2d

<p>Maybe my post came across a little too blunt and I apologize. The point I was trying to make is that there is a lot of work involved in hanging a show. If you are doing it for yourself, your art, that's great I've gone through all the hassle to place work in shows before. One time I didn't make a single sale, but got a very favorable published review by an art critic that meant more than any single sale could of so I also understand that there can be unexpected benefits as well. But the OP's question seems to be of the norm today that artists wether photographer, painter, illustrator etc. should be honored to give their work away to a business. I've never heard of a restaurant asking a florist to donate flowers to each table in their establishment, for the laundry not to charge to clean the table cloths, or for a chef to call up and ask to only pay for the vegetables the restaurant serves - I've worked in a kitchen and know how much food we would have to throw away.</p> <p>Yes I agree there are much more efficient ways to hang a show today but the premise is the same if someone is requesting you to decorate their space the production costs money and it's ok for us artist to ask for a fair price including our time to pull everything together. What I don't find welcoming is that here on the internet we seem to try and talk our fellow photographers down from asking a fair price giving those mental excuses that hurt us all in any negotiation. Who's to truly say the business moves on to the next photographer but you've planted that fear in the head of anyone who reads this thread thinking any conversation about selling one's art has no negotiating value.</p> <p>Of course if an artist wants to have a show at a shop there can be other ways to compensate the artist so both parties get equal benefit such as the coffee shop allowing and even promoting the artist to hold a private reception party, where the artist can invite friends and people who are more likely to purchase the work.</p> <p>Again I don't want to come off rude but I do feel artists, photographers in particular, seem to be seen by the general public and especially business as having no value and are easy push overs with no business skills. There are hundreds of reasons not to charge a fair rate no one needs to come to the internet to find those excuses. I think it's great Jeff is making sales from coffee shops and that should indicate that artwork has true value for any business, no reason not to ask for the same respect that the florist or carpenter receives from the requesting business.</p>

<p>"Should I spend money to decorate a business ?"<br> Simple answer = No<br> <br />"If I let it to them to pay for the printing. How much should I let them have when it sell ?"<br> I apologize if I sound rude, but I think YOU not an internet forum needs to do your math to figure out your costs. So let's look at some of your costs:<br /></p> <ol> <li>Post production time/costs getting the files ready to print</li> <li>Transporting the files to the printer and discussing what you want/need (time+gas)</li> <li>Picking up the prints and taking them to a framer (time+gas)</li> <li>Arranging them(coffee shop) to approve style of frame (time+gas)</li> <li>Fronting all the costs on your credit card (Interest - what if they don't pay)<br /></li> <li>Picking up the frames, transporting, and hanging them in the business (wonder what an Interior designer would charge for this alone) (time+gas)</li> <li>Why should the art be less than the cost of the presentation? </li> <li>what happens when they call because they are helping out a friend and want a reduction in price. never made a print sale to date without haggling </li> </ol> <p>"I'm also a bit worried about who's property it become..."</p> <ul> <li>If it's awesome work then it will become the property of whomever steals it - not me but I know from interior designers that this is extremely likely</li> <li>how long will the work be up for?</li> <li>what if you make a sale outside of the coffee house will you be able to go grab it off the wall and deliver it?</li> </ul> <p> </p> <p>"... really nice people and mostly looking to help me out..."<br /><br> Has anyone <strong >ever</strong> truly sold photography at a reasonable rate from a coffee shop? You think the employee that will work in the shop most of the hours after the owners have the business up and running are going to persuade people to buy art work off the wall of a coffee shop? I'm sure there is a New Yorker cartoon in that sentiment <br> <br> Seriously I would figure out all your costs including what frames they want and offer to sell them the framed prints. If you feel obligated you can offer to help in the transportation and hanging of artwork and if they are truly nice people maybe they will let you place a card pointing customers to your website for additional prints. <br> <br> if however after reading all the internet advice you truly feel like donating your time and effort into their business decorations I would at least go into photoshop and create prints that look like ad posters with your name and website promoted on the bottom of the print but very dominate so someone two tables away can read your name.</p>

