m_p7

If the flash is at the camera position, yes.

Why not just do it yourself? I don't know why everyone complains about processing TP. It's never failed for me.

Any chance you could send your assistant out during the ceremony or reception to (undetected, of course) let the air out of at least two of the guys tires?

I've seen the ad in a magazine, and it caught my eye, too. But, personally, it caught my eye because I didn't particularly care for it. It seemed out of focus to me, sort of "bad paparazzi". Just my opinion, but I wouldn't try to implement the look. Obviously, though, some people like it, or it wouldn't be a full page ad for Chanel.

I would encourage you to use XHTML, CSS, and SSI and avoid tables for layout. When I finally get around to making a website, I plan to code it all by hand using XHTML, CSS, and SSI. I hope to avoid all use of Javascript if possible. Also, check the site on lot of OS and browsers - there are many bugs that need to be worked around. For a nice example of what can be done with CSS, see www.csszengarden.com. It is all the same HTML code, only layed out differently with CSS.

Scanning is copying. What's the point in scanning if you won't print the scan. And even if you just use the electronic copy, it is still copyright infringement. If you are going to be in business like this, I suggest you see a lawyer, and strictly follow copyright law. Any photographers that find out could get you in a whole lot of legal and financial hot water.

Having a day job, not much advertising, and other factors have

contributed to me not getting as much business or experience as I'd

like.

 

So, yesterday, I was having some promotional 4x6 material printed,

and I started talking to the guy running the printer. He does that

part time and shoots weddings the other half. We talked for a long

while and exchanged cards. I mentioned that I was interested in

making contacts with other photographers and would be interested if

he ever needed a second shooter, could refer people to me if he

already had a day booked, etc. I also mentioned that to just gain

some experience, I'd be willing to tag along for free as a second

shooter. He said he had a wedding tomorrow (today, now) that I could

come to. I had to pass since I couldn't get out of my day job on

such short notice, but he said I could come to the reception this

evening (probably a 2-hour reception). I have all my own equipment

and film, but he might want to give me his film to shoot and return

to him.

 

What sort of arrangement do you think is reasonable? If I don't get

paid, is it customary for me to use images I take in my portfolio?

Or will he just lump mine together with his own? Will he expect to

sell and pass off prints as his own? It seems to me I should either

get paid to assist, or if I work for free for the experience, I

should at least be able to use them in a portfolio. Or should I just

say thanks but no thanks? As much as I want the experience, if I

don't get paid, it isn't work for hire, and I don't see getting much

out of a 2 hour reception if I work for free, can't sell any of the

results, and can't even control copyright.

 

I'll iron this out tonight before I shoot, but I'm curious what I

should expect and should ask for when I talk to him tonight.

 

Thanks for advice, especially if you can give it on such short notice.

Ask your ISP if it supports .htaccess. I use this often for galleries created in Photoshop. It is easy to set up and very secure. Do a google search or here's a decent page about it: http://faq.web2010.com/htaccess.htm

Very good info in this thread. As someone who has for almost 2 years attempted to run a photography business (LLC) from my home part-time (I have a different day job), let me share some advice. If you don't have enough paying business coming in, it is a waste of time and money. You will have increased cost due to licensing, business expenses, etc. etc., plus you'll spend time managing a business instead of taking pictures.

 

If you are reasonbly confident that you can bring in enough business to cover your costs (eventually - IRS is going to cut you a break for a couple of years), then go for it. But you should enlist the help of qualified and experienced people like attorneys and accountants, and you better be a great business person.

 

I'm not trying to be pessimistic, but you don't just decide to open a business one day. It takes planning, execution, desire, and lots of work. If you only want to start the business to avoid paying sales tax, you are in it for the wrong reason (not to mention your reason is not legitimate, as others have pointed out).

You charge based on a few factors: what the market will bear, what your expenses are (not just film and processing - there are tons of expenses you need to include), and what profit you want to make.

 

There are dozens of ways to structure your fees, and I'm still figuring it out as I go.

 

You definitely need an agreement/contract and I recommend you get model releases (I use ASMP's) so you can use the resulting photos for advertising, promotion, etc. I recommend Tad Crawford's book, "Business and Legal Forms for Photographers" as a start, but I'd recommend you have a local attorney review your paperwork.

 

Personally, I don't recommend basing your price on how much film you shoot. If you do, you'll just lose money as you get better and can get the shot you need with less effort.

 

As far as keeping the negatives goes, I prefer to do that since I have control, but that issue is hotly debated, and frankly, I've lost clients when I said I don't give or sell negatives.

 

Personally, the business is a process that is continually changing as I get experience. Figure out a starting point, go from there, and change it to suit.

 

Good luck!

Mike

It's time to have my letterhead, envelopes and business cards

printed, after having some stationery designed for my LLC.

 

Can anyone recommend a good (and inexpensive) place online to have 2-

color (2 spot colors) offset printing done in relatively small runs

(~1000)?

 

I've got an estimate from a local place, and it seems pretty high to

me. I'm going to check with some others, as I prefer to establish a

relationship with a local printer, but I've also got to watch the

bottom line.

 

What do you typically pay for stationery??

 

Thanks,

Mike

I did some headshots of managers for my day job company. I have an LLC for my photography, and I specifically stated in the contract that they were contracting with my LLC and it was not work for hire. I think you should talk to a lawyer, but in my opinion, you are probably out of luck, unless you could at least get them to agree to let you use them as portfolio images. If they do agree, get it in writing.

