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Author Topic: Re: Recent Professional Works 2  (Read 462299 times)

Rob C

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Re: Recent Professional Works 2
« Reply #600 on: August 15, 2013, 03:51:01 AM »

awas in NYC, but since I am not what would be the point.  It is frustrating for both of us.  

To be the best, you need to be in a hub (or at least get established in one), plain and simple.  



I have to agree. It's not only about address, it's also about bonding and that means personally.

Many years ago, when I was doing quite well up in Scotland, I moved out to Spain in order to have instant calendar locations all around me. I got that. I also decided that to maximise the advantage, I should change stock libraries for one that did stock as well as provide commissioned work of the type that I did: calendar girls.

So I took a trip back to London, looked up American Susan G. who ran her own stock library as well as having a photographers' agency. She said she'd be delighted to take me on for stock, but that insofar as commissions went, I had to live in London or forget all about it. I understood then, and still do. But I couldn't maintain the lifestyle I could in Scotland and Mallorca in London. My nice house-with-studio in Glasgow would have bought a garage in London. And I had no intentions of stepping (leaping!) backwards. It was the same story when I had a day with the head of AGE library in Spain: I'd thought of moving to Barcelona for the models. He looked around my place here on the island and told me I was nuts: I'd have to be a stockbroker to have in Barcelona what I have here.

Such a lot depends on where your parents live, and how old you are when you face decisions. I guess that if you have nothing to lose, then do it, but otherwise choose between being paralysed by fear or betting the farm on a dream.

Rob C

JoeKitchen

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Re: Recent Professional Works 2
« Reply #601 on: August 15, 2013, 06:44:29 AM »

Let me just say that I am moving there in steps, both of us.  We now have NYC numbers and addresses.  The only problem with not living there is not being able to network as good as if we were.  I also need to get a portfolio of exterior buildings from NYC, which is hard since I don't live there either. 

And also that fact that I will have to leave Philly at 2:15 AM this Sat. to make a 4:15 start time in Manhattan; not looking forward to that.   :(
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Joe Kitchen
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BobDavid

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Re: Recent Professional Works 2
« Reply #602 on: August 15, 2013, 09:25:43 AM »

I don't understand your rationale, Joe. Perhaps a New York rep will help you land more jobs in NYC. Photography is more competitive now than it's ever been. I live in the middle of a swamp; 90% of my projects come from clients that are at least 500 miles away. Perhaps you'd stand a better chance marketing your skills to Cleveland. I would think NYC is saturated with local talent.
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TMARK

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Re: Recent Professional Works 2
« Reply #603 on: August 15, 2013, 09:28:39 AM »

If I were in your shoes, live in Carrol Gardens, Brooklyn for three years.  Try and save some money (almost impossible).  Make your connections, shoot a bunch, then get the hell out.  NYC is set up for boom and bust.  If you boom in NYC, have an exit strategy, diversify, make sure you shoot in LA, make sure you make the rounds to all the big clients in the US and abroad.  Otherwise, once your connections at an agency or magazine are gone, so are you.  Then you have to start over.

Good luck.  Its a good experience living there.

Let me just say that I am moving there in steps, both of us.  We now have NYC numbers and addresses.  The only problem with not living there is not being able to network as good as if we were.  I also need to get a portfolio of exterior buildings from NYC, which is hard since I don't live there either. 

And also that fact that I will have to leave Philly at 2:15 AM this Sat. to make a 4:15 start time in Manhattan; not looking forward to that.   :(
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Chris Barrett

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Re: Recent Professional Works 2
« Reply #604 on: August 15, 2013, 11:48:04 AM »

My wife and I have toyed for years with getting an NYC apartment, just a small rental as sort of a weekend place.  It would also give me an East Coast presence, so that I could shoot there without my typical $3k travel expense.  I figured if it landed me a few extra jobs a year it would at least pay for the Apt.

We dig NYC but love Chicago too.

Here's a picture of some chairs...



...and a house...



CB

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Re: Recent Professional Works 2
« Reply #605 on: August 15, 2013, 01:30:27 PM »

@Chris Barrett
oh,
I like the first one very much!
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JoeKitchen

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Re: Recent Professional Works 2
« Reply #606 on: August 16, 2013, 11:29:27 AM »

Great work Chris, as always. 

Wow, this whole move to NYC thing is getting blown out of the water.  First, we do not plan on moving for some time now, and we would live in Brooklyn.  We already have a nice name base in NYC and our plan is to get our NYC numbers and addresses out there this winter.  Two weeks in and we are already seeing great responses, even from those we have previously met with.  One firm that I have been really trying to get in with finally returned my calls and emails after 3 years of nothing; I am sure the 646 number had a part in that. 

