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<p>David.....yep.....Got it! :-) I bought 3 15-lb. sandbags, for each of my monolight stands, and then I bought some empty 5-lb. sandbags that I'll fill for other uses. I'll definitely use them! I already had 1 near disaster. :-) Thanks so much!</p>

<p>Marc.....I understand everything you're saying....makes sense. Except.....what is a 'GEARED' stand exactly? I did a search for them, and wow!.....they are expensive, but I can't tell exactly how they work. I suppose if I had a permanent studio set up (which I hope to do), it would be great to have. Can a huge octobox fit on one of them? </p>

<p>Rodeo.....well, it wasn't obvious to me. ;-) I am using auto white balance....almost always do unless I'm in a room full of fluorescent lights. So I'll play with daylight and flash and see what difference it makes. </p> <p>I've already discovered that I had too much of the key light shining on the background, so I moved the subject farther forward, and this helped a lot. I've finally got a blue background that will work, but as I said earlier I've decided to use the white background because that's really what the organization said they preferred, and I'm trying to keep this shoot as easy as possible. I really do want to start playing with gels though, so this process of everyone helping me has been immensely helpful.</p> <p>Sorry.....what do you mean by a 'CT' gel......is that a brand? I'm actually stacking 2 gels together, which I think helps.</p> <p>Thanks for your suggestion!</p>

<p>Bill, excellent suggestions! In fact, my husband suggested that I buy a king-sized sheet as a backdrop to cover the seamless paper roll I have. I'll have to go shopping in the sheet department and see what I can find. :-) Then of course, I can also experiment with different sizes. </p>

<p>Marc.....I agree about the simple thing, and I may have made things more complicated for myself than necessary......all part of my learning curve. But the reason I bought the Commander is this: I also bought the simple trigger, which I've put on my camera. But the Cyber Commander is needed for me to be able to control the lights without needing to get to the back of the moonlights. I have the Einstein on a boom and I can't reach it myself. Frankly, I would have preferred to get a Pocket Wizard, but I read some stuff about incompatibility, and I thought if I had trouble with it I couldn't get tech help as easily from Paul Buff, which is where I bought my lights. So yeah, I'm sure there are a million ways I could have done things differently. :-)</p> <p>Brooks and Bill.....the other main reason I don't want to buy the blue background is that I don't think I would use it that much myself. I just wanted to offer it as an option for the job I'm getting ready to shoot. They have said they prefer white, so in the end that's probably what we're going to go with anyway. So I don't want to buy something that I won't have much use for in the future. If I were to buy more backdrops at this point, I'd prefer to buy gray or black. Just wondering if the 5x7 size works for 2 people? I wonder how big of a group you've been able to shoot with that size? </p>

<p>Bill, you are so generous to explain the process to me in minute detail. I actually didn't end up trying any of this tonight because I was having trouble syncing my lights and getting them to trigger. I've been reading the manuals and trying to figure it out. One of the reasons I got Paul Buff lights is because of their excellent customer service, so it looks like I may need to give them a call tomorrow. Ugh!!! I wish I were more technically-minded. I understand all of the workings of the camera and everything related to photography except for the electronic stuff, which befuddles me! </p> <p>I think it's definitely worth going through the exercise. :-) I promise you I will try this, but it may be awhile because at this point I've decided to just take the easy way out and use the white background like they've used in the past. So I'm going to spend my time trying different lighting configurations and making sure I understand the Cyber Commander that I'm using to trigger everything. It's sure a lot more complicated than the Pocket Wizards! </p> <p>This has been a great thread and I've learned a lot from you all. Even if I didn't understand everything, now I at least know what I don't know. :-) </p>

<p>Marc,<br> Yes, that would be ideal. But I don't want to buy a blue background right now.....many reasons. I'm just getting a photography business started. I'll be taking early retirement later this year, and I want to transition into photography. I don't know yet exactly what direction I want to go. We've just down-sized to a small house, and I don't have room for a studio here. I need to find a space to rent or share with someone. So I can't accumulate a bunch of equipment right now. Eventually I'll acquire a few more backdrops, but I really prefer natural lighting anyway and will try to get out of the studio whenever possible. And maybe the simplest reason of all is that I've already spent a boat-load of money. I have some good equipment, so I know I can make good quality images with the equipment I have for now. But no.....you weren't 'missing anything'. ;-) </p>

