michaelmowery

<p>Is the question speed light vs available light? Unless you are a second photographer on the job as a photojournalist there is no way around not having to use a speed light. Now if your asking about other portable on camera or off camera strobes then that is another question.</p>

<p>Now that you have disclosed that you are doing still life shots, your space is adequate. When you do family shots take them outdoors.</p>

<p>It does not make sense to make a contract for just reimbursements of expenses. Just ask for the money upfront at the time they agree to use your free services. Come up with a number your happy with. It does not have to be exact. round it up to the next hundred dollars.</p>

<p>I had to look at my comment again after being called rude and all I see are complements and praises about your work. Are you not getting work? It would be more helpful to see a full complete job instead of cherry picked images. You can't shoot the whole job with corky pictures. Your photojournalism is good. You can use improvement with the portrait end of your skills. </p>

<p>You're a funny guy. You're trying to drive traffic to your website right? Your work is great. You're a pro no doubt, if not then you're a natural. You're style is a corky and photojournalistic. I can't think of anyone who would not like your pictures. I often wonder if some of those shots are pre setup or staged in some way. I am a fan. Good luck to you!</p>

<p>Profoto B4</p>

<p>I would talk to your client first to see if this is an issue that needs to be adjusted. Simple placement as you described is good. I would not exaggerate this further. Again talk to your client and ask what they would like.</p>

<p>Charging for additional work all depends if you prefer to do additional work for free. You can give them a flat rate that includes everything they want or you can charge for added items.</p>

<p>In That case I recommend working with an established photographer in your area so you can learn photography, gain a working experience and have an insight on the business end. Today all are photographers but not all are professional photographers. There is a big difference and i am not talking about talent. Talent is another aspect which is subjective. Whether or not someone hires you or not is the true test that you have what it takes to succeed as a professional photographer. Good luck.</p>

<p>As the old saying goes... Your only as good as your last job (photo shoot). I personally do not make it a habit of showing old work that is more than 4 years old unless it is a shot that is still selling my style. I am always looking to improve and evolve. Your photos are fine for now but start to change them as soon as you get new updated photos from your new shoots. Your style is fine, you just need to take new images on a digital camera in todays locations. Good luck.</p>

<p>10 per hour is realistic if they all are on the same floor. If they are waiting in a line (unrealistic) then you could possibly double that number. In any case your problem is the offices are not equally divided. Maybe you can talk them into having the 15 come over to the other office. 3 days looks like the best advice. $7K thats $50 per person which is very reasonable if you are good. In the scenario of a school photographer, they would want each person to purchase at least a $30 package in order to make it worth their while.</p>

@ William W. - You taking a few casual shots to remember the day is not exactly what the OP is talking about. Everyone takes those types of shots. In the OP scenario he wants to do a 2nd shoot to get portfolio pictures and gain experience shooting a wedding. A person can not gain the experience if he is not where the hired pro is. If he is not shooting along side the pro then he is missing shots that is required. If, on the other hand the OP would consider to shoot photojournalist style, which is what I would recommend. He would not have to shoot over the shoulder or anywhere near the primary shooter. He would sell or offer himself as an additional photographer to the main photographer, providing creative supplemental images.

<p>also I can hardly see the exposure of the flash. Had the power been up a stop or so more it may have helped a bit more</p>

<p>If your objective is to get into the wedding photography field then you should contact a pro and put some time as an apprentice and actually learn something. I have seen too many want be photographers shooting freely at another persons wedding only to disrupt and distract from the hired pros job. I have had guys come up to me and want to carry on a conversation about photography and techniques while I am working. Not good. Taking pictures at a wedding without permission from the bride and groom and the professional photographer is not the place to be gaining wedding photography experience.</p>

<p>Or stay in a static pose for 1/10s and you would have been fine.</p>

<p>Not sure what your talking about. Do you want info on a client contract or some type of contract between you and your hired 2nd photographer? </p> <p><b>MODERATOR NOTE:</b></p> <p>This thread's heading was changed form <i>"2nd shooter"</i> to <i>"Contract examples for 2nd shooter"</i> because the way the first sentence is constructed, it was understood to mean that the OP is asking for samples of contracts concerning the hire of a Second Photographer.</p> <p>Clarification by Steph of what type of contract samples are being sought, would be appreciated.</p>

Tony this not the same as shooting food still life. This is being used for internal marketing for there employees.

<p>No one is going to pay you $1,000 per image for a client appreciation event. LOL. This is not an advertising campaign. You will be lucky to get $400 per hour. There are too many photographers out there fighting for work charging as low as $100 per hour. All files included.</p>

<p>Get all the money before the shoot is the general rule of thumb. Asking a payment a week before the event is kinda silly. If you are going to get paid before there is no difference in asking a month before or the day before. Think about all they are going through the week of there event... you don't want to be asking for money then.</p>

<p>what lighting are you working with? what are your sample pictures that you have taken so far? If I have an idea of where you are working from I can better help you reach your goal. </p>

<p>High resolution means a resolution thats printable 200ppi or 300ppi. The 3mb size you speak of, is that when the image is open in photoshop? You said your files are 3500px on the long side at 300ppi. Thats the standard size most photographer give to clients. My files closed are 2.8mb and 11mb open. </p>

<p>I know, we are in the wrong business Marc. LOL But seriously the quality is unmatched. It is not flimsy and it does not sag when you invert your softbox.</p>

<p>I have both and when the light is diffused there is not a noticeable difference. But when the difussion is removed there is a crisper light quality with the Elinchrom. I don't like the fact that the elinchrom cannot break down as flat as the profoto but others like that. The 3rd party for soft grids for the elinchrom is http://www.lighttools.com The very best that money can buy.</p>

<p>Exactly what Rodeo Joe said. I have lit artists paintings in the past and I never used umbrellas or soft boxes. I always used silver reflectors that are used with pro studio strobes. Hard light at a 70 degree or more is what brings out the textures and the hard small specular light source makes the color pop. Soft light will make the colors poop. LOL Good luck</p>

<p>Why don't you tell us what lights you are using. I saw a picture of something that looked like a constant light source. You need to use strobe lighting. A speed light would have done a better job. Horrible pictures. I see why you are concerned. Unfortunately it is after the fact and I doubt your clients will hire you again.</p>