g.e._masana
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Posts posted by g.e._masana
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<p>No, actually having one of my best years and may take on a few associates. $500 shooters and the brides who contract their high-megapixel snapshots aren't part of my reality. It's all a matter of taking the red pill, Neo.</p>
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<p>You'll be used for your seating by tired moms and bored grooms-to-be and brides pretending to be interested but who secretly wish to give their feet a break. I'll bet at least one person will have their lunch while sitting there.<br>
Your postcards will be dumped into a bag along with everyone else's, never to see light again. But if they do flip through it, they'll believe they have all the package info they need to take to the next guy to see if he can beat your price.<br>
You need to WOW, not be an accommodating pit stop. 2 canvases? You need more. You're going to have competitors with walls of full blown gallery display. 3 LCDs sounds good though.</p>
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<p>Yet how to handle the situation is probably universal.</p>
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<p>Thwey're just going to stick their business cards over your logo and stick your pictures in a scrapbook with everyone else's images of their venue. THEY didn't work out any referral agreement. <br>
Telling her about copyright issues will probably more likely make you appear like a PITA. Telling her these were for personal, not commercial use may not actually stop her but may make her simply hide her activities from you.<br>
Why not ask her to set up a meeting between her, you and the venue to introduce yourself and see how you can help them better? That would be a far better "in".</p>
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<p>If you own the copyright, you can use the images in your portfolio to illustrate your portfolio. Of course, that doesn't mean you shouldn't consider good client relationships. Insofar as wording, you don't need to have a clause to grant clients carte blanche to restrict your use of images. You could, on a case by case basis, just do so if they ask. No biggie.</p>
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<p>Saw something today for exactly what you're talking about:</p>
<h3 ><a onmousedown="return clk(this.href,'','','res','1','','0CAoQFjAA')" href="http://www.cameraslingers.net/" >"CameraSlingers Worlds First Double <em>Camera</em> Strap"</a></h3>
<p><cite>www.<strong>cameraslingers</strong> .net</cite></p>
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<p>I'm still trying to figure out why a photographer would take that picture even if they didn't see the guy on the roof.<br>
The bride's face is almost compeletly turned away, it's completely unflattering to her, her hand on the window looks so awkward, the bouquet cuts right into it all - it's basically just a shot of a big white gown filling up the entire frame... truth be told, the only reason I can think of taking that shot is exactly because her hand looked like it was on the guys' butt. Betcha that's the real story behind it and they're making like it was unplanned.</p>
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<p>>> G.E.Masana, that's really good use of graphical elements >><br /> <br /> Thank you, and that's the point. It's about what works best as compositional design and not just piling people onto a staircase simply because there's a staircase but using your eyes to see the design.</p>
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<p>I would think you'd then assign *limited* rights <br /> for *personal* use only<br /> wherein if any image is published<br /> a photo credit appears in close proximity, and stating how your<br /> photo credit must appear, and that this assignment of limited rights does not assign the copyright.<br /> <br /> >> A related question: If you are giving your clients the rights to make prints for themselves, why do you want to retain copyright?>><br /> <br /> Because if that client sells the images to a catalog or greeting card company or whatever, you were not compensated for that type of use. If they have the entire copyright, you gave up all claims to monies being made on your work.<br /> <br /> Also, if you don't retain copyright ownership, you haven't any rights then to blog, post, show, use, print or otherwise use the images for your own purposes.<br /> <br /> Never give up the copyright. The image is your creation. You may assign limited use of the images, but never transfer ownership of the copyright.</p>