<p>Tim, <br> Thanks for the additional information, but I need to clarify one thing. You are SO right about the lighting being the most important thing. At school they drilled that into us every way imaginable. I didn’t mean to malign the RMSP. To the contrary, it was an incredible program. I never heard a single student say a negative thing about the program, and that’s a testament in and of itself. </p> <p>When I said lighting was the weak link, I was referring specifically to flash. We learned TTL and spent a little time on it, then went in to the studio and learned how to use their power packs and Pocket Wizards. I found all of that equipment easy to use. We also got to experiment with all kinds of softboxes, beauty dish, grids, snoots, ring flash, and much more. But the only way to really learn that stuff is to practice. And now that I’m home in limited space with all different equipment (mostly Paul Buff), there is a learning curve for me. And I never really did anything with gels while at school because I didn’t like the look (then). Some people used them, but I didn’t.</p> <p>So I will spend the year learning more about lighting and experimenting with effects I like, different backgrounds, etc. I’m really intrigued by Dean’s seminars, and I’ll definitely check them out. I totally understand what you mean about knowing ‘almost nothing about the theory of light and how it can be applied to any photographic situation’. For me, I never could have imagined how much I would learn in the 3 months I was at school. Yet the more I learn, the more I realize I don’t know. :-) The possibilities really excite me! </p> <p>So I’m going to go out and experiment now with the gels. I need more room in my house!!!! (we just down-sized)</p>

<p>Michael, <br> Okay, here’s what I’m going to do. I’m going to keep it simple like you suggest. I’m going to shoot the gig with a white background, but I still intend to learn how to use gels properly. It’s just that I read in my flash manual that continuous shooting could cause the flash to overheat. Since all of the head shots need to be consistent, if anything were to happen to the flash and I couldn’t continue using the gel, then I would be sunk. Better just to use the gels for other projects down the road.</p>

<p>Michael, I was told they wanted white. But since I don't like white and I've seen some sophisticated corporate head shots done with a blue background, I wanted to offer that as a choice to them. If I can get a good result, then maybe they'll like it. :-) </p> <p>Okay, I understand your comments. I have space constraints in my garage where I'm experimenting with my lighting situation for now. So I'll try to the extent possible to implement your suggestions. Thanks! But I don't have gels for the strip lights, and I probably won't be buying those. :-( I've gone WAY over my budget so far and I'm just going to make do with what I have for now, even if it means I can't get the blue to work. But I really want to try to get it to work.</p>

<p>Nick, Michael, Bill, Bob and Tim.....<br> Thank you gentleman. I guess I should have given you a bit more information. There is no flash on my camera. I'm using the speed light covered with a gel with a small diffuser umbrella, placed behind the subject pointing up at the backdrop. I started with a big octobox as my key light in front with 2 strip boxes in back pointed at a 45 degree angle on the backdrop. This was my idea on how to avoid shadows, but I actually had way too much light. So, thinking that there was too much light falling on the background, I turned off the 2 strip lights to see what would happen, using only the octobox and speed light. I saw a bare hint of color on the backdrop, but it just looked dirty.....not really like a color. </p> <p>Michael....do you have experience with gray backgrounds? If so....what color of gray do you like? I like gray better than white, but the job I'm doing requires white. But I may buy some gray seamless paper as well......unless I can figure out the system these gentlemen are proposing and adjust the background color with it. I'll see how it goes. Thanks!</p> <p>Bill, I understand about closing the aperture by 2-4 stops and then increasing the flash with gel by the same amount. Where are you proposing placing the flash....and would you suggest using the speed light or one of my moonlights for this? Just wondering how this would affect the lighting on the subject. Sorry, I guess I need more explanation.</p> <p>Bob, I guess my question for you is the same question I asked Bill. Are you saying to use my key light with a grid over it (is that the same as an egg crate that you mentioned?) and then only have the one light with the gel in the background? No other background light so as not to dilute the color? I did buy the grids for all of my soft boxes. I can put those on and start experimenting.</p> <p>There is something fundamental I'm not understanding. If you stop down enough to get the undiluted color to the background, what happens to the lighting on the subject? And if I use they system you are suggesting, do you think I still need to use an Alien Bee or stronger light than my speed light, or will the speed light with diffuser create enough of a spread of color on the background?</p> <p>Tim, did you take a class with Dean Collins? I looked him up online and his series of DVDs sells for $179. At this point I probably don't have time to delve into that in time for this gig. I do have a day job! :-) I did watch a couple of Youtube videos he has online, but they didn't talk about this. At any rate, it sounds like his DVDs would be a good investment and provide a good background in studio (and other) lighting. I would be interested in seeing what he wrote on the system, but how would you share that?</p> <p>I went to the Rocky Mountain School of Photography over the summer for 3 months. I learned so much, but honestly lighting was the weak link. We didn't get enough time with it. But I came away from the school understanding enough about photography and editing that I feel like I can read 'almost' anything and understand it now. So I can continue my education on my own. And really.....it's a life-long learning process anyway, I think. So I really appreciate the Dean Collins suggestion. I had never heard of him before.</p> <p>Thank you all for your suggestions. And one more thing. If you were to buy a gray backdrop, what color would you recommend? I wouldn't want too dark of gray.....if I wanted dark, I'd probably go with black. But there are so many shades of gray seamless paper.....just wondering if you have any experience with them or favorite shades. </p> <p> </p>

