tonybynum

photography is not only an art, it's a craft and a skill . . . just challenge yourself to be more creating and

learn when shooting a subject you dont much care for. . . challenge yourself to learn something new. If not

not learning with your camera, youre likely doing something wrong, or youre in the wrong business . . .

Create your own learning experience from it, whether is lighting, angles, color, or just figuring out how to

make the client see more than they expected, make it a challenge, grow your mind!

Thanks for the conversation, very helpful! It looks like the options really are slim these days. I thought

that since the days of the p-400 there would be more options and lower prices not less/fewer. With

everyone being in the photography "business" these days it sure seems like there would be a better

market for dye subs . . . my only need for a new one is on location sales a half dozen sporting events. It's

worth the investment for a new system, but the time and fun of shooting the events makes it worth more. .

. Thanks again for taking the time to comment . . .

price is always important, but i want something that's going to give me good prints, be dependable, and i

can get paper and supplies for . . . Thanks. . . So keep the ideas coming if anyone has any . . .

Hello, i'm looking for a replacement for my old camedia p-400 dye sub printers. I need to print mostly 8x10's and

some 5x7's but mainly 8-10's.

It looks like there's nothing out there for the price range of that unit. They worked great for onsite sales. I'v done some

google searches but it seems like there are not that many options. Does anyone have any recommendations they are

willing to share?

Thank you for your help! Tony

sorry, for some reason that link did not go though correctly. It's an adorama video on "how much should I

charge."

dave, this question was just asked last week. maybe look in the business forum for the thread. Also,

pricing this kind of work is not that difficult. "Costing" is your business, no one else. Just sit down and

make a list of your expenses. What is impossible for anyone to determine for you, ss knowing how much

money YOU need to make from your work .. . I can tell you right now that I will make 10x more than the

next guy but there's guys out there that will or could make 10x more than me . . . you might be wise to

start with this video, then do you own math - think about what it costs you to do the work - what it cost

YOU not what it costs me - then develop a budget based on the work assignment. I know Im not sharing

numbers, I'm sorry about that. I'm not sharing numbers because they are meaningless to you. So go

watch this video and it should all become crystal clear . . . http://www.youtube.com/watch?

v=nDVTO7QDHgs

This is not a typical "do you have a budget, or how much is your budget." In cases like this, people generally don't have a budget because this is not a

budget type expense. people who hire photographers to shoot their homes or property often just want it done. Moreover, people who hire

photographers to shoot their private dwellings usually never have a clue what it costs. You are better off delivering to

them a price based on what they want - how many photos - than you are trying to find out how much they want to spend.

People like this are coming to you as the expert, don't tip your hand at this point. This is not the strategy I would have for

some other commercial clients, but in this case your job is to figure out what they want and give them a cost estimate

then let them modify their wants based on your estimate. If you come down in price, take something off the table, don't just reduce the price!

Unless this client is very weathly the only way to shoot this job is to price it by the shot. Sell them on the number of images you will deliver, not the amount of time you spend on it. charging time on a job like this is likely to lead to hard feelings. price it out based on your costs and present them with a figure. You are correct, it is a very risky

project. Only you know how much it will cost you and how much you need to make. Once you do the math and figure in

the likelihood of multiple trips, it's easy to fine out how much it will cost. If you have a vision in your mind of the shot, it

should not take too many trips. I've shot these kinds of projects before and you really have to decide how much risk

you're willing to tolerate and how confident you are in your skills. Good luck.

Depends on what you want to do with you digital files. I'm 99% lightroom. . . I make my living as a photographer so

speed is one of the principal benefits of lr. . . . Have not used ps for over three years. Your mileage may vary. . . .

I have a the same HP LP 2475w monitor, i think about three years old now, and I've had the same

experience as @hector javkin . . . I'm about ready to dump this monitor and go to 30 inches though . . . .

the HP, wile still working good, is getting tired . . .

you do have to calibrate . . . the issue however is so much more complex than just calibrating a

monitor. Today's digital workflow is a system. It's like trying to win the daytona 500 with the best

engine but crappy tires. If you dont match the tires, with engine with the suspension and the track, you

cant win no matter how great your engine is. Moreover, the system, in total only has to be as good as

it's weakest link. The final product will dictate the system you build in order to create your final product.

