kris_lamba1

<p>No offence Nigel, But I don't see your 100% money back offer as anything more than a marketing ploy (all be it a very good one). Aside from the fact that it would be impossible to re-shoot a wedding if the client was unhappy, it's dangerous ground to be treading.<br>

I've worked with many clients (although I should mention that I don't shoot portraiture/weddings and only do commercial work), some reasonable and some not so much. I feel it is very important to protect yourself with a rock solid contract, and offering a money back guarantee just negates all this. Creative work is unlike other services, and therefore requires a different set of rules.<br>

As unfortunate as it is, disagreements happen, this is why we set out terms and conditions before a contract is signed, so that both parties will be happy. <br>

In regards to your problems Diana, I can only suggest you call them and offer to rectify the contrasty photos. To be quite honest they sound like a pair of idiots, so you may have to be prepared to offer a 25% refund after this extra work has been done, in good will so to speak...</p>

<p>That last comment said it all. Life is full of idiots, the less time you spend with them on the way, the better. She removed the images, tell her if she even attempts to use them again, she'll be in the small claims court paying $x per image...</p>

<p>In a situation like this, eat the cost and do another album after ok-ing every aspect of it with the customer. In the future, make sure you clearly specify options before producing the album, listen to what the clients want (layout/design/paper options etc). Put all this in a document and get a sign off from the client.<br>

If they bullshit you after this, show them the sign off sheet and contract (make sure you have a revision clause with specified amounts).<br>

Don't get stressed by it, don't take it personally and move on with a smile and a spring in your step!</p>

<p>I've worked in branding and design for some years now (before I went full time with my photography) and some of the bullshit clients used to specify was unbelievable. I think it's great that your doing your own, and to be quite frank I actually think it's a really elegant and simple logo. Stay away from the bumps and gradients though, and forget the fact that it has a "paper" look, this is probably because it's pure text (script at that) and it's unavoidable. <br>

I spent ages coming up with mine (http://www.krislamba.co.uk) and I doubt anyone really even notices it...</p>

2% on 200 mail outs is 4 new clients...

Eric, I think that there is certainly a limit to the pixels you can cram into a full frame sensor. But I don't think that 25 is

close. They will develop ways to decrease the individual pixel size even further and increase the dynamic range, perhaps

bringing the pixel count up to the mid 30's in a couple of years (in the prosumer dslr's).

 

Then the only way forward from there is a bigger sensor, and is there a point to this for the average consumer? Probably

not, but we'll get it anyway. Digital photography provided a new market to manufacturers, One where people aren't happy without the same technology for more than a couple of years. Everything needs to be progressively better and is pushing

the boundaries of what professional equipment really means. I suppose medium format quality will eventually become

the norm for the 3k-8k price bracket, but true medium format technology will always try and stay one step ahead.

 

I'm currently in the market for a new DSLR but still use 5x4 so am reluctant to go ultra high end. For the price of a D3x I

could get a second hand digital back with a larger sensor which could be mounted to my ebony...

 

Lets just hope that the photographic industry doesn't go the way that the music industry has. Professional equipment

has become available to just about anyone for a nominal price, but the quality of recorded music and mastering is not

even close to what it was.

All hail the D800. Maybe...

This is so nerdy it's almost unbelievable :-)

Exuberate confidence and make her feel that the day will be even more special with your being there. Don't come across to

technical or to artistic.

Is the lack of high iso settings because Nikon is keen to fit this in as a landscape/studio camera and keep the D3 for

sports/reportage? Or is it because the Sony sensor is just piss at really high iso? My prediction is a £3999 or $7000 price

tag. If they announce a D800 for half that I'll def be tempted. If not then I'll just keep saving for a Phase One P65+

 

I was really hoping for a larger sensor... Wonder what Canon will be doing to the crippled 1DIII next year.

Flikr.......................

No sensor cleaning, no film mode (not that that really bothers me) is a bit lame, but the image quality and dynamic range

should be good. I'll be pissed if there using the Sony sensor...

 

I was really hoping for an announcement of a Nikon with a larger sensor as well as the d3x, perhaps that is still to come...

