Does using pro photo gear really matter?

The amazing Profoto B4 Battery generator and Pro B head kit for rent from High Output Charleston

The amazing Profoto B4 Battery generator and Pro B head kit for rent from High Output Charleston

I admit it; I’m a gear horse. I love having and using the best possible tools to create my photographic images so I get asked frequently if have top line gear matters, and in a nutshell, yes it does. But just because you can’t afford the latest gear doesn’t mean you still can’t use it. There are rental houses across the globe that can get any photographer loaded for bear with just about anything you can think of. I’m very fortunate to have two of them here in Charleston SC; Shoot Rentals (www.shootrentals.com) and High Output Charleston (www.HighOutputCharleston.com) and today I’ll highlight High Output.

Most who know me can agree that I’m a disciple of light, whether using speedlites, studio strobes, LED panels or good old-fashioned worklights with compact fluorescent bulbs. I wish I had the budget to purchase the top-line Profoto lighting gear, but it’s not in the cards at the moment. So I do the next best thing; rent. You may be asking yourself “If you have all the other gear including professional mono-lights, why Profoto?”, It comes down to performance and consistency of the light. If I am shooting product and have the luxury of waiting a few seconds for the lights to recycle, my Calumet / Bowens lights are awesome. Working with a subject that changes expression or moves may be a different story. Have you ever taken a photograph only to notice an even better expression a split second later? You take the shot and realize that the light didn’t fire. The moment is gone. Or maybe the next shot the lights haven’t fully recycled but still fired without as much gusto, leaving your next image underexposed. Maybe not so much of an issue if this is your hobby, but a major problem if you do photography for a living!

I don’t know too many people that have an extra eight to sixteen-grand lying around to pick up a new Profoto B4 Air 1000 or two, and I certainly don’t. And I think even if I did, does this make good financial sense even if I did have the cash? For $145 I can rent almost $9k in top-line Profoto gear for the day. If I have the right client and want to use a $4500 Broncolor Para 177 modifier to get the exact look they are after, I can rent that too (and keep $4250 in my pocket for other expenses).

Does this mean I use this gear on every shoot? Nope, my gear including Speedlites, Quantum Q-Flashes and my trusty old Calumet Travelites can handle the every day stuff. But it is sure nice to know I can lay my hands on the best gear at a moments notice without the expense to own & maintain day in and day out!

(Special thanks to Liz Bruer for the loan of her daughter Penny for the test!)

Consistent output & color out of the Profoto B4 Air 1000 kit, shot with the Canon 1Dx, 24-70 2.8L at almost 12 frames per second without missing a beat!

Consistent output & color out of the Profoto B4 Air 1000 kit, shot with the Canon 1Dx, 24-70 2.8L at almost 12 frames per second without missing a beat!

Consistent output & color out of the Profoto B4 Air 1000 kit, shot with the Canon 1Dx, 24-70 2.8L at almost 12 frames per second without missing a beat! Don't forget, this is a battery powered flash!

Consistent output & color out of the Profoto B4 Air 1000 kit, shot with the Canon 1Dx, 24-70 2.8L at almost 12 frames per second without missing a beat! Don’t forget, this is a battery powered flash!

Profoto_B4_kit-004 Profoto_B4_kit-005 Profoto_B4_kit-006 Profoto_B4_kit-007 Profoto_B4_kit-008 Profoto_B4_kit-009 Profoto_B4_kit-010 Profoto_B4_kit-011 Profoto_B4_kit-012 Profoto_B4_kit-013 Profoto_B4_kit-014 Profoto_B4_kit-015 Profoto_B4_kit-016 Profoto_B4_kit-017 Profoto_B4_kit-018 Profoto_B4_kit-019 Profoto_B4_kit-020 Profoto_B4_kit-021 Profoto_B4_kit-022 Profoto_B4_kit-023 Profoto_B4_kit-024 Profoto_B4_kit-025 Profoto_B4_kit-026 Profoto_B4_kit-027 Profoto_B4_kit-028 Profoto_B4_kit-029 Profoto_B4_kit-030 Profoto_B4_kit-031 Profoto_B4_kit-032 Profoto_B4_kit-033 Profoto_B4_kit-034 Profoto_B4_kit-035 Profoto_B4_kit-036 Profoto_B4_kit-037 Profoto_B4_kit-038 Profoto_B4_kit-039 Profoto_B4_kit-040 Profoto_B4_kit-041 Profoto_B4_kit-042 Profoto_B4_kit-043 Profoto_B4_kit-044 Profoto_B4_kit-045 Profoto_B4_kit-046

Advertisements

The cost of doing business as a professional photographer…

Adrianne Killin

Another delightful (and favorite!) model; Adrianne Killin helping with a lighting test.

Lately I have had some interesting conversations when I’m at various business and networking events. After exchanging the usual pleasantries and asking the person that I’m talking with about what they do, invariably (at least most of the time!) the other person will ask me what I do for a living. I like to answer that I’m a problem solver for my clients and that I help make them and their product or service look their best. I do this through my photographic services and knowledge base.

