lou korell

<p>Once again a post about doing one of the hardest jobs in photography from a beginner's background. You have to work as an assistant and then second shooter in order to learn what you need to know. Maybe you have a talent for it but you still need to get all of the basics down first. A doctor does not start as a surgeon. Intern - resident - then maybe if the talent is there. Weddings are only done once. Can you be 100 percent certain you can get it all right the first time? You are dealing with a sacred event in people's lives. If you <strong>know</strong> you can deliver, fine. If you <strong>think</strong> you can deliver, you're not ready.</p>

<p>People who are looking for a "cheap" photographer are not necessarily associating that with a "good" photographer. You either want to be labeled cheap or good but the two are not necessarily associated. Are there good, cheap photographers? Probably. But are they professionals? Most likely not because the prices they charge reflect the business model they are working with. A professional has lots of overhead costs that are considered in the price of their work. Somebody just looking to make cash on the side is not always professional.<br>

Yes, it is true, that some professionals will occasionally take a lower paying job just to fill in the gaps, but this is where things get foggy. Are people who look for bargain basement photographers checking out their work first? Do they know how to look for professional quality? If you are hired just because of price, your work has absolutely no value to the client. That's something to think about if you are going to embark on a career as a professional.</p>

<p>Two things: Make sure your firmware is updated. As others have stated it was a problem early on with the D300 to get low battery errors. <br>

Second, try buying your batteries elsewhere. It could be that your local shop is buying from a distributor who is getting bad batches of batteries. (say that three times fast - bad batches of batteries!) :)<br>

I have been using nine Nikon batteries for a year now and have never had a single failure. I charge most of them more than once each week and I hardly go though a single one on a whole day's shoot. I just carry lots of backup in case of problems. I don't usually bring all of them but I take four or five in the bag.<br>

I don't think third party batteries will do any better. I used to buy third party batteries for my Canon system without issues but the price difference was incredible. The Nikon batteries are not too expensive to justify a third party product.</p>

 

<p>A few words about your website Otto. There are a lot of typos. Bad spelling cheapens the site. Are you really located in all of those places? Do you have offices in every country? I have a feeling people will consider your info to be rather pretentious. Why not just say "available internationally for destination weddings"?<br>

If you cannot match the information you are displaying with complete confidence in your work and your equipment, it won't add up. Your images are nice. They show you have talent, but yes, some are a bit soft. I suspect either some calibration issues or maybe it's camera settings. There are a lot of action type pictures and they can be tricky to choose the right settings for a good exposure. I'd get your gear checked out. I really think you have some good pictures but there are focus issues and some post production issues that are contributing to your frustration. You have some great images but there are issues. I also think you need more images of your weddings. What you have is good but for someone who opens with a whole page of key words and locations, there is not enough work there to represent this.<br>

BERLIN PARIS ZURICH LONDON ROME BUDAPEST NEW YORK MIAMI CHICAGO SAN FRANSISCO (Francisco) Where's all the weddings from these places?<br>

EUROPEN PRECISION AMERICAN STYLE - European! Hardly precision! :)<br>

Sorry for the font change. I cut and pasted from your site.</p>

<p>Find a good web designer and make sure it is proofread over and over. You could represent yourself better. You do have a really nice eye for composition so you need to enforce that with good production. I hope you won't think I am being too harsh. I hope the suggestions give you some good thoughts for moving forward.<br>

Lou<br>

<br /> </p>

<p>There are too many possible factors to consider before you jump to conclusions about camera systems. Firstly, Canon has had a few problems in the autofocus department. I would get your gear checked out by a Canon service center to make sure everything is calibrated properly. I used to shoot Canon and I had to send in brand new L glass a lot for calibration in order to make even one acceptable image. Once you verify your gear is solid, shoot with it for a while and see if your images change for the better.<br>

Next, ergonomics and ease of use plays an important part in your enjoyment of shooting. Check out some of the other Canon bodies. Try a 1-series body just to feel the difference. The 5D MKII is a great camera as well.<br>

I prefer the Nikon "feel" over Canon but my choice to switch was really based on a return to Nikon once the newer sensors were introduced. I had always used Nikon for 35mm film and Hasselblad for medium format. I personally like the Nikon bodies (I shoot D700) over anything else. But, as some have said, there are a few Canon lenses that are not yet equaled by Nikon and you have those already.<br>

