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Author Topic: Re: Recent Professional Works 2  (Read 239903 times)
JohnBrew
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« Reply #840 on: October 19, 2013, 06:55:33 AM »
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Michael, I prefer the second version. I like the impression of movement. Yes, the first is more symmetrical, but for me it is almost too perfect.
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Chris Barrett
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« Reply #841 on: October 26, 2013, 04:59:39 PM »
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I've been shooting way more furniture than architecture lately.  This is from a series that we revisit once a year as new product is designed.  I have a lot of fun designing the sets and then the lighting of course...



from our new IQ 260 on the M-Line 2

CB
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MichaelEzra
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« Reply #842 on: October 26, 2013, 05:07:32 PM »
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Chris, very cool looking set!
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Yelhsa
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« Reply #843 on: October 26, 2013, 05:58:55 PM »
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Me too Chris - mostly catalogue stuff...

.. but today it was Christmas stuff...

.. and loads of it too, like this...

.. as it's that time of year again, to sell the dream.

« Last Edit: October 27, 2013, 02:07:47 AM by Yelhsa » Logged

georgem
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« Reply #844 on: October 27, 2013, 06:33:36 AM »
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maybe you wouldn't mind some architecture then...

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JoeKitchen
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« Reply #845 on: October 28, 2013, 04:41:56 PM »
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As always, great work Chris and Ashley. 

Here are some recents of mine, architecture though. 
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Joe Kitchen
www.josephmkitchen.com

"Photography is one percent inspiration and ninety-nine percent moving furniture."  Arnold Newman
"Try not to be just better than your rivals and contemporaries, try to be better than yourself."  William Faulkner
Ken R
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« Reply #846 on: October 29, 2013, 09:02:08 AM »
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Some recent published work (Modo de Vida (interior design magazine) ). Long time client and as usual as of late almost extremely low budget and almost zero time (private residence). These are scans from the actual magazine in print. Single image captures, no retouch other than lightroom adjustments and dust cleaning.
« Last Edit: October 29, 2013, 09:04:22 AM by Ken R » Logged
Yelhsa
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« Reply #847 on: October 30, 2013, 08:52:04 AM »
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.. extremely low budget...
If you had been given a bigger budget to play with, what would you have done differently ?

Or to ask the same sort of question from your client's perspective: what more would he have got from you, should he have agreed to pay you more ? 
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Ken R
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« Reply #848 on: October 30, 2013, 09:24:16 AM »
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If you had been given a bigger budget to play with, what would you have done differently ?

Or to ask the same sort of question from your client's perspective: what more would he have got from you, should he have agreed to pay you more ?  

In this specific case I would have used lights for the exterior specially for the landscaping to the right and also the pool and deck area and also the interior walls. Obviously I would have needed to shoot a bit later around dusk. It would have made the location look a bit more high end which is the clientele the company is going for with this line of products (the folding aluminum and glass doors). The space inside was quite small so it would have required a lot of creativity for rigging the lights. Rigging the lights for the outside areas would not have been a big deal but still all that takes time and more money (rentals, and at least an assistant or two). Also, the lighting would have been identical from shot to shot. You can see on the published shots that the light outside changed quite a bit. I could have composited the exterior under one of the lighting conditions but that also required much more time and the images needed to be delivered that same night to meet the magazine's deadline.

I think the images came out really nice considering it was just me with my camera and tripod and no one else. I had to clean up the patio area of toys, furniture, gardening stuff and some leaves that were making the background look quite busy. Also I had to remove all the interior furniture to make room for the shot. The wind was also moving the doors so I had to keep them in position with some ingenuity. At least long enough to take the shot. Smiley
« Last Edit: October 30, 2013, 09:31:13 AM by Ken R » Logged
Yelhsa
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« Reply #849 on: October 30, 2013, 11:44:12 AM »
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In this specific case I would have used lights for the exterior specially for the landscaping to the right and also the pool and deck area and also the interior walls.

Sounds like it could have looked very different then and much better too - which then leads to my other question, which I'd be very interested in hearing your answer to.

Say you had gone ahead and shoot it the way you had just described - would this client have then possibly wanted to use these image more as a result, i.e. in more media or for a longer period of time ?
And if so, could you have then possibly charged him more for that additional use later on, to help cover your additional costs here ??

