Figuring out a fair rate for providing photography or video services can be a slippery slope, filled with pitfalls if you happen to price yourself incorrectly. But what's more complicated than setting a rate for services is how to approach setting a rate for someone who wants to license a piece of work you've already created. In this post I'll share my insight on the factors I look at, and my rationale for determining a fair fee for video and photo licensing.
Articles written by Mike Wilkinson
You might have heard of Stu Maschwitz before, possibly from his work on these Red Giant video projects, or perhaps the Plastic Bullet app he made a few years ago. His latest creation is a custom set of presets that integrate with Lightroom, and gives the user a set of vintage photo looks to choose from.
Turning the work you do on a personal project into something that makes you money isn't a new idea (just ask stock shooters.) However, the forethought required to concept a personally fulfilling shoot or production that will also have the chance to generate some income can be tricky to figure out. This past weekend I had three shoots, and they were all because of one personal project I created a month ago. And I actually planned for this to happen.
In this making of video, outdoor brand Mammut is shown working with Dani Arnold and Stephan Siegrist, two alpinists, to plan a climb up the north face of the Eiger. What makes this ascent unique though, is the inclusion of a 360-degree GoPro setup which is used to capture panoramic shots from the mountainside. The result of their efforts is a unique look into the views, terrain, and conditions that the climbers faced. Mammut recently unveiled an interactive web portal to give anyone who wants to ascend the Eiger, the chance to do so from the comfort of their office chair.
Aerial videos that have been shot by drones have been flooding YouTube for the last few years, especially as the cost and expertise needed to get into it has come down. A birds-eye point of view can add a lot of production value to a video project, but where does one start when looking to get into aerial video? I spoke with Brent Foster who told me about the doors that shooting aerial video can open, as well as the challenges they present.
While in Macedonia shooting video and stills for the company Petzl, photographer Keith Ladzinski was capturing aerial footage in the village of Prilep with a DJI Phantom II. The unexpected happened and the quadcopter got stuck on a church steeple in the middle of a shot. How they got the Phantom back was even more of a spectacle. Check out the first few minutes of this video to see footage of both the crash and the climb to get it back.
Lars Schneider, an adventure and landscape photographer from Germany, spent two months on the road with his family traveling across the Southwestern US. This video documents his trip, but I also interviewed Lars about the challenges and rewards of running a photography business on the road, while at the same time taking care of a family.
In short, no it is not. But a few minor dealbreakers are all that stand between leaving this camera on the shelf, and making it best digital camera in its class.
After nearly a month of capturing video, stills, and timelapse media with the Panasonic GH4, I laughed, I cried, and I almost threw it off a mountain. At times it was a joy to shoot with, and other times it wouldn’t even power on with a full battery. I’ll give you a complete, unbiased rundown in my full review, complete with video samples.
Announced less than a month ago, the new Nikon D810 has made video DSLR shooters foam at the mouth with its long list of cinema-centric features. The crew from Cinescapes Collective got their hands on an early release of the D810 and put together a short film for Nikon Professional Services. Watch the BTS video to hear their thoughts on the Nikon D810, then read on for the final film and stills from the production.
If you’re anything like me, you’ve got hard drives full of footage from personal or other non-commercial projects, that don’t serve much use once the project they were shot for is completed. I’ve considered trying to license it as stock footage, but never really taken the time to do it. After checking out the site Nimia and interviewing one of their staff however, I decided to give it a try.
All this week at the RGG EDU studio in St. Louis, Michael Woloszynowicz has been hard at work showing off his techniques for an upcoming tutorial series on creating fashion and editorial photography. Today at 11am CST, myself along with the rest of the video crew will be streaming his model test look demonstrations live from the studio.
A month ago I flew to North Carolina and was the Director of a 5 person crew for a week-long video shoot at a multi-million dollar corporate facility. Then just last week, I spent 4 days in Albuquerque as a Production Assistant, shooting behind the scenes images and getting lunch for the crew. My ego almost stopped me from taking that gig, but I’m glad it didn't. Here’s why.
The combination of two visually striking methods resulted in this surreal video by Vincent Brady. After checking the video, read on for some more information on the rig Vincent used to shoot with, and some insight on the programs he used to painstakingly stitch his images together for the final timelapse video.
Hiking season is in full swing and in the last few years I've incorporated a lot of video and photography while on week long trips in the backcountry. When every pound of weight counts, you have to choose your gear carefully. In this post I’ll share my tricks and tips for making a useful kit without weighing you down.
The LitePanels 1x1 has arguably been the industry standard for LED lighting in many news and documentary productions. At the recent CineGear show, LitePanels demoed their latest product, an update to the award winning 1x1. The new "Astra" light claims to have an output 4x greater than the original 1x1. Nate Weber from Newsshooter.com shares the first look in this video.
In this behind the scenes video, photographer Brent Humphreys is tasked with creating images of emergency situations. These included animal attacks, driving a car off a bridge, and more. With a resourceful crew working to pull all of the elements together, you can see how they were able to safely reenact these events, and add subtle touches to increase the level of drama for the final images.
The RagLite LED systems are a product seeking backing on Kickstarter to do a production run of what appear to be LED strips on fabric that can be rolled up, powered by battery, are waterproof, and claim a CRI of 95. With several rewards being offered, including various sizes of their light, they seek to raise about $25,000. Read on for their video and more information on these unique lights.
Capturing a high action activity like ice climbing can be tricky enough, but photographer Ray Demski took it one step further– to include the aurora borealis, and to do it in a single image (no compositing). In this behind the scenes video, see the challenges Ray faced when having to deal with capturing a long exposure of the scene, while dangling on the side of an ice cliff himself.
Edelkrone raised a few interested eyebrows with their unique slider design a while back, but with their recent add-on items, the latest of which is the "Action Module," both filmmakers and manufacturers alike are taking a long look at these innovate products. The Action Module not only brings timelapse and repeatable moves, it does so in a simple, intuitive way.
Known for its top of the line outdoor adventure camera bags and backpacks, F-Stop Gear recently unveiled the Loka Ultralight, or "UL," a revision of the popular Loka backpack. In this review I’ll go over the differences between the UL relative to its older brother, and point out who this pack is and isn’t for.