In the teleconference, you both touched on image security and copyright.
1) Is anyone using "hidden" watermark or use of steganographic processes to embed copyright information?
Shay talked about using an assistant.
2) How does one locate a suitable assistant?
3) What qualities are you looking for?
4) Would you (have you) work(ed) as an assitant?
5) How do you determine compensation for assisting in photography?
6) Do you do all of your own post-processing?
7) Do you ever use a "service" for post processing?
8) How do you handle a double-booking or last-minute emergency, when you might not be able to cover an event personally?
Thanks to whomever wishes to respond to these questions.
2) How does one locate a suitable assistant?
3) What qualities are you looking for?
4) Would you (have you) work(ed) as an assitant?
5) How do you determine compensation for assisting in photography?
1) Is anyone using "hidden" watermark or use of steganographic processes to embed copyright information?
I have not done this other than putting a visible copyright notice. But this does bring up another method. If your work is recognized, you run a good chance of having someone who knows you to have seen it and inform you of it. From there you take whatever steps you deem needed.
Remember, just like with computers, security through obscurity doesn't work very reliably. So I don't put a lot of trust in hidding copyright info in the photo.
2) How does one locate a suitable assistant?
The plague of all business...good help is hard to find. A pro photographer will likely get plenty of unsolicited offers from hopeful photogs out there. Taking the time to review portfolios and interviewing will go a long way to helping to weed them out. But in the end, only their actual performance will reveal all.
3) What qualities are you looking for?
The ability to anticipate, which by the way is also an important quality for a photographer to have. Being able to work consistantly (routines, techniques, etc) is also very important. Consistancy shows in portfolios, so pay attention to that. And they have to be moved emotionally by imagery, if they are not touched, they can't see it to begin with and won't be much good for anything more than sherpa duty.
4) Would you (have you) work(ed) as an assitant?
I find an assistant invaluable. It frees your mind to concentrate on imagery and the technicals instead of the minutia of the day, food, drink, etc. An assistant has a tough job.
5) How do you determine compensation for assisting in photography?
That depends on area mostly and your market, but there is a value to the photographer. So just like determining prices for other products and services, you have to take into account what it costs you and what it brings in for you. There is a balance there where the photographer comes out ahead and the assistant goes home satisfied too.
Secondarily, is the assistant a sherpa or do they do more than just tote luggage? What would be an equivalent job description in your area, and what do they make per day? That can at least give you a starting point.
6) Do you do all of your own post-processing?
I do all my own processing. I still learn by reviewing the shots that worked and the ones that didn't and figuring out how to do it better in camera next time. Perhaps in the future I might farm it out, but I have no plans to do so at this point.
7) Do you ever use a "service" for post processing?
No
8) How do you handle a double-booking or last-minute emergency, when you might not be able to cover an event personally?
In both cases, you have to work extra hard to help them find a replacement. There are usually photographers you know and trust who you can call in an emergency and if they are free, they will most likely help. If that doesn't work, then dig deeper to find the best replacement you can.
On the Digital Wedding Forum, there is a special forum for emergency requests, calls for assistants, etc. Many people read that forum regularly. Other associations that one may be a member of have something similar. The important thing is to do whatever you can to make sure the client is taken care of.
Creator of Dgrin's "Last Photographer Standing" contest
"Failure is feedback. And feedback is the breakfast of champions." - fortune cookie
Just some ideas for future ones. Maybe dedicate an whole hour to one topic say publicity and marketing and then have us dgrinners post possible questions in the forum so that may give the pro an idea of what those attending are specifically looking for. Just an idea.
I think this went well and look forward to more in the future. Could this be a monthly or biweekly event.
Also Andy I would be curious as to why you licensed your umbrella print instead of selling a print and how you determined you would do that. Not that the cost info, that would be interesting to know, but what made you think to license the image. Is this something you do exclusively instead of prints?
