Camera brands create a lot of BS eye catchy upgrades for the amateurs who spend big buck to be on top of the food chain, this is some kind of snobbism. They also release a lot of compromised bodies with features kept for later on, in order to make people upgrade their gear all the time. There is also the type of amateur photographers who don't feel the motivation to shoot anything if they don't buy something new, they pile up incredible amount of lenses they never use in fact and bodies with features that are extremely niche, like animal eye tracking for example. We are very close to a technological ceiling, but they want to prolong that as much as they can. No one likes the idea of a product that makes everything obsolete, but soon we will have it, because they will run out of options and they still want to sell.
This advice applies to creatives in general. I retired from 30 years plus in the design business and if they don’t like you and you can’t sell your work (assuming it’s good) no amount of gear will help. They don’t teach this stuff in school. It IS a business. Keep em coming. I may be old but I still benefit.
Every time, each video you change my perspective on business and art of photography. Each time it makes me just so much more calm and patient with where I am compared to where I want to get. Just having this non-nonsense perspective presented changes so much.
@@TinHouseStudioUK Geez. I could go on about this. Hopefully this doesn't fall into the black hole again where I cannot see this after I log out. There's a lot wrong with an industry if one needs an agent to be successful despite talent. This is the whole of the entertainment industry, and photography is part of the entertainment industry in a way, at least the fine art part of it. A world renowned opera singer hails from my area, which is a bit of an exception in that my area is a bit off the beaten path. She has to have, despite her talent, an agent for any symphonies and opera houses to give her the time of day. Agents are leeches. So basically you have to move to London or New York with their ridiculously high costs of living before one is even established. Insane how inflexible they are. I work in tech, and again somewhat off the beaten path, so $50k-$75k goes a long way where I am. If I moved to San Francisco I'd earn triple what I do here, but I'd come out behind financially. Yet the tech workers in San Francisco look down on anyone not actually living in San Francisco. They not only look down on people in so-called flyover country, but look down on people in the San Francisco area. They are very snotty if you don't live on the peninsula, ie in San Francisco proper, but instead live out in Martinez or Concord. My cousin's husband works in tech, and they live in the East Bay and put up with the snobby attitude as does a friend of mine. New York City people are much the same way, they really look down on people from certain ZIP codes even in Manhattan, and the price of the housing can very widely over short distances in NYC. They are basically eating up all their income to live in the "correct" ZIP code and that is incredibly shortsighted and foolish.
@@TinHouseStudioUK That feast or famine thing is something musicians experience. Not every album performs equally well and there are times when studio musician work is easily found and other times not so it is back to waiting tables.
As someone who worked in top London ad agencies for 25 years and who still "art buys" and works with professional photographers, your video is bang on, great tips, insights and advice. Subscribed.
I'm retired from commercial work but you are right on target for much of what you said. It is who you know but it's how you meet these people. Once you find work and start going to those designer association events, they hear about your work and how it is to work with you. It's not just the final images, it's if they like you and enjoy working with you. I don't miss it but I was successful. I had to retire because of physical limitations, but I moved on to travel, fine art, and teaching. 49 years in photography and still kick'n!. '.
Finally someone says they hate presets! Me too they are almost useless. Your advice is fantastic for not just photography but generally speaking. I’ve been an architect for 20 yrs and love photography. Get out there, do good work and put in the hrs. It may take you in all sorts of directions but so be it. Love your videos
Agents don't usually understand geography. I used to live in SW London and it took 1h15m to get to Hammersmith some days. Living 1hr away in Leicester is actually quicker, but London agents tend to think they are the centre of the Universe.
2:30 regarding gatekeeping, for the last decade, I would deliberately opt for a free open source software because I didn't want my work to involve specialized access to expensive software that other people couldn't afford. I liked the idea of using free tools and having my ability to use them be the factor that sets me apart. But over the last few years I've had to admit that this stance is holding me back, some of the new software is mind blowing. It's scary how much time I wasted over the years. Thank you for not obsessing over shiny new gear and focusing on the stuff that actually matters.
I found your video very randomly and I'm glad RUclips suggested me your channel! FINALLY someone that is actually telling some good and realistic points about the business of photography! Thanks for sharing! I am working as fashion & commercial photographer my 9 to 5 job as well as doing freelancing and pushing now my street photography side. I'm really glad you suggested some tips that I would definitely look for more information. Thanks Again!
