Album printing/binding: Are you using Adobe InDesign or the service bureaus' templates?

[studio460]

<p>Wow! I had no idea! Thanks for sharing some of your business insight and expertise, Michael! Really appreciate it!</p>

[fotografz]

<p>Sorry, I'm still confused by the CMYK color space usage related to photographic album production. I think it is being used incorrectly here.</p>

<p>While I still shoot some weddings, my main career was and is in advertising/art-direction.</p>

<p>CMYK (Cyan, Magenta, Yellow, Black) relates to the 4 color printing process where each color is separated out to make a halftone dot printing plate, and each color ink is then printed separately usually on white paper. It is called subtractive because it is subtracting light reflected from the white paper. Proofs for printing are provided as "Progs", with each color printed separately, then all together, so production people can assess the density of each color in relation to the others. CMYK has a short color gamut, and significantly reduces the color range to 20% of the colors our eyes can see compared to a RGB photographic reproduction process @ 70%.</p>

<p>http://websupport1.citytech.cuny.edu/Faculty/phenry/gamuts.html</p>

<p>Photo RGB with photo sensitive paper uses the additive property of light. Most bound albums use photo paper reproduction because the prints are more durable when touching one-another when the album is closed. Ink-Jet prints have to be coated or they will rub and wear the ink off the paper. </p>

<p><strong>In Design verses Photoshop:</strong> No doubt, In Design is the commercial industry standard for graphic design and printing prep. Speed with either program method depends on experience and practice. I stay in PS for designing albums because all of my photo enhancements programs are PS plug-ins and can be applied to a single image or multiple images in context to the over-all page faster than going back and forth between In-Design and PS. However, it does take knowledge and skill in using all that PS can do and the short-cuts to do them. PS-6 has sped up layout work considerably ... yet, if I designed 20 to 40 albums a year, I'd probably standardize with In Design ... but I don't. Since 2008, album sales have significantly declined as they have for a majority of wedding photographers. Last year I only did 6. </p>

<p><strong>Ralph</strong>, I do not know where you are located, but it may be worth exploring a local print/bind lab ... after many years of dealing with long distance labs, and going back and forth with them, I did exactly that. The production cost is often significantly lower, and quality control/review is faster and easier ... my albums now average 3-5 days from client approval to finished product for the 40 to 50 page 12" X 18" album with custom cover that most clients choose. </p>

<p><strong>File Buy-Out:</strong> I think this has become dependent on geographical location to some extent ... that, and how well established you may be in the higher end of that market. More and more clients expect the files to be included regardless how good you may be. It is tough battle, and a point of discussion on every wedding forum I know of. In my location, not including the files can be a deal breaker more often than not. Since print orders have also declined industry wide, it may be a moot point since that is the only reason to retain the files. However, selling the DVD of files can be a way to mitigate that if possible in your market ... "in your market" being the operative phrase.</p>

<p>BTW, providing all images to a client doesn't mean it is a "Buy Out", you still retain the copyright and are allowing rights of limited reproduction to the client for personal use ... usually in the form of a signed letter of limited release so clients can get the files reproduced ... which most labs will not do unless the client has that letter.</p>

<p>Commercial "Buy Outs" are different, and grant exclusive use of the image to the client without a set time limit or number of usages. Depending on who you are, "Buy Outs" can be a lucrative source of income, or it can be a club used to bludgeon the photo industry into submission and avoid further usage fees ... which seems to be the trend in these Wild West days. </p>

<p> </p>

 

[studio460]

<p>Thanks for your detailed reply, Marc. Interesting discussion on the client buy-out. Again, I queried an older thread here where a member posted his file pricing schedule. It seemed fair and well-structured (I think low-res, web-resolution files were given at no charge, but print-resolution files were charged accordingly, still with a healthy margin built-in). Thanks for your advice!</p>

[studio460]

<p>Marc said:</p>

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<p>I do not know where you are located, but it may be worth exploring a local print/bind lab . . . The production cost is often significantly lower, and quality control/review is faster and easier . . . my albums now average 3-5 days from client approval to finished product . . .</p>

