suspendedmoments

<p>Bad Business on the part of the photographer.<br>

I think about this all the time, particularly when clients sign my model release forms, which are very much in my favor regarding present and future use of the clients name and images.<br>

BUT, I would never EVER continue to use a photo that a client requested that I remove. I wouldn't see the benefit in keeping photos up, that any client feels uncomfortable with. Even though my releases allow me to do virtually anything I wish to, for as long as I am in business.<br>

I have to agree with others that are suggesting you speak with the photographer personally, before getting too upset. The image must be GREAT, if he/she, is clinging to them for so long.<br>

To others... be careful of what you sign. My release allows me to use images, likenesses, edits, interpretations, modifications, compilations whole or in part, along with the signer's name. Indefinitely. Though I do not make a practice of posting names, unless the client is already a public figure, such as an actor, TV personality, musician and so on. <br>

Explain your position, person to person... I think you'll find things are not as bad as they seem. Lost of photogs just don't update their online portfolios very often.</p>

<p>For those of you "still waiting" as am I...<br>

I have noticed several brand new unopened Nikon D4 listings on E-Bay<br>

Buyers who were early on the list purchased two each in some cases and are offering them marked up in price of course, taking advantage of the demand.<br>

Recently they have sold for as little as $6,200.00 with free shipping, so very close to the Pre-Order price of $5,999.00<br>

I Pre-ordered January 3rd and am still on the waiting list. Several of my photographer friends have already received theirs within the last few weeks. So, I am hopeful and still waiting. <br>

Store owners will not share where you are on their waiting list, so it is impossible to plan when the D4 may arrive. <br>

IF you wanted it now and don't mind spending a few hundred extra, it's on E-Bay... take your chances and have it in hand soon...<br>

I'm still working with my D3s among other bodies and try not to think about the D4 and the fact that others have it before I do. <br>

Humble pie...</p>

<p>One aspect I'm curious about is with other clients during this time frame... is he behind a year with every wedding client? Or, is your wedding uncharacteristically delayed as compared to other clients the photographer has serviced?<br>

What was the normal turn around at the time you hired the photographer? <br>

Wedding photographers are most frequently hired by those who have had a friend or relative use their services in the past. This method of hiring, gives you a ready source for understanding the response time frame you may expect after the event. <br>

Larger venues with multiple shooters will take time, but I have to agree that a year is a very bad sign. He did post some examples, so you know he did get something down... I would request the DVD data disc of all images with a print release (full size images, not reduced resolution)... as compensation for the extraordinary delay. This would allow you to have them worked up by someone with the appropriate time and talent. <br>

I'm sorry to say, I hear stories like this more often than should be the case. I hope others who have not yet selected their photographer will find this posting valuable.</p>

<p>Hi Susan...<br>

You are in a common predicament unfortunately. <br>

Some have already touched on this, so I will be brief. Nearly every wedding I do, results in someone approaching me about serving as my assistant or protege with a desire to learn "more" about photography.<br>

When I need another lighting assistant (already have one full time) or second shooter, I consider those I enjoyed being around the most and their personal style of photography being compatible with my own. Another BIG issue, is how they will be perceived by my clients and weather they can be available on very short notice. <br>

I do share what I do and how I do it... because I simply enjoy teaching and sharing. I also turn down more work than I book, simply because I am only one photographer and can't accept all the work that comes my way. I do pass on work to promising photographers, but that's different than partnering for wedding photography. Weddings are intimate, personal and as mentioned before, fast paced. You "could" sit at the back of the sanctuary and observe... the reception is another story, as they must pay for you being there...<br>

You may want to request that you be permitted to observe one aspect... say the pre-ceremony bridal shoot. Or the ceremony itself... orrr the set up shots immediately following the ceremony. Select one aspect rather than request to be included on the entire (possibly 8 hour) shoot. I for one, would be more open to having someone drop in for one aspect more than the entire limo chasing day. <br>

Are you requesting to ride with the photographer or offering to meet at the destination? <br>

I only consider those people I've personally met and have a comfortable feeling about. Are you also attempting to build your wedding portfolio as a shadow or second shooter? How do you plan to attain rights to exhibit the portraits? <br>