Only mentioning it because you originally implied that you could have done much better here - so just looking for a way to help you achieve that, should you hit this problem again - where a client is currently unable to pay you the full amount now, to do it the way you know it should be done.
« Last Edit: October 30, 2013, 11:45:43 AM by Yelhsa » Logged

ACH DIGITAL
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« Reply #850 on: October 30, 2013, 05:12:51 PM »
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+1 I agree. Sometime that extra effort, not paid at the moment, brings new chances with clients.
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Antonio Chagin
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Ken R
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« Reply #851 on: October 30, 2013, 06:50:38 PM »
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Ive been working with this client for 6 years. And no they will not pay for extra usage. They pay for the shooting day that is it. It is a small market but they have to / want to use new images constantly. I did this shooting for 2 hours one afternoon. On that day I had another job with another different client in the morning.

This client has tried other photographers and they come back to me now they just hire me, always. Good price, good quality, fast and I am responsible and coordinate the shoots well. It is more about the service. Not always 100% about the image. Also I deal well with the owners of the mostly expensive properties. It seems absurd but if they do not like you they might complaint to the client.

Also, if I h=give this client the service of a more involved production for free how would I justify charging for it on another shoot? They will absolutely say, and rightfully so, "last time you brought lights, grip equipment and took time to light the scene and you only charged me x amount.."
« Last Edit: October 30, 2013, 06:54:45 PM by Ken R » Logged
HarperPhotos
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« Reply #852 on: October 30, 2013, 07:04:26 PM »
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Hi Ken,

I totally agree with your comment Ken

“Also, if I h=give this client the service of a more involved production for free how would I justify charging for it on another shoot? They will absolutely say, and rightfully so, "last time you brought lights, grip equipment and took time to light the scene and you only charged me x amount.."

You start giving them the full service for the cost of a get in and out quick shoot the you are bugged.

Cheers

Simon
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Simon Harper
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bcooter
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« Reply #853 on: October 30, 2013, 09:41:23 PM »
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Hi Ken,

I totally agree with your comment Ken

“Also, if I h=give this client the service of a more involved production for free how would I justify charging for it on another shoot? They will absolutely say, and rightfully so, "last time you brought lights, grip equipment and took time to light the scene and you only charged me x amount.."

You start giving them the full service for the cost of a get in and out quick shoot the you are bugged.

Cheers

Simon

Simon, Ken,

This is something we all fight in today's economy, large production or small.

We'll get a gig that big, but still the cost is held tight and to be safe you want to double your lights, add more crew, maybe even add another 4k RED or a focus puller, steadycam op,  etc. etc., but we're working from a bottom line and they know they aren't paying for all that extra convenience and safety.  

It's a tightrope and I agree with Ken and Simon, do the very best, very professionally with what you have and get on with it.   As long as your honest about what your going to provide then everyone is usually more than happy.

Turning an image or video with twice the production values might seem like a good idea and be appreciated, but usually it works the opposite way and the next time they ask why do you need to charge for that?

Ashley,

You work differently in the fact you have a unique system of shooting on assignment with the agreement to liscense your imagery to others later.  It's a good plan and the investment pays off for you.

For me,  my client's would have a coronary if I tried to cut a deal to sell their images later.  

In most cases after the licensing is up I could, in fact I have millions of dollars in lifestyle production I could offer,  but it wouldn't go over very well.

IMO

BC

P.S.

Actually I'll tell you a little secret.  A few years ago we we're shooting a still and video production and the client's ad manager asked how I promote myself.  I said by building equity with my clients and pointed to the extra RED1, the steadicam operator and focus puller.

I said there is no line item for them, I threw that in for free and that is hard cost out of my pocket of about $8,000 plus cameras I own, lens rentals etc.

The ad manager asked why I would do that and I said because you'll get imagery that's more than you expected, more usable and should put me ahead of anyone I compete with.

He kind of smiled and said, uh yea, I guess so, but next time will you do it?

« Last Edit: October 30, 2013, 09:51:33 PM by bcooter » Logged

Chris Barrett
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« Reply #854 on: October 30, 2013, 10:45:39 PM »
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Word.

I am incredibly invested in gear.  Mostly because I am a big gear junky, but also because I believe that the right tools liberate creativity and allow me to do the best job that I am capable of.  I hire an assistant or two for every shoot I do and always have the same complement of equipment with me.  Well, unless we're also shooting motion and then I have twice the gear.

This week is crazy.  We started off in Austin.  I'm currently in Nashville and am catching a flight to D.C. tomorrow.  It's going to cost the client a few grand just to fly my gear around all week.  They look at the pile of gear though and they just go "Wow".  It almost doesn't even matter how much of it we actually use.

