DEGREEFOTO

<p>Hi Anthony,<br>

I had a friend that did a BA in Visual Arts...only to tell me that the 4 year course at the Sydney Institute of Technology was more intensive and covered a greater range of subjects then the BA did.<br>

I myself did the 4 years course at the S.I.T and must admit that it was rather 'fullon' in many aspects. Its no BA but I feel that after doing the Dip course there is very littleyou won't know/understand about photography.</p>

<p>Regards</p>

<p>Artur</p>

<p>Congrats...hope mother and son are doing well....</p>

<p>Artur</p>

<p>I don't know if this may be of any help...but I am using ifp3.com</p>

<p>Artur</p>

<p>Gotoozoo.com are advertizing the A900 for US $1629.00</p>

<p>Has anyone used this site to purchase any goods before hand. I would be interested in a A900 at the 1689.00 euros price tags I am seeing. Just need to know if the site is legit.</p>

<p>Artur</p>

<p>Hi Amy,<br>

I downsized to an Etrsi as it was not as heavy out in the field when hand held. The comments above are pretty much the truth re not being able to interchange the backs or lens...etc...as to how popular is the 645 format...take a look at the new line of Hassy H series....with digi backs for around 40 grand.</p>

<p>Artur</p>

<p>I would agree with Bob Sunleys comments above.....get it right up front. It can take a great deal of time to get the lighting right to get that all important...mouth watering effect in the image and the use of all sorts of liquids and gels is at times a essential requirement...not to mention the design of the dish by the chef. Studio lighting units would be (is) my choice in this case...and at times more useful on locations.</p>

<p>Artur</p>

<p>Hi Pablo...<br>

Take a look as an option at <a href="http://www.dr5.com">www.dr5.com</a><br>

They turn neg into tran from various film stocks</p>

<p>Artur</p>

 

<p>Hi Tim...<br>

I mainly use the Tamron 90 Macro but of more importance is the lighting setup. In most cases in todays digi environment, I have seen great work that has been lit carefully but that has been finsihed 'off' in retouching. If time permitts and if you are not aware of...may I suggest that you get your hands on a copy of Light, Science & Magic.....good starting point to help you light shinning, glass etc..subjects...<br>

Regards<br>

Artur</p>

<p>Hi Ashlee,</p>

<p>I send most of my stuff up to <a href="http://www.fotosintesis.es">www.fotosintesis.es</a></p>

<p>Regards<br>

Artur</p>

<p>The Fuji Fp100 is what I use for my pola back on my bronny. Don't know where you are located, but do a search to see who stocks it for you</p>

<p>take a look at <a href="http://www.7digital.com">www.7digital.com</a> you may find a great deal there.</p>

<p>Artur</p>

<p>As a general reference...and I mean a rather broad one at that, perhaps a look at the website Model Mayhem and the wide range of styles there may be of interest.</p>

<p>Yes I echo Jeff's question. As artists we would not like to have our images stolen and used without our consent. There are website where one can download music after paying a small amount for. I have done this myself knowing that at least the music I am using I have given the artist something in return.</p>

<p>Artur</p>

<p>I have similar problems with 2 year old out dated film.....in fact it was totally un-usable. Having said that can Fuji 45 be used in a 545 Polaroid Back?</p>

<p>Back when I used Pola...it was something I used as confirmation with the client in so much that I would present the pola to the client to see if this was what they had in mind. If all was in order the client would sign the back of the pola for me and then I would just shot the image on film exactly the some way the pola was taken. There was no come back on behalf of the client or their off set printer that the comp or colour was off as I had the pola as proof. Now with digital one may not need Pola....but I still like to have a tangable copy to make comments on.</p>

<p>Hi there,<br>

Iwould try to come to some agreement with your friend in so much as telling her that if you do let her edit the shots then, it is a one off only and only because they are a friend of yours. In regrads to it being cheaper for her, unless she has a great deal of time on her hands and nothing better to do, I would take this opportunity to show her that your future career involves a great deal of more 'behind the scenes' work which if you were to put a $ value to it per hour, then they may understand what is involve in editing not least the layout of an album. You mention the copyright issue and not knowing where you are located, it is something that you will have to consider and bring to her attention in regards to what the law stipulates.<br>

