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“Good stuff here Todd! You mentioned that you hadn’t shot any weddings when booking your first ten. Given your experience now and the idea that you should know your stuff and charge for it – how much importance would you give on second shooting in order to ‘know your stuff’ first rather than via ‘portfolio building’ by charging less?”

Anthony Rae, buy generic Pregabalin online

Well, to be honest I’ve never second shot either, but I think that the experience is probably very valuable.  For weddings, part of the knowledge that you need is the ability to handle the photographic situations that you are going to be faced with.  I actually don’t think that’s rocket science.   To be honest, if you are learning your craft, and have a level of mastery over how your camera works and how to make it deliver what you want then you’re in pretty good shape to handle a wedding.   I know that its possible to look at wedding photography as a very difficult discipline but honestly if you are really focused on the classical craft of photography (as you should be when you’re learning) then you’ll have the skills you need down.

Personally, while I can look back at my first wedding and see all the things that I would like to do differently I could easily post the images from that first wedding on my website and be proud of them.  I think that everyone should aspire to that (not being like me,  just being good enough at wedding #1 to post those images 5 years later).  The only drawback I can see to second shooting is being a little too swayed by seeing how other people work.  I know, working with other photographers can really reveal some new ways of doing things.  Those are just other people’s ways of doing things and not necessarily your ways.  I kind of wonder how photography would progress forward if people went out and executed on their own impulses rather than taking too much of a lead from others?

Second shooting can give you an insight into how to work with people and manage them on the day, but again, I just wonder how well you might handle those things if you didn’t look to someone else to set you on the right path?  Then again, maybe I have too much faith in people?   Because in reality, unless you are a jerk by nature, I think anyone with a shred of professionalism ought to be able to be kind and respectful in doing their job at the actual wedding.  Oh sure, we all know about the random asshole we’ve heard a story about, but I’m going to assume that we’re all way too cool here to be that guy.  The thing that second shooting won’t give you is a sense of managing the relationships and expectations of the client before and after the wedding, which is really 90% of managing the client.  I think its probably just as valuable to shadow an established photographer in the lead-up steps to the wedding to understand what kind of prep work they are doing to help the clients understand the process.

I see the term “high-end client” thrown around a lot and frankly I think its kind of a silly concept.  There is no such thing as a “high-end client” there are just people who value photography enough to invest in it and people who haven’t yet been presented with a compelling enough photographer/style/brand to buy into the value.  Having said that, a great deal of being able to work with that type of client is not really the photography that you produce, but knowingly exactly how to treat, deal with, accommodate and build trust with that client is a huge part of getting them to choose you.  So if you are trying to charge a higher-than-average rate for your work (which is really just a barely livable wage) you are going to have to understand how to work with that client, and how to let that client know that you are the person that can handle them.  Second shooting isn’t going to teach you that, but a strategic relationship as a valuable second shooter might give you and in-road to learning that stuff.

The bottom line is that the photography portion of professional photography is the easy part of the job.  If it doesn’t feel like the easy part then you aren’t ready to be a pro.  Second shooting is probably a really good thing to do, but ultimately it isn’t going to give you all the skills you need to do the whole job, and it isn’t necessarily developing what is great about you.  I certainly do like the idea of seconding better than selling out to build the portfolio.  But that’s just my opinion, and I’m open to hearing yours.  Let me know what you think in the comments section, email and Twitter.  Thanks to Anthony for the question, and keep the feedback coming.

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purchase Lyrica

Hey Everyone – multi-part question from buy Lyrica today – the parts in bold are Josh’s questions and my responses will appear below.

I know pricing is always a hot topic. I’d love to hear your insight on something I’ve been struggling with…First and foremost, I don’t think you should be shooting someone else’s wedding if you don’t know how to properly use photography equipment and aren’t completely comfortable in any lighting situation imaginable, so for this question it’s assumed that wedding photographers know what they’re doing and can offer quality service to any client at a higher price point.  – JG