My Canon system included 5D plus 24 1.4, 35 1.4, 50 1.4, 85 1.8, 135 2.0 for primes. All excellent lenses yet I still prefer the Nikon. I loved my Canon 24-70 2.8 and I was fortunate to have gotten a sharp one after a few attempts (notorious lens for focus issues). But, my Nikon 24-70 2.8 is probably the best lens I have ever found over almost all others. The resolution is without equal.<br>

Switching systems involves a large cash investment. I'd be 100% sure that you are really using your current system properly before deciding on a different direction. Take some classes, practice a lot, take a photoshop class and do more with post production. Then you will be really "armed" to make decisions about camera systems.</p>

<p>Lots of good responses so far. My take is, why intentionally shoot crappy pictures? Exposure is critical, especially in weddings. Are you shooting only a few pictures? If you shoot hundreds or even a couple of thousand images, how many months are you going to sit at your computer to try and "fix" every image?<br>

Post processing is not an auto correct feature. A bad image in typically results in a bad image out. If your theory was correct, every single person could shoot a wedding and then send the files to a post processing "correction" company. Unfortunately, it just doesn't work that way.<br>

There is no short cut to escape from learning how to use your camera.<br>

Lou</p>

 

<p>BTW, I have horses and I don't like the expression "beating a dead horse". I prefer to say, "Elvis has left the building". LOL :)</p>

<p>The only reason most do not want to collect money at the wedding is that the day is already way too full and too hectic. Also, my personal opinion is that it just isn't comfortable to do that on the day. Your opinion and your practice may be different and that's ok with me.<br>

Alan, my contract guarantees the type of images the client will receive (quality, resolution, etc.), how the service will be delivered (what, when, and how I will do what I do), the fact that I will show up in person (no subs) and of course the usual legal stuff regarding acts of God & nature, copyright info, how images are used, etc. It also includes a full description of what is to be delivered both in products and services, the amount of retainer, and the balance due. The clients receive a paid in full copy as soon as I receive their payment. In twelve years of using this contract I have not had issues. The one occasion I cited was actually for people I knew and there was no contract. That goes to show you why a contract is an important element of this business. Technically I could have sued the people for my time and for the cost of the film, but since I did know the family I decided to just let it go.<br>

If you think shooting weddings is only risky for the client you are mistaken. There are plenty of people who will complain later and try to get money back. Luckily I have not had such clients but many others have.<br>

If getting paid after delivering the images is a model you find satisfactory then by all means you should operate that way. I only hope you are fortunate enough to get paid every time.<br>

Cheers!</p>

<p>Lou</p>

 

<p>Have you ever tried to make a claim with either eBay or PayPal? I have and it wasn't fun. I have a buyer protection plan too. It's called a contract. It seems to work so far. I am lucky to have great clients but others have many stories to tell.<br /> Also, define "lion's share". If you are lucky enough to have the most high paying clients and you charge the big bucks I suppose you don't worry about every penny. But, if you think about it, the higher paid pros don't do as much volume so each client, given your example, would be a major risk.<br /> I'm sure the term "lion's share" is different for everyone, but let's face it we all have to budget for everything. Ten dollars for me may be a thousand for someone else. At any rate, there are of course those who are exceptions. But most, and I feel very confident to state this, collect all of the money up front. In my opinion it's just good business. Our products are different from, say, microwave ovens. Some businesses offer a money back guarantee. If you don't like this you have thirty days to return it. For what I do I cannot wait until after I have finished to be paid. I have already taken my time and effort and cannot make it back from another customer.<br /> If I sold thirty or fourty weddings each day I could account for a couple of returns or unpaid accounts. Weddings do not give you that kind of business model. It's the <strong>time</strong> that is lost.</p>

<p>Well if film photography does steal your soul, digital probably does too. But you can then put it back in Photoshop. :)</p>

<p>Glenfiddich and Glenlivet. Two of my favorites. Cheers! :)</p>

<p>Wow, this thread really got my juices flowing! I have one more very small comment after that long winded monologue. Do you ever buy anything on the Internet? Ever from eBay? Do they send you anything without getting paid? What if you asked them to send it for 10% and you'd pay for the item if you liked it...or kinda liked it...or maybe sorta liked it...or didn't like it at all so you won't send the rest...or you think they should have sent you two of them for that price?<br>

It doesn't work does it?</p>

<p>"I am not proposing a loan. I am proposing a payment plan with final payment due on delivery. This is basically a lay away plan, not a credit plan."<br>

I don't know Alan, if you are a wedding photographer but, it would be of great education if you tried to walk a few miles in the shoes of those who are. <br>