I suggest getting the word out and finding people who wouldn't be using a professional photographer to cover their wedding. Offer your services cheap or even free in exchange for model releases. Then, take your work to a working pro that you respect and sit down with him/her and review the photographs you took. Most will happily sit down, review your work and make suggestions as to what may be improved. There are plenty of people out there getting married and not hiring a photographer. Use them as stepping stones to becoming a better wedding photographer. <br>

These are my suggestions... I hope something "clicks" with you...<br>

Fred</p>

<p>My personal best sales have been through local galleries and restaurants or cafe settings. I present my work at 20" x 30" or larger for the greatest impact/connection with the viewer.<br>

I think the buyer wants to "meet" the work that he or she is purchasing. I've also obtained several clients from these exhibits.<br>

As others have mentioned, viewing a photo online is ok, but you have no control over how the image is viewed. I do all my own custom framing and matting and now only sell prints properly mounted.<br>

If a client purchases a photo and then has someone else do a economy framing job, that also represents your work... fair or not. <br>

I have never had a restaurant owner refuse to exhibit my work... but then, I select the locations with the clientele and environment where I think my style will be best received. I also enjoy eating there and listening to candid reviews of my work.<br>

So, for me anyway, selling directly via a website isn't very strong. Finding a small local gallery or cafe is great advertising and you do sell at a much higher price than you may have thought possible. <br>

I hope this gives you some ideas...</p>

 

<p>I have dealt with this issue when contracted to provide photographic services beyond wedding gigs. I personally don't care what the client wants... if it's possible from my end, I provide it and maybe that's unwise?<br>

I have been on shoots where the client wanted total control and didn't want me to have the images at all. So, they purchase the card right out of the camera and this alone adds $300.00 plus to the photographic services. I don't even see the images and they have no concerns regarding the photos "leaking" out from my end. (the ultimate in confidentiality)<br>

I do like just walking away "clean" after a shoot at times and enjoy simply installing a new card which has been purchased as part of the contract. I shoot frequently with the Nikon D3s and the RAW files require Adobe CS5... so for example, CS3 would show a unrecognizable file format.<br>

I also have no problem with the client wanting to "cull" their shoot and I do not want credit for the photographs they will produce from my exposures. I figure my time and talent was already paid for and I don't enjoy selling prints so that suits me just fine. <br>

These clients have their own photoshop wizards and they want a consistent look... but then again, this is not a wedding. In the case of weddings, I would just warn the client that they will be dealing with 9 gigs of images and would review with them the system they will be using to open, view and process the images with to determine if they are over their head technologically speaking. (their graphics card, system RAM and Processor may be overwhelmed by large images causing a distressing lag)<br>

When I produce a complete art piece... of course I want credit and control, but if I'm just a shooter, then I have no problem turning over my work on the spot if that's what they require of me. There are digital purists out there like my friend Art Becker... he doesn't believe in post production treatments at all. I have no fears about turning over photos I have not even seen, save to proof them in the camera at opportune moments during the shoot. (the same clients use me time and again, so it's working)<br>

Just find a photographer in your price range and tell him/her what you want before time is wasted setting up an interview... New York is chock full of capitalists that will just provide what you are asking for. <br>

Wishing you well!<br>

Fred</p>

<p> </p>

<p>Oy Vey Harry... if that's the case then I'm definitely not signing up... they promoted it to me recently as an updated Photoshop course... if it's an older curriculum, then it would be a waste of time and resources for me. There have been so many changes with the advent of CS4 and the program I currently use CS5... I was definitely looking for something beyond the fundamentals.<br>

I appreciate your input here... I am currently tapping into the Adobe online training resources and that's working out ok.<br>

Thank you again for taking time to respond!</p>

<p> </p>

<p>Thank you for this response... <br>

So, in short, you are not familiar with the current Photoshop Course they are offering...<br>

It's only been made available during the past year, so I'm hopeful that someone will chime in on that course...<br>

Thanks again Harry!</p>

<p>Hello everyone...<br>

Before I drop $998.00 on a Photoshop Course, I thought to post here to see if anyone here has taken and completed the FULL Photoshop Course currently being offered by the New York Institute of Photography (NYIP).<br>

Looking back through previous forum postings, nothing applies to their "current" program.<br>

