@ennuipoet
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ennuipoet
ParticipantEnnuipoet, you may recognize the dude in the last one.
Damn, you did, my heavy drinking years have totally wrecked my brain cells. I wonder if I can Veteran’s disability for that?
re the vote totals, I noticed that last night when I was voting that we are roughly double the usual. Of course, when you put a Monty Python reference in the thread it’s like crack to the Nerd Herd. I should know! 🙂
ParticipantHear, hear on the 3D rule! I think that is the way to go. Also, orionid when you do the Land Camera to 120 make sure you post some details. All of the conversions I’ve seen involve advancing the film in a darkbag which is possible just not very convenient.
ParticipantShort answer, Error is clearly within the spirit of Farktography is not necessarily the letter. The big problem is opening doors to someone slapping a paper doll on the scanner and calling it a photograph.
ParticipantThat’s funny, ennuipoet – I prefer still life ’cause it doesn’t complain that I’m taking too long to get it just right! And I’m gonna try to do the same this year (shoot at least one new per theme), time permitting.
I operate solely on the “found” photography principle, seek, shoot, sell…err, post. When I first started shooting in High School I dreamed of being a photojournalist, so I lean hard on the documentary style of shooting. (OK, I’ll be honest, I still kinda dream of being a photojournalist 🙂 just one that doesn’t get shot at) No matter, learning the fundamentals of lighting and composition in studio is a weak spot and something I need to work on. Contests like this week do just that.
ParticipantUgh, finally finished this weeks shots. The thing I like about Farktography is often the same thing I hate about it…forcing me to do things I would not normally do. I HATE still life shooting! I might feel differently with better lights and space to work in! Trying to light and compose in an apartment with a cat that is convinced it is her job to investigate everything that goes in front of lens, except when I want to put HER under the lens. I am committed this year to shooting specifically for a thread as much as possible whenever possible…but I don’t have to like it!
Participantdid you reset the ISO and/or WB for each location?
as the official photographer you couldn’t take your pants off so did that cramp your style?
loved everyone bundled up in 20 layers and pantless.
I shoot in RAW so I don’t worry to much about the white balance. I did the ISO dance for the whole shoot. My 50D has some really nice ISO expansion so I was able in shoot in the area of 2000 in the stations without losing to much to noise. That was the big problem all night was trying to keep the noise in the shots down, so I shot wide open which was killing me on DoF.
Trust me, the agreement I made at the beginning of the shoot was I was documenting NOT participating. My pants stayed firmly on! Besides, it was 30 degrees with 40 MPH wind gusts in the City yesterday. Those who doffed their dungarees strode the line between bravery and foolishness!
ParticipantI’d the good fortune to be on the official photographers for Improv Everywhere No Pants Subway Ride (the original)here in NYC (This is actually a pretty big deal for me, it’s more exposure than I’ve ever had a link on their home page (http://improveverywhere.com/ Dave Bledsoe is my RL name 4th from top) and huge page hits on my Flickr stream. Plus I’ve been asked to come shoot for the group again on a smaller event in a coupe of weeks! Gwinny the Fark Mod knows several group members and hooked me up with the guy who runs Improv Everywhere.
This was the most challenging photo shoot I’ve ever done. I had to shoot outside in bright sun then inside the subway station and trains without a flash. My job was to get as many reaction shots as possible without people noticing. I’m enormously thankful I bought the new camera over Christmas, there would no way my old 20D could handle this job. Still, it was a completely awesome time and all the people in underwear I never wanted to see!
Participantwhat would your prices be?
what size would the prints be?
are they framed?
will they be limited prints?Awesome! Congrats! They are amazing shots! As to pricing, the questions above set your answers.
Start with size, large is more expensive all the way around. The size of the print is relative to the how big the print CAN be before losing resolution. Also, how large is the gallery space. It wouldn’t work to print 18x20s if they only have space for 8×10. Also take into account your aspect ration of the print and whether the shot can be cropped to fit a standard frame.
