curt_kalkstein1

<p>I contacted three professional, high volume photo labs, but none make prints that large. So, if you have names and contact information, John, I'll be grateful.</p>

<p>Curt</p>

<p>In the range of two to three feet wide by about 5½ feet long, Richard. I don't have a preference on material, but when the pictures/banners/posters are hung, I don't want to say "I wish I had gone with...".</p>

<p>Curt</p>

<p>Can you please make some suggestions on where to get really good, really big prints that often are used to hang in gymnasiums. I have a couple of quotes from printers (not photo labs) for images on vinyl. Is that the only material used, or does anyone print on canvas? And, if you know the turnaround time, that'll help too.</p>

<p>I just started waving. Can you give me some suggestions, please?</p>

<p> </p>

<p>I seem to recall that when I saw this technique demonstrated during a workshop a few years ago the result was an unusual, velvety look.<br>

But, when I tried it last night, it didn't seem all that "different". I tried exposures of 30 seconds and of 6 seconds, but the look is pretty similar. But, I'll still ask: does the exposure time matter? Does the flashlight matter? Just how do I pull this off, please?</p>

<p> </p>

<p>Are you also photographing the wedding? If so, you might want to do the next session free because charging a fee might not sit well - justified as it is. However, I'd share your observations and explain that there will be a fee if they need to reschedule yet again. Furthermore, express concern because even if they go through with it without incident, a reluctant participant will make the pictures look awful. Even though it won't be your fault, you'll still suffer the fallout. In fact, it would be a good idea to take an assistant to serve as a witness of the tension.<br>

But, the bigger theme will be whether there actually be a wedding. If the groom was that unhappy, that might be more than a case of being camera-shy. If that's the case, you need to make sure there actually is a wedding, and start making sure all financial terms are being met by the couple.<br>

If this is just an engagement session without a wedding to photograph, then certainly get another fee - in advance!</p>

<p>I wouldn't get in the way of the hired professionals, but I do take my camera. Just as you said, opportunities presented themselves after the professionals left. It would kill me to see something memorable happen, knowing I decided to leave my camera at home.</p>

In my slim experience, I'd say FX is the choice. The demonstration software I've sampled is pretty easy to use. I keep waiting for FX to put the version on sale that allows for batch processing. If you go with FX, make sure you know whether you want the one that offers batch processing, or the other.

<p>I've never pushed it to that high a volume, but I've been very happy with my Sony UPDR8x10. The colour is EXACTLY what I see on my computer screen.</p>

<p>Sometimes I'd guess you'll be able to keep stuff like that in reserve. Maybe you don't charge extra for the tardiness, but later when the couple asks for something at a reduced cost, you say "ordinarily, I'd be glad to consider it, but I've already logged 60 minutes of unpaid overtime from the wedding."<br>

A week or less before to a time-based event I always remind the people involved that the package they bought includes x number of hours, so it's important to start at the contracted time. That way, no one can claim they weren't aware or that they forget in all the chaos of the planning.<br>

How you handle it might depend on why things got started late. If it's outright irresponsibility - and especially if you have even the slightest little thing to do afterward - I can't see a reason in the world why you wouldn't charge for the extra time. But, if in the case of the woman stuck in NYC traffic, perhaps leniency is in order - although heavy New York City traffic can't catch any resident of the area by surprise.</p>

<p>There's a bunch of information here and a road map of routes to follow. I imagine you'll get a heap of answers reflecting that.<br>

The thing that first pops to mind for me is what's in it for you? Is the family paying for what seems like: 1. Your images; and 2. The images of the other photographer that you're trying to fix. Also, since I'm not strong on the legal angle, are you in a precarious position editing someone else's pictures?<br>

And, if some other photographer had my equipment - and I knew where they lived - I'd be there demanding it back.<br>

I wish you well.</p>

<p>It was too easy. That's why I couldn't find it.</p>

<p>Thank you.</p>

<p>I have Photoshop Elements and CS2. I'm trying to follow an on-line tutorial about certain effects, but it comes to a halt because I don't have or can't find "paths" on my software. Do you know if I have it, but haven't found it, or if I just don't have it? And, if I don't, is there something I can use to replicate paths?</p>

<p>Thank you very much for your passionate responses. This is one of the reasons I think this web site is so valuable - there are no sides, just honest opinions.<br>

There will be no apprenticeship.<br>

But, because so many of the responses seemed to be very personal, I do want to be clear that there is a difference between exploring something by airing it out with help from informed sources, such as those here, and actually going ahead with a project, or even formally presenting it.<br>

Again, though, thank you very much.</p>

<p>I'm just thinking of the cost, but if 8 x 10 is universal, you're right: churches would say "why would we hire you offering 5 x 7s when we can hire someone who offers 8 x 10s at no cost?"<br>

I'm in the Midwestern United States.</p>

<p>Since the composition takes in quite a bit of environment, it's hard to see the original background, but I'll take your word for that and about the grayishness of the hair.<br>