On another note, I hate it when people tell you they "do not have a budget, just tell us what it would cost."  Then I get the reply, your number was more then what we wanted to spend.  Me thinking, "so you did have a budget after all." 
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Joe Kitchen
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Chris Barrett

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Re: Recent Professional Works 2
« Reply #607 on: August 16, 2013, 12:27:14 PM »

Perhaps they wanted to spend zero?  I don't even know what the going rate is anymore, whether I'm high or low. Naturally I'm happy people keep paying my day rate.

Kirk Gittings

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Re: Recent Professional Works 2
« Reply #608 on: August 16, 2013, 01:23:35 PM »

Nice work Chris.

Good luck with that Joe. I hope it works out for you. Boy to each his own. New Mexico is full of successful photographers bailing from living and working in the big three markets-seems they hate the lifestyle usually. When I go to Chicago (to teach photo) I don't even look for work though some oftentimes comes my way. I love Chicago and need my urban fix there periodically but it is a huge PITA to work there. I am always thrilled to get back to the SW where things are more accessible and not so hectic.

The last time I was there I needed to get on the roof of The Palmer House hotel to do a shot down Michigan Ave. of another building. No shit it took 6 weeks to get them to return my phone calls (and my clients calls too).
« Last Edit: August 16, 2013, 01:27:26 PM by Kirk Gittings »
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TMARK

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Re: Recent Professional Works 2
« Reply #609 on: August 16, 2013, 02:05:20 PM »

I've never liked The Palmer House.  This makes me like them even less.

Nice work Chris.

Good luck with that Joe. I hope it works out for you. Boy to each his own. New Mexico is full of successful photographers bailing from living and working in the big three markets-seems they hate the lifestyle usually. When I go to Chicago (to teach photo) I don't even look for work though some oftentimes comes my way. I love Chicago and need my urban fix there periodically but it is a huge PITA to work there. I am always thrilled to get back to the SW where things are more accessible and not so hectic.

The last time I was there I needed to get on the roof of The Palmer House hotel to do a shot down Michigan Ave. of another building. No shit it took 6 weeks to get them to return my phone calls (and my clients calls too).
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Rob C

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Re: Recent Professional Works 2
« Reply #610 on: August 16, 2013, 03:54:55 PM »

Nice work Chris.

Good luck with that Joe. I hope it works out for you. Boy to each his own. New Mexico is full of successful photographers bailing from living and working in the big three markets-seems they hate the lifestyle usually. When I go to Chicago (to teach photo) I don't even look for work though some oftentimes comes my way. I love Chicago and need my urban fix there periodically but it is a huge PITA to work there. I am always thrilled to get back to the SW where things are more accessible and not so hectic.

The last time I was there I needed to get on the roof of The Palmer House hotel to do a shot down Michigan Ave. of another building. No shit it took 6 weeks to get them to return my phone calls (and my clients calls too).



Isn't this an example of the benefits of living on location? One could have gone to see the right guy and got a defintive reply in moments. If I could walk in unexpectedly off the street in Cannes and get the ear of the Public Relations Manager of the Carlton, why not a joint in NY?

Belief is the miracle that opens the doors.

Rob C

Kirk Gittings

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Re: Recent Professional Works 2
« Reply #611 on: August 16, 2013, 04:00:49 PM »

Rob, I was living there for the summer. It took half the summer to get a phone call returned. PLUS as I said they would not return my clients calls either (their neighbor). Nor could I just "walk in" and talk to the right person-tried that and got nowhere.

A similar thing happens when trying to get my architectural photography class access to buildings to do some photography. No problem in the SW-huge problem in Chicago.
« Last Edit: August 16, 2013, 04:05:13 PM by Kirk Gittings »
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Rob C

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Re: Recent Professional Works 2
« Reply #612 on: August 16, 2013, 04:24:11 PM »

Rob, I was living there for the summer. It took half the summer to get a phone call returned. PLUS as I said they would not return my clients calls either (their neighbor). Nor could I just "walk in" and talk to the right person-tried that and got nowhere.

A similar thing happens when trying to get my architectural photography class access to buildings to do some photography. No problem in the SW-huge problem in Chicago.


Maybe it's contemporary city paranoia and thoughts of terrorism. You don't, like I do, have a beard, do you? Never helps!

