daniel_sone

The record label isn't a start-up they've had 2 major hip-hop artists be in the top 10 and top 3 of the Billboard and they've sold more than 700,000 copies each. They are legit.

We spoke again today to hammer out the purpose of the images: essentially head shots for press releases, etc.

I do need to expand my portfolio and exposure would of course help generate more business.

Everyone has made a lot of good points.

I received a phone call from a record label's marketing manager who is interested in me photographing one of

their newly signed, upcoming artists.

However, they wish for me to do it for free. If the shoot is a success, then I would/could be used for their

other artists.

A photo mentor of mine told me I should never work for free unless it is for a charitable cause. It would devalue

my work and of other photographers. However, should I feel compelled to do it ... it is an awesome opportunity

... I should set up a licensing & fee structure for the use/prints of my images. Additionally, get the proper

releases so I may use them in my portfolio/self-promo.

I'm not going to accept a 'work-for-hire' because then I would lose all future compensation and rights to the photos.

What should I do? And what kind of additional releases would I need to help ensure I have good control & credit

as well as good compensation.

What kind of licensing should I aim for?

<p>My editor gave me their documents regarding their publication rights. It does not say they can sell/resell my photos. Any photos forwarded to other news services, I have gotten a check.</p>

<p>I was asking this because of the following assignment I completed a few days ago:<br>

<a src="http://www.thefloridacatholic.org/pope_usa/pope_usa_articles/20080416_media_sone_1.php">http://www.thefloridacatholic.org/pope_usa/pope_usa_articles/20080416_media_sone_1.php</a></p>

<p>It was great working alongside other media agencies for such a historic event. The "who's who" of news were present.</p>

I'm a freelance photographer for a local newspaper.

They just dropped on me the "exclusive publication" rights phrase on me.

My editor wasn't too clear on what limits they have and the limits such a thing

places upon me.

Is freelance photography like "work made for hire"? Where I lose all rights to

my photographs (like selling a car)?

Legally, would selling the photographs to private parties be prohibited?

Would publishing them in a book, compilation, etc. be not allowed?

<p>Thanks for all the advice. I won't be shooting this ENTIRELY by myself, I already have an assistant for weddings, and borrowing a friend would be easy.</p>

<p>I also can rent back-up equipment or special equipment from a local pro studio for really cheap. They have everything from small stuff to entire HUGE setups.</p>

<p>The quality of my prints would probably be better than usual, as I use Supra Endura and the lab I use is a professional lab which can handle large volumes as well.</p>

<p>Organization is perhaps the hardest part. I can see from your replies that it appears to be numero uno.</p>

<p>To help me tackle this, do any of you know of a photography software that can organize, and even password-protect, such large events? For example, Bob Knight Photo (huge company) has something like that, what can I use?</p>

<p>I never liked picture day myself, and the photographer didn't look like he was having fun either.</p>

<p>Giving the school a slice of my profit pie is not a problem, but how much (%)?<br>

I do have an online service where prints can be ordered and purchased. Or do I have to do it the old-fashioned way which is where an announcement is made, parents fill-out an order form and prepay, and then prints are sent a few weeks later?</p>

<p>I think I'll tackle the smaller, private schools to get my feet wet. I do have an assistant, but I would be the one with the camera.</p>

<p>There are a lot of small schools in my area, with about 500 students or less.

About how much should I charge the school to provide yearbook head shots? You

know, the run-of-the-mill type.<br>

Here are my questions:

<ul>

<li>Are two strobes with stands, umbrellas, etc. enough?</li>

<li>How much should I charge for my time? I usually $150/hr.</li>

<li>What else is important essential?</li>

<li>Logistically speaking, can/should a properly equipped lone photographer

tackle school yearbook head shots for small schools?</li>

</ul>

</p>

<p>I agree with Paul. There is little variation on that shoot, especially your client's faces. Every shot, they're smiling ... in the exact ... same ... way.<br>It is a little spooky.<br>It is the photographer's job to notice if their subject as a pre-programmed facial expression for photographs and get their subject not to do that.</p>

<p>Also, adding a vignette to <strong>every</strong> got boring after a few. Only vignette where it will enhance the image. Only of few of these shots benefit from the vignette.</p>

<p>Additionally, some of the photos heavily Photoshopped. It appears that you applied a blur to their skin to smooth out the imperfections. Whenever you try and smooth out skin, and yet make it look real, or "untouched" you have to make a compromise.<br>Add a little noise to the skin after your digital airbrushing and adjust the opacity until you get a realistic skin appearance.</p>