I don't run my business like Sears. I do not consider myself a store. I don't carry inventory and I don't create finance plans or layaway plans. I consider what I do as being commissioned to perform a very important job. I establish a relationship with my clients so that I understand them a little better and know what to look for in shooting. I prepare my equipment to make sure it is always fully operational. I purchase the most expensive professional equipment to do my job. I carry a lot of insurance and a lot of backup equipment to prevent any disasters with being able to complete my work. I will arrive early at my first wedding location and spend the entire day with a single couple and their family and friends. I will walk, run, crawl, kneel, smile, console, compliment, defend, and otherwise ensure the best possible experience to my clients that a photographer can provide. I protect their valuable images by never letting them out of my sight until I arrive back in my office to upload them to at least three different media storage devices. I will spend hours, days, and even weeks going over each and every image. I will produce a designed wedding album and any other items that my client desires. I meet with my clients to present a slide show of my favorite images from their wedding. <br>

I probably do a whole lot more. But I do NOT expect that after doing all of this, I may have nothing to show except a few images for my website. I have a contract. My contract clearly states my responsibilities and guarantees the quality of the images with only a few restrictions. My clients know what they are paying for. They get more than expected.<br>

There are so many weeks and weekends in a year. People book their weddings usually well in advance but not always. There are only so many chances to get a booking for a Saturday or Sunday wedding. This booking determines whether or not you get to feed your family or keep your house.<br>

I will bet that it is a more common occurrence for a couple to cancel their wedding than a photographer doesn't show up. I also bet that it is a more common occurrence for clients to withhold payment or refuse to pay for any number of reasons, than a photographer doesn't deliver any good pictures. That's why there are contracts. And that's why choosing the right photographer is so important as you have probably read in many posts.<br>

I can understand the "pay later" concept for potential a la carte products like enlargements or extra albums, but in this business it is completely the most common practice to receive all payments for services before the event. People tend to get busy or distracted following a wedding event. That is understandable. But since I only have a limited amount of customers I can actually service in a given month, I cannot count on volume or perfect circumstances to pay my monthly bills.<br>

I only did one wedding early in my career for which I was to be paid "later". That was in 1999 and I just last month finally threw away all of the unprocessed rolls of film I shot with my Hasselblad that were never paid for. The entire wedding is now gone. The couple never responded to any calls or letters. Their parents never did anything to encourage them to pay me to process the film. They never asked for their pictures. I turned down a week's worth of work to travel to their city and shoot their wedding. I don't do that anymore unless I get paid - first!</p>

 

<p>If they keep changing the terms of the contract that <strong>your </strong> business presents to them, they are not willing to do business. You are the product. If they want you they will abide by your legal contract. If your contract says what you will provide and what they must agree to, why do you want to make any concession? That changes your business model. I'm sorry but that isn't flexibility, it's weakness. It means you are agreeing that they have a valid concern about taking a risk in hiring you.<br>

Communication is the key. You are now aware you have a client that needs TLC. Just keep them interested in your work. Maybe give them some references of past clients they can call to reassure them you mean business.<br>

Spend a little more time with them getting to know them. Take them out for coffee. Whatever it takes to form a relationship. But don't give in to changing the way you do business. It does not make you look good - even to them. It makes you look very much a beginner. They will smell weakness and take advantage of you if they can.<br>

Reasonably explain that their fear is unjustified. Instill confidence that you are a professional and you have every intention of giving them the best photography money can buy.</p>

 

<p>None of the suggestions above will hold water.</p>

<p>My Nx is working fine and I upgraded from Tiger to SL.</p>

<p>"I've read reviews saying that the D90 actually takes better pictures"<br>

The camera only does what you tell it to do. You can make great pictures with either. I would recommend the D300 but that's just me.</p>

<p>Lou</p>

 

<p>One more thing, if you have shot a lot of weddings you will probably be happier with a D700 or a D3. The features will be extremely useful for you if you are used to high end film cameras.</p>

<p>The tricky part is that while the principles of photography remain the same, the attributes of digital capture differ in many ways than that of film. A sensor is a different medium than film emulsion and will react to light in ways that require careful study to understand. The good news is that the learning curve really isn't too extreme. It just takes practice with the tools and a little patience. But the caveat is, walking right into a wedding without the required practice will not give you the results you want. You will be disappointed. A lot of folks think that they can adjust settings and what they see on the LCD is what they got. Until you have really gotten to know what your camera will produce in its files, you don't have the complete story on the LCD. It is a bit deceptive.<br>

