l_e

<p>I started the cancellation process 3 months in advance. Every week we sent them email and left message stating we were going to cancel the the effective date. About a week before the date we sent them daily emails and daily phone messages. Turns out, it still took them another month to get the cancellation correct. After the cancellation date passed we emailed and called a few times a day for 'status' updates. We just sent out a form email so we didn't waste anymore time.</p>

<p>We took such a harsh approach because of stories we had heard from other photographers.</p>

<p>About a week before the cancellation actually happened someone asked for a copy of the cancellation email we sent. I image they were a bit annoyed when I forward 80+ cancellation emails to them.</p>

<p>Basically what Betty said...<br>

I try to introduce myself (at least over the phone) to the wedding planner before the wedding. I find the good ones are in contact from the very beginning.</p>

<p>The I give out cards to the other vendors and ask them to email me for photos they can use for promotion. The get 'web sized' watermarked images if the email. The pictures are either of them doing their job, or their products. I have never had a vendor (other than a wedding planner) refer me, but I have booked weddings from brides seeing my work on other vendors' websites.</p>

<p>The best way to introduce yourself to other photographers is by passing a lead on to them. When you come bearing gifts you get a better response.</p>

<p>My favorite that I have used... 'Yes that is a nice camera, but like ALL cameras it doesn't come with a Creativity and Artistic Style processor.'. </p>

<p>This one I have only used once... A lady with a Nikon D3 - my camera is more advanced than yours. Me - 'A bad image taken with an advanced camera is still a bad image'.</p>

<p>It all depends on your style. I like the 35 and would consider it a must have for myself. I have a 24-70 and I can't wait to sell it. </p>

<p>Manual everything except White Balance. I can't remember the last time I shot on an auto mode.<br>

You are taking photos to achieve your visions, your camera does not know what you want the images to look like.</p>

<p>There is definitely the potential for that circle of friends to dry up, but you also need to consider that their friends have friends who might get married. And then those friends will have friends who might get married. Keeping in mind that most people have friends who are old and younger than themselves. So if each circle of friends has younger people, and those younger people have different circles of friends (which could be younger yet), then the referrals could keep coming.<br>

The added benefit of referrals is that you are not a random photographer that your potential clients have never heard of before.<br>

There are lots of methods for reaching the different circles of friends. Without knowing your business model and existing marketing strategies I can suggest ideas that would be relevant.</p>

<p>It is all business. Everytime I pick up my camera I am either being paid, training myself, or adding to stock photos.</p>

<p>Luis G. She has been shooting RAW for the past couple of months and (from her blog) plans on continuing to do so. </p>

<p>http://www.jessicaclaire.net/index.cfm?postID=409</p>

<p>What about offering packages which can be customized?</p>

<p>- Adjust ISO all the time. I try to keep it as low as possible, unless I am going for something specific. White balance is on Auto.<br>

- Raw the entire wedding<br>

- I use full frame sensors so I don't worry about the crop factor. Since this is a one-off wedding you should be able to get away with using a film camera for wide angle shots. However, if you are going to photograph weddings regularly then you will realize how cumbersome switching to film could become.</p>

<p>My thoughts, don't give it a second thought and go enjoy your life. You have wasted enough time on it already.</p>

<p>Would I? If it were the ONLY OPTION left and it was P&S images or nothing. Or, if someone says it is impossible to get useable images from a P&S I might do it just to prove them wrong, and only for a few images.<br>

Do I? Absolutely not. As a professional you should have professional gear. Even though the photograph makes the image not the camera, you don't want to limit yourself as to what you can create.<br>

Have I? No.</p>

<p>It works like this...<br>

IF the person who uploads the image owns the image then they give Facebook permission to use the image, while it is on their website.<br>

Once you delete the image they can no longer use the image. At least this was the case, and I don't think it has changed.<br>

IF the an image is uploaded by someone other than the copyright owner (or a person who has permission to upload the image) then Facebook clearly does not have permission to use the image. In these cases, when an image owner proves it is their image then Facebook will delete the image from their servers.<br>

If you don't give Facebook at least some permission to use your image then they can not display it on their website (which includes your profile and Facebook albums). So you would upload an image that no one can see.<br>

And YES, Facebook will take an image down if your prove it was uploaded illegally. It is a bit of a hassle though.</p>

<p>John - it wasn't legal advice at at all, just a definition.<br>

Here is another definition on a more 'reputable' website...<br>

http://www.usdoj.gov/atr/public/guidelines/primer-ncu.htm</p>

<p>As for what to charge...<br>

Charge what you are comfortable with regardless of what others in the community are charging. You don't know their business models or overhead expenses so you don't know their reasoning behind their pricing structure. I would think $250 is a bit low, especially since you are including 2 8x10 prints (assuming you don't print the image on the full 8.5x11 page) valued at $50 each.<br>

You are charging $150 for at least an hour of photography, plus processing time, printing time, and administrative time (talking with clients, setting up a time, paperwork, etc). I would imagine that each session take up about 4-5 hours of your time so you are making at least $30 an hour for each session. If you are happy with that then go for it.<br>

My point about the price fixing was that you should not blindly base your pricing on what everyone else is doing - it doesn't make good business sense.</p>

 

