michaelmowery

<p>I think 100 images is on the other extreme. I would be upset if I received 100 of my wedding. 20 - getting ready, 20 - portraits, 20 - ceremony 20 - coctail and 20 reception. REALLY?</p>

<p>I would price for a 20x30 for a gallery wrap and 16x20 for a framed canvas. </p>

<p>Both offer grids as do other brands. They all do the same thing its comes down to construction and durability. Your budget will determine your choice. If you were leaving it set up all the time then you can go cheaper but if you are constantly breaking down and setting up then invest in better quality. </p>

<p>Aside from your insecurity of your work, What is in your contract arrangement? Is this just a proof job for which you retouch each image?</p>

<p>Natalie,<br /> Your jumping way ahead of yourself and making things too complicated at this stage of your learning. It is always best to learn with one strobe first before adding multiple light setups. <br /> The body shots you mentioned did not indicate full length, is that the case or not? Most headshots are not full length but rather 3/4 at most and that will make life easier for you. The less you have to light the easier the shot. <br /> White background is a very vague statement. There are all shades of white. White with detail is very nice and does not require a background light which is even better for you. The pure white 255 which looks like the subject is floating in white space is the more complicated way to go and will require separate lighting. I would pass on that and let the production team do it in post. I am guessing they wont be paying you top dollar for this so they should not baulk at this.<br /> So how do you light the subject and background at the same time you ask? Buy a 9 foot (6ft is better but no one makes that size) super white seamless paper and keep your subject about 1 to 2 feet from the paper. Next by a moonlight strobe around 500 watts and use a very large white umbrella (best is 7ft) Place your big umbrella directly behind you and up a bit to keep the shadows dropped behind your subject. Next, get a white 20x30 foamcore reflector and use it as a bounce light just out of camera view right at your subjects waist. It is similar to clam shell lighting. Thats it!<br /> This is very nice lighting and very clean not to mention an easy setup with the least amount of investment. Good luck!</p>

<p>Thank you Derick, my comments were not negative and far from hostile. We have the right to ask questions to the OP in order to get more information in order to help. I did not want her to make the rookie mistake and do something that she is not comfortable with. Most OP's do not give all the details in order for us to help them properly. <br> In this case, Natalie has every right to ask how to do flash lighting for headshots. It was just how she explained the back story of the intended purpose is what alerted more questioning. Successful photographers are that because they are good at what they do. When someone hires them they do so based on their portfolio of current capabilities. <br> There are plenty of self help lighting tutorials on youtube. I only hope that Natalie will be compensated justly and not taken advantage of because she is not a PRO.</p>

<p>Thank you Derick for your comment towards me. You will be surprised today just how many photographers shoot a paid job and have no experience. Anyways, the OP did not disclose that info about learning until after I made my comment. Also she did not disclose that she already works for the company. Had she first indicated these important details, I would not have made that portion of my comment. That said, my main point, not knowing the just now disclosed details, is how does company ask a photographer to do 13 offices when there portfolio is just available light pictures? Then the OP wants to do studio lighting for this job and has no experience. Of course now, I have my answer.</p>

<p>Out of curiosity, If you are a natural light photographer who does not do studio lighting, Why would you change your style? I assume the person who asked you saw your existing portfolio and liked what he saw. Explain that to me. One does not learn strobe lighting on a Job. </p>

<p>Fastest most consistant is in manual mode with a zoom lens (24-70). The trick is to set you flash exposure to a pre set distance, example 7 feet and then always position yourself 7 feet away from what ever your photographing. When you need to be closer then all you do is zoom in while still remaining at 7 feet from subject. This is a tried true tested guarantee method used by pros since the beginning of flash photography, with the minor exception that the early days had no zoom lenses.</p>

