les_baldwin1

OK let me ask a question to the group. If the data and images are recovered completely or even 70% does he still need to disclose the issue? And furthermore does the client really need to know that their was a potential issue. I really do not think that a 100% refund is required regardless of the outcome.

 

If all the images are lost then sure, But a proportional refund is really what should take place. He did work, and that work needs to be paid regardless of the issues at hand. I would offer a portrait pkg or enlargements along with a partial refund.

Welcome to professional wedding photography. This can and will happen to many pros. It happened to me way back

in the film days. I had multiple gear failure and then lab disaster to boot. All on the same shoot, lost near 70% of the

images. Now with PS they could be scanned and probably salvaged.

 

My only other comment other than to say I know exactly how you feel is say that you should move to a camera body

that allows two CF, or a CF/ SD capability to automatically back up all images from origination. There is a reason

that Canon uses that system and believe me I use it quite a lot on the 1 series cammeras. The other thing I would

suggest is to number your cards so that they never are reused during a shoot. Purchase enough cards so that you

will run out of DAY before your run out of capacity.

 

I really wish you all the best. As to my situation? I was taken to small claims and sued. I offered a complete refund,

but they wanted me to fly in family members, re-rent the church and re-shoot the entire wedding. The judge asked

that I give a complete refund, what ever images I had and shoot a portrait.

 

I did the first two that day. I had no issues with that even though my contract limited my exposure to monies taken

minus expenses. The bride found the groom with an *ahem* friend.... Divorce was nearly immediate after just 6

months.

 

Cheers

It is in fact a 501C so it is not able to make a profit. I don't like the no tripod rule either. But I have been there many times and I can tell you on an even moderatly crowded day a monopod or worse a tripod would be a real issue to free movement.

 

Now for my gripe!! Those freakin huge baby carriages that some numskulls use. These are the size of small SUV's and have a whole host of crap in them just to support a few kids. Does Jr and Suzie really need every toy in the box and 6 changes of clothes for every conceivable weather pattern?

 

Talk about a hazard to traffic!

The MBA has the right to control the usage of images shot within it confines. The reserve that right in published material and have for quite some time. At one time I knew one of their contract staff shooters, he had to share all rights with them. They allow you to shoot for your own use but not for stock.

 

I don't think it can get any simplier.

I like Ellis' idea. But two aspects that you have failed to consider - who will place each of those prints in the folders?

Labor intensive to say the least. Not to mention that you will probably need a few more prints and folders than the

250 so a fudge factor is needed too.

 

I would charge a shoot fee, make sure it has a kill fee attached when signed, and then a total pkg price for the CD's

and 8x at 3x the cost not including taxes. Make sure that you charge taxes!

 

I had a friend that usually does EFT on all images. but he did a shoot with 25, 24x prints. He did not charge sales

tax and got grilled good by the state of CA.

Hi Steven,

 

Sorry about the hassle, but to be blunt you created the mess to start with. Every photographer learns this lesson at

some time or another, no good deed goes unpunished.

 

You failure to act as a professional is your own undoing, but I think you alredy know that too.

 

So here are some guidelines to help you out.

 

1. Do not work just for expenses, period. Charge for profit on all shoots except direct family.Your "friends" will shaft

you faster than just about anyone.The fact that you got no respect from your "friends " says alot about your

business practices. They have no CASH involved yet, no signed contract from you and just a loose verbal contract.

Don't expect others to hold up their end just because you did. Why show up for a meeting with you when you don't

act as a professional?

 

2. Always get a signed contract that spells out exactly the terms of the deal, any changes - get it in writing.

 

3. And most important if you don;t know what you are doing, assist for a few years then start your own gig.

 

Weddings are really hard and can be a disaster under the best circumstances..

It may not be your lighting, but actually the lights. Strobes very rarely give accurate colors in digital. Red is the hardest for both film and digital. Ask any clothing or catalog shooter. If you have UV tubes on your strobes that may get you closer. Hair that contains water, mousse or gels will reflect light differently. Also reflectors, diffusers, and umbrellas can all effect the color balance, often in the red part of the spectrum. Fair hair is really tough, the scalp also can reflect through the hair too.

 

Good luck

Occasionaly the mount itself needs calibration and tightening. It can be done by a local technician or best if sent into Canon. But do not try to remove or repair your self. They often get loose when useing large glass.

Yes it can handle it - no worries, i am planning on adding a Wimbereley mount to my monopod as well. Should make life easier

I routinely print at this size on a W6400 printer and this image will work OK. You will not win any awards but if properly color corrected and RIP'ed you should see a decent print.

 

As already stated it would not be viewed from 6" away. More 18-24" minimum.

 

The final DPI should be aroun 180 or so FYI. If you have a current version of PS CS2 or CS3 it can resize quite well but work from your RAW not the JPEG. And for best results take it to a local pro printer and have them do all the heavy lifitng you approve what they show you ahd viola - a decent print.

Yes, In fact it is quite easy and just takes a little practice.

 

First as you are holding the camera, make sure that the lens is resting in the palm of your left hand with your thumb on the left side of the lens.

 

Your Left hand should handle most weight of the camera and lens combo. Let your right hand rest on the camera naturally and loosely. You do not need to keep a death grip on the camera or the lens.

when you go vertical make sure that you turn your camera counter clockwise and then use your side shutter release.

 

Make sure that you gently press the shutter button - no punching it with your finger.

 

Now, bring the camera up to your eye not your head down to the camera. Take a baby step forward with your right foot and "lead" with your left side at an angle to the subject.

 

Keep your elbows in towards your sides to help brace the camera and lens. If you are shooting at a shutter speed lower than the focal length then make sure that you take a breath let a lttle out and stop breathing and slowly press the shutter.

 

Practice, practice, practice..

 

I hope this helps

Thanks for the info, I have been trying for the last hour or so. Did not see the update. Once again Photo.net comes through!!

 

Les Baldwin

OK, there are several issues going on here. First teach composition, not the technical kind but what looks good to her. Too many students are turned off by well meaning teachers trying to show what you know, but instead teach what they want to learn.

 

The issue is not what she learns but when. Take her out and create some pleasing images. Learning to see is and should always be first. The tech parts can come later once she learns to see photographically. I have 30 years of experience as a pro and I both teach and judge. How the camera works can be taught with a piece of cardboard and a small hole (camera obscura). Then when she has questions about how an image is created then you can show the proper technique to get it.

 

Les Baldwin

The reason is recycle times, battery vs A/C and most of all more power when you need to do a group shot at greater than f/8.

 

The Canon setup allows for a great deal of auto work to be done by the camera, but is really underpowered in relation to a few mono blocks. If you could power the 550/580 with an A/C cord THEN you have a great option. One model session can deplete the heck out of several sets of batteries....

 

Les Baldwin