You dont need a +++ clarity diamond ring if your partner likes yellow . . . I think you should do a bit of

thinking first about what you are trying to accomplish.

Another good example is publishing. I make my living off prints and publishing my images all over the

place . . . I often create what i think is a winning product for a publisher only to have it wind up as a

print ad in a magazine that looks flat. My goal always is to create the best raw product i can, but there

is a limit based on the output and final product. Printing a 60" print at a cost of $1500 is not the same

as sending off a file in adobe or prophoto, or even rgb color space (never mind that a lot of folks dont

know or even care about colorspace), having it changed to cmyk for printing in a magazine, and the

only profile used is the graphic designer looking at your full gamut file and making some simple

adjustments (on an unmanaged system - and certainly one not matching your own) after it's been

turned to cmyk.

Often times depending on your client, or your final product, working harder on the monitor, or the print

profile, or even the print itself is something of a wast of time if the entire system is not speaking

(calibrated) the same language . . .

In other words, do what you need to do, to create the output (final product) you want. Nothing more . . .

For prints, unless youre using a professional color lab, or are finicky about the most minute details and

print at home, a good color monitor, with some basic calibration, combined with a few test prints will

suffice.

Finally, if you want to dig deeper, i suggest you get hold of "digital color management for

photographers" by Andrew Rodney . . . I think Andrew lurks here, or at least he use too . . . Lots of

great help has been lost on this forum over the years . . . I'll admit, there are some techno junkies out

there who love to get down into the minutia of all of this, if that's your passion great . . . Mine is

photography . . . a simple color managed system is mostly all you'll need as i dont control half or more

of the process. . . Cheers . . .

wow, I trust you . . . I believe you really did get caught up in trying to move forward and do the right thing .

. . today you have a lot of responsibility and need some advise. You need both legal and business . . . I

have a question, how long is your contract good for? The rest of the stuff is what it is at this point . . . but

how long are you "bound" to this agreement and for how long AFTER your gone? - BTW, you say you

did not pick anything up, that's likely not so true, you did undoubtedly get access and profited from your

position (which it's not really clear to me that that position is, or was) . . . more information please.

The foundation is to not burn bridges, be nice and kind and don't assume anyone was trying to dupe you.

. . it's almost never the case that someone intend to do you wrong. Keep your chin up, and maintain a

positive attitude . . . then plow thought the details . . .

watch some introduction to lightroom videos by any of the following, kost, kelby, or marx . . . google them

. . .

read the book, "light science and magic." It's all about contrast and shadows if you're looking for more

apparent dimension . . . One other element that you need to consider, and likely work on, is depth of

filed. Stop shooting at f8 and f11 for awhile and see how that starts to isolate your subject better, which

will lead to the appearance of more dimension . . .

Yes, just hit save when you're in ps from lr. If you use save as, it wont import. if use use save, It will automatically import

it. You have to completely change your thinking in lr. Lr is much simpler one you adjust your thinking. Watch Scott kelby

or Juliane cost, or dave Marx they all have intro videos online.

Delmarva, Assoteague, or try balck water wildlife on the Chesapeake side. Really from rehoboth and Dewey south has a

lot to see.

I guess there's nothing out of bounds these days. Here are my concerns. Minors, don't shoot alone. Insurance, get some

or don't do the shoots. I think anytime you can get free models when learning to shoot portraits yo should take them.

Trading for photos and having them pay dor the cost of productions seems like a fair deal to me. Get it in writing, get a

realize and if you're dealing with minors, better have another adult with you at all times.

Sell local. Shoot local themes, places you can get to, and sell to a smaller market. Get your images in some shops around your local

community or one nearest the location where the photos were taken. Sell to local markets like tours and travel folks. Just a couple ideas.

You likely will never make money off 50photos. Just do the math. How much did it cost you to get those 50 shots? There's a lot of

daylight between selling your images and making money. Good luck and whatever you do, don't stop shooting!

Sell local. Shoot local themes, places you can get to, and sell to a smaller market. Get your images in some shops around your local

community or one nearest the location where the photos were taken. Sell to local markets like tours and travel folks. Just a couple ideas.

You likely will never make money off 50photos. Just do the math. How much did it cost you to get those 50 shots? There's a lot of

daylight between selling your images and making money. Good luck and whatever you do, don't stop shooting!