirrorless can do that DSLRs can't. The RP would fit into that category. If you have EF glass already, just get the converter and go for it.

Yes, it's a nice shot. I like the way you composed the image with a clear subject (the castle), with people in the photo (always adds something when people are in the image), and the leading line of the road (draws viewers toward the castle). The colors are a bit too muted for my taste, though. And the grass in the middle front of the image looks unsightly (muddy, patchy). Nothing PhotoShop can't fix. Good work overall.

If you're in America you likely own the copyright, and you can sell the images to whomever you choose.

Update. I sent an email to the PAC and within 24 hours their lawyer emailed me and asked me what my fee was. I sent him an invoice and he paid it. Check cleared today. Happy ending.

Thanks.

Thank you. I doubt I'll get compensated, but I'll reach out to them anyway.

In the video linked below, a PAC used one of my photos at :56. I was never contacted about this. Would you all consider this Fair Use? I'm inclined to send them an invoice. Thanks. Eric https://www.youtube.com/watch?v=t3Rxq-PFFPw

Would you recommend then having a professional clean the sensor? Would that likely do the trick?

Thanks. Yes, well, the kit I used was a swab the size of the sensor and some sort of cleaning fluid. So must be a small, stubborn piece of dirt on there I'm thinking. I'll look into the lenspen. Thanks!

That smudge looking thing on the right is on the paper, not the sensor.

Hi, all. My 5D Mk IV has developed a black spot at small apertures, always in the same spot on the frame. I thought it was simply a dust spot, so I clean the sensor myself using a kit from Amazon. I cleaned it three times actually, but no luck. The spot remains. I try looking at the sensor, but can't see a spot. Granted it's hard, because everything is so reflective on it. My next thought was maybe it's a dead pixel, but seems that most dead pixels are not black. I'm attaching a sample of a file shot at f8 (one showing the full frame and the other cropped in). At 5.6 it's slightly visible and at f4 and lower it's practically imperceptible. Any ideas? Thanks, everyone! Eric

Greetings, fellow photographers. I've been a pro or semi-pro still photographer for nearly 20 years. In all that time, my only experience with video was shooting random clips on my iPhone (not professionally). With the COVID lockdown, I made it a point to learn how to shoot video. My goal is to open up another income stream by offering to make interview-based promotional videos for businesses in my community. I started learning about how to shoot video. I've spent hours on YouTube, and recently started getting into LinkedIn Learning. I subscribed to Premiere Pro, and started to just learn. I still have a long way to go, but just 4 months ago I was a guy who could not even tell you the difference between 1080 and 4K. Baby steps. My question is this. For any still photographers out there who have made the successful transition to video, how did you do it? Any helpful tips for me? While I do value the creative outlet that video provides (much like photography), I'm in this to make money. If I can't make money be being a creative, then I'm sunk. So ... any advice is appreciated! Thanks in advance.

Hi, all. I have a small studio for headshots, but I'm primarily a field guy. I shoot mainly headshots, marketing images, and editorial. When the world is normal, I shoot a lot of corporate events as well. I need some advice on bags, etc., for toting my lighting around. I have a Think Tank airport roller, and that holds my cameras, lenses, and a couple of speedlights just fine. What I need help on his my lighting equipment. If I'm taking "a lot" (and I know that's relative), I'll take three 60" umbrellas, couple of soft boxes, a backdrop or two, six light stands, four monoblocs, and a couple of Godox AD200s. Currently I have a simple Neweer bag, some bungee cords, and a Rock and Roller cart. I put the Think Tank down first, then the neweer bag, and then the monoblocs and everything else on top, and bungee it all together. It feels like a hot mess when I'm rolling that thing around. Any thoughts appreciated. Eric

Hi, all. I primarily do commercial photography (conventions, conferences, headshots, marketing shots, etc.). These days, I often get calls for real estate where they ask, "Do you have a drone?" So I'm looking for suggestions on a basic drone that will get the job done. I'm not trying to do any major stuff here, just very simple overhead shots of businesses shot at a decent resolution. Think: Minimum Effective Dose. Thanks, everyone. Eric

Thanks for the in depth response. Very helpful.

That range is what I was thinking. $7K on the low end and $10K+ on the high end. Thanks for the feedback.