This is the first time I See RUclips vidéo with useful and realistic advices for creators. Thank you so much for the quality of your video. Merry Christmas
Spot on Scott - many thanks for emphasizing the commercial aspects of this profession, especially as a entrepreneur one has to cover all aspects of doing business at least initially. However even later not everything can be outsourced at a later stage. Big respect for being so honest with your audience for free.
Yes! Spot on as always. Thank you so much for your honesty. It’s always so refreshing and valuable. This is such a hard/mad/rewarding/infuriating industry and your voice is one of the only ones that actually tells it like it is. BIG KISS
Interesting stuff and plenty of food for thought. An initial takeaway is how different it is to the nature/wildlife/landscape photography world where a lot of photographers seem to get sent gear, likely because of their social media presence (which to an extent tallies with your point about professional personalities) and social media tends to be king in those fields. Thanks for creating/sharing 👍
It's not just your work, they have to like you personally. 30% of being a professional photographer is your personality, and if it's fashion it's also about how you look and dress.
100% Scott, #backintheday we used to often wonder about buying kit, but even though we were turning over 7 figures a year often, it just wasn't worth it. Flavor of the month always applies. Agencies used to try you out, especially in Asia and Europe, get a handle on your abilities, extract what they could, and move on. Saatchi's were the worst. And having an agent was everything, especially in the USA.
As a commercial photographer myself, I cannot think of a single thing I disagree with here. Only thing I'd add is that (for me personally) social media isn't worth the time and effort required to stand out in the field (and it's not a field you probably want to stand in)
Hard truths are always hard to swallow.I am still learning and trying to grow. Thanks for this video. Reminds me to invest in my resources for marketing my work. Keep the good professional info coming.
I was lucky enough to start out in the 90's when things were a tiny bit better.. but not much. The number one thing that ebnabled me to 'succeed' (not starve) was to generate clients that came back for repeat commissions. It was not easy, Art Directors wanting to 'push the envelope' every time but they then became reliant on me delivering that extra mile .. making them look good in the process. It worked. It meant the types of jobs gor better and bigger. Quite a lot of it was actually fun. BUT .. now I find the Art Buyers have control .. you never get to work for the same agency twice, even if the Art Directors like you. Networking? Yep .. we were also lucky enough to have some wild parties.
Great video.....as always! Could you repeat the name of the site for those of us outside of the UK...you said Bikini lists for UK and ."......" for the rest of us
Thank you for sharing the sercrets! But seriously, this is good stuff to hear about, even as someone who doesn't really see myself going full time ever. Still very interesting information.
Kinda surprising to me because Stephen King wrote about agents and knowing people in the introduction to Night Shift or Skeleton Crew (I forget which). An editor would just flat out reject an article if an agent wasn't speaking on behalf of the author. Same with the workload. King's friend did the math and said his income from selling short stories to magazines was comparable to a New York City plumber's regular.
I'd kinda like to see how Imagen would edit color images. The black and white was very nice, but I feel like you could realistically match that profile with very little time in Lightroom, while color...and maybe this is just for me, but matching color profiles with different lighting can be a total struggle.
It's really really good. I use it everyday and most times my lighting changes (interiors).... for me its just given my work an extra level of consistency and helped just speed up my whole process or allowed me to be more vigilant on other things in the editing
I'm just sort of getting into photography properly recently. Only as a hobby. But one does get preconceived ideas what it must be like as a professional photographer. I know a lot of hard work is involved. But it makes so much sense to rent stuff if you need it. That one thing you use not very often can be very expensive. But renting is logical Really enjoy these videos
Renting is only cost effective for top end commercial photographers because they’re only doing sporadic work. For all other types of photography, which is 99.9% of professional photographers buying is a better option. Why rent Profoto when you can buy Godox, after 5 shoots you own it and it’s free to use forever more. I’ve got 5 shoots on this week, you do the math. Don’t let anyone tell you professional photography is hard work, it’s not. You have to work hard, but very little of it is hard work, mostly is fun and enjoyable.
Renting is actually quite expensive if you really think about it. If you want a long term rental you are better off buying and then selling even at a loss. But it does save the trouble of having to sell
The lack of capture 1 support is what holds me back with imagen. High volume property work. Capture one gets the keys toning and tonal work better and works with sessions rather that catalogues. Sessions are better for high volume work IMO.