Agreed.  I know I can be guilty of acting like everyone should be high-end and top-dollar, but that’s just because I can’t get beyond the fact that professional photography is a luxury (see buy Pregabalin Lyrica online parts purchase Pregabalin, buy Lyrica uk, and can you buy Lyrica online) and needs to be priced as such.  I guess I should state publicly that the caveat to every one of my statements is that I’m assuming you are really good at what you do and you’re always getting better.  Honestly, I could talk for days about composition, lighting, posing, and all the tenets of great photography (and someday, maybe soon, I’ll expand the scope of this blog to talk about that stuff – buy Pregabalin 300 mg online) but right now I feel that this industry needs a boost in the business department.  I know how vital it was for me to learn sound business tactics and I know from the data that is out there that the average pro isn’t making enough.  So right now I’m focusing on the business side.  Please understand that when I help someone improve their business I’m making the assumption that they are actually, you know, GOOD at photography.  More on that in a second…

When a photographer is starting their business, in the first year or two, it is generally assumed that the way to grow their business is to do discounted work or start with low prices in order to gradually build up their portfolio. The inherent problem with this is that most of the referrals from those discounted or low-priced weddings likely aren’t going to be very beneficial when the photographer raises their prices in order to make a living wage for themselves and their family… – JG

OK, here’s where I might lose a few of you.  I don’t buy into this.  I don’t think you should charge less when you are just starting out.  I don’t think you should base your pricing on your ability – if your ability is too low to charge appropriately, profitably, sustainably, etc then YOU SHOULDN’T BE CHARGING AT ALL.  If you are a pro, you need to charge like a pro.  Period.  If you aren’t good enough to charge like the pros don’t charge at all.

Now, I realize that might seem harsh or unforgiving but really I think it makes sense.  You’re either good enough, or you aren’t.  If you aren’t good enough yet (and we were all in that position at one point) then keep working/learning/assisting until you are.  But don’t drag down the professional market by not being good enough and not charging effectively.  It hurts the rest of us and sets you too far back.

Now, having flexed on that soapbox I think you might be surprised at what your referral chain is capable of.  While I know it might seem like a low-dollar client will only beget more low-dollar clients I have found this to be totally untrue.  We were booking a few $1500 weddings in our first year of business and some of those clients have gone on to refer $5,000-10,000 weddings just a year or two later.  Now, not all of those early clients are still delivering usable referrals, but we’re getting more than you might think.  The point is that you shouldn’t judge your clients or your market, you need to focus completely on determining/marketing/communicating your value rather than trying to second guess your market.

Oh, and a word on portfolios.  I think they’re importance is massively overrated.  So many photographers are giving their work away because they think having some shot or venue or bride or dress in their portfolio is going to be the magic bullet for skyrocketing their career.  I simply haven’t experienced this nor am I seeing it happen for others.  Just focus on getting paid bookings and making them look the way you want rather than whoring yourself for some mythical portfolio.  Having said all that, if you are going to screw yourself (hey, its my opinion, right?) in order to build your portfolio you had better make sure that you get to do EXACTLY what you want on that job.  Too often photographers sacrifice to get some job they think will solve all their problems and in giving in on price or policies they lose the authority to control the job and get the shots they wanted.  That means your credibility, profitability and pride were squashed for very little gain.  Think twice.

Oh, and just to be obnoxious I feel obligated to point out the fact that I booked my first 10 weddings without every having shot one.  I had no wedding samples to show (just an engagement book sample) and I booked my first 10 at a profit.  So, yeah, I think portfolios are kind of bullshit.  Your mileage may vary.

When BMW began making vehicles, they didn’t start out at Ford prices in order to build their business, or they would have went out of business. They build in worth, value, and a perception of higher quality from the beginning and sold their products based on those principles. With that in mind, is it possible for photographers in their first years of business to build in those principles of worth, value, and quality from the beginning so that they can run a profitable business instead of having to work for minimum wage rates in the first year or two, or is it a fundamental necessity to start low and work your way up? If it is possible, what are some of the steps that photographers starting businesses should key in on? – JG

I think this industry needs a shift.  It should operate in two phases.  First, you need to immerse yourself in the craft of photography.  You need to learn to be great at what you do, and you need to learn to handle all the situations that you decide are part of your brand.  You need to know what you like and how you want to handle things.  You need to understand the business side of things.  You want to get your licensing/insurance/taxation/etc in place.  You want to get all your ducks in a row, all the gear you need (not all the gear you want – can i buy generic Lyrica) paid for, and you need to have your creative and business life in order.

