Archive for the ‘Tech and Design Tips’ Category

Tips for Trash the Dress

Tuesday, May 25th, 2010

The idea of a trash the dress session has been around for awhile. There are many different approaches to this type of session as well as just taking some fun post wedding images of the couple rather than just the bride. Here is a great post by Michael Roney for the Wedding Photojournalist Association. Check it out. These sessions can make great additions to the main wedding album or can be bound into a smaller companion album.

http://www.wedpix.com/articles/trash-the-dress/ttd-trash-the-dress-photo-sessions.html

Photo by Sol Tamargo

Competing Against the Shoot-and-Burn Photographer

Monday, May 3rd, 2010

Despite the many digital innovations such as You-Tube, digital photo frames and DVD slide shows, there is still no better way to enjoy and relive wedding memories with family and friends than with a quality photo album. Still images let you hold, savor and relive these special moments in a way that video or even an I-phone slide show cannot.

Today’s “shoot-and-burn” wedding photographer chooses not to take the time nor, in my opinion, do they see the value in offering complete album design services. Many brides have also chosen this route to “save money” and handle their wedding album design and printing themselves. Some of the problems a bride can encounter with this approach is finding sources for professional quality prints and photo albums, finding the time to do all of the work and having the skills to be able to edit and layout an album. Many images from some shoot-and-burn wedding photographers, or friends of the family, have not been properly color balanced and lead to poor quality output.

All of this, however, is what we do; or at least should be doing. As professional photographers you owe it to you images, your bride and yourself to serve them from capture to final presentation. Most brides these days do want a disk of all of their images. I don’t think there is a problem with that but those images and the work we do as photographers has value, so the disk should not just be given away.

So what can you do to compete against these photographers and the brides who think they just want a disk?

Education – Educate your prospects as to the value of what you do and how it benefits them and insures better photos. Do brides really want to edit hundreds if not thousands of images? Do they want to or even know how to retouch and enhance images. Do they know the difference between a consumer grade and professional reprint? Do they have the skills to design a storybook album? Can they do all of this as quickly and efficiently as you can?

Marketing – Brand yourself as the professional you are, someone better than the Craig’s List shoot-and-burn photographers who offers valuable services.

Give Something to Get Something – Sure many of today’s brides want their images, but do not give them away for nothing. Require your brides to get a small album or include a print credit through your studio, pro-lab or online host so that they’ll receive professional quality images as well as their disk.

Streamline Your Workflow – We have found that with an efficient workflow you can actually sell more. A wedding is an emotional event. To take advantage of that emotion, you need to work quickly. We recommend editing your images and pre-designing an album within the first two weeks following your client’s wedding. Meet and show them their album layout. Make this the first time they see their images so that they emotional impact is high. Make any changes and updates at that meeting. Place the album order and then release the images online. Make a selection of images available via slide show, your blog and/or Facebook to create buzz. Deliver the finished wedding album within three months of their wedding. You’ll get your money, the couple will be excited and you’ll get more referrals. Could the same happen six months or a year after their wedding when the excitement has faded?

Profitable Packaging – Whether you are offering a large package with all of the bells and whistles or a simple package with a few hours or coverage, a highlights album and disk; know your costs and price yourself to be profitable. How else will you stay in business?

Don’t Be Afraid to Say No – Sometimes you just have to say no. First, do all you can to show the value of what you do. But if the prospect can’t see your value and insists that you match the lowest price in the market, say no and find another client.

The following was written by Robert H. Hughes, Master Photographer., MEI., CR., ASP., PPA Certified.

“A THOUGHT ABOUT THE “SHOOT AND BURNERS
There is a group of wannabe “Professional” Photographers who compete solely on price. This group will offer to “Shoot pictures and burn them to a disc.”

The real truth is that they usually do not want any further contact with the client. In most cases they neither have the knowledge, talent or experience to formulate legitimate business strategies or process images to get professional quality prints. This quote from Martha Blanchfield in her Studio Photography Magazine article, about Claudia Kronenberg, a wedding photographer in Nantucket, who sums up the “Shoot and Burn” philosophy. “Having your wedding photographed and just receiving a disk of images is what I would equate to receiving the fabric of the wedding dress without the designer to stitch it together,” says Kronenberg. “It’s what we do with the fabric, or photographs, that make the difference.”

The “Shoot and Burners” do not really care about delivering a professionally finished product as indicated by their philosophy which is shoot and burn. All they want is to be relieved of the responsibility of having to do the hard work which comes after quality images are created. The “Shoot and Burn” strategy does not save money! It catapults the consumer (Bride) into a world of which they have little knowledge. By the time the client experiences what is really involved in finishing the job, the “Shoot and Burner” is long gone with the client’s hard-earned money. “Shoot and burn,” is nothing more than getting quick money from an unsuspecting client.”

