booray

<p>I include the CD with my basic package and the album is an add-on. So far this year I have had only one client not buy an album. I can't imagine not offering them. I offer over a dozen different items and the album is always the first one people buy. I think the key to album sales is to offer a creative, unique product and impress upon people that this is the first "family heirloom" that they will create as a couple.</p>

<p>If you plan to branch out into the Bar/Bat Mitzvah market they are a must.</p>

<p>Last year i did something to my left wrist... don't know if it was a hairline fracture or carpel-tunnel... and I would get stabbing pains spmetimes when shooting. I bought a carpel-tunnel brace and wore it for a few weeks and now all is good. You might try a brace for a while..</p>

<p>After I sort down to 400-600 images I batch correct for white balance and exposure, adjust crop on a few if needed and maybe batch some contrast or levels. </p>

<p>I make it clear to my clients that there is a difference between the images they receive on disc and an image that is purchased as a print (or included in the album). If I print it I hand retouch it to perfection and I show before and after images to make this point. They understand that I can't be expected to deliver 600 images that have each been retouched in detail. The disc is an archive of very good photographs but if you want your skin smoothed, eyes and teeth whitened, custom vignette, objects removed, etc.... you need to buy a print or album. I would be happy to hand retouch every image but I would have to charge twice as much for the shoot.</p>

<p>I've had one wedding in the last two years that didn't get an album.</p>

<p>I wrote a long post on this subject which sparked the normal long debate at www.photocrati.com/wedding-photography-and-uncle-bob.</p>

<p>I make it a point to discuss this sort of thing with the B&G before the wedding. Then, if someone is in my way during formals I step to the side and lower my camera, smiling the whole time. That's when the B&G usually speak up and tell Uncle Bob to get out of my way.</p>

<p>The bigger problem that I have is the occasional guest who stands up during the processional and steps into the aisle. Oddly enough, it's usually the mother or father of the bride who will block my shot with their point-and-shoot! :)</p>

<p>I have two Black Rapids, the double and the single. I use the single for knock-around stuff and the double for weddings. One thing I have noticed is that the double is much easier on the shoulders, even if just carrying one camera.</p>

<p>I had already studied and committed to memory most everything on this page before my first wedding as I'm sure you will too. Therefore, I will impart to you the piece of advice that no one gave me that I really could have used from the minute I showed up to shoot my first gig.</p>

<p>Bring a small towel. </p>

<p>Do you remember Albert Brooks in "Broadcast News?" That will be you within 5 minutes of showing up. :)</p>

<p>Is anyone doing a portrait station and NOT connecting straight to a laptop? I see the convenience of being able to print each portrait immediately but also wonder if there isn't something to be said for shooting a bunch of portraits quickly, then swapping the card and starting the print run during a lull (less standing around for the guests..... tell them to come back for their portraits or have them at the door at the end of the night...)</p>

<p>Anyone doing this?</p>

<p>I know from shopping that the jump from 5x7's to 8x10's is usually a pretty big cost...</p>

<p>I shoot in manual 99% of the time. At the reception is is vital because it is the only setting that will allow you to set both shutter and aperture where you want them. Shoot in TV mode and you may find yourself stuck with f2.8 all night when you need more dof. Shooting in AV mode is a disaster waiting to happen when the camera decides you need a shutter speed of 1/5 . :)</p>

<p>The one time I do use an auto mode is during the ceremony with my long lens in a church where no flash is allowed. I'll shoot in TV with the shutter set to the lowest speed possible to avoid blur, then fire away. I'm stuck at that shutter speed anyway. </p>

<p>I use center-weighted average metering mode at all times. Evaluative is too dependent on the focus point and that's a big danger when the people you are photographing are dressed in white and black. I wrote a post (with examples) about (http://boorayphotography.blogspot.com/2010/02/what-metering-mode-to-use-when.html) center-weighted vs. evaluative at a wedding a while back:</p>

<p>I'm about to buy a printer for printing on location. I'll be printing, on average, 300 4x6's as they are shot at the event.</p>

<p>So far, the Sony Snaplab seems to be the front runner but it doesn't connect directly to the camera. That means the added expense of a laptop for go-between which I would prefer to avoid. The other option is to shoot several people, then pull the card and load it into the printer, start the print run and go back to shooting. Not sure if that's a good idea... anyone have experience with this printer?</p>

<p> </p>

<p>I also use a double sling strap from Black rapid. I carry a rolling bag from Naneu with w/two bodies, 5 lenses, 3 flashes, 2 flash battery packs, assorted modifiers and gels, a heavy Manfroto tripod, a Manfroto monopod, and a small light stand with unbrella. Everything attaches to the bag but the big tripod and my assistant recently commented that I don't use it very much. Usually only use the big pod for ring shots in low light, etc..</p>