Play with your new digital gear and go through processing the files and studying the settings you used. That will give you a leg up on understanding what you will need to do in the way of settings for the wedding. I learned the hard way. I was shooting with my Hasselblad while carrying a brand new digital camera as well. All of my Hasselblad images thank goodness were properly exposed, but less than 10% of my digitals were close to being acceptible. Glad I didn't use it for the really important stuff.<br>

Blowing highlights is one of the most common errors for new digital shooters. Digital is not forgiving and has almost no latitude compared to film. The beauty is though that a perfect exposure in digital is a wonderful thing and the images can be stunning. Enjoy your new tools, but play a lot before going to work. Also practice going through a processing workflow which takes you through uploading your files and doing the edits. That takes a lot of practice too!<br>

Good luck!<br>

Lou</p>

<p> </p>

<p>24-70 is possibly the best zoom that exists. (IMHO) Keep it because it is next to impossible to get right now. When you do move to a FF camera, you will be very happy. In most cases the logic dictates keep the lens that works now, but in this case, the 24-70 is a keeper.</p>

<p>This certainly looks like a case of mishandling of negatives. There are still some very good professional labs and that should be the only type used by a professional wedding photographer. Unfortunately there are many who choose to use cheaper methods and as a result you get the kind of scans that you showed to us. I am sorry you are having to deal with such things.<br>

I would contact the photographer just to let them know what you are seeing. If it were me, I would find a professional full-service photo lab and have them look at your photos/scans/files to determine what they can do to get you some reasonably good images. Then I would get the estimate and pass that on to the photographer letting them know you would like them to cover those charges. One caution - before you can do that you need to review your contract with the photographer to make sure how the liabilities are stated with regards to image quality and expectations. My contracts always specify what the client will get in terms of resolution.<br>

I wish you the best of luck in resolving this issue and hope you get some great pictures for your memories of the day. The one good thing is, no matter what you have from that day, you have a new wife! That's gotta feel great. Stay positive. Enjoy married life!</p>

<p>Lou</p>

<p>I'm curious about the 20 3.5 UD. I know this lens as a non AI lens. I didn't think non AI lenses worked with the D700. If they do, I have a couple of those hanging around I could try.</p>

<p> </p>

<p>Once again Nadine hits the nail on the head. It doesn't matter what your backup is. What matters is that it works and you are completely familiar with how to use it. This is also a good time to mention that to many people who shoot with one camera, they believe a backup is just one body. I have seen weddings in which up to three cameras had failures and the photographer had to find a local store and rent a camera to finish the job. Do you need more than one backup?...I'm just saying, think about that.</p>

<p>A photograph is a photograph. Truth is truth. They are not the same.</p>

<p>Generalizing the use of any particular kind of gear is not productive. Every photographer has their own preference for a working kit. While many in the past utilized only a single prime lens for a majority of their work, the options today are vastly improved. By improved, I mean plentiful and varied. Selection of equipment is 100% personal. For every thread there are numerous choices articulated and it is up to you to determine what to try and what to use for your image goals.<br /><em>"I find zoom lenses amatuerish" "the average photographer only need two or three prime lenses in my opinion and most people don't need autofocus either. it's just that they have never gone without these things, and I truly feel that a great percentage of people who learnt to manual focus and stuck with it for months at a time, may not even go back to autofocus."</em><br /><em>"now of course pro sports and wildlife photogs may need a zoom and af, and other pro's may find these things useful."<br /></em>These statements contradict each other. Pros need whatever they feel will get their jobs done effectively. Some prefer primes and some prefer zooms but I am certain a working pro will have both available if needed.<br />Autofocus is a modern technology. Saying you don't need it is like saying you don't need digital when there is film or you don't need coated lenses when there is plain glass, or for that matter, why use an SLR? You could carry an 8x10 camera to a photoshoot and manually load and shoot one frame at a time! Now that's really all you need, right?<br />I'd go back and do a little more pondering before stating such narrow opinions. The world of photography is evolving faster than we can all keep up. The beautiful thing is you do have choices. For the amateur the choice is based less on need than the professional. I daresay, it would be a funny thing to carry a 4x5 and a wooden tripod to a wedding and try to shoot the whole thing with that. Don't need zooms, don't need autofocus, but when do you tell people to stop what they are doing to "look at the birdie"?<br />There's my $.02 :)<br />Lou</p>

<p> </p>