<p>a couple of quick thoughts. First how close are you placing your CFL lights/umbrellas to the subject? Trying placing them uncomfortably close to the subjects just outside your lens' angle of view. Even with strobes I've placed large soft boxes within a couple of feet of a corporate portrait. Yes you could pick up a unit that can hold multiple bulbs for more light this would be my second step even if you just tried with one additional multi unit for the key, much less than buying into a whole new system such as strobes. The real benefit of the strobe over continuous is the size of the pupil.<br> -<br> <br> My other idea, if you are here in America you can probably buy some used Tungsten lighting units off Craigslist for a cheap price - a tota probably goes for under $100, gel your CFLs to 3200, and you should be able to easily shoot under 640 ISO with continuous light. I even buy my spare tota bulbs at a local electrical store. A quick word of caution Tungsten lighting is referred to hot lights for a reason, make sure you have an umbrella that can handle heat - SmithVictor has a nice shoot through I've bought off B&H</p>

<p>Has anyone done much work with Affinity? If so what are your in-depth thoughts on the software? Is it a novelty where for troubled images one is going to want to jump back to photoshop or is it every bit as powerful and then some?</p> <p>I've watched a lot of the videos and it seems cool. I like the fact that it's through the App store for simplicity of updates and at this point not a subscription based software. What I'm wondering about is if it's Raw converter is as strong as ACR? I've been using Adobe since 2.5 and know it ok including some of the major keyboard shortcuts. What are the negative issues you've run into using the software? Does it have problems reading layered files saved in photoshop, PSD layered files? If I save a file with a lot of adjustment layers as a tiff will I always need this software to open and work on the file?</p> <p>Any insights and thoughts are very appreciated</p> <p>thanks, </p>

<p>Wondering what everyone is paying for business insurance for their photography business? I'm hoping this thread can become an unofficial poll to see the different rates. I understand each policy is different but hopefully it can give me some new options.</p> <p>I've currently been with TCP insurance under their ASMP photography package and honestly seems very high about the same rate ($900 annual) as my car insurance (where another person can get hurt). I absolutely need to have on-location liability insurance in order to step onto a job site but after that not sure what value/risk this business insurance truly benefits me. Maybe if a full case of gear was stolen, but when I was robbed a year ago and they took my old laptop I'm not going to report it(a single piece of gear lost) and be awarded a higher premium. Plus the hassle with the worthless cops not sure I would even call them again. What an absolute waste of time. (Apple even gave them the address) (Been robbed a couple of times major time-suck with the cops to no avail)</p> <p>The policy also seems very dated with a high $ on portfolio replacement (but doesn't cover a tablet) Again when one of my transparency portfolios didn't come back the actual replacement costs doesn't seem worthy of reporting it.</p> <p>Back to my question what is everyone paying for business insurance and whom are you using? any specific benefits or policy items I should be aware of?</p> <p>thanks, jeff</p> <p> </p>

<p>It doesn't read that the OP is invested in L-series lenses. And while I have used Canon gear (their professional level 1n) in all out downpours (florida style) and only because I was working for a publication and the images <em>needed</em> to be captured I personally wouldn't trust any of Canon's APS-c gear to the same water resistance level Pentax is claiming.</p> <p>I truly was not trying to start a camera war (I don't use Pentax) I was suggesting an option that I personally would look at more because of the potential locations conditions. I do know with electronics that no matter how good a lens is if the electronics don't work due to water then you're carrying extra weight and Yes I have seen this in person ($$$$) - actually a couple of times on different journeys with very experienced well invested professional photographers.</p>