<p>I wear the double sling all day but typically don't wear both camera's until the ceremony. I wear a battery pack and sometimes a fanny pack to hold my wallet, keys, caps, etc.</p>

<p>That did it!</p>

<p>I tried copying in 100 files chunks and it stopped at the same point. First 100 files went fine, second 100 stopped with same error message</p>

<p>I tried copying 200 files to my external drive and it went fine with no problem at all.</p>

<p>multiple drives</p>

<p>error message in bridge is, "Unable to complete operation"<br>

error message in windows is "Cannot copy etc, the directory or file cannot be created"</p>

<p> </p>

<p>I'm trying to copy 1.75 gig of images to a 2 gig thumb drive. It stops at image #156 every time despite having used less than a third of the available space on the drive.</p>

<p>I tried reformatting the thumb drive</p>

<p>I tried using a different program for the copy</p>

<p>I tried to copy just one image after the stop to no avail</p>

<p>I cleared my recycle bin</p>

<p>Anyone else ever experience this?</p>

<p>Thanks everyone, I'll pass this info along to my friend.</p>

<p>Lex - Just so you know what I was talking about.... the very bright room is my living room in Florida with 20 foot windows on two sides at 3 PM. I don't know what the exact ev setting is but it almost daylight. :)</p>

<p>I think I understand where I went wrong. </p>

<p>Shutter speed is well below sync because I was attempting to teach my friend how to lower the ambient by raising the shutter speed.</p>

<p>I just don't understand how the flash can be at full power when the camera is in Manual Mode and the meter is centered. As far as the camera knows, I have a proper exposure with no flash at all, then I turn on the flash at 0 exp comp and it fires at full power in TTL? Even with a 20 foot white ceiling for bounce and a demb bounce card pointed straight ahead, that seems like a lot of power for what the camera sees as essentially fill flash.</p>

<p>Test shots were done in a very bright room, f7.0 at 60 100iso. Ceiling height 20 feet. After I take the shot, for a brief moment the flash will show "-2 2/3 eu". Like the flash is turning down my manual exp. comp.</p>

<p>Mark, you are saying that when I bounce, the flash is already jumping to +3 and so has no power left for exp comp? That seems like a lot of light loss from a ceiling bounce and large bounce card. With my Canon 580EXII I blow out the room at +3. Is it possible my flash is that much more powerful?</p>

<p> </p>

<p>I'm a Canon user and I have a friend who is Nikon user and she is having a problem with her sb-800 on a Nikon D300. When shooting with the flash pointed straight ahead, eu compensation on the flash works like a charm. Tilt the flash head and it doesn't.</p>

<p>To be specific, two pictures with tilted head, one at 0 and the other at +3 on the flash, produce the same image. The same two pictures taken with the flash pointed straight ahead produce what you would expect: one good picture and one blown out.</p>

<p>Flash is set to TTL/FP</p>

<p>Any help appreciated!</p>

<p> </p>

<p>Then there's the other side of the argument that asks the question, "How much are you willing to pay for "artistic integrity." Basically, you're paying whatever you would have made from that wedding so that someone else doesn't edit images you took<em> for their own use.</em> I guess the argument can be made that you might not get a referral from un-retouched images but I <em>guarantee </em>you won't get a referral if you don't shoot the wedding.<br>

So, the choice is to swallow your pride, make $2000 (or whatever) and have a happy client who might refer you.... or.... stand your ground, lose $2000 (unless you can book the date with someone else) and any chance of a referral.<br>

For the record, I would probably say "no" if the wedding was a year out. But inside 6 months, I'd say "yes" and bank the coin. You'll never get more business by sitting at home on Saturday.<br>

I wouldn't discount my price.</p>

<p>Nadine-<br>

How is your on-camera flash set when you are using it for fill on the formals? TTL? Manual?</p>

<p>Is is worth it as long as you are shooting static subjects. So, if it's a portrait or two people standing at the altar then, yes, it's great because you can slow down the shutter and let in more light. However, it won't help if you are in a situation that demands you stop the subject motion with a high shutter speed. Personally, if forced to choose I will take a non-IS lens that is 2.8 all the time over an IS lens that is 4.0 at the long length.</p>

<p>I use two identical cameras as well and shoot with both. I'll admit I'm torn about what to do when I decide to upgrade. I dearly love having two identical cameras but it's a lot of money to upgrade them both at the same time, especially when I only shoot about 5% of my images with the second camera. <br>

For me the big question is ISO performance. If you are shooting at 6400 with a 5dmkII and it breaks and your backup is a 40D at 1600 you will not be able to shoot the same style of pictures.</p>

<p>Am I crazy or is that a man's hand I see between the bouquet and the dress?</p>

<p>Tom,<br>

The lenses you listed are the exact lenses that I carry. The 10-22mm was the final purchase to round out the set.</p>