cathy_and_david_bock

<p>Just say no. Say, "Hey! I just don't think we'd be a good match. If you'd like my suggestion for other photographers let me know!". End of story. :)</p>

<p>30 days before. No exceptions. If they didn't like that they shouldn't have signed the contract. I PROMISE YOU the florist required payment before, the reception hall required payment in full and the DJ required payment in full BEFORE the wedding. They're playing BS on you and when you show up they'll OOPS forget the payment. This is why we require payment in full before we shoot anything, even sessions. It's for your security.<br>

We tell anyone who asks this: "Are you guys going to break up? No. And what happens if I don't show up? Well I breach your contract and you can sue me for not delivering services for payment." That usually solves any problems. :)</p>

<p>I'd continue with the lawyer. Or better yet, just go over to their house and knock on their door. That might wake them up. :) Your time is beyond being nice now.</p>

<p>I love the 24 1.4L on our full-frame 5DMark2. Personal wide fav though is the 35. If that camera is a crop body the 24 should look great unless the lens is made for the crop body. Myself though I'd work on getting a professional level body and wouldn't continue investing money into that camera. </p>

<p>The best way to do it would be to either bounce flash, off camera flash to fill in the light. If however you've got sun coming in that window you could also use a reflector, MAYBE. Make sure you shoot in raw to save the highlights.</p>

<p>I love mine, my wife hates hers. Just a matter of preference. I like it for saving my neck from getting sore and being able to drop the camera. She hates straps altogether.</p>

<p>Just noticed something. What Katrin said. Do you have a work visa??</p>

<p>EID - Tax ID Number. (technically don't need that but it helps business wise and taxes wise). You also need a sales tax permit (to charge for it) in the US. Don't know the laws in UK.<br>

Awesome Ellie. Way to go. ::thumbs up:: :D</p>

<p>What Mark said. :)</p>

<p>Don't waste your money with advertising, local events etc. Spend that money on making your clients happy, on taking amazing photos, and providing your clients with excellent service and products. You'll get more business from doing your job right and taking your time than you will trying to jump on in and paying your way into the business.<br>

Don't get me wrong you can still do awesome with word of mouth and providing great service. But that should be where you're getting business. As well, communicate with other photogs in the area and network. It will help a lot too. :)</p>

<p>Do you not work just as hard for every wedding you shoot? Don't get paid less! That's silly.</p>

<p>If they are changing their date they lose their deposit - plain and simple. They need to rebook you. If this isn't in your contract you know better for next time.</p>

<p>Go get yourself the One Light DVD by Zack Arias. It'll help you out so much. :)</p>

<p>You need a contract. 100%!! Also make sure that if you have any product you want to sell them that you have a EID and a business license (otherwise it's illegal to charge money) as well as a sales tax license. Not worth the legal problems. So be legal or not at all.</p>

<p>Ask the client before showing up with a photobooth. Some clients find them tacky and ugly and don't want them at their wedding. i.e. when DJ's set up backgrounds and they are freaking hideous and the entire bridal party jokes with me about how awful it is. Ask first or you will be talked about behind your back amongst the family. Trust me.<br>

Secondly, The Image Is Found, has an absolutely awesome photobooth setup that we use for our weddings. Check out their "How the F we do it Manual." :)</p>

<p>Hahahhaahha! :) Saying the wedding you shot was on the show is going to get you a lot more business than a blurb at the end.</p>

<p>Hmm.. I prefer primes. I just find the quality to be better and it's one less thing to worry about. Just personal preference. :)</p>

<p>Your best way is to get there via word of mouth. We're in Indiana and we had a session there last year, we have a wedding there this year and we've got another wedding there next year. We didn't advertise once out there. Getting featured, published helps. But just good word of mouth and a good referral network with other photographers will get you out there. Be patient. :)<br>

Just don't waste your money on advertising.</p>

<p>Agreed with Rob. Get backup equipment. I'd also double your batteries and get a ton more memory cards. You should have enough cards to last you three weddings as a good rule of thumb. Just in case of middle of the week sessions etc or you forgot to import a wedding before your next one.</p>

<p>Congrats Nick! As far as renting equipment. Don't waste your money. It's great if you absolutely need it but after that it's a money pit. It is great however for testing lenses. :)</p>

<p>Robert --- The client doesn't need copyright unless they plan on selling the image or using them in advertising. Period. We give our clients <strong>personal use printing rights</strong> (perhaps read before insulting me?). This means that if they have the disc (which every single client gets from us, even sessions) they can go to their local lab and make their own prints. Please do tell, in what way am I screwing them? And if I lived in Canada I would have my contract state the same thing and if negotiating would be telling the client (here's how it works with us, just like I do now) then sure. I'd do that too.<br>

Holding onto the copyright also makes sure that if someone does copy our images the client is not legally obligated to go after them, I am. This is SAFER for the client and puts less stress on them.<br>

Again, don't give copyright --- give personal-use printing rights. There is a BIG difference, but only for the photographer, not the client.</p>

<p>Rob --- The reason an image changes in LR is because it's changing from the jpeg preview to the original raw file. It's not applying anything.</p>

<p>The problem is, until Canon/Nikon make their profiles available to Adobe and stop expecting us to edit their photos with Canon/Nikon software we're only going to get Adobe's best guess as to what the true color profile is.</p>

<p>You're first and foremost going to need a pro body, i.e. D700 or 5DMark2 and up.<br>

Then just get some fast portrait primes like the Nikon 50mm 1.4 or the Canon 50mm 1.2L<br>

Get yourself a good wide 35 1.4L or Nikon equiv<br>

And then a 70-200 2.8L IS (or Nikon equiv).</p>

<p>Once you have these go from there. :) Above is the bread and butter of being a pro. :D</p>

<p>Let the family members go first, then get your shot. :) Be confident, big voice and command the crowds attention.</p>