I have a simple rule which may appear inflexible to some, but that has over time saved my butt in many occassions and that is prevention is better then a cure. If you feel comfortable with giving your friend this wish, then remember that you may be setting a precedent for your future operation,pricings etc...if the word was to get out that you permit such things.<br>

The other aspect is, does this friendship have a $ value in regards to you wanting to make some extra pocket money seeing you are doing this as a hobby. I know that when I started out, I was put in similar situations by people that knew me, but it was the fact that they wanted to see my interpretation of the image and everything that that implied that they had me take their photos without asking me to hand over the rolls of film because it was cheaper for them to have processed. A delicate situation indeed, but after all you are not selling a piece of beef that someone takes home to prepare the way they like it, but images of how you see whats before you and your individual interpretation of such. Nevertheless, open discussion with your friend may be a good starting point and do express your concerns.</p>

<p>All the best</p>

<p>Artur</p>

<p>Although I consider myself a 'Hybrid' photographer who combines film with digital, I have come to think that your thoughts about being duped have some truth. I have seen how many pro labs have gone by the way side due to many pros changing over to total digital. I have never in my career spent so much time in front of a PC as I do now. I have still managed to surprise clients when I have taken a 'proof' shot of the event or whatever the brief was and find them perplexed by the fact that the image quality is outstanding considering that I have used film...in my case 120 or 4x5....compared to a digital one that they have had supplied by a digital user.<br>

There are those that will maintain that digital far exceeds film in many ways, and they may be right. But for the moment I too am still blown away by the image quality when all things are considered equal that film still generates. I for one have not updated any of my equipement just to keep with the current model what ever the item may be as I feel that when using film and using a professional quality lab that maintains the high level of quality control that is expected, then, my workload is cut by half which in turns impacts on my profit in so much that I have more time on my hands to take on more clients instead of spending time with a digital workflow. There are times when I have the freedom to process my own slides and recently I had a few Graphic Design students over to show them the process as it is part of their current course requirments. Being born into a digital world they are amazed at the results and in some cases have gone out and invested in 2nd hand B&W equipement as they are hooked on seeing the image appear on a piece of blank paper when in the dark room. I pray that film stocks, although limited perhaps to the pros and dedicated followers, will out live me. Although your shot is now a digital one, I can only suspect that the print really stands out. I don't think the price you have paid for processing and the film is that elevated when one takes into account what one would have to charge an hourly rate if you were to go through the digital process. My 2 cents worth....</p>

<p>Artur</p>

<p>Although your subject is not a shiny one, due to it being metal I would recommend that you use as much diffused lighting as possible. This may mean having large pieces of tracing paper or similar material between the light source and the subject from different angles and perhaps one to seperate the back ground as well. Please take a look at the fountain pen shot in my folio, I did for a client using 2 flash units with very large diffusers between the subject and light source so as to give the impression that day light was used. Hope it may help.<br>

Artur</p>

<p>I would echo Bob's comments in so much as it is a rather demanding sector to get into. In general one tends to be dealing with people who have a great understanding of the processes involved and the high quality that the client demand. Most ad agencies tend to speak the same language as the photographer, but expect to get every cent of the quote/estimate that you have given them so as to add their part before you even know who the client is.<br>

If dealing with the client direct, then in most cases a great deal of education is required from your part so as to show the client the amount of work required to deliver the final shot....from concept to capture....which in todays world some believe is easier because of digital. I am not for one moment saying that the Portrait/Wedding shooter does not have at times the some things to consider, but that in commercial shooting IMHO ,there are a great many more facets to cover, not least the B2B selling that you have to master apart from a high level of technical apptitude.<br>

Artur</p>

Hi Mark,

 

Although I haven't done any, there are currently a couple of studios in my area which have shots in their windows of mother's breast feeding. I am located in Costa del Sol, so the light may be more diffused where you are. From what I have seen the image's are soft with most of them being low key and sepia and tightly cropped to show the mother with child. I know they have all been done indoors currently and the gowns worn by the mother are long and flowing...I suppose that being close to Christmas, I believe in one case the attempt was to evoke the 'Virgin Mary with child'. In all cases the shots have had a great deal of post processing to give it the soft glowing aspect that most portray. Hope this may be a guide to you.