We at Zookbinders are here to help you – the true professional photographer. When you succeed, we succeed. If you have any questions or would like help tackling this part of the market, please let me know. You can reach me, Scott Patrick, at 800-810-5745 ext 275 or spatrick@zookbinders.com.

Better Use of Your On-Camera Flash

Friday, April 23rd, 2010

For me, photography is about light. Without it, it is kind of hard to make a photograph. With the large number of people getting into the paid photography arena without formal training in the craft of lighting and photography, I always find it good to be able to share great insight into photographic techniques. A new book out by Neil van Neikerk does just that. In his book On-Camera Flash: Techniques for Digital Wedding and Portrait Photography, Neikerk discusses how to better use what is the only light source many new photographers have available to them.

The following review was posted on DWF and I think sums up the important information reviewed in his book.

“The techniques he shares in this book and on his blog are not earth shattering for anyone who uses on-camera flash regularly and creatively, but are a well thought out, systematic approach to lighting using one of the most basic, portable, and easy to use lighting systems available to professional photographers.

The book is dividing into three parts. The first covers some basic concepts about lighting and equipment. The second covers the technical stuff: Exposure metering, flash modes, sync speeds, etc. The third part is the heart of the book, outlining techniques: bouncing flash, balancing color temperatures, and using flash in broad daylight.

The knowledge contained in this book is important, but it is not as important as actually practicing the techniques Neil talks about, and finding what actually works for you. Neil spends a number of pages early on describing the difference between how his (then) current Canon and Nikon camera systems differ. This is not, in my reading, an absolute “if you are shooting Nikon, then here’s what to look for”, as his observations on how the cameras’ histograms display information may change with the next generation. Instead, these are observations that Neil has made by becoming intimately aware of his camera, his flash, and how the two interact. It’s up to you to learn how your gear works, using what Neil writes here as a starting point and as a baseline.

Now the $34.95 question: is this book worth picking up? If you do not have an intimate knowledge of your flash, how it behaves in different lighting situations, how to dial in exposure compensation, and how to use everything at your disposal as a light source, then absolutely. Owning this book will give you a college-level course worth of instruction on the hows, whys and wherefores of on-camera flash.

Even if you (think) you have a complete understanding of your flash and how to use it, this book can be a good read. As we use our gear, we start to develop ruts: ways of using things that become habit over time. This is not a bad thing, but sometimes we need to be reminded of some of the other ways of using gear, or other techniques, or just to see how other people are dealing with the same issues we are.”

To learn more about this book and the many other books Amherst Media offers check out their web site.

Tips for Better Album Covers

Friday, April 9th, 2010

Designing an album cover can be the more challenging part of designing any album including various Zookbinders albums. This is because pages and page spreads have a set dimension, but covers can vary depending on the number of pages – which influences the spine width – and the type of cover.

Leather Cameo Covers

Your only design issues with cameo photos on any leather cover is the size of your cameo. When designing your cover in ROES, the size of album you select will activate the cameo sizes available for that specific cover. Please remember an 1/8 inch will be trimmed off each edge of the print before it is adhered to the cover and the color of the liner around your cover cameo will match that of the inscription you select.

Reflectionz and Leather Spine Covers

These are our most popular image covers. They offer the contemporary look of a full bleed image on the front cover with the elegance of leather on the spine and back cover. When creating your cover image for these albums please remember the following measurements: Reflectionz Album Covers = Subtract 2 inches from the width of the book (if you are making a 10×10 album, the cover image will be an 8×10 vertical image). Leather Spine PhotoBook Plus Covers = subtract 1.5 inches from the width of the book. We also recommend that all text is 1/2 of an inch away from the edge.

Photowrap Covers

When creating your photowrap for PhotoBook and PhotoBook Plus covers, using accurate measurements is critical to having your cover images and text line up properly. We have created the following chart to give you your overal canvas size based on your cover size and number of page inserts. 2010 Cover Specs

Once you have your canvas size set, drag guide lines 3/4 of an inch in from each outer edge. Then, from the left guide line, come in the width of your cover (for a 10×10 album come in 10 inches, for an 8×12 album come in 8 inches) and set another guide line there. Now do the same from the far right guide line. Now, from each of these inner guide lines set another guide line 1/2 inch in toward the center of the cover. The remaining gap between these two sets of double lines will be your spine. For more details see our previous article.

Remember that for photowrap covers you will need to design new covers for each sized book you create as these cover files do not proportionally shrink like the pages do because of the 3/4 outter margin and spine width.

Back Up Your Books

Monday, March 22nd, 2010

All of us should have a systematic approach to backing up our image files. But don’t forget your album files. We’ve had numerous occasions here at Zookbinders when a photographer has needed another copy of an album months or even years after the original album was produced, however, they didn’t have the page files available. Besides making multiple copies of the PSD files of my own album page layouts, I make copies of the flattened JPEGs and I even burn a copy of the album layout JPEGs to the image disc I include with my clients’ package. This way, if ever there is a problem with their album, I have multiple back-ups of the album files.

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