<p>what's the weather going to be like? I just finished a backcountry tour for fun the best images came during the worst conditions. Yes I am a long time user of Canon and understand you have prior lenses, however if I were to make a major upgrade for a trip through a rain forest or outdoors hiking in general I would look seriously at Pentax's offerings with their water resistant build. </p> <p>Again I am a long time Canon user I just feel that I am constantly up against wet conditions when camping over several days. Of course I know nothing about your trip's itinerary.</p> <p>Have Fun</p>

<p>Hi Edward, thank you for your response. Yes I had taken it apart many times trying to figure out the problem. Turns out that there is a ridge running the length of the tube that the collars need to be aligned to - it's visually hidden so I didn't notice it until I stuck my finger up there (waiting for the jokes on that one)</p> <p>thanks again for your help.</p> <p>jeff</p>

<p>I have a Oben AT-3400 aluminum tripod that has seen almost zero use stored in it's bag. Two of the legs have a single section that are very sticky for either pulling out or pushing back. I have taken everything apart and it all looks fine well greased etc.</p> <p>Does anyone have experience with Oben Tripods specifically this AT-3400? And if so do you have any insights what I need to adjust in the inner workings of the leg so they are not so stubborn to push back in?</p> <p>Thanks, jeff</p>

<p>yes the 16-35 vII is much much better. I just sold mine. Two things to consider, no IS feature (?wondering if a vIII is right around the corner with this feature) and second it's front glass requires an 82mm filter - it's a very big and heavy wide angle lens.</p> <p>Carrying it attached to a body plus 70-200 attached to another body would be a very heavy load. I hope the newspaper is paying for your efforts.</p> <p> </p>

<p>I had the EF 17-35 2.8L when I was a pj back with 35mm film. It was a fine lens with <em>film</em> but with the digital sensor I would recommend a newer version. Not a lens expert but it does seem like these newer versions are so much better with CA not to mention that both of these lenses are so old the condition can't be that great. I know my 17-35 had gotten pretty sloppy by the time I released it.</p> <p>If there is a limited budget have you thought of going with a fixed focal length such as Canon's 24 IS or 20mm? It seems to me that photojournalism is more about placing the camera in the right place at the right time than the subtle differences between a zoom's composition.<br /> <br /> I remember photographing this one event for fallen police officers at the Capital and in attendance was a widow who had just lost her husband. The other pj had no problem sticking his camera up into her sad face getting a front page image that truly told her story - I do not have that in me. I bring this up because a smaller (size) lens no matter what the focal length would of helped, whereas a larger zoom would of added to the distress of placing a camera system in the subject's face.</p> <p>Just a thought</p> <p> </p>

<p>I have one of their LED lights, a very very noticeable fan if you are considering using this around any audio equipment (video shoot). No way you could use this for an interview. It's also rather big and heavy for location work.(maybe not if you are a grip company with a truck) I absolutely hate the connection style of the reflector and or speed ring. It's not symmetrical and trying to align the hole for an umbrella is a PITA. </p> <p>I have the middle unit (3200) about a 200watt draw and it does put out a nice amount of light. Only AC no DC option. I do like the piece of mind of not having a hot 500watt Omni that could go down on location. And it's kind-of daylight balance. There is a slight green cast to the light however a 1/8 magenta gel seems to be too much to correct it properly.</p> <p>It's promising to see that LEDs can put out a good amount of light (still nothing compared to one of my Einstein strobes) However I was originally thinking of buying a couple until I got my first one and now I will wait for either improvements or a different manufacture. The fan, color cast, and size are my personal reasons for not wanting to buy another. That said I do use it regularly. (never as a main light)</p> <p>I still feel the cost of any LED is ridiculous because I just feel that any unit out there is just not mature and by that I mean a stable <em>system</em>. With my strobes and or my hot lights the design of the accessories have been refined with time. Including gels calibrated towards those older lights. </p>

<p>Getty images licenses stock footage I would start by going to their site and seeing how they are charging for similar licensing rights. (pretend like you are a buyer)<br> What I would NOT do is go to a site like pond 5 and find out how much royalty free footage costs. Those rates are way below what is being ask of in terms of worldwide broadcast</p>

