IQ and Cha-Ching

Started 3 months ago | Questions thread
marcio_napoli
marcio_napoli Senior Member • Posts: 1,888
Re: IQ and Cha-Ching
2

HappyMartin wrote:

Nope but I picked up a lot of work many years ago when I marketed my commercial studio offering 80mp files off a leaf back when when most studios were still outputting 17 MP. Some people wanted the high pixel count. That got tired and now all my work is output at 24MP.

I have a client that stopped working with the other photographer that I shared the work with because she couldn’t effectively use a live view feed with the tethering software. Made layouts more complex.

Also had a client ask how come my images are so much sharper shooting clothing catalogue work. I think that was from shooting at the sweet spot for the lens and eye AF with an A9. That thing just grabs the eye and pretty much never let’s go. I lost a client when I was slow to move to high end auto focus systems and and new young photographer killed me with a higher keeper rate. I had to fix that fast.

In the 90’s i shot a load of work for big retailers digitising their image libraries. I was the first in the city with a functioning digital system and conventional photographic skills. It was like taking candy from a baby.

So yes you need photographic skills to survive in the commercial world. But you better stay at least with the curve and make sure you don’t get blindsided by new technology and trends. Good example of a trend is the sudden delight with fast primes. Not really my style but the lifestyle side of catalogue work suddenly wanted it. I ended up buying the Sigma 85mm 1:4. Nice lens but it sits in the cupboard mostly except for commercial work.

At the moment it’s all about video. I still make about 60% of my income from stills but you look a bit lame these days if client says they also need a few video clips and you don’t know how. Hybrid mirrorless cameras now much more important to me than high MP count cameras.

You have to keep up.

HappyMartin's perspective is an awesome look into the high end commercial work, very informative to know how things work inside those upper levels.

His experience and insight goes far beyond most of us here can possibly imagine.

I've never shot for anything as large as him, not even in my dreams.

While I'm positive you can't step in a high end commercial work without the latest high end gear (wouldn't dream shooting for Calvin Klein with my low end D3x or 22mp Phase One), I also understand outside of these high end gigs, anything mildly decent is fair game.

I'm out of the market since 2014, and my clients were always smaller, really not-too-crazy fashion stuff.

For the market I occupied, I'd go with no fear with my old (2007) 31mp Hassy (or my D3x for that matter) today, and I mean zero fear.

Outside of very high end shoots, I'm not sure gear matters too much.

But then again, a minimum is necessary.

Weeks ago I was walking by, and a beginner was shooting a senior shoot on the sidewalk with his entry level Canon and kit lens.

We've all been there at some point, so I'm being an @ss right now judging the guy, I know, I know...

I'm just saying you don't need to know the guy to say he was a beginner.

A minimum of gear is necessary of course, to address where you're at on your career.

But back on topic, I imagine unless you're hired for very high end stuff, any decent gear will be enough these days, no client will turn you down I imagine.

Regards,

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Marcio Napoli _ fashion photographer . indie filmmaker
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