ALWAYS get a release when photographing a model, otherwise you're awfully restricted with what you can do with the

image. If your shooting tfp then perhaps include a couple of lines stating usage rights. In regards to your current

situation, get a release signed from the girl, then get her permission to use the photo (you may want to offer her 15% or

so.

 

In regards to what you should charge, it totally depends on what they want to do with the image. If they want to buy the

rights and use it for advertising then you will want to be charging a four/five figure sum. If they just want to use it for

some stands and sample prints, then you can charge standard rates.

 

A close photographer friend of mine was approached recently to have a couple of his pictures used as a demo print by

Epson for there largest printer at trade shows etc. He was given an 9900/9800 as payment...

RED is making a new announcement on the 2nd of December which s supposed to render the last one irrelevant in comparison. I think it may have something to do with price reductions as the stills modular system is perhaps a little over

priced at the moment.

 

Also, anyone who knows RED, knows that Jim Jannard truly cares about the photographic and video industry, he's clearly

not in this for the money (having already made a few billion from Oakley. It remains to be seen if it will be a viable

alternative to the high end Cannon/Nikkons but will certainly have Hasselblad and PhaseOne a bit worried. The RED one

has virtually revolutionised the film industry in the year it's been out.

That makes sense, and I could still carry on exhibiting and selling my prints whilst working as a paid assistant.

 

How does one go about getting this kind of work. I'm assuming it's a foot through the door and keep pestering until you get

somewhere kind of situation? I live in Brighton UK which is an hour away from London. Is it worth cold calling/emailing any

of the major studios to see what's available?

Personally I think that film will never completely die. It's already lost the mainstream consumer race and is fighting a

loosing battle for the prosumer and professional market, but just like vinyl, it offers something that digital may never be

able to deliver, and for this reason (hopefully) it will always be available to some degree.

 

I shoot digital for any paid assignments, and use a field camera for my landscape work. This kinda puts me in the middle

of the debate as I come from both viewpoints. I have to say though, if your shooting stock or studio, digital is quite

simply an easier way of earning the same money. Less processing time, less money involved (apart from initial outlays).

For the fine art and landscape market however (and for some more unusual commercial projects) you really can't beat a

nice large transparency. I've been lucky enough to shoot with a p45 back attached to a view camera on a couple of trips, and have to say,

the quality and detail was pretty good and allowed for some nice enlargements, but couldn't touch my B&W 4X5 negs.

 

In an ever growing digital marketplace, anything you can do to separate yourself from the crowd is helpful. Sure, most

people will want digital files, but it really can't hurt to have those traditional skills and to offer them as part of your

portfolio.

I'm not sure if they fit your exact requirements, but Aperture and Adobe Lightroom are both pretty good for organising and

archiving raw files. You can also perform some minor editing functions...

Dear members, I'm new here so please be gentle :-) I've been taking photographs as part of my work for a few of years and have been

selling them privately for about six months. My work is exhibited in a couple of galleries and nice hotels and there is a slow trickle of

sales. Anyway, I've left my job and am now trying to make it on my own (I'm 24 by the way) as a full time photographer.

 

The problem I'm having is deciding which pathway to take. I love fashion photography and would love to do this, but would be some what

reluctant to work as an unpaid assistant for two years as I have bills to pay and a dog to feed ;-) I also love fine art and landscapes (which

I am currently doing) but would find it very hard to pave a living out of these (even Charlie Waite started a business right?).

 

So I'm left with anything commercial/advertising or any studio/freelance work. Unfortunately the company I worked for was in the

environmental sector (although it was design/photography related) and all the clients were government/local organisations or sme's offering

similar services...

 

Anyway, here's my question: assuming that fashion is out of bounds due to lack of connections and my unwillingness to work as an unpaid

intern (although I'd love for someone to tell me that there is another way...) and that commercial is the way forward, what should my next

step be? I've spent a few days reading articles and looking up advice but nothing beats the horses mouth. Should I start direct mailings? If

so of what type and who to? Are there directories of art/photographic directors for magazines/ad agencies? Should I put a few pounds into

advertising my services? If so where is best? Do I need a printed portfolio as well as an online one?

 

So as you can see, I'm awfully confused at how to start :-( Any replies or questions answered will be appreciated more than you can

possibly know.

 

Oh and my website address with examples of my work: http://www.krislamba.co.uk

 

Thanks in advance,

 

Kris