@@TinHouseStudioUK I was there for two - on and off - I have been fortunate to travel the globe doing commercial fashion - Hong Kong in the late 90's with Vogue Asia was a hoot - everyone knew Mr Nikon - he had this little camera shop - very famous place - can't quite recall what it was called - I had a lock up on an RZ - he fixed while on the phone - no charge - good stuff
OK here is the big secret on how to be a successful photographer it’s who you know know not what you know if you can get in touch with people that can give you opportunities for your work you will get the work if you can’t you’re just another guy with a camera!
You could buy a lot of great used Canon 5Ds cameras for studio work for $100k. It would be possible to have multiple backups in the event one went down.
indeed, I think I have 3 or 4 at any given time but we use them for other things outside of the commercial work too. However I am thinking of a camera change soon
Refreshing to hear someone else say presets don't work. There is another equation with capital assets though that the 10k-33k equation didnt seem to take into account is resale value. It doesn't depreciate to zero. So a 10k camera isn't a a 10k hit on a p+l. You don't need to pay back the cost of the camera. You only need to cover the difference in price between buying and selling at some future time - I use 5 years. This difference is what you need to factor into the p+l for a 'hire to yourself equation'. So for example, if you buy a relatively new second hand camera worth 10k for 9k. Use that on 10 jobs with a hire charge of £200/day (£2k) and your camera is now worth £7k if you sold it, you've not lost any money. If you think you'll do more than 10 jobs or can get it for a better price then its profit. Or maybe I'm missing something?
For a business to be viable operation costs need to stay below 30%. So yes you are right, but instead of a 2k gross you would need a £6666.00 gross for the 2k to hit operating profits, but id assume its not the only overhead so you would need to factor that in too.
Pre digital days I shot weddings and portraits, the actually shooting was hard work but fun, the business side of it was not for me my head is not wired for numbers and chasing folk for payment and all the self doubts that come with promoting myself etc etc so 20 years ago I landed my dream job as a newspaper Photographer I get to shoot every day with different people different situations and conditions best of all they pay me a salary I mean fair play I'll never retire with a skip full of dosh but hey I'm mostly ok with that.....kinda......bugga wish I'd listened at school, actually attending would have been a start I guess. Hindsight aye.
Not sure that the ups and downs of business is restricted to commercial photographers, design, print , promotional work and manufacturing for retail sale are all the same. Feels like peaks and troughs is the new norm for the 2020s!!!! There are always exceptions, I have a client that is having record months again and again, not many like them though!
When test shooting have you ever had an idea or concept that you couldn't get to work, ie you couldn't get the camera to see what you saw? I get that not every test shoot produces a portfolio worthy image, and the point of test shoots is, in part, to try new concepts, ideas or techniques. But there must be times when you think the juice is just not worth the squeeze.
Hey Tin House Studio! You got that wrong, the Big Shoots are only where I live in the Biggest State of the USA, ALASKA! If, u want that southern look, then go to Aussie Land. So there are only TWO Choices & they both start with "A!" 😎😎
I’m not British excuse my limitations to understand the accent - I tried but couldn’t understand the name of the list you are referring to - all I’m hearing is « Bikini 👙 List » and when I google it I get tips on shooting slightly clothed people 😂 Can you help me find the correct spelling for a non-British photographer please 🙏
I think there wasn't enough emphasis on the networking.... networking is really everything for commerical photographers you really need to know that person who knows the right buyer who has that right ad that you fit into.... it's the same in every business though.... the 21st century is all about networking... If you want a more lowkey and relaxed atmosphere for commerical photographers.... try Berlin & Stockholm.... still plenty of work but less cutthroat (although that is very much changing) and don't skimp on those low paying jobs you need them.... you're not too good for them... it's not a waste of your time or anything.... the photography world is small and world travels fast
Why a Phase One over a Fujifilm 100s? Would love you're thoughts. That's what I use and rent out when needed. Way cheaper and I feel like the ROI is worth the purchase. Is the Phase one that much different then the GFX?