<p>IMO, your best shots are the close-ups of the hands and the silhouettes. Your black and whites fair better than your color shots.</p>

<h6>Keep shooting, a lot. Photograph sports and in churches to get experience shooting fast action as well as low-light.</h6>

<p>Thanks for all the concern, but don't worry ... I'm not going to Las Vegas. I now have a wedding scheduled at the same time as the ISP convention.</p>

<p>The wedding is more guaranteed than a chance at $10,000.</p>

<p>I'm not going to spend over $1000 on a convention when I could spend the same on photography equipment and have some more fun.</p>

<p>It was kind of a defense :-) I know I have the camera body, but my lenses are sub-par and won't deliver the results I want in certain situations ... especially shallow DOF.<br>

All my lenses' lowest stop is f5.6 when zoom all the way in. The DOF narrows quite a bit, but the f5.6 KILLS me. Blurring out the background in Photoshop is too much of a pain.</p>

<p>I believe I can borrow a good friend's digital Rebel (its the XT, I believe). If I can do that, I'll focus on the glass</p>

<p>I'll be calling the lecturing photographers to verify their attendance. Additionally, I will be calling the ISP itself and find out how many photos have been nominated for the $10K and if my attendance is necessary for getting my prize (should I win)</p>

<p>There is a possibility that ISP could "suddenly" cancel their convention reservations with Riviera, but not before losing a hefty deposit. However, they could just rack up reservation dollars and run with it.</p>

<p>I'm curious, but not curious enough to hop on a plane to Vegas.</p>

<p>I've read many of the negative remarks regarding Picture.com's online photo

competition. It seems to be filled with a lot of "half truths".</p>

<p>Well, I just received an email saying I have been nominated for the

$10,000.00 grand prize for my photo. I have also been invited to attend the

Int'l Society of Photographers Convention & Symposium in Las Vegas</p>

<p>I took the liberty of calling the hotel and confirmed that there this very

convention being held there on the dates stated on the web-site. Additionally,

the "keynote" photographers are real, top-notch photographers.</p>

<p>There is a lot of uncertainty circling Picture.com's competition. I believe I

will call one of the photographer's to see if they have been slated or are

attending the ISP's Convention</p>

<p>My 30D hasn't let me down, even in some of the harshest conditions. I did a 9-day shoot in Nicaragua where it was 95 degrees and 70 humidity ... every ... day. I've also photographed in the dead of winter in Washington D.C.<br>

Never had a problem with my lenses nor my camera. They may be cheap and crappy, but they're fairly rugged.</p>

<p>For flashes I have a 580EX as my main and a 430EX as a back-up, and a Whaletail.</p>

<p>My lenses are, dare I say, sheer crap for professional portraiture and weddings. Which is why I'm seeking the upgrade.</p>

<p>Thanks for all the advice, but I still need more help narrowing down my decision because I'm still on the fence.</p>

<p>What is your opinion on the newer Canon 70-200 f/4 IS USM as an alternative to the 2.8? Should I bother with it? I've read reviews, and they're for the most part positive.<br>

Can I get away with it in a church?<br>

What about portraits?</p>

<p>Oh, as a back-up I have a Nikon FTn with some primes and tons for Fuji Pro 400H and Kodak TMAX 400.</p>

Hi,

<p>I have a Canon EOS 30D, and use it for all my digital photography. It has

proven to be an excellent workhorse.<br>

I'll be starting to do weddings soon and was wondering if I should

expand/upgrade my lens collection or invest in an additional body (EOS 40D).<br>

I currently lack any "pro" lenses, like Canon's "L" series.</p>

<p>Here is my current lens kit:</p>

<p>Canon EF-S 18-55mm 3.5-5.6 kit lens (came with the camera)<br>

Canon EF 28-135mm 3.5-5.6 IS USM lens<br>

Tamron Di-II 55-200mm 3.5-5.6 lens</p>

<p>These are fairly cheap lenses, but have produced great results.

Unfortunately, none of them can hold onto f/3.5 throughout the zoom range. And

indoors, especially in churches, f/5.6 is way too slow.

The "IS" helps with camera shake, but not with subject blur.

Additionally, only the 28-135 has the USM, which is why I almost always use it

on assignment.</p>

I'm looking to buy the following lenses:

Canon EF 70-200mm f/2.8 IS USM

Canon EF 24-70mm f/2.8 USM

So, should I get the second body or actually get better lenses?

Due to current budget constraints, it will either be one or the other.

Let me know.