Turning down a job

Thanks mate, I might take you up when I know more but it could be a constant thing. I have a job next week that would cover the cost of a decent enough set I think. I was hoping to blow it all on shoes though ;)

If you buy a studio kit and don't plan on using if again once your done, I might well be interested in buying it from you afterwards...?
 
have you thought about something like this?
http://www.lastolite.com/hilite-backgrounds.php

basically this plus a set of Interfit lights and thats it done. £200ish for the backdrop, £200-300 for the lights and softbox/brolly. Both easily transportable and once you are finished, easy to sell on again.
 
Actually helicopters glide too ! its part of the training ;)

Autorotaion is more of a controlled crash than it is gliding:lol:
 
Take the job mate. I would, I'm centrally located to them being in Brum so it's slightly easier for me to say that.

Out of interest, how did you get the work? As the others have said .. it could and should lead to much more work and other opportunities.
 
They saw my name on a local business directory thing. I've found a new piece of software that might make the job sooooo much easier. I'm going to try it out and I post my results later.
 
They saw my name on a local business directory thing. I've found a new piece of software that might make the job sooooo much easier. I'm going to try it out and I post my results later.


Any pics yet?
 
Well I've been trying a program called Fluid Mask that seems very clever. Its meant to make cutting people out of images an easy job, but to be honest I just couldn't get a nice result. I tried colour select in CS3 and the refine edge tool and got a far better result in 5 minutes. Today I had the meeting and the shoot is now this...

40 people in Liverpool
17 in Manchester
15 in London
9 in Birmingham
8 in Leicester

I'll be looking at renting a background support unit and 2 lamps. They want the person on a completely white background so they can cut them out and put them into a web page with a white background. So there needs to be no shadow at all, or as little as possible for me to cut out in PS. This all seems doable. I'd just rent the stuff from Calumet and probably drive to everywhere but London and rent some in London. The trickiest part is that they want some contemporary chair to be used as a prop. Where do you rent a chair from, and how do I get that on the train to London?!

This is by far the biggest and most complex job I've ever done. Theres so much to think of and sort out.
 
Does the chair have to be an office chair, stool, or arm chair?

It may be cheaper to buy one rather than rent.

You will require a proper background, these don't reflect light back towards the camera.
Some materials have reflective particles in them, which when hit by flash light can create
bright spots in the image.
 
They want a chair like the one in this shot.

photostyle.jpg


I'm assuming 2 lamps and my 430ex will be able to minimise the shadows?
 
That is an Eiffel chair.

You can find them here, not cheap, but not too expensive
 
Its getting the chair to London though. I'm near Liverpool. I was at an event last night and the guy had 2 lights and a 580ex + lightsphere 2. That seemed to reduce the shadows well enough. However, it was only landscape. I just don't want the extra hassle involved with softboxes. They're such a pain to deploy and transport.
 
Pete the background needs to be 2 stops brighter than the subject, thats the text book high key image.

2 lights on the backdrop

1 light high and 45deg to subject
1 softbox to fill facial details again at 45 deg from other side

that should give what you want.
 
So 4 lights now? I took these with a grey wall as the background with my 430ex & Lightsphere 2. Then I used the colour select too to remove the grey.

IMG_5940.jpg


IMG_5947-2.jpg


They seem ok to me.
 
4 lights was how I was shown for full length shots in the studio. with a high key image.
 
This is just adding to the complexity. 4 lights, background, 89 people, renting a chair?! Could I backlight the background with 2 lamps and use my 430ex & Lightsphere to capture the person?
 
I'm not sure i have never tried it, best thing to do is try it and see what sort of shadows you get.

I won't get in a studio till after the easter break, to give it a try.
 
Unfortunately I won't know till the day what I really need so I need to know before hand so I can put it in the quote. I've got to give them the quote tomorrow you see.
 
You have to bear in mind that the textbook example of having the background two stops brighter than the subject, and evenly lit harks from film days - when jobs like this had to be nailed in-camera. It's a good rule to know, but with all the potential hassle of many lights there's little wrong with the post processing method you've used on the above shots.
A few tips :
Keep all the shots simple & constant. Shots like the third one in post #55 are ace if pulled off well, but very, very easy to get wrong.

Really, really bear in mind that these people are solicitors. Work as best you can to avoid showing any imperfections. In the stuff you've shot the lady has slightly imperfect teeth. She might not be phased by them. The client may not be phased by them... But if either is, while it may not land you in trouble it will lead to a generally less happy client. In this instance keep the mouth shut.

Stick to 3/4 or full body shots.

Have eye contact in all the shots. It's a very simple way of making the subject at least of an equal standing to the viewer, and more likely of superior standing. Just what you want with solicitors.

Shadows are both your enemy and your best friend - don't just eliminate them completely, flat images are boring. Keep them subtle to be on the safe side.

Play with whatever studio equipment you're using prior to shooting anyone. Use a bear or whatever, but what's important is that you can control & adjust your gear confidently.

If time allows, do experiment. Start to do stuff that's tighter cropped, in odd positions etc. - but do this after you've got a good couple of safe, sure shots following your set formula.

How I would shoot, given two lamps & a strobe is to use just one to backlight the backdrop. The lighting will likely not be even, with some potentially sharp falloff - but this is easy to 'shop afterwards. This leaves you two lights to work with on the subject.

edit : Unless you've shot with similar studio gear to whatever you're renting, I'd go as far as to say rent it a day or two in advance of requirements. That way you can do the aforementioned testing, but also ask niggling little questions somewhere like here. Small things like knowing if you need to dump a light after deciding you don't need it will make the whole process a lot smoother.

Also forgot to say ~ This is a challenge, undoubtedly. It's gonna be stressful, it'll probably go wrong in at least one way, and it sure as damnit aint going to line your pockets... But I think the fact that it's such a challenge is reason enough alone to jump straight at it - I think you'll get a lot from it.
 
The other thing about using a 4 light set up when on location is, if you have a unit fail and they do. You can get yourself out of the S**t quite easily, if you don't have any spares, how long is it until the hire company can get one to you. How will that make you look to your client.

Personally I would take a spare camera and studio flash, and canon flash.
Ask the hire company if they supply a spare modeling and flash tube in case one goes.

I got told by a seasoned pro, its no good saying to a client. "its never stopped working before" as your client couldn't care less, its your problem.
 
I think I might try and find a local studio and spend some time there before the shoot if possible. Just so I can feel more confident about the lighting. If theres the time. I'll do up a quote that will account for the extra lighting if need be. They want full length shots only, not close ups.
 
Got a call earlier. I didn't get the job, which is fine. Its a real load off because it was a mammoth task. They didn't mention the estimate at all. They felt that I just didn't have the experience in that area. They did like my work, but just thought that photographing 89 solicitors wasn't what I normally do so they decided to go with someone who has more experience with that. So phew :)
 
A little yeah. I could certainly do with the money, but the job was a lot of work and really really dull.
 
Two hundred and seventy squids for a plastic chair??????
 
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