</blockquote>

<p>As far choosing a local vendor, that makes a lot of sense. Should I take on a client one day that needs a quality Type-C album, I'll most likely seek a local vendor. I live in Los Angeles, so there should be several. That's why I was initially considering A&I. They have very good customer-contact, and are a pro-level lab/service bureau.</p>

<p>I wasn't initially thinking of Type-C photo albums, basically because I just wasn't aware that this was the more-common deliverable for wedding clients. But, if that's what clients are expecting, that's what I'll prepare to deliver. I was thinking more "coffee table" book for my personal interests in producing digital press books, and if not for wedding clients, for my own personal use, professional marketing applications (e.g., portfolios, "look books," etc.), and for servicing other types of clients.</p>

[studio460]

<p>Marc said:</p>

<blockquote>

<p>Since 2008, album sales have significantly declined as they have for a majority of wedding photographers. Last year I only did 6.</p>

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<p>Not good to hear, but not entirely unexpected in this market. This seems just another sign of increasing consumer acclamation to available digital products and services (whether or not they have the expertise or craft to benefit from them effectively), and settling for DIY alternatives.</p>

[studio460]

<p>Marc said:</p>

 

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<p>Sorry, I'm still confused by the CMYK color space usage related to photographic album production.</p>

</blockquote>

<p>After thinking about it a bit, I think Edition One's CMYK specification was likely meant for graphics-only files. This makes sense, since this would provide for more accurate Pantone color-matching (PMS), which is often more critical in graphics-only documents (think, PMS-specific logos).</p>

[michaelmowery]

<p>Hey Marc, that 3 day turn around sounds good. What album company is that? The fastest i have gotten a flush mount book back was 14 days. Ralph you can also check out West Coast Albums which is located near you. They are a little cheaper than Leathercraftsmen and they have a good selection. Marc gives good advice and has long detailed answers. You can always say you include the files but make sure you build it into your price. Overtime on a job is also a similar situation. 7hrs was very common around here for a long time but then a few years ago people were including 8hrs to get the jobs which pressured all the other studios. Now we do 8hrs but guess what... the base price went up to accommodate that hour but we can now say we include 8hrs of coverage. You do not give anything away you charge for it directly or indirectly or go out of business.</p>

[john_deerfield]

<blockquote>

<p>Sorry, I'm still confused by the CMYK color space usage related to photographic album production. I think it is being used incorrectly here.<br>

While I still shoot some weddings, my main career was and is in advertising/art-direction.<br>

CMYK (Cyan, Magenta, Yellow, Black) relates to the 4 color printing process where each color is separated out to make a halftone dot printing plate, and each color ink is then printed separately usually on white paper. It is called subtractive because it is subtracting light reflected from the white paper.</p>

 

</blockquote>

<p>Part of the confusion is that color spaces are <em>device</em> <em>dependent. </em>But fundamentally, you can't have an RGB print as that is an additive process (TV's, computer monitors, iPads, etc). A print piece will be subtractive as it's always reflected light that allows us to view the print. The <em>process</em> can vary and it certainly doesn't need to be CMYK in the traditonal sense (halftone or screening). Process color printing would be an example of a variant. As would CcMmYK used by many photographic inkjet printers. But the <em>idea </em>is that it is still <em>subtractive.</em></p>

[studio460]

<p>Michael said:</p>

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<p>Ralph you can also check out West Coast Albums which is located near you.</p>

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<p>Thanks! I just looked them up--they look pretty good (handmade internal binding with flush-mount, printing on Kodak Lustre). They also now offer printing on aluminum covers (A&I also prints on metal now). Plus, they're right here in Los Angeles. An old Fred Miranda thread (April 2011) quoted about a 4-5 week turnaround for West Coast, which I assume is variable depending on the season. Looks like a quality supplier. Thanks for the head's-up!</p>

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<p>You do not give anything away you charge for it directly or indirectly or go out of business.</p>

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<p>Absolutely!</p>