<p>I have been shooting weddings for over 20 years. I started with film using a Hasselblad and the average 7 hour wedding for NYC was 20 rolls of 220 = 480 images. Believe it or not it is possible to shoot that amount.. I did it and everyone else did it. The difference between then and today is you had to know what you were doing and get it right or close to it on each shot. <br> That is exactly why the business was better then because the market was not saturated as it is today. Back then you had to wait a week to see if you messed up or not and if you did you did not work again. The internship was a key component then and is much overlooked today. Everyone with a digital camera wants to get a website and go into business. Nothing wrong with that as there are talented new photographers out there but there are also a lot who are not. But that is another subject.<br> Today, however, myself included, everyone seems to shoot 2 - 3 times the amount as was shot in the film days. It is just a part of the evolution. Since there are no physical rolls of film there is no need to think about budgeting the shots. So the trigger finger tends to go more than it should. I find myself using extra shots to be used as the Polaroid shots to check lighting conditions or to test creative adjustments. Why not? And whats wrong with chipping? You have no excuse to get the shot wrong when you had the opportunity to preview it.<br> I have been with digital since the beginning and yes I agree that the average number of DELIVERED images can be roughly equal to 100 pictures per hour worked based on the average 8 hour day. Once you go over 8 hours the number can start to drop. <br> The actual images shot before the edit can be double that number. This does not mean you are actually taking 200 pictures per hour as that depends on your event. One hour I may shoot 80 images but the next hour 300. I average 1,200 - 1,400 at the end of an 8 hour day and after I delete the duplicates and the polaroid shots I am around 800-900 images.<br> I put in my contract that they can expect a minimum of 500 images delivered. I have only once delivered 500 images all other jobs have been over that minimum.</p>

<p>Its best just to give a minimum number based on the hours. </p>

<p>"The photos will fall under "work for hire" but we want to have a contract that states that I retain ownership" <br> That is an oxi Moron. LOL You need to write your own contract stating exactly what both of you are agreeing to. You don't need a lawyer for this. Just use plain and simple english spelling out what both of you are agreeing to.</p>

<p>Backdrop? With a living room like that why are you even going old school using a backdrop? If you use your natural environment you will have no problem because your angles are not restricted to a "backdrop"</p>

<p>In the film days 10 edited shots delivered for a portrait shoot was pretty normal. Today with digital the number can be from 20 to 100 and up. It all depends what the goal of the shoot is and what the clients expectations are. It is up to you to communicate that. Weddings are certainly going to have a much higher count. I can not give you advice on how to charge other than the fact you should charge something and not give files away. No one orders prints or albums much these days. So if this is all practice then it really doesn't matter. You will know how much is too much time for you to be working on the computer with no payment.</p>

<p>All Studio lighting as indicated by the catch lights in the eyes. All different lighting patterns. What else do you want to know?</p>

<p>Broncolor is one of the leading companies who make pro flash systems. They clearly state the use and purpose of the picolite. I think you would be better off looking at the MobilLED which will work with your pack.</p>

<p>Yes, she confused all of us with that picture. Hopefully she will post her actual shot and tell us what type of lighting she has.</p>

<p>Will everyone who thinks the bridge is the subject please reread the OP post and reconsider! She just posted the backlit scene without including her subject. That was a mistake on her part.</p>

<p>Knowing what equipment you used would be helpful. That said, if you can take a perfectly exposed ambient light picture of your scene like the one you posted your half way there. Next, put your camera on manual and keep those same settings. Next add flash on manual power and keep upping the power until the subject is lit and exposed properly. All done.</p>

<p>I get a lot of emails for job inqueries for family reunions and portrait jobs ect. The red flag for me is bad grammar but the main one is before anything their main concern is do I accept credit cards. I delete the email right away.</p>

<p>I would do it as a per shot basis of (EXAMPLE) $100 per shot. Day rate means if there are 30 people or 130 people it is the same price if you can do it within a day. Just something to think about. <br> You can also do a mix of both day rate and per shot which I like better. (EXAMPLE) $500 1/2 day plus $100 per shot. Full day $1,000 plus $100 per shot. Includes all usage and file delivery.</p>

<p>Excellent advise by Bob and William. I am short with my words but I will add that a 24-70 2.8 or 24-105 zoom lens is a must for all around candid shooting with flash. Primes would be as mentioned 35 1.4 and 85 1.4. With those two lenses you can shoot a job photo journalistically. The 135 is nice but not priority at this point. Don't waist your money on the 1Dx get a couple of 5d Mk III for the same price or wait a couple more months for the new 5d. Best advise was given to me use the KISS system. You can not go wrong that way.</p>

<p>And what is your portfolio site? As far as your questions, it sounds more of a personal issue. I get a lot of client inquires who don't respond back to me after I respond to them. I am not going to track them down. Although I would like to. </p>

<p>If you have to ask what camera to buy in order to do business then your not ready. know your equipment and shooting techniques first then you can better choose what needs to be upgraded or not based on your shooting experience. I can't answer those questions. I can shoot with any camera you give me.</p>

<p>Thats what the LCD screen is for to check your shots. If you are going to make the effort to take a picture then get one frame that works.</p>