phillip hurd - atlanta ga

Bonnie,

100 people taken with a camera with the resolution that you have is going to make it difficult to capture faces as sharply as you want. Judging from your site you already know that you must have a fairly deep depth of field to capture all the faces in multiple rows. Even if you do a face up shot you need to understand that unless you can put those people in the back rows on a step or provide some type of elevation your depth of field will have to be even greater. I don't often recommended it but you could do a sectional shot and stitch it together in Photoshop later. This will a you have a greater resolution on each individual face.

 

As far as a lens unless the one you have now is just absolutely crappy I don't think is going to matter that much. Your depth of field is controlled by your aperture and I would guess that you're going to have to be at least an F8, depending on your arrangement, to get the depth of field to capture that many people.

 

 

 

If you use multiple flashes with that many people you will have to be aware of a shadowing effect. To avoid this if at all possible set them up to achieve high flat lighting.

 

 

Perhaps you should consider also taking your studio lights. I know you said you didn't have much experience using those professionally for large part of "promotion" is having a sense of showmanship. If you set up some light stands in soft boxes or umbrellas you at least get your audience thinking, "Wow she's got all the pro equipment."

To what Ryan said "AMEN!"

Darice,

That is precisely why I'm looking around at things like the DVDs in question. Pricing is very difficult, remaining competitive yet being adequately compensated so that you can stay in business. I downloaded from the PPA site the guide to pricing wedding photography and I felt like I better have a Ph.D. in math to be able to follow some of their examples. Anyway, I appreciate the insight I will definitely give it consideration.

Darice,

WOW! thaks for the brilliant insight. I think I know what to do now! BTW- I checked out your site and it is great!

Lisa, Rich,

 

Actually my acquaintance�s (perhaps I used �friend� a little too loosely) reluctance to loan me the DVD comes from a time when he wanted to "borrow" PS CS and I said "no, get your own". I somehow pictured the Adobe software piracy guys beating down my door.

 

Anyhow to clarify I respect his work. He is really creative and makes good images.

 

Bob,

Thanks for the eBay tip I found one (currently $40) that I might bid on if the response from this post is good.

Has anyone actually seen the Gary Fong DVD's "Getting Rich as a Photographer?"

I have a fellow wedding photographer who I respect who paid nearly $200 for

these DVDs and is raving about them. He told me very enthusiastically that I

could book more weddings and earn way more with each wedding I booked. When I

visited Gary's website that was the advertisement tagline too! Anyway, no

disrespect to my photographer friend but before I drop $200 on these things I

was wondering if anybody has actually seen them and if they were worth it?

-And yes I asked if I could borrow them and the answer was "No, get your own."

I have to agree with David. Don't do it. IF you are in business be in business and maintain that relationship.

Vlad,

 

Contracts are your protection as a photographer. "legalese-deficient" is not a place you want to be. The reason many debates linger over wording is because it is SO important. You see when something goes wrong, which eventually it will, you as a photographer must have some protection. Here is an example from a recent post "...deposits are refundable (by law) retainers are not." One word makes the difference. Be careful, very careful. We as professional photographers have contracts that fit our specific needs. Most of the pros I talk to have contracts that reflect not only what could go wrong but some clauses reflect what has gone wrong. Our contracts protect us from the bridezillas that will emerge if we for whatever reason don't get it right. We plan, have backups, wet weather shooting gear, etc... but inevitably something will go wrong. That is when your contract will determine your fate. In short when something goes wrong it wonﾒt matter what you or the client wants it will matter what you agreed (contracted) too. What could go wrong? Ticket on the way to event so you show up late, groom trips over light stand, equipment stolen, CF card goes bad, lens breaks, camera breaks, someone spills beer on you and equipment, car breaks down on the way, the burrito with extra chili you had for dinner last night hits at the moment of the first kiss and you miss the picture, ﾅ on and on and onﾅﾅ

 

I say this to stress the importance of ﾓlegaleseﾔ Having said all this, do not start with someone elseﾒs contract for a wedding if you are going to do your own style. That is like learning to play baseball so you can go for football camp. Start with the Business and Legal Forms for Photographers by Tad Crawford. These are basically standard contracts that media photographers use and each bit of ﾓlegaleseﾔ is described in detail with a negotiation checklist. Good luck.

I do this. I use www.digiproofs.com and have had a very good relationship with them.

Have you ever seen the Wizard of OZ? You remind me of the cowardly lion? You see one look through you site tells me you are very good. Your style = classic/art hybrid. What seems to be lacking is your self confidence. If people pay you, continue to pay you, and want to seek you out you are well on your way. My suggestion is that you, like the cowardly lion realize that your are pretty good and have already shown it.

Why not say, "thank you for sharing our special day, to continue sharing our joy though images please visit www.SPENDYOURMONEYHERE.com"

Give this a consideration. If I read your post right you have done about 40 weddings and expect to do that many next year My suggestion would be that you go back and analyze which weddings were the most profitable, and how you booked those and then pursue that avenue of advertising as your first step.

 

Second is exposure. Evaluate who is involved in the weddings you do. Are there specific venues that you shoot often or DJ that appear frequently? IF so consider targeting those people/organizations for strategic partnerships.

My experience has been strategy is key. Know what you want to accomplish and don't be vague about it. Don't tell yourself "I just want exposure." Tell yourself, "I want to collect 200 B/G names and addresses, book 4 weddings, 2 engagements sessions and...." Once you have that strategy, design a system by which you will accomplish it. For example, if you want to book engagement sessions have a drawing for a chance to win an engagement session. Tell your prospects to put their name and address down for a chance to win. By doing this you can assemble a list of people that you know are getting married and want/need photography services. You could also hold a raffle for a free wedding package at $5 a ticket. You will likely make enough to pay for the services and again you will assemble a list of who needs your services.