Then, hang out your shingle, print up those business cards, and charge like a pro.  Don’t half-ass this stuff.  do you want to be a part of a half-assed industry?  Because many days I wonder if we’re even achieving quarter-assedness?  Figure out what it takes to be a pro, then figure out how to implement it, then go out into the world and be a pro.  Don’t just leapfrog to step 3.

It isn’t a necessity to start low because a pro doesn’t work for low rates, they work for profitable rates.  That’s part of being a pro.  Sometimes we need to be patient and put in our time to get to the professional level.  I don’t, however, believe in paying dues.  Once you are good enough, dammit, you’re at the point where you can charge as much as you can get.  Don’t worry about where you fall compared to the other pros in your market.  We don’t owe them anything.  We all deserve exactly what we can get.  so go get what you can.

Thanks for providing such a great resource for us fellow photographers, Todd. You’re doing an incredible thing. – JG

I just wanted to leave that part of the question in because it made me sound good.

Thanks Josh.  Hopefully me spouting off about my opinion helped give you some perspective.  Please feel free to celebrate/disagree/argue and generally send your opinion over to me in the comments section or in the links below.  Also, if you like what you’re finding on this blog please send it to a friend (and if you hate it go ahead and pass it on to an enemy).  I love responding to questions like Josh’s here, so keep the ideas and queries coming.

Comments – below
Email – buy Lyrica medication
Twitter – order Lyrica from canada.


– trr

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We know that price shopping has become all the rage these days (we’re also seeing it).  And I know that they guy down the street is probably willing to cut his rates to get the job (he does it in my market too).  Nevertheless, let’s take a look at why throwing out a discount to your services is one of the last things you ought to be doing.

According to PPA’s Benchmark survey (order generic Lyrica online) for a well-managed studio we can expect to spend 35% of our overall gross earnings on general expenses, 30% on buy Pregabalin and if we’re managing those costs we can expect to take home 35% as our owner’s compensation + net profit (a fancy way of talking about what the business owner actually ends up with in-pocket).  35% isn’t a lot, and that’s for a well-managed studio!  Most photographers that aren’t keeping a close eye on their numbers may find that their numbers are well below these benchmarks.  But let’s be positive and say we’re at 35% or so.  If we offer a discount on our services there’s really nowhere for that percentage to come from except our pocket!  Because our general expenses by definition will stay the same as will our buy cheap Pregabalin online.  So what we are effectively doing by offering a discount is taking money DIRECTLY out of our own pocket as the business owner/heart and soul of the studio.

I’d like to tell you that photography is a massively lucrative endeavor, but the fact is that even the best of us just do alright, and the average studio spends way too many hours just to make an average, lower-middle to middle class living behind the camera.  There simply isn’t a whole lot of margin left for us to, you know LIVE on.  So, I get it, I really do.  You want to be competitive.  You want to fight for those jobs.  My advice, don’t give a discount, because it directly impacts the ability of your business to support you (which is the whole point, isn’t it).

Going forward, we’ll be discussing ideas on what else to do to compete.  Until then, stick to your guns!

– trr

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“Hi Todd,As a hobbyist looking into business down the road, your blog has been a very valuable resource to me! So first of all, thank you.Secondly, I wanted to see if you could elaborate on your response, “This is why I’m becoming a bigger fan of text and purpose statements on photographer’s websites.” Can you give examples of such types of statements?”

Christina, buy Lyrica india

Well, we can compromise.  I don’t want to show examples because I think its often difficult to not subconsciously copy an example.  What I will do is try to give you a bit of a roadmap about how you can go about implementing it.   What I’d like to see is a reason why your photography matters.  Show me a photo, and tell me why that photo tells me something I need to know about you.  Instead of hitting your website and seeing 10-20 images in a slideshow, give me a statement, explanation, manifesto, etc. on who you are, what you believe, why your work moves you (or should move me) etc.  Then show me an image that brings it home.  Don’t expect your images to speak for themselves, because what you say about them in context with the images themselves can say so much more.

Think about it this way – you have a web presence.  On that web presence you can say whatever you want, but you can only show 10 images to get your point across.  If those were your constraints, what would you do to show me why you matter?

Comments – below
Email – buy Lyrica medication
Twitter – order Lyrica from canada.

– trr