"A photo is like a hamburger. You can get one from McDonalds for $1, one from Chili's for $5, or one from Ruth's Chris for $15. You usually get what you pay for, but don't expect a Ruth's Chris burger at a McDonalds price, if you want that, go cook it yourself." - me
Also Andy I would be curious as to why you licensed your umbrella print instead of selling a print and how you determined you would do that. Not that the cost info, that would be interesting to know, but what made you think to license the image. Is this something you do exclusively instead of prints?
It was a huge ginormous brokerage firm, and they have their own art department. I let them make the prints, it was far easier to let them make the prints For the 6' x 4' versions, I had the printing done, and licensed those for X period of time. After X time, they had option to give them back or purchase. They purchased (more $$$ )
It was a huge ginormous brokerage firm, and they have their own art department. I let them make the prints, it was far easier to let them make the prints For the 6' x 4' versions, I had the printing done, and licensed those for X period of time. After X time, they had option to give them back or purchase. They purchased (more $$$ )
The license part is what is interesting to me. Why kind of license, some exclusive? I am curious as to why they license at first and then purchased. Was the license part initated by you or did they ask to license for X period. Do you license prints like that for display in locations, more or exclusively versus selling the print? Is it just a philosophy or have you found that easier approach? I love the idea. I would love some more info (not necessarily $ amt) but do you approach people about this, do you target certain business, have many business' contacted you initially, etc?
"A photo is like a hamburger. You can get one from McDonalds for $1, one from Chili's for $5, or one from Ruth's Chris for $15. You usually get what you pay for, but don't expect a Ruth's Chris burger at a McDonalds price, if you want that, go cook it yourself." - me
The license part is what is interesting to me. What kind of license, some exclusive?
Licenced for one building, 14months. Option to renew, or negotiate purchase price at end.
I am curious as to why they license at first and then purchased. Was the license part initated by you or did they ask to license for X period.
I initiated it. Reason? So I could get more money later
Do you license prints like that for display in locations, more or exclusively versus selling the print?
depends on the client and the image(s).
Is it just a philosophy or have you found that easier approach? I love the idea. I would love some more info (not necessarily $ amt) but do you approach people about this, do you target certain business, have many business' contacted you initially, etc?
Think about law firms, doctor's offices, real estate storefronts, hotels, corporate lobbies, anywhere where "appearance" really matters.
Great info Andy. My brain is cranking out ideas as I type. A few more questions?
Was there anything special about the license in terms of exclusivity or the such at that location? How many images do you have in lobbies, hotels, law firms, brokerages, etc? And do have you found a correlation of the images you use to the different industries, or are all the images pretty much NYC images that the firms therefore have an natural interest in since their local?
"A photo is like a hamburger. You can get one from McDonalds for $1, one from Chili's for $5, or one from Ruth's Chris for $15. You usually get what you pay for, but don't expect a Ruth's Chris burger at a McDonalds price, if you want that, go cook it yourself." - me
Great info Andy. My brain is cranking out ideas as I type. A few more questions?
Was there anything special about the license in terms of exclusivity or the such at that location?
yes, very specific. Know your buyer, and get as specific as you can.
How many images do you have in lobbies, hotels, law firms, brokerages, etc? And do have you found a correlation of the images you use to the different industries, or are all the images pretty much NYC images that the firms therefore have an natural interest in since their local?
Many - and varied - and different types of business and locations.....
Comments
I have some follow up questions which relate to the teleconference topics. Where would be the best place to ask?
Thanks everybody,
ziggy53
Moderator of the Cameras and Accessories forums
Right here!
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1) Is anyone using "hidden" watermark or use of steganographic processes to embed copyright information?
Shay talked about using an assistant.
2) How does one locate a suitable assistant?
3) What qualities are you looking for?
4) Would you (have you) work(ed) as an assitant?
5) How do you determine compensation for assisting in photography?
6) Do you do all of your own post-processing?
7) Do you ever use a "service" for post processing?
8) How do you handle a double-booking or last-minute emergency, when you might not be able to cover an event personally?
