Peter D'aprix Photography
About
I specialize in fine lighting and visual design of photographs. They have high impact and carry a lot of information both litterally and with look and feel. I cover a wide range of subject matter and different photo markets. I have been shooting in a variety of fiels from photojournalism to commercial, from fashion/beauty to large machinery, from annual reports to slick ads for over 40 years and I find each and every assignment is different from any other. That is part of the joy to me of photography.
I enjoy telling a story whether that is in a photojournalistic style or a product photo in a studio and everything in between. My work takes me to places and people I would never otherwise meet. Crafting a fine image gives me immense pleasure and hopefully has an appeal to the target audience as well.
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Frequently asked questions
What is your typical process for working with a new customer?
First we meet for a gratis project review. Then we agree on what is need and the price. I require an advance of 1/2 the estimate. We shoot. It takes time to process the digital files; I never use then straight from the camera. If retouchingis required beyond the standard Photoshop adjustments we discuss what needs done and what the cost would be before work is done.
Then when the work is done, I deliver the images though a file transfer program and present my final bill.
What education and/or training do you have that relates to your work?
My first photographic degree was a B.Sc. from Boston University's School of Public Communication with a major in journalism and a minor in photojournallism. I then had a freelance practice in Boston before moving back to the UK where I worked on a newspaper in Windsor. In addition to my newspaper and magazine work, I also shot model's and actresses head shots for their head sheets and enjoyed the work. So I worked for a top fashion photographer in London by the name of Brian Duffy to learn this new business.
I then decided I needed more study and enrolled at the Los Angeles Art Center College of Design that was located in LA and that after I graduated moved to Pasadena. That gave me a firm grounding in commercial and advertising photography, studio work and lighting. I took this training and interwove it with my photojournalism experience and have ever since used the two in a sliding interface to shoot equally comfortably on location where you have to shoot fast to catcth the light and in the studio where you have more control.
So I have shot everything from annual reports, ads, product brochures, food on location for magazines such as the French "Saveurs" and produced food stories with text and photos for "Culinary Trends" and "Cuisine". (Both now sadly defunct).
Recently I have added video to my real estate coverage and some video "talking heads" in my studio for client websites. But I am at heart a still photographter, just adding some moving pictures to my tool box.
Do you have a standard pricing system for your services? If so, please share the details here.
I charge $1,000 per day; $650 per half day plus any incurred expenses.
How did you get started in this business?
As a freelance photographer in 1970 in Boston.
What types of customers have you worked with?
Litterally all kinds from ad agency creative and art directors to direct client marketing directors. From private individuals to realtors. After 40 years, I have had a great many clients from Europe to LA and now in the Ojai/Santa Barbara region.
Describe a recent event you are fond of.
I photographed and video'd a new electronic rat trap where I had to buy a very small camera that could enter the "tunnel" and pretend to be a rat that gets zapped! Only a GoPro would fit and then only just. It can take both stills and video and get within inches of subject matter, in this case cat kibble.
What advice would you give a customers looking to hire a vendor in your area of expertise?
First look at their body of work. Then meet them. If the chemistry does not feel right, keep looking. So much of this business is the personal connection. If the photographer does not seem to grasp what you want even if what you want is a little difficult to articulate, keep looking.
What questions should customers think through before talking to vendors about their needs?
Can the photographer handle the assignment mentally? Does he/she have the necessary facilities and equipment as well as experience? Has the photographer done any similar work in the past to show you? This last is not as important as the first two. Most good photographers should let you know if they feel they cannot achieve what you want. For example I cannot shoot cars if my life depended on it.