;-)

Rob C

Kirk Gittings

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Re: Recent Professional Works 2
« Reply #613 on: August 16, 2013, 04:25:48 PM »

Yes, But I look like Ansel Adams for pete's sake! :)
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Kirk

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Rob C

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Re: Recent Professional Works 2
« Reply #614 on: August 17, 2013, 03:26:33 AM »

Yes, But I look like Ansel Adams for pete's sake! :)


Well, there's no answer to that!

;-)

Rob C

HarperPhotos

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Re: Recent Professional Works 2
« Reply #615 on: August 17, 2013, 03:35:07 AM »

Hello,

Shot a couple of weeks ago for Hyundai.

Background image was supplied and the car was shot in my studio using a Nikon D800E attached to a Horseman VCC adaptor and a Rodenstock 105mm Apo Rodagon lens and Dedo lights. My assistant Renee and I took turns sitting in the car playing the driver. Its me in the shot.

Ciao

Simon
« Last Edit: August 17, 2013, 05:58:16 AM by HarperPhotos »
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Simon Harper
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JoeKitchen

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Re: Recent Professional Works 2
« Reply #616 on: August 17, 2013, 12:36:20 PM »

Hello,

Shot a couple of weeks ago for Hyundai.

Background image was supplied and the car was shot in my studio using a Nikon D800E attached to a Horseman VCC adaptor and a Rodenstock 105mm Apo Rodagon lens and Dedo lights. My assistant Renee and I took turns sitting in the car playing the driver. Its me in the shot.

Ciao

Simon

Very nice Simon.  Funny, you writing that you were in the shot hand me doing a double take, until I realized that the steering is on the other side than here in the States.  
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Joe Kitchen
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DanielStone

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Re: Recent Professional Works 2
« Reply #617 on: August 17, 2013, 12:47:45 PM »

Hello,

Shot a couple of weeks ago for Hyundai.

Background image was supplied and the car was shot in my studio using a Nikon D800E attached to a Horseman VCC adaptor and a Rodenstock 105mm Apo Rodagon lens and Dedo lights. My assistant Renee and I took turns sitting in the car playing the driver. Its me in the shot.

Ciao

Simon

Hey Simon,

quick question for ya, if I may:

What's YOUR feel on the use of a "supplied" image of sorts, but then taking a separately-shot/lit car and comping it in? I know it's now a "default" practice for many in the automotive industry, but as a photographer and not just a consumer looking at pretty ad shots I'm left feeling a bit cold, so to speak.

Do you ever do rig shots? I know that many have shied away from them in the few past years due to the time involved, and the rush of modern-day shooting and budgetary constraints. But shooting both the car & background simultaneously (I've found, working on a few car jobs in the past) seems to have less of a "cut and paste" feel.

Again, just my sentiments on the issue as a whole. The lighting on the car is nice btw :)

-Dan
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HarperPhotos

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Re: Recent Professional Works 2
« Reply #618 on: August 17, 2013, 03:48:29 PM »

Hi Dan,

To be honest been in a nice warm studio in stead of a cold freezing South Island road with a team of ten people and a camera rig plus all the hassle of dealing with councils to get road permits and safety certificates as well as traffic control staff does not appeal to me. I know what you are saying but as you have mentioned it is all about money.

With fantastic software like Virtual Rig I personally can not see any reason way you would want to use a camera rig system as they are expensive, time consuming, cumbersome just unnecessary for still photography and you have to contend with the weather which is always unpredictable in winter in New Zealand. For video there is definite advantages in using a camera rig.

http://www.virtualrig-studio.com/

That Hyundai took me 4 hours to shoot compared to at lease a four day shoot on location. Personally I would have retouched the shot with more reflections of the surroundings in the car but those decisions are made by other people.

I have a couple of images I did of an Aston Marin DBS which I will releasing in a couple of weeks which was a personal project. My brief to the retoucher was Tim Burton, Batman, Gotham City, Sleepy Hollow look and I let him loss. Personally I think he hit it on the head perfectly so stay tuned.

Ciao

Simon
« Last Edit: August 17, 2013, 09:52:43 PM by HarperPhotos »
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David Eichler

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Re: Recent Professional Works 2
« Reply #619 on: August 19, 2013, 02:31:36 AM »

Rob, I was living there for the summer. It took half the summer to get a phone call returned. PLUS as I said they would not return my clients calls either (their neighbor). Nor could I just "walk in" and talk to the right person-tried that and got nowhere.

A similar thing happens when trying to get my architectural photography class access to buildings to do some photography. No problem in the SW-huge problem in Chicago.

Were you offering a significant amount of money to use their property? If not, what is their incentive to be responsive to you? Can't imagine they would have any interest in photos of a neighboring building, unless they happen to own or manage it as well.
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