I have been working with Photoshop since 1995... it's no secret that so much has changed one can't begin to quantify it all.<br>

My desire is to maintain proficiency with current programs and techniques at the professional level. Correspondence is appealing as I have a crazy schedule which does not allow me to attend a regularly scheduled class. I also like the idea of photo-learning on the go. <br>

It's a new course, so I know there may only be a few out there with personal experience with the program. Anything you can contribute would be very helpful.<br>

I currently use CS5 and want to move beyond my normal work flow without wasting hours and hours feeling my way through functions I rarely use.<br>

Thank you all,</p>

<p>Fred</p>

<p>I am a graphic card NUT and always want whatever will keep me rolling without any hesitation or limitation... I personally use the ATI Radeon 5700 series and am already shopping for a upgrade... <br>

I like the idea that some graphics card manufacturers are building to insure a great Adobe Creative Suite compatibility experience... follow <a href="http://www.nvidia.com/object/product_quadro_cx_us.html">THIS LINK</a> to read about one such card. <br>

I am always soaking up information from tech savvy industry folks and several times I've heard that GeForce cards are the most selected by Adobe engineer nerds... (don't get me wrong, nerds are cool)... <br>

So, I'll definitely be jumping ship and going with Nivida for my next graphics card. I also do movie editing, so I demand fast and seamless... performance. Currently, I run the ATI Radeon HD 5700 and things do slow down on larger format projects.<br>

I hope this helps you out. I know this post is a little older, but maybe someone else can benefit.</p>

<p> </p>

<p><img src="../photodb/photo?topic_id=1481&msg_id=00Y1Rc&photo_id=12284290&photo_sel_index=0" alt="" /> all the technical and equipment data is in the information of this posted image... I wish you the best in your snowflake adventure.<img src="../photodb/photo?topic_id=1481&msg_id=00Y1Rc&photo_id=12284290&photo_sel_index=0" alt="" /></p><div></div>

<p>I know you have to economize the amount of equipment you are carrying... distilling your gear is obviously a necessity and at times I like to take the kitchen sink. <br>

I shoot FX full time and of course my needs are going to differ from most of the posts here as I am primarily a portrait photographer...<br>

The 14-24mm, though heavy as described by many here, is a favorite for me. I do open it to 14 often and enjoy the fact that I have no edge effect/distortion/vignetting... I like to get in close and include as much of the environment as I can... crop later if I need to. <br>

The front element doesn't bother me at all, as I don't use filters and have had no problems keeping the surface from damage. I also don't like the PC lenses so the 14-24mm was my compromise offering almost no vertical nor horizontal distortion which I had had to deal with when using other wide angle lenses.<br>

In conclusion, for me personally... I'd pack the 14-24 over the 17-35... you'll do well no matter what you end up with for your trip. I wish you well!</p>

<p>Professional photographers... portrait, wildlife, commercial, whatever the emphasis really don't have to say "I'm a professional"... it's obvious to the casual observer...<br>

Be happy that they thought enough of the way you handle yourself to ask for guidance... I hope you were able to help them out. </p>

<p> </p>

<p>I use nothing quicker than a 2.8... <a href="../photodb/photo?topic_id=1481&msg_id=00X3Zl&photo_id=11418791&photo_sel_index=0">CLICK HERE</a> to see a sample of one of my low light (barely could see the couple) shots on a dance floor for that candid.</p>

<p>This is always a "test" for me...<br>

Can I take it? When I post a photo I am personally proud of, only to see a 3/3 smack down instantly? I look at my screen and have to collect myself a little... oy!<br>

It's good for me I tell myself... taking a spanking on a photo is part of this business of art and photography. Anonymous or known... the rater is merely giving me a star or frown sticker... I have to say that it keeps me humble and at times also sends me soaring about some piece I've presented to the lion's den, when high numbers are posted!<br>

I teach art and design part time... the greatest lesson or "test" someone in this business can receive, is the low mark spanking they may face. Some quite frankly can't take it and shut down in every possible way short of tossing their new D300 off a bridge. An early sign that this career may not be for them?<br>