<p>I think it's great that they take the time off and celebrate their holiday. It would be nice if while they are taking the religious time off they suspend their email marketing as well.</p>

<p>Hi David, thank you for the response. I completely agree with what you are saying. Knowing my personal preferences with fluid heads testing it out in person would be best. Maybe I can get up to NY to test one out sometime soon.</p> <p>thanks again</p>

<p>First I apologize for posting this in video and not accessories but I am questioning the fluid nature of the head verses it's all around use. And <em>yes</em> I do have dedicated fluid heads specifically for motion but I am intrigued with this option.</p> <p>With that said I am wondering if anyone has first hand experience using Manfrotto 055 Series Photo/Video Head part#MH055M8-Q5? Can you get a smooth pan/tilt or is like so many cheaper fluid heads that are find to place the camera in position and then lock it off?<br /> <br /> Looking for first hand experience, what is your opinion after using the head? Finally me let express my appreciation for any insights you can share.<br /> <br /> Thanks,</p>

<p>First let me say, asking this type of question online you are going to get a multitude of answers. Most internet opinions (including mine) should be taken with a grain of salt. Ellis Vener truly has the experience and the fact he takes the time to answer forum questions is an incredibly huge benefit to this site. Follow whatever advice he shares.</p> <p>That said let me offer some additional thoughts (yes please be skeptical this is the internet and I am only a photographer) Your title alludes to “Work for Hire” this is a horrible out of place phase aimed to steal copyright. The Work for Hire is really not for a simple artist commission its for scientists, software programers, etc. People working on big long term projects, studies etc.. 6 months / two years or more but not technically lifelong employees. Unless a company is offering you a 401k and health there is NO reason to sign this type of contract.</p> <p>That brings me to the most important aspect of my opinion. You must have your contract signed! And it needs to have some serious legal verbiage to save your butt. Quite frankly I don’t believe(my opinion) any lawyer(today) can give you a defining answer on what you are asking to do. Licensing student athlete's images for advertising</p> <p>“the main promoter for a national university event championship”</p> <p>If you’ve watched the news these past couple of years you should know this is a HUGH topic, one that has not been settled and if they are handing you a contract with <em>work for hire</em> in it you can be assure there is verbiage putting you responsible for any liability. Are you (personally) going to get a signed model release from every signal player Not some blanket release the promoter thinks they have through the university. Again this is a hot topic that has not been settled. Does your contact guarantee that they will pay for all of your future unforeseen legal fees that may come from this assignment? Are you an LLC? Lose your car/ house for a hobby?</p> <p>“Getting the job and the credit is the primary objective”</p> <p>Credit or a byline to an image in my humble opinion does not help and is not worth any value negotiating any contract. Honestly in a big event you are most likely going to get put in a less than optimal shooting location where you won’t be able to get cool new angles for your portfolio.</p> <p>While Ellis is absolutely correct let me add to his “Creative Fee” category a separate licensing category to spell out additional costs for any use in unknown future promotional campaigns. Again the student will be out of school looking for work when their image is being use to promote an elaborate entertainment event selling sugar water and hot dogs for ten dollars.<br /> (Looks like Tony covered this while I was writing my long winded response)</p> <p>Personally for me who has photographed big events for editorial clients and I love shooting sports anything less than a first class agreement / contract reviewed by my lawyer - the absolute headache this project presents is not worth it! Please don’t think because it’s not Ohio State football you’ll be fine - bull, bull, bull this is a hornet’s nest and you need a serious contract signed and your own attorney to review and spell out every precaution you need to get, i.e. model releases custom written to the attorney’s specifications. Remember what you are proposing to do: Licensing student athlete's images for advertising</p> <p>----</p> <p>p.s. a little about me I absolutely hate when people on the internet answer questions “have your attorney review it, what does your lawyer think blah, blah, blah” an attorney charges ridiculous fees I’m simply not going to ask because even a phone conversation costs more than I’ll spend in food for a whole week. I tell you this because I don’t want you to think my advice about getting a lawyer to review your contract is normal your question relates to a serious headache one that I would not take on unless there was a nice boat involved.</p> <p>p.p.s even after they have signed your contract and you believe everything is golden they hand you another contract at the door telling you that you have to sign it before you can enter the event (when you're getting your credentials) and of course this at the door contract takes away all your previously negotiated agreements/contract. just a heads up</p>

