Lessons
Class Introduction
05:06 2How To Get Work As A Food Photographer
02:54 3Understanding Your Skill Level and Your Market
03:20 4How To Grow Your Business
01:28 5Opportunities In Commercial Food Photography
08:17 6How Do You Market Yourself
08:23 7The Importance of Attitude and Communication
03:30 8Understanding Insurance Responsibilities and Liability
05:38Understanding Taxes and Accounting
03:11 10The Importance of Representation and How To Get It
09:59 11File Management and Protection
02:40 12Understanding Stock Photography as a Business
04:59 13Contracts: The Law and Your Rights
03:18 14Negotiating with Clients: 10 Questions you Need to Ask–Part 1
06:57 15Negotiating with Clients: 10 Questions you Need to Ask–Part 2
05:16 16Negotiating and Talking Money with Clients
02:31 17Who are the Players in Commercial Food Photography
09:43 18How to Manage Client Expectations
02:38 19How to Assemble a Team
04:11 20The Production Team
04:48 21On Set Support
04:51 22Editors and Post Production
02:47 23What Expenses are Associated with a Shoot
04:01 24What is Usage?
05:35 25How to Anticipate Expenses
02:56 26Calculating Price Based on Rates, Usage and Expenses
03:35 27Where do You Go Next?
03:17 28Continuing Education and Research
06:28 29How to Get your Work Out There and Get Noticed
02:47 30Treatments and Final Wrap-Up
06:23Lesson Info
On Set Support
So the next part of your team is that on set support? These are the people that are gonna be essentially I mean, with the exception of maybe a little bit of the art department which may be included a little bit more in the preproduction, these air basically on set people, these people are gonna be helping you while the shoot is going on. But I'll talk about art department first and get over to the other stuff. And when you see the pictures and you look at it and you go knowing that that's what they did to save the day, you recognize just how important those people can be on your set. And then every time you see a fork sticking in something in A in an ad, what you don't see is the guy who's got lead wire wrapped around it, strung up here on a C stand with the arm booming down. And that guy has got that angle down perfectly. So your art department can really, especially when you're working, like with a locked off camera in a very restrictive, creative kind of space, right? You've already...
been approved for this. You're not really proved for this or that or this, and you have to make that work. That's where your art department comes in and can really rescue you and make it make it your whole scene better and communicating with those people and letting them though you can, you know, because you don't You're talking about people who are very kind of conceptually creative. You can just be like, you know, I'm thinking about like, maybe it has the and you're just totally not specific and they're like, Yeah, I got that and they're right on it. Your your digital tech is also is also like, I think you have spoken about this a little bit before, but it is that kind of buffer between you and the client. It's and you'll see that later when we when we put this together, it's the person who's protecting your files, and it's the person that can keep you honest about all those little things that can go wrong. You could easily rip off five shots that are not in focus. You don't look professional, your head is gonna explode, and that's why that person is they're for you. They're there for you to make sure that the client is not seeing your flat dead file that you're gonna, you know, under exposed so that you can pull it up in post. They're readjusting that image to a little bit more palatable, standard so that they aren't seeing what they may see after post production. And then, you know, there. It's also somebody that understands and trust you. If you work with somebody regularly, they know your style. They can tell if something is in that frame that doesn't belong there. Who's there looking at it this big instead of like this? So it's very easy to miss something. Um, you know, that's the guy. You know. She looks over to you when you go. He's got lens cloth. Yep, You got a little smudge, you know, like all that little stuff. And it's It's important to understand that the software that they use to is complicated. It's a very it's a very skillful job. It's not just somebody sitting behind the computer watching them come in, you know, somebody who really can operate, capture one in or, you know, be able to operate in light room every and every piece of software that you use for capture has one hole in it. They all do. They will have one thing that does it do the same as the other. So you have to figure out which capture program that you're comfortable with and detect that you work with is comfortable with. So those people and they get paid, too. I mean, there, there, there, negotiating with a Did you tech, you know, their their standards are pretty much like stylists, in a way, probably a little less 7 50, bucks a day for a really good digit tech on advertising job. So you know it's again. You know what? The other thing you might learn from this exercise is that if you have these skills, you can market yourself. Not just is a photographer. I know lots of photographers who work is texts, and they make money. When they're not book to be a photographer. They go out and then they tech and and it's a great it's a great thing. And assist, you know, if you're if you're on the on the spectrum of still you're still learning, you're still building your career and you want to get out and assist p A's become assistance and assistance, become first assistance or and or first assistance become texts or they they're interchangeable. Sometimes your first assistant is your tech, and then those people start to build careers of their own. I get five emails a week from people saying, Hey, I would love to assist you. Hey, I'm a tech am a stylist and I look at their websites and if I if they catch my I'll save it in a folder And when I need somebody, I'll look them up And that's what well we all should do when we should be reaching out to people and how and when they reach out to us, we actually remember where they came from.