@@spanishprisoner @WilliamDeShazer Tethering with phase is 1000x easier. GFX tethering remains problematic in 2023. The Second is delivering a new batch of trouble for techs. Mostly related to power over usb. You have to be extra specific about what cables you buy & even then...
neither has attractive lenses for commercial work... you won't see a Sony or Panasonic on commercial shoots either.... doesn't mean they're not good cameras.... but often times the clients have certain requirements for deliverables.... and only Hassleblad (and not even their X2D) and PhaseOne fullfil them.... but just like Arri in the movie indurstry.... nobody is actually buying the cameras.... you rent them... If Fujifilm ever brings out cameras that work properly in studio settings they might be attractive (the smaller sensor still makes them a whole lot less atrractive than P1 and Hassy)
IF I know I can get 100% tether stability I would buy a heap of them. I hear good things about the new specific area 51 cables for them though so once I have had a crack at it and seen how it copes I may well change to the 100. But for now they are too unreliable for commercial work
As much as I agree and can attest to most of what you say, however I think the whole "just rent it" and the whole do the math, economist words you speak are inaccurate, sure the math you put forward is correct, its just not correct for everyone. I get it, I understand it, but people are listening to you and majority will see you as working commercial photographer and just take your words at face value (their problem, but your responsibility) - It is my opinion that with that responsibility you should mention that renting is the best option for you as a small commercial photographer. To make such a bold statement; I own my own production studio as well, I own all my own lights, camera, everything, do not rent anything. My goals are also to continue to grow my studio and expand my services, thusly I purchase so I dont have to rent. Now my studio is shooting 2-3 times a week and this makes sense for us, maybe not for you if you have to endure a month of no work. But dont think that if its not right for you its gospel for all.
This is a good question. Firstly lists are licensed, so you cant share them. Secondly I always think the photographer must do their own marketing too rather than relying 100% on their agent. I easily do as much marketing as my agent does and I think it shows in the volume of enquiries I get compared to others.
Thanks for the reply. As a freelancer I have always done my own marketing, maybe I'm cheep ( frugal) but I've never liked the cut I have to drop in their laps for a job I thought I could get.@@TinHouseStudioUK
One moment you are talking about things you should do and then the hypocrisy comes with talking about ai being good. Photogs please don’t use editing/retouching ai. It is not there yet. Still produces subpar work. Train yourself. Get a proper foundation on editing/retouching. It is the other half of the equation that you need to be a complete and competent photographer. However the stuff you share is overall good. RUclips needs more photogs on it like yourself. I will subscribe.
Excellent advice and genuine... Will the normal numties take note? Doubt it! They'll still shoot for no$$ I now shoot once a month for blue chip clients and don't post them on Instagram as the dickheads will definitely contact them and try and undercut me. Real companies who pay real money, pay for you.
Supposedly the new fujifilm 400 is the same stuff. I bought a few rolls and so far, it's garbage. Way too contrasty, really poor dynamic range. Muddy looking. For me this is not it.
Todays video has been made possible by ImagenX You can get 1500 free edits : bit.ly/3F0yM6h
Camera brands create a lot of BS eye catchy upgrades for the amateurs who spend big buck to be on top of the food chain, this is some kind of snobbism.
They also release a lot of compromised bodies with features kept for later on, in order to make people upgrade their gear all the time.
There is also the type of amateur photographers who don't feel the motivation to shoot anything if they don't buy something new, they pile up incredible amount of lenses they never use in fact and bodies with features that are extremely niche, like animal eye tracking for example.
We are very close to a technological ceiling, but they want to prolong that as much as they can. No one likes the idea of a product that makes everything obsolete, but soon we will have it, because they will run out of options and they still want to sell.
I don’t like networking events because they feel pretentious and cheesy. But, you got me googling some in my area.
They are haha, just got to suck it up
This advice applies to creatives in general. I retired from 30 years plus in the design business and if they don’t like you and you can’t sell your work (assuming it’s good) no amount of gear will help. They don’t teach this stuff in school. It IS a business. Keep em coming. I may be old but I still benefit.
glad you are enjoying them
Same for music... it's universal for clicky boutique professions with limited resources.
Every time, each video you change my perspective on business and art of photography. Each time it makes me just so much more calm and patient with where I am compared to where I want to get. Just having this non-nonsense perspective presented changes so much.
Thanks for the kind words and I am glad its helping
@@TinHouseStudioUK Geez. I could go on about this. Hopefully this doesn't fall into the black hole again where I cannot see this after I log out.
There's a lot wrong with an industry if one needs an agent to be successful despite talent. This is the whole of the entertainment industry, and photography is part of the entertainment industry in a way, at least the fine art part of it. A world renowned opera singer hails from my area, which is a bit of an exception in that my area is a bit off the beaten path. She has to have, despite her talent, an agent for any symphonies and opera houses to give her the time of day. Agents are leeches.