Thanks to whomever wishes to respond to these questions.
ziggy53
Moderator of the Cameras and Accessories forums
FWIW, there's a big piece of American Photo devoted to Photography Assistants
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Remember, just like with computers, security through obscurity doesn't work very reliably. So I don't put a lot of trust in hidding copyright info in the photo.
The plague of all business...good help is hard to find. A pro photographer will likely get plenty of unsolicited offers from hopeful photogs out there. Taking the time to review portfolios and interviewing will go a long way to helping to weed them out. But in the end, only their actual performance will reveal all. The ability to anticipate, which by the way is also an important quality for a photographer to have. Being able to work consistantly (routines, techniques, etc) is also very important. Consistancy shows in portfolios, so pay attention to that. And they have to be moved emotionally by imagery, if they are not touched, they can't see it to begin with and won't be much good for anything more than sherpa duty. I find an assistant invaluable. It frees your mind to concentrate on imagery and the technicals instead of the minutia of the day, food, drink, etc. An assistant has a tough job. That depends on area mostly and your market, but there is a value to the photographer. So just like determining prices for other products and services, you have to take into account what it costs you and what it brings in for you. There is a balance there where the photographer comes out ahead and the assistant goes home satisfied too.
Secondarily, is the assistant a sherpa or do they do more than just tote luggage? What would be an equivalent job description in your area, and what do they make per day? That can at least give you a starting point.
I do all my own processing. I still learn by reviewing the shots that worked and the ones that didn't and figuring out how to do it better in camera next time. Perhaps in the future I might farm it out, but I have no plans to do so at this point. No
In both cases, you have to work extra hard to help them find a replacement. There are usually photographers you know and trust who you can call in an emergency and if they are free, they will most likely help. If that doesn't work, then dig deeper to find the best replacement you can.
On the Digital Wedding Forum, there is a special forum for emergency requests, calls for assistants, etc. Many people read that forum regularly. Other associations that one may be a member of have something similar. The important thing is to do whatever you can to make sure the client is taken care of.
"Failure is feedback. And feedback is the breakfast of champions." - fortune cookie
Thanks Andy, that's exactly what I was looking for.
ziggy53
Moderator of the Cameras and Accessories forums
Don't you guys ever sleep?
Fantastic being able to get ideas from your, and Andy's, experience.
Thanks so much for your time and trouble making this teleconference such a success.
ziggy53
Moderator of the Cameras and Accessories forums
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Thanks,guys! 40, wow.
Galleries here Upcoming Ranch/Horse Workshop
Just some ideas for future ones. Maybe dedicate an whole hour to one topic say publicity and marketing and then have us dgrinners post possible questions in the forum so that may give the pro an idea of what those attending are specifically looking for. Just an idea.
I think this went well and look forward to more in the future. Could this be a monthly or biweekly event.
Also Andy I would be curious as to why you licensed your umbrella print instead of selling a print and how you determined you would do that. Not that the cost info, that would be interesting to know, but what made you think to license the image. Is this something you do exclusively instead of prints?
Portfolio • Workshops • Facebook • Twitter
The license part is what is interesting to me. Why kind of license, some exclusive? I am curious as to why they license at first and then purchased. Was the license part initated by you or did they ask to license for X period. Do you license prints like that for display in locations, more or exclusively versus selling the print? Is it just a philosophy or have you found that easier approach? I love the idea. I would love some more info (not necessarily $ amt) but do you approach people about this, do you target certain business, have many business' contacted you initially, etc?
I initiated it. Reason? So I could get more money later
Portfolio • Workshops • Facebook • Twitter
Was there anything special about the license in terms of exclusivity or the such at that location? How many images do you have in lobbies, hotels, law firms, brokerages, etc? And do have you found a correlation of the images you use to the different industries, or are all the images pretty much NYC images that the firms therefore have an natural interest in since their local?
Many - and varied - and different types of business and locations.....
Portfolio • Workshops • Facebook • Twitter