henry_gonzalez2

<p>Sorry to be resurrecting an old topic, but I think it is relevant not only to the OP, but also to many new and upcoming wedding photographers. I shot my first wedding back in 1999, and the Portra 160 NC was pricey for a guy just starting out. As Michael Mowery stated earlier, you had to really think about your shots. A propak of the Portra had 5 rolls x 36 exposures, so a total of 180 images. Plus there were the images you tried to get during the reception. I usually went for a less expensive but faster Kodak Gold 1000 as most people don't order the reception shots perhaps another 2-3 rolls so let's say another 100 images. During the later time of my film career I was quite confident that I could get maybe 85-90% keepers so let's say 85% of 280 so about 235 images. This was for an 8 hour wedding and the brides would still complain that there were too many images. </p> <p>Why does that matter? Well, I learned to set expectations ahead of time. I'm the pro, I know from experience how many images start to become overwhelming, so during my face-to-face meeting with the client (this meeting is so very important. I know it's not always possible, but it makes for a much smoother experience for you and the bridal party) I might say something like, "you can expect 20-30 images per hour. I try to cull out the duplicates and any blinkers, I know you don't want to be buried in so many wedding pictures that your eyes start spinning so I make sure that my editors and I tell the whole story using the very best images from that day." If I deliver more than the promised 20-30 I'll say something like, "Wow, you were all such amazing models we had a hard time cutting some of these beautiful shots of your wedding." </p> <p>The point is, to set the expectation and if you exceed it you will have added value to your customer service and that is always a plus when you're looking for referrals right? </p>

<p>This may no longer apply to the OP, but someone may find this useful later. Be very specific in the wording of your contract. Here is what I use:</p> <blockquote> <p><strong>PAYMENT, RETAINER AND CANCELLATION POLICY</strong><br> The client shall submit a down payment of 25% with this signed contract to reserve the date and services of their wedding. The remainder is to be paid one month prior to the date of the wedding. The down payment is non-refundable. The wedding date may be rescheduled once for illness or emergency and will be subject to the availability of the photographer for the new date. Any additional date changes will result in a rescheduling fee of $500.</p> </blockquote> <p>One shot at changing then you ding them. Depending on your relationship with the client and the individual circumstances, you may choose to not invoke the clause, but it's always there if you feel like you're being abused. </p>

<p>OK, conundrum resolved thanks to your input on this thread. </p> <ul> <li>I picked up a nifty fifty of the STM variety almost immediately- I was absolutely thrilled with that little lens- it instantly stoked my photography for passion, may have just been bit by the prime bug.</li> <li>I placed an order for the 6D kit with the 25-105 f4L from my local camera shop+the vertical battery grip because I don't think I've owned a single Canon camera for which I didn't get the grip going back to a very early pre-2000 Rebel.</li> <li>The best part of all- an older lady at church handed me a check for $2000 and said, it was to help out with my photography business. Do you believe in miracles? The miraculous 24-70 f2.8L USM II arrived the same day my 6D did- yesterday!</li> </ul> <p>I can't stop grinning from the results, I'm more than happy with my set-up now. Thanks to all who helped me figure it out.</p>

<p>This is why I love photo.net so much. Just about everywhere I've asked this question, the answer I've gotten was, "yeah man your plan sounds about right." In my gut though, I knew something was not quite right. I'd considered the crop factor of the APS-C sensor on the long end of the focal range, but for whatever reason, I hadn't considered it on the short end. I prefer to stay away from non-Canon lenses, I know they're great, but I've had more than my fair share of lemons in the past, so I like to stick with Canon even though I know the price ultimately restricts my purchase. I have no problem going with the Yongnuo at all, I think they make a great flash, though I've already got two 580 EXII's. </p> <p>I really do want to go to a full frame sensor because, as I stated earlier I started out in film, so I have certain expectations of what things should look like given a certain focal length of a camera. Slightly off-topic, I learned the basics of photography 17 years ago from reading this web site, back then Phil Greenspun ran it and it was a very simple white page with black text- clean and concise, I am glad the spirit of that simplicity lives on in the new photo.net. I am aware of the 5DS and 5DSr but I was under the impression that these <em>were not</em> a replacement for the 5D3, and that a 5D4 had yet to be introduced am I incorrect in this assumption? I'm not a huge fan of the 6D due to the 1/150 max sync speed and the 1/4000 max shutter speed, though the sync speed bothers me most. But I've heard the IQ from that is outstanding, perhaps that would be the way to go? <br> A few have mentioned primes, I actually do intend to pick up one of the new 1.8 STMs today, I played with one at my local camera store the other day, and I've gotta say I really fell in love with it. may even pick up a second one for my wife.<br> I really enjoy hearing the wisdom of the folks on this forum concerning this, please keep it coming. I'm getting a lot of good wisdom and logic that I hadn't already considered so the really gears are turning now. I want to invest wisely. </p>

<p>That's what my gut says, but is the f4 enough glass? Will I hate myself for not getting the 2.8 later?</p>

<p>Have been doing a great deal of portrait photography for several years using a 60D and an old but very faithful and consistent EF 28-105mm f/3.5-4.5 II USM (that I have been using since the old film days) and later added a Canon 70-200 f2.8L II USM. I have an old 30D as a back-up body a pair of 580 EXII flashes. <br> <br> Most of what I've been shooting has been individual and family portraits, senior portraits and a few weddings. I've been shooting so much that my little hobby has become consistent enough for to replace enough of my regular income for me to focus on my photography more seriously, and so plan on hanging my shingle out there as a pro photog.<br> <br> Here is my conundrum. I have about enough money to purchase either a 7D mkii and retire my 30D or purchase the 24-70 f2.8L II. I would almost always go with glass over a camera body, except both of my camera bodies are getting long in the tooth. On several occasions recently I wished I had a better quality lens in the shorter FL. My 28-105 is nice, but IQ pales in comparison to the L lens.</p> <p>My thought is, if I purchased the 7D mk ii I could afford the 24-70 f4L within a fairly short amount of time. The plus here as I can see is that though I lose a stop of light on the lens, I gain at least a stop with the performance of the 7D2's sensor in low light/high iso. Also the f4 version of that has a built-in macro for detail shots of the ring, dress detail etc.. at a wedding.</p> <p>Why the 7D2 specifically? Because the 5D mkIV isn't out yet, nor is the 6D mkII, I'm replacing old camera bodies, I don't want another old one, and the specs and IQ I've seen come out of the 7D2 is impressive, as is the AF - for weddings it could mean getting the shot versus missing it.</p> <p>I am really struggling with this decision because I've always gone with glass first, and eventually I do want the 2.8, I'd like to hear from this community to find out what you all think? Is my reasoning sound or am I missing something. </p> <p>Looking forward to your replies.</p>