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<p>When I issue DVDs of image files for print, part of the casing artwork has my copyright notice/assigning limited printing rights to the bearer notice on it. I also mention there that the files are sized for best reproduction at 4x6 and warn not to exceed that size for quality issues, so that the printer heeds that warning (hopefully). <br /> <br /> My take is that we don't give these files out so that customers can print up whatever and do-it-themselves, as we're the artists, we should be able to create much better enlargements than customers left to their own devices or hang our heads in shame, and that these files are simply so that they may retain their images for posterity. That being said, in the event the customer says to themselves, I'll make my own prints thank you very much, they can make them... up to 4x6. <br /> <br /> But you know, even then, the feedback I've gotten is that these consumer minilabs have no clue as to how to make a decent print out of them.The clients aren't satisfied with what some clerk on a machine prints out for them. I would say, our job as professionals isn't about furnishing image files for their use anymore than it's a professional chef's job to give his customers raw ingredients to have them cook their own meals.</p>
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<p>I had enough years ago of having straps cut into me, and found a tamrac strap, don't know if they still make it: it's a black, foam rubber type. Nice!</p>
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<p>I gave up brackets in the 90's. <br /> <br /> 1. Never, ever. <br /> <br /> 2. Always bounce. Don't really like the fong (with apologies to Gary) though I've used it, don't like the lighting scheme, much prefer a stronger 45 degree-ish directional modeling bounce or use an omnibounce.<br>
<br /> 3. I could use a PW as I have them, but I also simply use a $50 cord for off-camera. All my venue candids are off-camera flash if a flash is involved. Always. Having it off-camera gives me way more latitude and range than simply twisting the flash head on camera sideways to bounce, let me tell ya! It's more difficult to shoot because both hands are so occupied, but to me, worth the effort. Check out Cliff Mautner's work, he does this too.</p>
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<p>>> I don't want them to pass me by because they have to have me in a room to get my numbers from me. >><br /> <br /> You could give them an idea, a range, a starting price point, without getting into specifics, leaving those details for when you do meet because how are you going to be able to offer them something that you think would really work well for them, if you haven't sat down to speak with them and find out their likes, dislikes, and gotten a feel of what their vision is for their wedding and their wedding photography so as to know what exactly to suggest to them?<br /> <br /> In fact, I'd submit that responding quickly with, "A wedding? Okay, that'll be $XXXX" may signal to them that their wedding is just another (YAWN!) job to you.<br /> <br /> Let's ponder for a second about people who pass you by if indeed you don't even have a starting price on your site. Their thinking may generally be "That photographer must be expensive if they won't list their prices - and probably too expensive for me". And they move on. In fact, read through photo forums on line and you'll find many photographers stating that when they themselves are looking for something on line, and prices aren't listed, they move on, and so that forms their basis for posting their prices online, lest the bride moves on as they feel they would've (projecting?). But wait...<br /> <br /> What they're really revealing is their own personal shopping habit, their own mind-set - a behavior they exhibit because they themselves, when it comes to certain products, are looking for "best" price. How do they shop around? If they look to get a best price, they look for prices. Maybe they're looking for a good deal on a 50D and they'll do that.<br /> <br /> But what of those who do want the higher end goods, like a 1Ds Mark III? How do they shop? For them, they want to obtain the product, not the price. Price becomes the last consideration because they know it's going to cost to get what they want. They've already committed themselves to that fact, no? So first they need to find the item they want. Then they consider the price, meaning they just don't want to overpay or be ripped off, understandably. Now, if you sell the 1Ds Mark III but don't list its price, they can always inquire what the price is, no biggie, true? If they're really that interested in obtaining the desired item, they're more inclined to call, and if they call, you can speak to them - and maybe get the sale.<br>
Or the appointment, as the case may be.<br /> <br /> So if I sold 1Ds Mark III, would I really have to list my price? Is it really needed? No, not really. Now, how does a bride shop? What type of bride do you want to contact you? Do you get my point? How you list or present prices and how well that attracts the right bride for you is going to have to do with your desired target market.<br /> <br /> Here's some more food for your thought:<br /> <br /> What happens if you list a price but the bride thinks you're too low, too good to be true, and passes you by? 1Ds Mark III for only $399!<br /> <br /> What happens if you ask what her budget is to try and accommodate it but she feels you're making up prices on the spot to take advantage of her?<br /> <br /> What happens if she tells you she can only spend $2000 but then she books your competitor for $4000?<br /> <br /> What if you book her at $2000 because she said that was her budget but she would've booked higher if she felt it was worth it?