So basically you have to move to London or New York with their ridiculously high costs of living before one is even established. Insane how inflexible they are. I work in tech, and again somewhat off the beaten path, so $50k-$75k goes a long way where I am. If I moved to San Francisco I'd earn triple what I do here, but I'd come out behind financially. Yet the tech workers in San Francisco look down on anyone not actually living in San Francisco. They not only look down on people in so-called flyover country, but look down on people in the San Francisco area. They are very snotty if you don't live on the peninsula, ie in San Francisco proper, but instead live out in Martinez or Concord. My cousin's husband works in tech, and they live in the East Bay and put up with the snobby attitude as does a friend of mine. New York City people are much the same way, they really look down on people from certain ZIP codes even in Manhattan, and the price of the housing can very widely over short distances in NYC. They are basically eating up all their income to live in the "correct" ZIP code and that is incredibly shortsighted and foolish.
@@TinHouseStudioUK That feast or famine thing is something musicians experience. Not every album performs equally well and there are times when studio musician work is easily found and other times not so it is back to waiting tables.
As someone who worked in top London ad agencies for 25 years and who still "art buys" and works with professional photographers, your video is bang on, great tips, insights and advice. Subscribed.
I'm retired from commercial work but you are right on target for much of what you said. It is who you know but it's how you meet these people. Once you find work and start going to those designer association events, they hear about your work and how it is to work with you. It's not just the final images, it's if they like you and enjoy working with you. I don't miss it but I was successful. I had to retire because of physical limitations, but I moved on to travel, fine art, and teaching. 49 years in photography and still kick'n!. '.
Finally someone says they hate presets! Me too they are almost useless. Your advice is fantastic for not just photography but generally speaking. I’ve been an architect for 20 yrs and love photography. Get out there, do good work and put in the hrs. It may take you in all sorts of directions but so be it. Love your videos
Agents don't usually understand geography. I used to live in SW London and it took 1h15m to get to Hammersmith some days. Living 1hr away in Leicester is actually quicker, but London agents tend to think they are the centre of the Universe.
Great! That’s exactly how I feel when I watch English and US media.
Scott's video's made me reset my goals from professional to a paid hobbyist. 😉
I'm perfectly fine being an unpaid hobbyist. I have too much ADHD to deal with that sort of headache
JUP! my major goal still stands tho: taking the pictures they gonna put on their fridge
2:30 regarding gatekeeping, for the last decade, I would deliberately opt for a free open source software because I didn't want my work to involve specialized access to expensive software that other people couldn't afford. I liked the idea of using free tools and having my ability to use them be the factor that sets me apart.
But over the last few years I've had to admit that this stance is holding me back, some of the new software is mind blowing. It's scary how much time I wasted over the years.
Thank you for not obsessing over shiny new gear and focusing on the stuff that actually matters.
GIMP is the best
I didnt understand what he was talking about in that part, did he even mention the software he was talking about lol?
This man is speaking facts. Been in the photo industry for ten years for a studio. Great video.
I found your video very randomly and I'm glad RUclips suggested me your channel! FINALLY someone that is actually telling some good and realistic points about the business of photography! Thanks for sharing! I am working as fashion & commercial photographer my 9 to 5 job as well as doing freelancing and pushing now my street photography side. I'm really glad you suggested some tips that I would definitely look for more information. Thanks Again!
I suffer from RBF. Even when I'm sitting quietly, people think I'm not nice. Networking is a nightmare for me. 😂
Don't worry, that's me too. Sadly it's other people who decide if we are to be successful or not.
Lots of good points, your whole series seems good, concise and to the point.
This is the first time I See RUclips vidéo with useful and realistic advices for creators. Thank you so much for the quality of your video. Merry Christmas
Here’s one:
I get paid for pictures and most hobby photographers are probably better than I am. But I pay attention to the business side.
Spot on Scott - many thanks for emphasizing the commercial aspects of this profession, especially as a entrepreneur one has to cover all aspects of doing business at least initially. However even later not everything can be outsourced at a later stage. Big respect for being so honest with your audience for free.
Refreshing, honest and practical advice. Cheers man.
Yes! Spot on as always. Thank you so much for your honesty. It’s always so refreshing and valuable. This is such a hard/mad/rewarding/infuriating industry and your voice is one of the only ones that actually tells it like it is. BIG KISS
Thank you Scott for sharing this information, I am starting to create my photography business in LA and you are a great help.
Me too! Are you in any networking groups in LA?