<p>Rick....yes, I see that now. Thanks for your response! Do you know who I could consult or if there is an online guide for pricing? I'd still really like to know about what someone would charge for a job like this.</p>

<p>Jeff.....Well, it was a good idea while it lasted! :-) Thanks for the link. I guess the bottom line is our tax advisor. We'll ask him what can be deducted as I try to start my fledgling photography business. I know you have to turn a profit within so many years. </p> <p>Okay, even if I can't place a value on my time, I'm still curious approximately how much someone would charge for this type of job. Do you have any ideas?</p>

<p>Hello! I'll soon be shooting pictures for an arts organization of about 75 members. I'll take a group shot and then individual head shots. I just came from photo school (Part 1), which didn't discuss the business side of things (that's Part 2), so I'd like some guidance about what to charge.....at least a range. </p> <p>I am actually shooting this pro bono, which is my way of contributing to them instead of making a contribution to their annual fund. And frankly, being fresh out of photo school, I'm trying to establish contacts, and if this goes well it will give me a good start on that. But I want to place a value on my time for tax purposes, since donations to this non-profit organization are tax deductible. </p> <p>The group has a retreat on Oct. 11, and I'll be there shooting basically the entire day from 9:00-3:00 or 4:00. In addition, since some of the people won't be at the retreat, we've identified another day for me to do 'make-up' head shot sessions. I will be transporting all of my lighting equipment to their venue (twice), and I'll be doing the editing for all the shots. </p> <p>I have no idea how to place a value on that. I was thinking in the range of $1000-1500. Is that way off base? I would appreciate your help. </p> <p>Although I am not a seasoned professional with a lot of experience, I had a lot of studio experience this summer at the Rocky Mountain School of Photography....a 3-month 9-12-hour-a-day summer intensive program. So though I don't have a reputation yet as a photographer, I don't want to sell myself short because of that. I saw the head shots this group had taken last year, and I know I can do a better job than that. They paid him a fee, though I don't know how much. </p> <p>Please advise.....and thanks for your time.</p>

<p>I am trying to get a blue gel to register color on a white background. Sounds simple enough, but I tried everything tonight.....unsuccessfully. I'm using a gel over a speed light (just using the small sample size gels). I tried different angles, different color gels, stacking gels, different intensity of light, near and far. It makes no difference. Can someone help? I need it for some head shot I'll be doing. At least I thought I'd provide it as an option to the people who asked me to do this. They may prefer the white background they've always used, but I need to learn how to do this anyway. Thanks if you can help! </p>

<p>Nice effort....I like it. What was your surface, may I ask? I've never done much with still lifes, and I'd like to start. </p>

<p>Michael.....I bought reflectors so I'll be experimenting with those over the next few days as well. I don't want the face to appear flat with no shadows, but I don't want anything like split or Rembrandt lighting either. A real learning curve for me. :-) Thanks for all your help. Hey, do you happen to know anything about using gels? I experimented with those tonight....unsuccessfully. I'm going to post another question about them, rather than starting on a new subject in this thread.</p>