<br /> <br /> What really is going on in the bride's mind that you think, by sending her your prices, they're going to consider you?<br /> <br /> I just got off the phone making an appointment with a lead. She was setting her budget at $3000. But now, because I gave her compelling reasons AND because she's possibly the right type of bride for me (because you won't get everyone), she'll spend 5 to 6 or so if she has to. I recently booked a bride who said they were budgeting 5k - adding that they were on a tight budget - but booked in a little over 7 and someone else who said 10 was too much but booked near 9! And the crazy thing is, I don't list or give out any prices other than that my photo fee starts at $2800.<br /> <br /> >> what are your thoughts on conveying a reason beyond money through an email.>><br /> <br /> That reminds me of the old joke about how to keep someone in suspense.<br /> Let me know what you think the answers would be.<br /> <br /> >> I suppose I should work on my reply response to inquiries and try to convey the type of photographer I am and why, beyond dollar signs, what I can offer them on their wedding day.>><br /> <br /> That's a start but only if it means something very desirable to them, right?</p>
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<p>It's a great, terrific image and I appreciate that the photographer worked on its tonal contrast to bring up the details (at least it appears so). My 2 cents are in a few little technical nuances that probably would serve in just giving it that final oomph: I usually have a problem with seeing extended arms, not that it's bad or wrong or anything like that; it's more about how they appear in a two dimensional plane, seemingly foreshortened, such as her left arm appears. Then her right arm simply seems like some appendage sticking out of her veil. I think I would've liked to see some more bend in the arms to help define them better as design elements connecting her to the environment.<br /> <br /> I also would've like to have seen the camera pull way back and encompass that entire huge doorway, as it may have been more dramatic to show the juxtaposition of the bride against the architecture. Aside from that, the image has a lighter area right on its left edge that may have looked better if burned, or if the image had been vignetted. The left end table may also have served to balance the image better if its exposure had been brought to match that of the right table. Then, knowing me, I probably would've also straightened out the lamp covers on the right table. And I would desaturate the blue cast on her white gown. But that's me.</p>
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<p>Just about every shot is manual with me. There are some circumstances where I'll shoot AV or TV, but for a good part of the day it's all manual.<br /> <br /> Look, if you were a race car driver, an expert driver handling a high performance machine going 200 something miles an hour around a tight bend, you wouldn't have an automatic transmission. Why not? <br /> <br /> Same thing.</p>
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<p>If those samples are what you aspire to, they really shouldn't take all that much time and can be done quite quickly after the ceremony.<br /> <br /> But if you're like me, and desire creative time to explore locations and set ups and work in a somewhat nicely paced fashion that doesn't sacrifice quality rather than being interrupted umpteen times by waitstaff with drinks in hand for the couple while you're about to snap the shutter, then you'd need to ask for a set amount of time to create the image within. I do that and get it or the folks understand they're giving me less time then I need and so they can't get the full Monte, so to speak, pun intended.</p>
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<p>>> The first client who received their proofs emailed me that "I had bought a frame to put 12 of the proofs in, but hadn't realized there would be a copyright mark on them".>><br /> <br /> My thought would immediately be, "I can make something like that for you, but much better". I think as photo professionals, part of what we do is fulfill clients' needs for such products. We don't dump image files in their laps and have then do-it-themselves any more than someone walks into a restaurant and the chef dumps ingredients into their laps and says, "okay, make your own meal." This is part of what we get hired to do, the expert creation of product, is my philosophy. We're not here to assist people in their home spun projects. We're all about making the better pro products.<br /> <br /> That being said, I don't place a copyright on files prepped for print because I know folks will look to print those images for home/personal use. But for web use, yes, copyrights are pretty much essential since they will go online. You might though get away with a small logo or signature on a personal print, I would think there's some value in an artist signing their work. Someone like Buissink gets paid more if he signs his work.</p>