Thank you Scott. You’re a window into the commercial photography world for the rest of us. Cheers!
Interesting stuff and plenty of food for thought. An initial takeaway is how different it is to the nature/wildlife/landscape photography world where a lot of photographers seem to get sent gear, likely because of their social media presence (which to an extent tallies with your point about professional personalities) and social media tends to be king in those fields. Thanks for creating/sharing 👍
It's not just your work, they have to like you personally. 30% of being a professional photographer is your personality, and if it's fashion it's also about how you look and dress.
Having an agent is paramount. I don't have one, but my sister does and it's the only way to get commercial work and she is quite successful at it.
I agree and disagree I’ve had agents and gotten more work without
Great shirt. Where can I buy one ?
Funny how spot on you are I've been in each and everyone of those scenerios over the years.
Absolutely amazing truths in this video. Well done, sir.
100% Scott, #backintheday we used to often wonder about buying kit, but even though we were turning over 7 figures a year often, it just wasn't worth it. Flavor of the month always applies. Agencies used to try you out, especially in Asia and Europe, get a handle on your abilities, extract what they could, and move on. Saatchi's were the worst. And having an agent was everything, especially in the USA.
As a commercial photographer myself, I cannot think of a single thing I disagree with here. Only thing I'd add is that (for me personally) social media isn't worth the time and effort required to stand out in the field (and it's not a field you probably want to stand in)
Hard truths are always hard to swallow.I am still learning and trying to grow. Thanks for this video. Reminds me to invest in my resources for marketing my work. Keep the good professional info coming.
Love it, Im intending to exit my 8-4 marketing videography gig to go full freelancer, and these videos are always great encouragement. Keep it up!! ❤
Thank you 😊
Prob the best video on photography as a business I’ve seen. 👏🏼 🙏🏼 some well put hard truths 🫣📷
I was lucky enough to start out in the 90's when things were a tiny bit better.. but not much. The number one thing that ebnabled me to 'succeed' (not starve) was to generate clients that came back for repeat commissions. It was not easy, Art Directors wanting to 'push the envelope' every time but they then became reliant on me delivering that extra mile .. making them look good in the process. It worked. It meant the types of jobs gor better and bigger. Quite a lot of it was actually fun. BUT .. now I find the Art Buyers have control .. you never get to work for the same agency twice, even if the Art Directors like you. Networking? Yep .. we were also lucky enough to have some wild parties.
Exellent stuff!
Great video.....as always! Could you repeat the name of the site for those of us outside of the UK...you said Bikini lists for UK and ."......" for the rest of us
I wondered too....
Great advice and spot on! Is this AI tool available for C1 too?
No, its not
Best gen for an aspiring Pro...so glad to know its not just me with up and down photo income over the last years..subscribed.
Welcome aboard!
Thank you for sharing the sercrets! But seriously, this is good stuff to hear about, even as someone who doesn't really see myself going full time ever. Still very interesting information.
Thank you for your honesty
Kinda surprising to me because Stephen King wrote about agents and knowing people in the introduction to Night Shift or Skeleton Crew (I forget which). An editor would just flat out reject an article if an agent wasn't speaking on behalf of the author. Same with the workload. King's friend did the math and said his income from selling short stories to magazines was comparable to a New York City plumber's regular.
I'd kinda like to see how Imagen would edit color images. The black and white was very nice, but I feel like you could realistically match that profile with very little time in Lightroom, while color...and maybe this is just for me, but matching color profiles with different lighting can be a total struggle.
It's really really good. I use it everyday and most times my lighting changes (interiors).... for me its just given my work an extra level of consistency and helped just speed up my whole process or allowed me to be more vigilant on other things in the editing
A Fellow Leicester Lad.... Loved the video. Cheers Ian.
I'm just sort of getting into photography properly recently. Only as a hobby.
But one does get preconceived ideas what it must be like as a professional photographer.
I know a lot of hard work is involved. But it makes so much sense to rent stuff if you need it. That one thing you use not very often can be very expensive. But renting is logical
Really enjoy these videos
Renting is only cost effective for top end commercial photographers because they’re only doing sporadic work. For all other types of photography, which is 99.9% of professional photographers buying is a better option. Why rent Profoto when you can buy Godox, after 5 shoots you own it and it’s free to use forever more. I’ve got 5 shoots on this week, you do the math.
Don’t let anyone tell you professional photography is hard work, it’s not. You have to work hard, but very little of it is hard work, mostly is fun and enjoyable.