<p>Leave it to Nikon to build a translucent camera body, just like their N-90 that needed three hands to operate, :-)</p>

<p>some video tutorials from Canon:<br> <a href="http://www.learn.usa.canon.com/galleries/galleries/tutorials/eos_6d_tutorials.shtml">http://www.learn.usa.canon.com/galleries/galleries/tutorials/eos_6d_tutorials.shtml</a></p>

<p>Looking for a new web host(register) for my domain names? I've had too much trouble with goDaddy & Dogbark so now I'm looking for recommendations for a reliable and easy to use web host. I've tried countless google searches for reviews on this subject and keep getting ad sites so any honest insights on web hosting companies or suggestions would be very appreciated.<br> Thanks</p>

<blockquote> <p>Photographers I've talked with who specialize in this work tell me they typically charge $150-300 per location</p> </blockquote> <p>I believe it was Tim Allen the comedian who had a great joke with the punch line "why do you listen to a shop teacher missing fingers"</p> <p>-<br> Not sure why you would treat a landscape design firm any different that a traditional architectural design firm?</p> <p>Lately I've been looking at pricing on a per image basis with either a minimum set number or having the first view at each location cost enough to justify scheduling that location. One of the benefits is that with these new shopping cart websites you can let them pay with a credit card before they get to download the image file. To be upfront I have not done the pay at download time a lot (only a few times) mainly because I don't want to lose the transaction fee, but with an ongoing project could be a time/stress saver. Again I would think anywhere from $200 up per image for a corporate marketing licensing would be fair. Any thoughts on this?</p> <p>Small rant not aimed at anyone: This whole <em>let's charge based on hourly time involve. </em>OK fine then charge for the time loading your vehicle, driving there, waiting for the sun - cloud - worker to finish their quick touch up job, driving back, unloading, downloading your cards, processing the files, uploading the files, touching up the broken sprinkler head that makes the company look bad, upload the edited files, etc..</p>

<p>Hi Chris, I know this reply is very late, but I still want to thank you for answering my question. I was so used to the turning it on under remote shooting I couldn't believe they removed it. I knew I had to be missing the obvious and thankfully you helped out. I truly appreciate it.</p> <p>thanks, jeff</p>