I enjoy the current rating system, sure it's often a case of spinning the subjective wheel, however it does serve to push me farther up the creative and technically achieved ladder. It's obvious that some raters have no idea what they are looking at, BUT others obviously have extensive backgrounds in photography and even fine art. I accept them equally...<br>

The photography client (speaking to the would-be pro) may have no formal background at all in the realm of photography. So... they simply like or dislike something based on personal taste, not technical know how. I think this is real world experience regarding accepting praise or criticism and being capable of attempting to improve no matter what your current level. <br>

There are obviously popular photographers on PN... their fellowship is strong and approving... I say so what? This is also the real world... there are working photographers who produce regularly mediocre acceptable results, yet are so personable and "popular" that they will always get "the call"... while a truly brilliant image maker may be avoided and receive bad personal endorsements due to lacking interpersonal skills rather than artistry and technical expertise. I always ask what happened to the photographer a client used before? "she was rude" note, they didn't say "her work was under par".<br>

Now, dear PN members, please don't take this opinion as an invitation to chicken slam my work because I mentioned that I can "take it"... ("> <br>

I simply think it's important to keep the personal ego in check and understand the source of these ratings... and in spite of the ratings, try not to think too much or too little of your own work and keep clicking.</p>

 

<p>Hmmm... I pre-purchased CS5 and am happily awaiting it's delivery...<br>

The title of this thread states "Due in April 2010" have they bumped up the availability date?<br>

I was told by Adobe that it would be the second week in May.<br>

Also, the post by John Crosley... testimony to the benefits of saving all past work as marginal photos may now be revisited with the new editing technology. The content aware aspects have promised to be a HUGE time saver... I just didn't have the free time to work on photos that required lots of object removal... as in wandering tourists that had no problem wandering right into my shot. Now, they may indeed be salvaged with little time lost.<br>

I also need CS5 to process RAW images from my newer cameras. Looking forward to it!</p>

<p>I'm an open minded and often very easy going photographer...<br>

BUT, when I'm the event photographer, I always ask if there are going to be any others assigned...<br>

If there is to be another shooter, then I am out. <br>

There is a certain creative energy that I tap into and I have my own connection with my subject(s), having another portraitist on site, sharing time and location with me just takes the wind out of my sails. <br>

For me anyway, it's all or nothing. Nothing worse than to have the subjects all placed and then have their faces turn to another person with a camera... you know "just for a second"...<br>

I dislike shooting weddings, but seem to shoot several a month... being asked if a skilled relative could shoot along side or share the event as a second? Well, that would be a show stopper.<br>

I like people, but weddings are intimate and not the place to be sharing the field. On the flip side, I've covered sports events where PJ's I know have gone back to back to me while we share prime locations only credentialed photographers can get to... totally different situation.<br>

On the flip side? If someone asked me, as a relative, to bring my gear to an event where a professional had been hired? I'd politely decline. I don't like to steal anyone's thunder. Who wants to "work" at a family event anyway? <br>

As it is... as soon as I get my people/subjects where I want them... everyone with a cell phone or cool pix camera wants to shoot it after me.. that's fine... just let me do what I want to do first (';') I'll be out of the way.... <br>

If you were the primary shooter... what would YOU think? <br>

I was the photographer at two of my sister's weddings... in retrospect, I wish I'd simply been a "guest". They love that I was the photographer though... added to the memories.</p>

<p> </p>

<p><img src="http://www.frederickdunn.com/images/700_NtrBckgrnds042200896crp.jpg" alt="" width="700" height="533" /></p>

<p>http://www.discmakers.com/shop/ItemDetails.aspx?ItemID=DVD030-00048<br>

This is where I go for all my archive media. I have never had an error while burning/archiving RAW files to the disc makers silver, nor the Toyo-Yuden DVD-R discs.<br>

I store them on edge, not flat and have copies in two locations just to be sure. I make two copies of each shoot.<br>

I also drag and drop each completed shoot to a TB capacity hard drive which can be connected via fire wire to any computer I happen to be editing on. If saving to hard drives, it's easy to ghost the drive and transfer everything you need to a new computer, or redundant drives at any time.<br>

DVD-R/DL media is a good way to have non-electronic hard copies of your work as another layer of protection against loss.<br>