Renting is actually quite expensive if you really think about it. If you want a long term rental you are better off buying and then selling even at a loss. But it does save the trouble of having to sell
So grateful and thankful for this video!
Why not use capture one for wedding, events? I use it and it's super fast, faster than LR because of speed edit shortcuts
10:15 Ouch! 😅 Real talk.
The lack of capture 1 support is what holds me back with imagen. High volume property work. Capture one gets the keys toning and tonal work better and works with sessions rather that catalogues. Sessions are better for high volume work IMO.
Great video, thank you.
Muchaa gracias.
I have been a Pro for 45 years and used an agent since I was 18 - I tell ALL budding photographers this - London Paris New York and Shanghai actually
yeah ive seen Bernstein have a Shanghai office too. I lived there years ago, amazing city
@@TinHouseStudioUK I was there for two - on and off - I have been fortunate to travel the globe doing commercial fashion - Hong Kong in the late 90's with Vogue Asia was a hoot - everyone knew Mr Nikon - he had this little camera shop - very famous place - can't quite recall what it was called - I had a lock up on an RZ - he fixed while on the phone - no charge - good stuff
Cheers Scott
OK here is the big secret on how to be a successful photographer it’s who you know know not what you know if you can get in touch with people that can give you opportunities for your work you will get the work if you can’t you’re just another guy with a camera!
I loved this video so much. I feel seen 😩
This just hit me in the naive feels. A wake up! Hmm 🤔 also subbed 👍
Major W video
SNAP! I released a video the other day with several of the same points. :)
You could buy a lot of great used Canon 5Ds cameras for studio work for $100k. It would be possible to have multiple backups in the event one went down.
and if the client has requirements that the 5Ds can't fulfill (and most clients do) you still need to rent a P1/Hassy
indeed, I think I have 3 or 4 at any given time but we use them for other things outside of the commercial work too. However I am thinking of a camera change soon
Just arrived here, with apologies for being 10 minutes late. I'm more or less retired, and live in Toronto, Canada. --BAK--
Refreshing to hear someone else say presets don't work. There is another equation with capital assets though that the 10k-33k equation didnt seem to take into account is resale value. It doesn't depreciate to zero. So a 10k camera isn't a a 10k hit on a p+l. You don't need to pay back the cost of the camera. You only need to cover the difference in price between buying and selling at some future time - I use 5 years. This difference is what you need to factor into the p+l for a 'hire to yourself equation'. So for example, if you buy a relatively new second hand camera worth 10k for 9k. Use that on 10 jobs with a hire charge of £200/day (£2k) and your camera is now worth £7k if you sold it, you've not lost any money. If you think you'll do more than 10 jobs or can get it for a better price then its profit. Or maybe I'm missing something?
For a business to be viable operation costs need to stay below 30%. So yes you are right, but instead of a 2k gross you would need a £6666.00 gross for the 2k to hit operating profits, but id assume its not the only overhead so you would need to factor that in too.
Aha! Of course, the difference needs to be treated as an operating expense. Nice one. @@TinHouseStudioUK
Like the song: Sad but true.
Pre digital days I shot weddings and portraits, the actually shooting was hard work but fun, the business side of it was not for me my head is not wired for numbers and chasing folk for payment and all the self doubts that come with promoting myself etc etc so 20 years ago I landed my dream job as a newspaper Photographer I get to shoot every day with different people different situations and conditions best of all they pay me a salary I mean fair play I'll never retire with a skip full of dosh but hey I'm mostly ok with that.....kinda......bugga wish I'd listened at school, actually attending would have been a start I guess. Hindsight aye.
Not sure that the ups and downs of business is restricted to commercial photographers, design, print , promotional work and manufacturing for retail sale are all the same. Feels like peaks and troughs is the new norm for the 2020s!!!! There are always exceptions, I have a client that is having record months again and again, not many like them though!
That's the video to show people why I don't just make a living out of photography.
Those BTS came outright! Almost like i know what im doing eh? ;p
When test shooting have you ever had an idea or concept that you couldn't get to work, ie you couldn't get the camera to see what you saw?
I get that not every test shoot produces a portfolio worthy image, and the point of test shoots is, in part, to try new concepts, ideas or techniques. But there must be times when you think the juice is just not worth the squeeze.