<p>First of all you need to translate their choice of words...<br>

"time exposures" - they probably mean no flash<br>

"The photographer shall not be visible to the guests or wedding party during the ceremony." - so they want you out of sight, which means either the back of the church, or off to the side in an alcove maybe<br>

but... you are allowed "A flash picture of the couple kissing..." so at some point you will be visible to the guests, but it might be very distracting if you were to walk all the way down the aisle to get the one photograph.<br>

I agree with Bill, make it a point to attend the rehearsal and chat with the church attendants and the officiant performing the ceremony. You might find they are willing to bend the rules, if you demonstrate your professionalism. You might also find that the rules of the church are created by the church attendant/event coordinator and have nothing to do with the preferences of the religion or the officiant. Also, it helps to go over the rules with the couple, so they know what you will be working with on the wedding day. Sometimes if everyone (you, couple, officiant, church attendant) gets together you can come up with a working agreement.</p>

<p>Sounds like price fixing to me...<br>

http://business-law.freeadvice.com/trade_regulation/price_fixing.htm</p>

 

<p>Jeff - Was the question for me? It really doesn't matter where we are located because we do very few weddings in that immediate area. Most of our weddings are in the southeast with a handful scattered across the country. </p>

 

<p>Here are my thoughts...<br>

1) 24-70 2.8L - I don't mind the size or weight, the lack of IS doesn't bother me, the slight gap between focal lengths should be easy to over come. How often do you need an ultra-wide lens? I have this lens, but I am not wild about it. It results in an image quality that I don't like.<br>

2) 17-55 2.8 - Why wouldn't you be able to use the 17-55 on a full frame sensor? Have you heard anything definite about crop sensors being phased out? I have one of these lenses as well and prefer it over the 24-70. It is a more limited lens but it does give the ultra-wide capability.<br>

BTW, if you are worried about losing the ultra-wide capability by putting the 24-70 on the 5D, wouldn't you lose even more by putting the 17-55 on the 40D?<br>

3) 16-35 2.8L - it seems like this would be the most limiting giving you the most gap between focal lengths, no ultra-wide capability, etc<br>

Also, with your 2 current 'favorite' lenses you don't have ultra-wide capabilty. I am not sure why would list it as a con for lenses you are considering.<br>

We also have different shooting tastes so take that into consideration. I use 2 5D bodies with mostly prime lenses. Your statement about the flexibilty of use a full and crop sensor baffles me because I find crop sensor extremely frustrating to use.<br>

If I had your setup I would go for the 17-55.</p>

<p>John - are you saying that during the 1970s commercial photographers in San Fransisco were involved in some kind of price fixing?</p>

<p>It is always good to have a contract, not only to protect yourself but to protect your clients. Even if you are shooting an event for free it is nice to have a contract.<br>

There are several issues...<br>

defining the terms of when the photos will be delivered<br>

defining what, when, and where you are photographing<br>

defining what happens in case you can not/do not complete your obligation per the contract<br>

defining what happens if the clients can not/does not complete their obligations per the contract<br>

model release so that you may use the images as defined in the model release<br>

defining how the client may use the images<br>

Biggest warning - according to me attorney the best solution to be vulnerable to law suits and litigation is very good insurance.<br>

You will want insurance to cover you and your gear from damage, to cover damage caused by you or your gear, and to protect you in the event of a contract dispute. <br>

You are at risk for just about anything - from being sued because your clients don't like the way the images turned out, or other claims that you ruined 'their day'; to a kid tripping on your gear and hurting themselves.</p>

<p>David<br>

Your conclusion might be valid for your area and your market, but certainly not for all wedding photographers. We start at $5,500 and are booked solid for 2009, with several already booked for 2010. Not trying to be contrarian, or a braggart, just pointing out that there is potential to succeed and thrive despite the common negative outlook.</p>

<p>Hey Matt<br>

You didn't have to run out and buy the photographic equivalent of "the new Kitchen Aid M3X Mk II 24-MegaSprinkle Mixer". If you did then it was your choice, and I hope that one purchase didn't put you on the brink of disaster.<br>

And I thought the priority of the day was getting married.</p>

 

<p>There is definitely room for film photography. You have to make the room and create the market. Certain areas of photography would be harder than others, but it is still possible. </p>

<p>I have a completely different take.<br>

I believe more affordable cameras and technology reinforce the need for a professional photographer. As a wedding photographer I have seen lots of people with all manner of cameras. It is more and more common where a guest will have equipment as good, or BETTER, than mine. And yet, I still manage to produce better images (at least in the opinions of the clients and wedding guests that I have heard from).<br>

Bottom line - the equipment does not make the 'art'.</p>

<p>BTW, my wedding business is booming. We are full for 2009 and already booking several for 2010.</p>

<p>Rather than spend all of the energy worrying about what you can not control you might want to improve your craft and your business skills.</p>

<p>I haven't read any of the responses above.</p>

<p>If I were Anne I would have given them a business card from the studio with my name on it. (Preferably a studio business card with my name printed on the front, if I didn't have those then I would have written my name on the back. I would also include a personal phone number.) I would have explained that I worked for the studio but they should definitely call the studio and request that I photograph their wedding.<br>

If the studio owners honor the request then everyone wins. If they don't, then they lose a potential client and Anne knows a bit about the owners.</p>