Another vote for Tad Crawford's book.

 

And I also saw Blake's ASMP program a few months ago. It was great! I recommend it.

 

But I would also recommend having a lawyer review your documents.

I plan on making some of those magnetic car signs soon. Then I can take them off if I want. As far as thieves go, just don't be stupid and leave stuff in your car, no matter if you have signs or not. And if for some reason you have to leave stuff in the car, put it out of sight and take the signs off.

If it were me, I'd never know unless I try both and see for myself.

I've done a couple of photo things for my day job company. But I also have an LLC set up for my photography. So I just used my standard LLC contract, but I make it very clear in my terms and conditions that it is not work for hire.

 

If you do this, make sure you charge what the job would cost anyone else to do, and make sure you have a signed contract before you do it that is very specific about who, what, when, where, how...

What's the advantage of having the door between the workroom and darkroom? I would probably just put it all in one room, and switch places with print drying rack and dry mount press. Or, I guess you could frame it in to have some separation, but just not put a door on.

Yes, I'm considering an Epson printer to do it. Probably the R200, since it is the cheapest (although the ink is a fortune). I'm glad to hear it works well. Does the ink dry ok? I read that somebody was having problems with that. Any idea what your cost per CD is, including the CD and ink? One more question: can you use any file to print on the CD, or do you have to make a template in the Epson software? I'm having a graphic designer design a logo and stationery for me, including a CD label, and I want to be able to use that file.

 

Thanks.

Can anyone direct me to a good/inexpensive place to have my company

logo silk-screened or printed onto blank CDs or DVDs? Do you use

silk-screen printed blanks, inkjet print directly onto blanks, or

print onto labels? The silk-screen printed blanks I've seen on the

web are pretty expensive, plus you have to order 1000+. Thanks.

It sounds like this may be your first wedding. Is that right??

 

I learned the hard way that shooting weddings is a TON of work. I started with some cheap prices to get into it. But after all the post-wedding work, I realized that wanted to make more than minimum wage. :)

 

I suspect the only way to make a profit on a $250 wedding is for it to be very short, and to shoot digital and burn a CD of images, with little to no post-production and let the b&g make their own prints.

 

Don't forget that even if you don't have film and processing costs, that you have time, equipment depreciation, gas, etc. I could go on and on about not pricing too low, but you'll figure that out soon enough.

 

To specifically answer your questions:

 

Usually a retainer is required (maybe $100 to 50% of the fee) to hold the date, but in this case I'd collect it all up front. For a contract, a good place to start is in Tad Crawford's book, "Business & Legal Forms for Photographers". But even so, I'd have a lawyer review your contract. Finally, this isn't something I would do on this budget, but I'm not you.

Thanks for the responses. I'm going to visit another pro lab and see what equipment they use. I fully expect to pay a little more, but get much better results.

Thanks to everyone for their replies. You've basically confirmed what I thought; my lab sucks.

 

I took the bad stuff back on Monday. I just asked to have things reprinted (including the mounted 11x14s). The guy at the counter was one of the guys who usually works in the back, so he had to ask about what to do (bad sign) of the owner, who happened to be up front, and who I know very casually. He agreed that they'd have to be reprinted (a dozen 4x6, a couple of 5x7, and 2 mounted 11x14s), but made no apologies or anything. I had to ask him when they'd be done, and he said at least Wednesday.

 

When I was done, he headed toward the back, I hope to rip his printing techs a new one, but who knows. Anyway, I'm going to go talk to one of the other pro labs in town (which has been highly recommended by some wedding photogs in town). I'm pretty sure I'll pay a little more money, but it will well be worth the lack of hassle, better quality, and better service. It really is too bad, though. I was getting a roll of film processed and 4 Mb proof scan jpgs on CD for $9.00. I'm guessing it will be double or triple that at the other lab.

Can anyone help me get a decent scan of my Neopan 1600 in Xtol? The

highlights are very dense. See here: <a

href="http://www.photo.net/bboard/q-and-a-fetch-msg?

msg_id=009XNy">scanning dense negatives</a><br><br>

Does anyone else have the same problems with this film/developer? I

assume that I need to cut back on my developing time to remedy this,

correct?

Anyone have any tips for scanning negatives with very dense

highlights? I have a Minolta DSE 5400. I'm trying Minolta's

software and the demo of Vuescan (which seems to work better), but

still have poor results. Am is screwed?

 

For those interested, I processed my first roll of Neopan 1600

(rated at 1250 for more shadow detail) in Xtol 1:1 and 1:3 (cut the

roll in half) at 68deg for times at digitaltruth.com. Decent shadow

detail, but the highlights are killing me. The detail's there, but

I can't seem to make a decent scan.

My discussion about linty prints from my lab I posted a few minutes

ago brings up another question.

 

That lab is using Kodak Royal Paper in the Noritsu. I've been

pleased with the color I'm getting (the other issues are another

story). One thing I don't like is that it's not a professional

paper and there's no copyright warning. This isn't a huge deal,

since I stamp my info on the back of all prints.

 

But I keep hearing about Endura and other papers. What do I gain

with pro paper, other than the copyright notice? And if I shoot

Kodak Portra, will I still get good color prints on the Frontier? I

hated the skin tones of Fuji film (NPS, etc) printed on the Noritsu,

btw.

 

Just thinking ahead to when I switch labs...

 

Mike