Framed: Definitely, framing is as much a part of the show as the print itself. Your shots are all low key suggesting a simple framing motif of base black or brushed steel. As Curious said a large matte seems to be very in of late (at least in the gallery shows in NYC) so make sure you matting fits with the motif of the print and frame. None of this is cheap and if you are custom framing it went from “not cheap” to “oh my god!”
Limited Edition vs Single Prints: This is where you really make your call on price. Either way, you are taking a print out of circulation and revenue potential. Single Prints should take into account the revenue generating potential of that shot forever: if you EVER even thought of selling that photo in ANY other format, then your price must reflect that. Limited Edition prints allow a bit more flexibility in pricing as you can set the amount high enough to leave you a little wiggle room in the future. The price should be high to make up for any extended right use in the future (ie greeting cards, calendars, stock photo ect.)
Taking all of that into account it’s time for some math:
Costs=Printing, matting and framing (plus film processing is applicable) and time involved (pay yourself a reasonable rate for the time you spend working on this. If you work an hourly job to keep the bills paid I would AT LEAST pay myself my hourly wage to recompense the time I spend working on this)
Profit=I would go anywhere from 2 to 5 times costs and then base it on the market. If I was showing in a SoHo Gallery (HAH! That’s funny!) then I would make my mark up 4 or 5 times my cost because the market will pay that in NYC. In your case, with a small market I would lean conservative but still pay yourself what your time and effort is worth! Don’t undersell you creative work because you don’t have confidence in yourself!
No matter what, you should cover your costs. The more you put in the more you can reasonably expect to get back. I know the opportunity to land a gallery showing would make me start thinking “Gee, the exposure is worth the expense, so even if I don’t make my money back now I will in the future…” and that is flawed thinking. If you lose money on this you are defeating the purpose of the showing. It’s hard! Try to get in touch with previous artists and see what their expenses were at least, some may be leery of talking sales and profit with you, but you can hope they will give you some idea of what you are facing price wise. I would ask the gallery if they are willing to take a percentage of costs for a percentage of profits, it take some of the weight off you and gives them incentive to market you work. In a situation like yours where they are using the art to drive their sales of other goods they are total win/win it cost them nothing for wall space and there is no risk if you don’t sell anything: ask if they will offset, the worst they can tell you is no.
I’ve spent the last year digesting books and websites on how to price my work and this is a distillation of a LOT of information. It represents my personal plan for pricing my work. YMMV 😀
ParticipantWhat? Nice isn’t weather? A beautiful sunny day, which around the Sac-A-Tomatoes isn’t to hard! 🙂
ParticipantActually the whole vote whoring this is less of a photoshop contest and more of a pissing contest between a few shoppers. One of the things I like most about Farktographers is we all more or less like and support one another while photoshoppers tend to lie in wait with high powered weapons for one another. 8)
ParticipantHmm found the image on Flickr:
http://www.flickr.com/photos/trentchau/3351990125/in/set-72157625605396400/It’s beautiful, stunning and definitely shopped, I can tell by some of the pixels and from seeing a few in my time… 🙂
ParticipantBoobies are a wonderful thing, the only thing better than some Boobies is MOAR BOOBIES!
ParticipantHere (http://www.youtube.com/watch?v=3twrTuMt7ew) is a video of an MRE heater burning in a campfire. I wouldn’t think that that level of light would damage the sensor any more than a particularly intense sunset.
Burn, baby, burn!
ParticipantI spent my NYE alternately hugging the bowl or sitting on it. Damn Norovirus! Oh well Happy New Year!
That is actually how most people are spending the day after.
Participant/got a link to the flash fix? Kat’s 20D has a similar problem – you can ‘help’ it but it generally doesn’t pop up on it’s own
Inside the hotshoe there are two rails on either side of the shoe that are depressed when the Speedlite is mounted to the hotshoe.
These rails can either be stuck down or have gunk built up between them and the metal. Gently lift the rails (I used a small screwdriver) so they are not compressed and then clean (I used a q-tip) and that should correct the problem. (When these are down the camera things the speedlite is mounted and disables the internal flash) -
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