I've also found that the price of the disc isn't necessarily a good indicator of quality nor error potential within the data. I don't have time for re-writes on DVD-R/DL's so I buy those which write flawlessly the first time... every time.<br>

Disc Makers does the data testing for me as they evaluate blank media prior to selling as blank silver DVD+R or DL I stay with what's been working for me. <br>

Disc Makers Premium DVD-R<br /> Disc Makers Premium 16x Silver DVD+Rs<br>

In the past, I had bad experiences with TDK and tossed the entire batch... Maxell was pretty dependable (2 out of a 100 spindle would be bad) For lightscribe media, I use Memorex DVD+R/DL and these are what I give to customers, not what I use for archiving.<br>

My second choice for LightScribe discs for a customer or client would be Verbatim DVD+R... using lightscribe takes f o r e v e r but is a handy way to imprint a disc with copyright and origination information in a non-fading way. Clients always seem impressed with a spiffy lightscribed disc for some reason.<br>

With fast paced digital work flow... who has time for discs that don't work as designed? I don't.<br /> </p>

<p> </p>

<p>You can get four rechargeable CR123's with a charger, and the auto charge adapter for less than $30.00 U.S.<br>

I use the SU-800 routinely to fire my SB-800 and SB-900 units.. .and get better range than the rated 60 ft. outside.<br>

I always head out with a freshly charged CR123 and rechargeable is the only way to go in my book. I use the AA eneloops in my SB-800 & SB-900 units... they definitely go the distance.<br>

I was in a pinch on day and had to purchase a battery (CR123 from Radio Shack) $ 15.00 each... you get around 1,200 cycles out of that rascal.. give or take...<br>

Here is the link to the amazon source: <br>

http://www.amazon.com/RCR123A-Rechargeable-Protected-Batteries-Charger/product-reviews/9575871979/ref=cm_rdphist_4?ie=UTF8&showViewpoints=0&filterBy=addFourStar</p>

<p> </p>

<p>Hi Daniel,<br>

I'll be watching this thread, as it deals with equipment I "constantly" use...<br>

I guess the reason I'm chiming in, is that unlike you, I tend to abuse my equipment... I've banged the SB-900 around pretty good while mounted on the D700... trees, rain, other equipment... <br>

I do notice that it fits more securely than the SB-800 so I don't mount the 800 to the D700 hot shoe at all. The 900 has a thicker mount I believe... none the less, I mention this because I basically wake up each day with a camera in my hand and shoot into the night. I am frequently attaching and then stowing equipment for re-locating.<br>

I've never had this problem and "knock on wood" don't want any problems if I can help it. I will be very interested in what you eventually learn, so please do share the findings of those at Nikon... <br>

In closing, I have to ask... other than the sputtering light, did you lose any function? Has the equipment actually gone down and been rendered non-functional?<br>

I wish you the best of luck in resolving this annoyance.</p>

<p> </p>

<div></div>

There is indeed a great deal of judgment aimed at photographers and more so, male photographers.

 

I say this, because often, if I were a woman, I could shoot candids of children for example and not draw a guarded gaze. I was on a beach, completely void of swimmers, there to shoot the rough water conditions. A lone life guard (see my portfolio) was sitting all bundled up in the weather. I spoke with her briefly and she agreed to have her photo taken in those interesting weather conditions. She volunteered to take her hood off, as a woman decided to make a comment. “omg.. look how she just does what you tell her to.. you could be like a pedophile or something! She doesn’t know you!” I was more than insulted and frustrated by this woman’s profoundly ignorant and flamboyant statement. My subject was a 22 year old Life Guard for Pete’s sake. The life guard and myself, chose to ignore the wacko.

 

I never expected that sort of judgment from a seemingly intelligent un-involved individual. I do very little “public” photography, as where you point your lens, draws judgment and at least, cautious looks. I never shoot children, save that parents have asked me to. I did not respond to the woman on the beach, but her words are with me always and I’m profoundly bothered.

 

I’ve heard people make broadly based statements about photographers’ motives… then abandon judgment when they see the quality of a finished image. There is at times, a concern, that a man with a camera, simply uses it as a vehicle to get close and “take” something from the unsuspecting public.

 

A woman in public with a camera, is met with far greater openness. Our physical appearance either opens, or closes, windows of photographic opportunity.