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<p>At the ceremony, when the priest says, "In the night he was betrayed, Jesus turned to his apostles and said..." - what should you be anticipating, and therefore preparing, to shoot next?<br /> <br /> My point is, rather than ponder how much to charge, there are soooo many other points in which you should become more knowledgeable that concern covering weddings. Not to sound like a naysayer, but there is some value in being a second shooter and getting acquainted with how these events transpire and what they need before becoming the main photographer, don't you think so? It's not like a photoshoot which is so cut and tried compared to a real time live event. <br /> <br /> The answer to your question then, which you may probably not want to hear, is it really wouldn't be fair for you to charge much for something you're not capable of rendering expertly, since you're cutting your teeth on this wedding and if you're going to make mistakes, which you probably will, it's going to be on that wedding too. Does this make sense to you? Maybe have them cover costs and some wear and tear plus have them understand you've never done this before so if you do miss anything or handle it less than satisfactory, they don't come after you with torches. <br /> <br /> So as long as your supervisor doesn't see $500 as being a fortune and understands your beginner status, welcome aboard (though they may say it's okay but after the job, if they're dismayed, it goes out the window. Luckily, even if you do a medium to fair job of it, the resulting images usually look somewhat better than their point n' shoots do, so you still come out on top.)<br /> <br /> I still shudder that people hired me when I was a novice.</p>
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<p>I was thinking along the same lines as Marc: You get on the staircase and use the elevated viewpoint to shoot the group below you rather than vice versa. That's a much more flattering look then shooting up their noses and having them all placed cramped together on a staircase piled on top of each other. Plus lighting shadows (if any) will naturally fall downward toward the floor rather than land upward or directly behind them or upon each other. I don't see using stairs as a sort of multi-tiered posing bench or backdrop but more for their design line aesthetics.<br /> <br /> For example, I posed this party up on the stairway's overhang. If you really need to place them on a staircase, how about: you could have them assembled sitting circularly in the middle of the staircase with you one or two flights up, wide angle, shooting an overhead view as they all turn their heads straight up at you. Lit by an assistant off-camera and you've got something different. Send me a copy.</p><div>
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<p>Mike, I'm reading your situation and having just read a thread about another bride seeking the most "bang for her buck", I'm going to let the others finesse what the strategy behind offering credits is all about and offer up this world view to you that I've adopted into my business:<br /> <br /> There are some customers who are like water. If there's the tiniest, pin sized hole, they will look to seep through it and they don't care if you take a dowsing. Your job is to plug all those holes so that should you run across that type of customer, they can't drown you.<br>
How about instead of credits, you have a minimum dollar amount order? Then it doesn't matter what they purchase.</p>
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<p>She writes: "I shoot jpeg... I attribute my color quality to the jpeg."<br /> <br /> So that you know, she likely then has her camera set on sRGB color space in creating those JPGs, which is the smallest color space available and does not yield the wide gamut of colors available in digital capture. So, I'm deducing that many of the colors in her shots are of the sRGB closest match equivalent kind, which may account for some of the color shift.<br /> <br /> Also, it doesn't look like she does any kind of white balancing/color correction in post which could help to correct that, so that probably contributes to the coloring as well, for example, where most everyone's skin tones are a bit too magenta. Or in the one where the groom's neck is dark orange and the bride's face has a magenta cast.<br /> <br /> Digital is a relatively new thing for wedding photographers and there are these little nuances to it that are often overlooked or not considered or given any priority. Yet, commercial photographers seem to have it nailed down I guess because to get the corporate clients spending millions on advertising campaigns in print publications and what not, you'd better be highly proficient and get those skin tones looking good!</p>
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<p>4x6.</p>
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<p>Weeks.<br>
I sometimes get an idea three weeks after I shot the image. I'm in no rush.<br>
Plus I've come to think that images should not be worked beyond basics until after the album selection process.</p>
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<p><img src="http://www.gemasana.com/blog/wp-content/uploads/2010/01/bride-by-moonlight.jpg" alt="" width="800" height="724" /></p>
groom has cold sore!!! - am i expected to edit out?
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