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02/04/2009 06:09:07 AM · #1 |
I have my sort-of first paid gig coming up. I've done headshots and portraits for hire before, but I've been hired by a small company to take event photos of Chamber of Commerce and Charity events and the like.
My D70 has over 80k clicks on it and the Large majority of those have been party or event candids or theatre/film production photos. I'm used to looking and moving fast and finding the interesting/artistic shot, either with my 28-105 (3.5-4.5) or with my 50 or 85 1.8. I know this sort of work is something that I'm capable of skill set wise.
But this is a new situation. I've done photography and weddings for my friends, but I've never done something more business oriented, where a tilt or negative space is going to be less appreciated. And on top of it, I know I don't have the equipment I need for the job.
A lot of these events are going to be indoors, which is what I purchased my 50mm 1.8 for. But I can only imagine that, in these circumstances, I'm going to need something wider than a 50mm on a DX camera.
So, I have a small number of questions.
a) I'm upgrading to a D300 from my D70 which will help by allowing a much higher ISO than the 70 would. But I can only imagine I need a better lens.
I can't afford the super-pro-premium stuff. No nikon 17-55 2.8 for me. Probably none of nikon's other zoom 2.8's either, to be honest, as this is really just a side venture at this point so my capitol is limited.
But I have to imagine I need Something(s). I'm wide open to suggestions, and I'm willing to look at third party lenses if they're quality stuff. As I said I have a 50 and 85 1.8, and the 28-105 which is great outside but I imagine will be useless indoors. I can't really go to these layered in gear so switching between 4 lenses during the events isn't much of an option.
What lenses should I look at? Should I consider buying a flash? Keeping in mind that flashing at people can be somewhat obnoxious? (especially since I'm not necessarily being hired as the primary photographer for the event, something I'm looking at).
b) What "stylistic" suggestions would you make? What sort of photos would normally be wanted? I'm told I have a good eye for this sort of photography, but I'm honestly used to photographing situations that are faster paced and much more "eventful". I also used to biding my time and waiting for the moment I know is coming, I could just use some advice as to what types of shoots to have my eyes open for in a Chamber of Commerce charity/ribbon cutting/similar event. Other than, obviously, the ribbon cutting.
c) This is a pricing question, which often doesn't get answered except with more questions. The difference here is that the business I'm hired by is being started by an associate/friend of mine and that I wouldn't be doing this at all if it wasn't for my being specifically offered a job doing so. She (and I) have no idea how/how much event photographers are normally paid in these situations, but she wants to pay me a fair wage, understanding that it's a startup company. I've looked around at other photographers, as is the normal suggestion, but have had a hard time finding any reference.
So, how does payment for this type of situation normally work (hourly, event), and how much, as a rough estimate (because she's going to make me a fair offer based on how much she can pay me, and I'm going to take it) would an event photographer reasonably be paid for this sort of work?
d) Other than these questions, what else am I forgetting? What else should I consider regarding any aspect of this?
Thanks for the advice!! |
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02/04/2009 07:30:22 AM · #2 |
Well, I think you're asking a lot of the right questions -- so that's a great start...
To save myself some typing, I'll refer back to a few threads where I waxed poetic and rather verbose on related "things"...
Technique - Concert, Technique - Theatre, Technique - Action / Low Light
Those may leave you with more questions than you started with, but that's not necessarily a bad thing.
D300? A fine choice. I'm dying to move to a D90 or D300 myself for the better sensor. You'll see much better mid- to high-ISO performance. I recommend "getting to know your sensor" ahead of time, and shoot a good selection of low-light shots at various ISO and see where (and under what conditions) you start to pick up uncorrectable noise -- use that as your baseline for where you can start in low-light situations, and (hopefully) decrease ISO from there as much as possible.
My first impression, given what you've described, is you really do need some fast glass. Is this shoot a one-time thing, or is this something you want to really move into? I recommend RENTing some faster glass. 17-55/2.8, 70-200/2.8VR are my workhorses for event work. Rent them for your event, see how you like them -- start saving up. Even if you have more events coming up, just rent them again as long as the cost isn't prohibitive. Just an idea you might not have thought of.
Flash? Personally, I never use it. I actually have my flash taped down on my body so even if I accidentally nudge the button it won't pop up -- but, so some degree that's a "style" (and in 99% of concert work, you'll get bounced out on your ear if you pop a flash). I'm more for fast glass and pushed ISO than flash.
Style? Deciding on using flash will fit into that... Beyond that, you need to decide if you're going to be creative/photojournalistic, or more direct-on "newspaper-like" photojournalistic. This really depends on what you client is asking for (if they even care, or know enough to care); if it's open to you, I'd say go with whatever "feels right" for you. There's a fine line to walk between finding your own style in event work vs. putting your work way out in left-field where folks won't know if it's journalism or art. Not saying that's always bad, but just saying your client might want more "here's what's going on" shots vs. "ooooh, I could blow that up as a poster and gaze at it all day."
Pricing? Check the market where you live -- call up some other photographers and see what they charge. Ballpark / frame of reference -- around here (metro Phoenix/AZ), base freelance assignment for theatre and event work is $125/hr, 2 hour minimum. Decide up front what you'll do with the images (digital media, prints, etc) and add a fee or charge "something standard" for prints afterward. BE VERY CAREFUL / WARY concerning sales of photos w/o model releases. This becomes a huge discussion it and of itself. There's a bit of grey area around what is editorial use vs. commercial use, etc -- so just be sure you are covered. Safest bet -- charge one fee to your client up front; agree on how many images the client will retain from the shoot, and give them those images. Do not sell or use them yourself afterward. That's the paranoid, but safe, view. Your mileage and opinion may vary, depending on how much risk you're willing to take, and how much you actual perceive there is any real risk involved in the first place (again, grey area -- arguable/debatable/everybody's got an opinion... I'm just sayin' be aware and be careful).
Crap, I really tried to be concise, and I still ended up rambling for like two pages there. ;) Hope some of this is helpful.
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02/04/2009 07:35:01 AM · #3 |
| about a good lens for your new D300, i think that you can do a good work with the 16-85VR, is not a 2.8 lens, but you have the VR... for me is a great cost/performance lens... |
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