And then they look at the images on the laptop and they go "Wow" again... and we've just justified the costs.  Sometimes we go out with a couple dozen lights and only set up one... but every single time I've left some of my gear at home it's hurt my images... a missing hi-light here, not as much texture there, that little extra sparkle that puts the image over the top.  When that happens I just end up turning around, closing my eyes and quietly screaming "FUCK FUCK FUCK" in my mind.

I don't really know exactly what I'm getting at here, except to say... that Cooter's example struck a nerve.  If you want to make the best work possible, if you want to be in this for the long run, make money and be respected, then don't dick around.

Rant brought to you by Fat Tire Amber.

Now here's a picture of an elevator.

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bcooter
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« Reply #855 on: October 30, 2013, 11:30:39 PM »
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Word.


I don't really know exactly what I'm getting at here, except to say... that Cooter's example struck a nerve.  If you want to make the best work possible, if you want to be in this for the long run, make money and be respected, then don't dick around.



I get it.

We travel with 4,900 lbs of equipment, from asia through europe and keep lighting, grip and computers in three cities and like Chris says, if I leave something I didn't want to carry like the hmi's or a lens set I curse myself.

And don't get me wrong, the image matters, really matters and in the end that's all anyone sees, but it does have an effect if you come in on set with cases of equipment, crew and work highly professional.

Professionalism, work ethic, to equipment matters and with the addition of video you can't have too much equipment (unfortunately).

Still, there is a fine line between being prepared and giving away the store and the days of a single tasking crew member is over.

The only people I work with that single task are the sound tech and usually hair and makeup.   I expect prop stylists to wardrobe, wardrobe to prop, the guy running the dit station can sure as hell pick up a light stand, or a Pelican case, because I do.

Ok, now off to bed.

BC







« Last Edit: October 31, 2013, 06:25:00 AM by bcooter » Logged

HarperPhotos
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« Reply #856 on: October 31, 2013, 12:11:04 AM »
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Hello,

A new image for Honda combining Dedo lights and my new Ice Light.

Nikon D800E and Nikon 80-200mm G lens @ 92mm, F16.0, 10 Sec, 100ISO

Cheers

Simon
« Last Edit: October 31, 2013, 03:29:05 AM by HarperPhotos » Logged

Simon Harper
Harper Photographics Ltd
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alatreille
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« Reply #857 on: October 31, 2013, 12:21:36 AM »
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Now here's a picture of an elevator.



Mighty fine elevator at that....

Careful over delivery may make it easier for a new client to become a repeat client...but over delivery for the repetitive sake of over delivery....you'll be needing to work at the goldenarches through the midnight hours.

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Between the Buildings
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Yelhsa
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« Reply #858 on: October 31, 2013, 02:42:04 AM »
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You work differently in the fact you have a unique system of shooting on assignment with the agreement to liscense your imagery to others later.  It's a good plan and the investment pays off for you.
I was unaware that charging for the use of one's images was unique, James - isn't it why 'we' have the Copyright Law in place ?

So if someone asks me for a price to produce some images for them to use, I ask them what all they need to use the images for first - before quoting them a price that will be based on that information.
The price I quote is therefore simply based on what they will get, rather than on what it costs me.

So I don't ask them to hire me to do some work for them, I just ask them to pay me for what it is they are going to get from me... which is normally some images for them to use to meet their usage requirements.
And so the amount of use will therefore be clearly stated on the quote - as it's that information I'm using to determine what the fee would be.

Which means, should that information change, then the fee would naturally change too.

So in other words, should they want to use the images more, then the fee would be more... because they would be getting more. So the more (use) they get, the more (£ $ €) I get - which to me is only fair.

Also means there is a real incentive in place for me to go the extra mile, i.e. for me to try and produce images that they will want to use a lot more.

A win win situation should I succeed... which I've actually become quite good at Smiley

Honestly don't think there is really anything unique about doing this - as it's what I believe most businesses do i.e. they only ask their customers to pay for what they are going to get but then dangle a carrot to see if they would like more.

Which is basically all I was suggesting Ken considers doing here, the next time he hits a problem like this.
« Last Edit: October 31, 2013, 02:55:20 AM by Yelhsa » Logged

Yelhsa
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« Reply #859 on: October 31, 2013, 05:05:39 AM »
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The ad manager asked why I would do that and I ...
.. would have said: "Why are you asking ?" - and then listened to what he had to say.

Because it's sounds to me, like he may have had something interesting to say to you here - in regards to how you could actually charged them more.

 Lips sealed





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