The first question I’m asked is about what camera gear I use. I have found that the answer I give can have a polarizing effect, from “Oh, yes, those cameras are the best and they take great pictures!”, to “How come you don’t use a XXXXX camera? My dad / Mr. Professional / I used to have (you can fill in the blank) always uses an XXXXX and they take the BEST pictures!” The conversation can sometimes take a turn for the worst; with the other person deciding they will tell me what’s wrong with my gear and why brand XXXXX is so much better. What fun!

The second question I get, is why professional photography is so expensive (in their mind)? To them, a camera and a few lenses from Costco or Best Buy and we’re in business! Yes, it’s true, expensive gear a photographer does not make. But the gear we use are tools, just like any other professional. Most top end mechanics use Snap-on, SK or another top of the line tool set. They invest in their craft because they want to be able to do the job without having tool failures and when there is a failure the tool is guaranteed for life and is replaced. Unfortunately, even though we invest in the top of the line professional gear, it is not warranted for life (not even close). So we invest in servicing said gear. A shooting pro can invest tens of thousands of dollars in camera bodies, only to have them wear out or become obsolete in only a few years. At least lenses have a longer life span.

Professional lighting, lighting modifiers, grip (light stands, booms & support), camera supports (tripods, monopods, studio stands) and computers and their software all cost money. And speaking of computers and software, there is always another upgrade waiting in the wings thanks to planned obsolescence. There are things like memory cards, batteries, radio remotes and a whole host of other necessities for day to day photographic capture and production. What about utilities? Power, phone and internet access come to mind. Commercial versions of these cost considerably more than their household counterparts. What about the lease cost for a space? Travel costs, even when in town, like fuel, parking, etc.?

Then we get to the things that most people forget about; insurances, licenses, professional memberships, accountant and attorney. What about marketing and advertising? All of these things add up, and are not much different from any other “professional” business. So why do people think we as photographers should do our livelihood for cheap? Don’t we deserve to put a roof over our head? Send a child to school? Pay for health insurance? Take a vacation? But I digress…

Just the other day I wound up sending in a couple of camera bodies, a lens, two small flashes and a battery grip all for servicing. Thankfully the team at CPS (Canon Professional Services) takes really good care of me! They sent me out loaner gear and covered all of the FedEx shipping both ways, had my gear all repaired within a week and with our Platinum membership it all cost me less than a thousand dollars. Again, one more example of the cost of doing business, and a place I recommend not skimping!

I guess all this is to say, running a professional business or any business for that matter, has expenses and if that business is a specialty it can get quite expensive. Maybe take a look at it from the standpoint that you are investing in great photography rather than the cost of the service, and that way we professional photographers may invest in your product or service too!

Stop allowing others to take advantage of you!

20150321_CHS_FW_Bridal_BW-0003As a long time professional photographer, I still am thrilled when a publication contacts me and offers me an opportunity to do photography for them. It usually goes something like this;

“Hi! This is So-and-So from XYZ publication. We’ve seen your work and would love to have you cover a photo project for us!”

Well thank you for noticing my work. Where was it that you saw my work? (I’m always interested in finding out which images others find compelling.) Please tell me a little about your project.

“We have a couple of stories that need accompanying images for our upcoming issue, including a cover shot. Would you be available in the next week or two?”

Checking my schedule, I mention several dates that are open. Now comes the fun part…

What kind of budget are you offering? What’s involved and how much time will be required? I ask.

“Oh, we’re pretty tight, and this will be used for editorial. It shouldn’t take more than an hour or so!” says the happy voice on the other end of the line.

With this in mind, we agree on a price for our first collaboration, and then I ask about how their accounts payable would like to have the invoice and how quickly I may expect payment after the shoot. I find out that they normally pay after the issue comes out which can be a month or more. At this point, I give my little speech about not being the Bank of Stan, and that they can have price or terms, but not both. The happy voice tells me that they can expedite it if needed. It’s needed. Before bidding each other farewell, they mention that they will need to have me fill out their W9 and sign a contract. I’ve seen a lot of contracts, and there’s never anything in it for the photographer.

When the contract shows up in my e-mail, sure enough, they want it all and are giving no quarter. A couple of things get my attention. If they decide not to publish the images, no pay will be forthcoming. They require all copyrights to be transferred to them in perpetuity and the photographer may not use them whatsoever. All of the liability during the shoot lies with the photographer (which isn’t really an issue as I have liability and E&O insurance), including securing all model & property releases. Most people tend to glaze over when reading any sort of contract as the boilerplate is mind numbing, but when it comes to your livelihood, I highly suggest taking the time to examine it thoroughly.

So maybe the next time you get the “opportunity “ to do Work Made For Hire, you might take the time to look out for your interests as well. Just remember, if you don’t, nobody else will!

Safe travels!

Doing what I love for a living

I am so fortunate to be able to make a living, doing what I love (photography), and working with some pretty incredible people and clients. Not every client will be a big name International or National company

, but in the grand scheme of things, I find that it doesn’t matter “how big” the client or budget. To be able to consult and provide photographic services for my clients and giving them more than they ever thought was possible (and help them grow) is pretty awesome.
One such client, Sevya Handmade, a Fair Trade import company is just the client I’ve been looking for. When they let me know what the goals were, the timeline and the budget, we were able to put together a complete package that took them to the next level in showcasing their products. I love when these opportunities present themselves!
Can’t wait for the next one……