Very valuable insider info. Kinda risky to give this out to outsiders. Thanks.
let me just download this before something happens :)
Hey Tin House Studio! You got that wrong, the Big Shoots are only where I live in the Biggest State of the USA, ALASKA! If, u want that southern look, then go to Aussie Land. So there are only TWO Choices & they both start with "A!" 😎😎
I’m not British excuse my limitations to understand the accent - I tried but couldn’t understand the name of the list you are referring to - all I’m hearing is « Bikini 👙 List » and when I google it I get tips on shooting slightly clothed people 😂
Can you help me find the correct spelling for a non-British photographer please 🙏
I think there wasn't enough emphasis on the networking.... networking is really everything for commerical photographers you really need to know that person who knows the right buyer who has that right ad that you fit into.... it's the same in every business though.... the 21st century is all about networking...
If you want a more lowkey and relaxed atmosphere for commerical photographers.... try Berlin & Stockholm.... still plenty of work but less cutthroat (although that is very much changing) and don't skimp on those low paying jobs you need them.... you're not too good for them... it's not a waste of your time or anything.... the photography world is small and world travels fast
Sounds easier to become an agent
Why a Phase One over a Fujifilm 100s? Would love you're thoughts. That's what I use and rent out when needed. Way cheaper and I feel like the ROI is worth the purchase. Is the Phase one that much different then the GFX?
@@spanishprisoner @WilliamDeShazer
Tethering with phase is 1000x easier. GFX tethering remains problematic in 2023. The Second is delivering a new batch of trouble for techs. Mostly related to power over usb. You have to be extra specific about what cables you buy & even then...
neither has attractive lenses for commercial work... you won't see a Sony or Panasonic on commercial shoots either.... doesn't mean they're not good cameras.... but often times the clients have certain requirements for deliverables.... and only Hassleblad (and not even their X2D) and PhaseOne fullfil them.... but just like Arri in the movie indurstry.... nobody is actually buying the cameras.... you rent them...
If Fujifilm ever brings out cameras that work properly in studio settings they might be attractive (the smaller sensor still makes them a whole lot less atrractive than P1 and Hassy)
IF I know I can get 100% tether stability I would buy a heap of them. I hear good things about the new specific area 51 cables for them though so once I have had a crack at it and seen how it copes I may well change to the 100. But for now they are too unreliable for commercial work
As much as I agree and can attest to most of what you say, however I think the whole "just rent it" and the whole do the math, economist words you speak are inaccurate, sure the math you put forward is correct, its just not correct for everyone. I get it, I understand it, but people are listening to you and majority will see you as working commercial photographer and just take your words at face value (their problem, but your responsibility) - It is my opinion that with that responsibility you should mention that renting is the best option for you as a small commercial photographer. To make such a bold statement; I own my own production studio as well, I own all my own lights, camera, everything, do not rent anything. My goals are also to continue to grow my studio and expand my services, thusly I purchase so I dont have to rent. Now my studio is shooting 2-3 times a week and this makes sense for us, maybe not for you if you have to endure a month of no work. But dont think that if its not right for you its gospel for all.
Why do you need to buy a list if you have a agent? Isn't that their job?
This is a good question. Firstly lists are licensed, so you cant share them. Secondly I always think the photographer must do their own marketing too rather than relying 100% on their agent. I easily do as much marketing as my agent does and I think it shows in the volume of enquiries I get compared to others.
Thanks for the reply.
As a freelancer I have always done my own marketing, maybe I'm cheep ( frugal) but I've never liked the cut I have to drop in their laps for a job I thought I could get.@@TinHouseStudioUK
One moment you are talking about things you should do and then the hypocrisy comes with talking about ai being good.
Photogs please don’t use editing/retouching ai. It is not there yet. Still produces subpar work. Train yourself. Get a proper foundation on editing/retouching. It is the other half of the equation that you need to be a complete and competent photographer.
However the stuff you share is overall good. RUclips needs more photogs on it like yourself. I will subscribe.
Bikini list?
Excellent advice and genuine... Will the normal numties take note? Doubt it! They'll still shoot for no$$ I now shoot once a month for blue chip clients and don't post them on Instagram as the dickheads will definitely contact them and try and undercut me. Real companies who pay real money, pay for you.
Supposedly the new fujifilm 400 is the same stuff. I bought a few rolls and so far, it's garbage. Way too contrasty, really poor dynamic range. Muddy looking. For me this is not it.
Lately I've stuck to Kodak Ektar
mmmm sercret sauce