<blockquote> <p>"Joseph is not at that level to charge such a rate having no experience in this field... He also indicated a very low rate that others were charging."</p> </blockquote> <p> <br> I don't know Joseph nor do I mean to offend him or anyone. The original question was what are the typical rates for this kind of work and knowing this market I gave my answer. I feel it's about the licensing and not the quality, let the developer choose the right photographer based on images not on price and in that respect I believe the OP or anyone should charge these honest rates. $150 per single family house that's looney talk nobody is charging that! (and staying in business) My other point is: It is ok to turn down work that is over your head verses under pricing - I did it this week - I respect other genres and am honest to refer clients to better options. Telling a client next time I'll be better does not get you portfolio pieces. Working as an assistant until these questions are immaterial is a much better option.</p> <p> </p> <blockquote> <p> "I wouldn't call $2200 "serious money,""</p> </blockquote> <p>For what a Realtor provides anything more than $50 dollars is serious (they make Politicians look good) ;-) I was using them as an example that even at the bottom, money was being made off of the marketing efforts and it's ok to charge a fair price. However where the OP is at the Realtors get a much higher percentage than what you quoted, try $7000 for that same house and for what, to show up at three half hour meetings?! My reply was mostly aimed at the idea of a developer who would need a multiple year license and the language requesting usage beyond what a realtor would even think of needing.<br> Of course if $2,200 isn't serious money then why is it a problem for photographers to charge it? What I really disagree with is this idea of cutting down our fellow photographers giving them excuse after excuse why it's ok to lowball and be afraid to ask for honest prices. I just needed to have a fuel pump put into my gas tank (thanks Ford) Had my Dad check on prices in a very very rural part of our country the quote was only $100 less than here in my major market. Took them less time than what it will take Joseph to do a full Single Family home </p> <p>The simple fact no matter where you live in this country you need expensive equipment, expensive computers and a lot of time to accomplish this type of work. It is ok for us photographers, visual communication experts, to charge fair prices. We are a business with a CODB ( most likely living in a rural area you can't book as many days to counter those costs = a higher CODB) and we should charge fair prices. $500 for an entire day minus all the production expenses, minus all the equipment overhead, minus the endless hours of educating ourselves either on forums, workshops or just practicing at the Grand Canyon is not fair to our business nor will it provide an honest product to a client who will be paying much much more to have those images appear in the local publications. Call up the Washington Times or Richmond's paper and ask how much for a 1/4page ad for 5 years? Is it fair to the client to pay all that for crappy overly rushed photos that in the end won't communicate their message?</p>

<p>Your title says real estate but the memo reads more likely from a developer looking to have model units photographed so they can use them in brochures, regional advertising, website, etc.. Without knowing who the client is and where the images are going to be used you and everyone else is just guessing.</p> <p>I work in the region you are speaking of and for development companies that need a broad regional usage plan (normally they are advertising in both Philly and DC markets - vacation/retirement homes) the going rate is between $2,500 to $4,000 per full day. (p.s. these numbers don't even come close to what they'll pay for small advertisements in the local papers/magazines - so when they say they don't have the budget ummm but you think the Washington Times publisher is going to bend to that excuse)</p> <p>I hate when people say if they need to bring in lights the price goes up - just look at all the gorgeous natural light photography on this site does not having a strobe set up make it less of a piece of art? It's all about the usage licensed.</p> <p>However I do agree you need to understand all the production costs both what they are expecting as well as what you will need to provide. They might be expecting some serious coin dropped on props while you will most certainly need to hire at least one assistant to help speed up your daily production and also to make sure that moving a piece of furniture does NOT scratch an $8,000 floor.</p> <p>Wether you are shooting HDR or lighting the space correctly there is still a day+ of computer work attached to these projects that you need to put in your proposal, normally it almost equals the same amount you are charging for a single day of regional usage - don't think $50 is going to cover it. Propose just like you need to ship the files off to a digital tech because you might end up having to.</p> <p>You need to Cowboy Up! and understand that these people even Realtors make serious and I mean Serious money off these home sales. (Who even goes home shopping anymore without first seeing the pictures that entice them into the neighborhood?! I know when I was looking my realtors were absolute morons and all my searching was online) The numbers you presented in your original post wouldn't even buy you a set of tires in this region or even treat your friends to a night out at a nice restaurant - is your photography less important than a meal, than a ski jacket, don't be afraid to charge a developer. They want an honest price, because at the end of the day they want an honest product so they can go home too.</p>

<p>Recently updated to Eos Utility 3 on a Mac 10.9.4 tethering the laptop to either a 5d or 6d with a USB cord. I can' find where in EOS Utility I can set it to record the file both to the laptop as well as in-camera cards(CF or SD)? There is not the normal check box under Remote Shooting in the preferences .</p> <p>Second question, I've been using EOS Utility linked with DPP for tethered shooting for many years but really seem lost with these new updated versions are there any updated online video tutorials that someone can point me towards? (Eos Utility 3, DPP 4)</p> <p>thanks, jeff</p>