 

My experience is a couple of your best poses/PJ picts blown up to poster size will get people to stop. A few nice albums properly displayed should get people to stay. Have some nice oversized glossy post cards made (I suggest www.vistaprint.com) to give away.

 

Also if you go with the electronic stuff (which is a good low maintenance idea) do not forget security as there will be masses of people and you will almost always be distracted.

 

Good luck.

Mike,

When I shoot a wedding I have usually spent 40+ hours planning my sequence of shots. I tell the B+G I need to be the only photographer during the ceremony and give them incentive to make it that way. Once a reception starts I don't really care about who is taking what shot. My experience has been that 99.5% of all P+S shooters never leave the full auto setting. Their shots look like crap and they are likely to spend there lives going "How did he get that great shot and I didn't?"

 

The reason that I don't want any one else shooting during the ceremony is that I have a specific series of pictures that I have planned and been paid to get. If mom/uncle bob/etc... want to take pictures during theis time they are in fact defeating the purpose of hiring a Pro and blowing the B/Gﾒs money by doing so. I have a responsibility to my client to do the best that I can for them in what always seems to be an impossible time frame. "Hoverers" as I call them can wreak havoc on a time line and will ruin positioned/posed images.

Looks Like a scam... Sounds like a Scam....

 

Recently I got a similar correspondence (I am in the US) where the company wanted to list me a "Who�s Who" up an coming executive. The wording and flow was very similar to what you posted. I found that it was a scam. They get you to give the information and then tell you must buy the finished product (directory) for some exorbitant fee such as $400. The only people that actually see it are the people who pay the $400.

 

Money is to hard to earn to give it away to people like that.

Rebecca,

Consider a professional photography course from somewhere like the NYIP. http://www.nyip.com/ This should give you all the basics.

 

Beyond that having a "fairly decent" camera is a requirement but not really the issue you will face. It is the business aspect that you really need to know. For example I can tell by your post that this is going to be, at least at first, a second career for you and your husband, so how do you figure out how much you need to charge to remain profitable considering your tax bracket (remember you will be taxed at a rate based on a combination of both incomes)? How will you calculate your ROI? What segment of the market are you going to go after? What is your target income goal? How will you advertise? How will you design your workflow? Where will you get your assistants? How do you want to present a portfolio? Will you design your own website or will you have someone else do it? The list of business questions goes on and on and on.....

 

When I started several years ago I made the mistake of thinking good pictures sell photography services. Although many others may debate this comment, in my experience the pictures themselves, while a necessary component, do not sell anything. You as the photographer must sell YOUR services. Many brides, in MY experience, consider photography a commodity. Meaning they think photographer A can do as Well as Photographer B. This mentality means you must understand YOUR customer. You must be able to place in the mind of your bride, or Mother of the bride, as is often the case, an adequate motive to buy YOUR brand of services.

 

In short if you really want to start a photography business consider a business startup course, then a selling course (Get some Zig Ziglar tapes to start.)

 

Good luck.

Brian,

I have a standard price list that I give for any non-digitally enhanced photos. I write in that if I am not the exclusive photographer that there is a 20% price increase at my discretion on that price list. I explain to the B/G that while I hope not to exercise it I need them to understand the importance of being the only one. If they protest I review my "Missed Shots" portfolio with them. Sales skills are the key to success during this part of the consultation.

I agree with may of the answers here but I have cut down on this a great deal by doing the following things.

 

1. At weddings where peripheral shooters are a problem I take the "missed shot" of the B/G anyway.

 

2. After the ceremony I show the "missed shot" to the B/G and very politely point out that that was why there is an exclusive photographer clause in my contract. I ask for a print of the shot that the shooter who blocked me took so that I may compare. (I do this via email.) The bride usually responds with those magical words of "it didn't come out." (I donﾒt actually care why she is telling me it didnﾒt come out either the important thing is to get the response.)

 

3. I take that response and print it and put it in a portfolio of "missed shots." At my next consultation I pull my book out and flip through the lost opportunities briefly and point this out, "this could be your wedding!" I then ask for their co-operation. I usually get it. Their response is usually, ﾓoh my god no it wonﾒt be!" In all cases tactful diplomacy is necessary but the response is usually positive. This has helped me a great deal. I hope it will help you.

 

 

Also Some food for thought as to what might be coming in the future...

http://www.gatech.edu/news-room/release.php?id=1017

 

If they can stop everybody elseﾒs camera and make mine work that would be beautiful.

I had a similar circumstance in another profession and I contacted a lawyer. Basically he said I could send a letter telling him to take it down. Before I could sue for damages or anything else really I had to be able to prove loss (I.e. find a non client that said I didn't hire you because..." ) In short I spent a small fortune (on the lawyer) and no one but me really ever noticed.

 

My suggestion is that you email the site and ask them to take it down and see what happens.

I have the sigma and about every 300 or so frames I have an error 99. Damn annoying.

This might not be exactly what you are looking for but for the last couple of years I have tried various advertising scenarios and what has really worked are print ads. When I advertise online the sites want a basic fee and then a premium to put you up close to the page a bride starts at. The fees can translate to outrageous $$$ over time. Print ads stay around forever. Just think of how often you see a brideﾒs magazine that is two, three, or more years old. I got a call from one brideﾒs mother who saw a print ad I did in a local sales bulletin nearly a year earlier. - she found it in her Dr.'s office. Donﾒt get me wrong you can do well with online ads just be prepared to pay the big $$$ to be up front because once you donﾒt pay you are removed with no traceﾅ..

20D +24-70 2.8 sigma +70-200mm 2.8 Sigma. 580ex & 420EX

 

As Backup- Nikon D70 +28-200MM