Sorry to be posting questions so frequently. I am in the process of restructuring my wedding and portrait business long-term. I want to set it up right and experiences of folks here have already helped a lot. I noticed that a fair amount of you still shoot primarily film. More than I thought it would be. I still shoot film also, but because my commercial work is all digital, I've had to migrate there. Also, some film users have mentioned balking at digital for workflow reasons (time consuming, to much time in front of a computer, etc.). My question is how do you make any money with the ever rising cost of film, processing and proofing; the extra time dealing with clients, then the cost of enlargements for the album? I can't seem to make it work out when shooting all film. What percentage of the over-all package price is devoted to this overhead? Before digital, I printed all my own weddings in my darkroom, but just B&W. Color was sent out. The B&W work was very labor intense because I did fiber based silver-prints and selenium toned them. It all took forever to complete, and the slightest flaw in any of the printing, drying, flattening or mounting steps required starting all over. Going back and forth with the lab was also time consuming. So that's the question to film users, how do you make it work financially? To be fair, digital is also pretty darned expensive when just doing weddings (given the cost of gear and supplies). And some of you have mentioned the cost in time to sit there processing and printing your own work on a computer. However, the repeatability of digital has decreased work flow time for me. In fact, workflow is of less concern for me because I have an efficient solution that was developed against commercial jobs that has greatly cut my time in front of a computer when doing a wedding... especially the story telling kind of wedding I specialize in. For those interested in that workflow, here it is in a nut-shell: Shoot all digital RAW to CF cards and do not clear them until later. Camera is set to continuous numbering to keep the sequence of images in order from one CF card to the next. Download each CF card to one separate file on a stand alone hard-drive, but still keep CF cards intact. Click file organization as "by name" which instantly organizes all the images in the order they were shot. Open that file in a browser and edit out the obvious junk. Write an action to open each file in RAW, make basic changes to similar groups of images, and resave as a tiff. Now transfer that whole file to Mac i-Photo library which allows dragging images into a different "Album" in any order you want. Press a button and view a full screen slide show to check album story-telling flow. This process can be interrupted at any time to make further image corrections in PS, then resumed. Write an action to send the final selects to the printer. Go have dinner or watch "the Apprentice" while it's all being done. Here's my current studio work station set-up (which was configured for commercial jobs, but need not be so extravagant, except dual monitors does speed up the process exponentially). The left screen has the i-photo lightbox organization on it which I can simply drag any image around into any order. The right screen has one of those images open to make further corrections.