In many cases I'll have control over how close the people are to the backdrop, but in some cases not.<br>

Yes, FX is the software I was talking about, Henry. Every time I do a search, FX is the one that comes up, although I hear Westcott has its own version. Do you know anything about that?<br />Does the FX program extract just as well for the blue as for the green? My hope is that during a school session, for example, a second photographer and I can essentially face each other with the backdrop between us and shoot simultaneously, or pretty close to it. That'll allow me to have to buy only one backdrop instead of two. Do you think that will work?<br>

I actually tried using clamps for a recent small session from which I did the extractions manually, but I must not have used enough of them or I didn't have the backdrop taut enough because when I sent one sample to my labora-tree, the extraction showed the wrinkles.</p>

 

Again, thank you. That's great information.

 

Another question occurred to me: is it always a free 8 x 10 that the family gets? It's never a free 5 x 7? I just want to avoid a financial disaster while not breaching some standard of etiquette.

<p>I own a couple of Muslin green backdrops, but I'm tired of having to iron them to make sure the extraction process at my lab goes smoothly.<br>

1. I want to buy the software to do batch processing. I've gotten e-mails from a company in the U.K., but knowing me, I'll have many questions and I don't want to call overseas to get them answered, or be stuck because of the five hour time difference. Do you know where in the U.S. I can get that software and be welcome to tap into the knowledge of the sales people when I have questions?<br>

2. I'd like to ditch the Muslins in favour of flexible and reversible so I don't have to worry about wrinkles. Does Wescott's (or whatever other company makes it) software allow for extractions on blue just as easily on green?</p>

<p>I use the Sony UP-DR80. It costs about the same as the DR 89 you've looked at. I've never had to put it to as severe a test as the one you think you'll have to handle, but I've been very satisfied with its speed and the trueness of its colour and density. What I've seen on my screen is exactly what I've gotten on my prints.<br>

I think it'll give you 35 8 x 10s before you have to change paper AND ink. But the change is very simple. I'm the model for the phrase, "if I can do it, you can", so if you don't panic with people backed up waiting for their pictures, making the switch is about a 60 second process.<br>

From the time I hit "print" to the time an 8 x 10 comes out, it's about a minute.</p>

<p>I don't know what the policy is about piggy-backing, but while I can't answer that question, I'd like to know because I want to do more night photography, and I want to use as little flash (too harsh) as possible.</p>

<p>A person is interested in learning photography from me - not photography lessons, but serving an apprenticeship.<br>

I've looked a couple of other exchanges done here on such agreements, specifically the area of non-compete. But, those threads seem to be from the point of view of the apprentice. I'd like to get both - or all - sides of this, but it's a bit odd that none of the material I saw supported the photographer trying to protect him/herself.<br>

So, here is what I've drafted; will you please share some thoughts?<br>

John/Jane Doe, apprentice, agrees to serve for six months as an unpaid apprentice for the purpose of learning the business of photography from Acme Photography. This opportunity will include, but will not be limited to lighting, posing, customer relations and marketing.<br>

In exchange for this opportunity, apprentice and spouse, agree to suspend operations of the part-time photography business they maintain for the six months of the apprenticeship and for the six months thereafter. To wit, they may neither seek nor accept photography assignments in Your County or any county contiguous to it.<br>

Apprentice's spouse is also a party to this agreement in that said spouse assists in the performance of the apprentice's photography business whereby apprentice and apprentice's spouse financially benefit therefrom.<br>

Notwithstanding the above, and without waiver to any rights otherwise inuring to the above photographer, Acme Photography, in the event apprentice or apprentice's spouse breach any term herein, regardless of how minute said breach might be, the apprentice and/or apprentice's spouse agree to promptly forfeit any gross fees collected or billed by them, or by others on their behalf, unto photographer, together with a fee for the apprenticeship in the amount of $1,000.</p>

<p>Those are really great insights, David. Thanks for being so clear.</p>

 

<p>I knew the 8 x 10 was free, but I didn't realize the directory for each family was free too. Yikes!<br>

Is it rare for someone to lose money, or is failure commonplace? The question seems to come to: are the congregation members pretty eager to buy pictures?<br>

Am I right that I probably have to set up on two or three consecutive Sundays or even a couple of the common Wednesday nights, or is it done on just one day?<br /><br /><br /></p>

<p>I'm interested in trying photography for church directories. Where is the money made, on the additional prints I try to sell beyond the free 8 x 10 I'm supposed to give the families? Is it in the sale of the directories to families? Is it both? What are the heavy costs I'll have to take on?<br>

I'll be grateful for any advice.</p>

<p>Curt</p>

<p>I've never tried this, but it might work: I belong to a networking group called BNI, which has chapters all across the country (world, too), so - if you're a member - you could access the web site of each chapter in Pittsburgh to tell the folks your situation.<br>

If you're a member of any other networking groups - Chamber of Commerce (maybe even those Pictage groups) for example - the same approach might work.</p>