 

All the best

 

Artur

Hi Michael,

 

Just a thought after reading through some of the reply's. I see that you give your clients a quote for your work. I

remember whilst I was at Uni many years ago, that on one occassion, the class visited several studios to see how

working pros carried out their respective shoots. On one occassion and it is something that has stuck with me and

that I always use, is that the photographer we visited that day, never gave out quotes. He is a well established

Australian photographer with a good range of corporate clients. He told the class that a quote implied a set fee and

for this reason he only gave an offical 'estimate'. After attending the monthly meeting of the Advertising, Commercial

Magazine Photographers association in Sydney, the discussion was that in most cases most pros gave out only

estimates and there were even great examples available for those wanting so as to draft up their respective copy's on

their printed material. This estimate covered all the issues and pricing and highlighted the fact that the fee could

increase in the event of re shoots, courier fee and back in those days even foul weather clauses. Copyright was

strongly stated, but that it could be 'purchased' if so requested. I don't know if this may be applicable, but it is

something I still use with my corporate clients and that they seem to understand. Mind you I haven't as yet had to re

shoot a job and in most cases the client understands why its an estimate and accepts it.

 

Artur

Hi Michael,

 

I would agree with David's comments. You have already, from what I can see given the client a really huge discount

on the first shoot and even though you mention that there may be more shoots in the pipeline, there is no guarantee

of this. From what I can see, I feel you have already set the precedent with the client by giving in to their demands

and the discount which you have agreed to. If the discount was a special one time shoot, then that has already been

catered for and they are already not excerising the terms of your agreement, which although I do not know, I hope

does mention the issue of copy right.

 

Stand you ground on further shoots and stipulate the fee and terms.If the client is not happy, let them walk away. It

is not in your interest in the long term to get screwed by what appears to be some one that is not sticking to the

terms of any agreement that you and them may have initially agreed to. I have similar situation happen to me and

have learnt in the end that I may be silly, but not stupid and have walked away from such clients, only to have them

contact me some time later even up to 2 years later to agree to accept my terms. They have had their fingers caught

by using someone they thought thay could control. I am a professional in every sense and for that reason, although

we may negotiate my fee, the terms of my contract are always agreed upon before I proceed. You have something

that the client wants and I feel they should pay for and adhere to the terms of the contract.

 

All the best

 

Artur

I agree with what has already been mentioned above and if I may add my thoughts which have to some extent been mentioned by Matt, there is no short cut to get acceptable results. Yes read LSM, but then practise and then some and you may see that in certain lighting conditions it may take an hour just to set up the lights right not to mention the composition of the item itself. I had a jeweller client in the studio once due to the large price tag of one of his pieces and he was amazed at the fact that it took 45 minutes just to set the lighting right so as to get the 'right' reflections in the subject without the studio or photographer appearing in the reflections. The subject in most cases demands careful thinking before hand and skill. Some of the local pros who shoot jewellry have a great many years of trail and error behind them not to mention hours of work invested in each item that have graced some of the mags and websites that abound.

 

All the best

 

Artur

Firstly and not knowing how well you know your friend, I feel that she/he has misled you as I feel that perhaps they

knew what the school intended doing with the images, but perhaps kept the truth from you. Secondly, in business

the only friend one has, and not so much in these troubled times, is the Bank Manager. You should have agreed to

have a signed contract drafted up so all parties concern knew what each was getting and at what cost with the

conditions of Copy Right highlighted in bold. If the school refused to sign it, then this should have been a warning as

to what was to follow. School photography is big business in certain countries, I know in the last 2 countries I have

lived in, it generates a hugh income for well established photographers. I don't pretend to know the law in your

country, but with hindsight, I would tell your friend that they did not have your interest at hand when they refered you

to the school. If the issue means a great deal to you, then perhaps legal advise may be the out come. In regards to

what I would have charged, it would depend on the use, if it were hard copies of photos of each student or event for

the families, depending on the size of the shots anywhere around 10 euros per copy with an additional fee of 25

euros for each copy of the completed CD. Nevertheless, I would have shown the final images to the school on a

laptop and not given them the originals in any shape. Best of luck

 

Artur