> Ken ........ who gets to keep the film?
I do, of course.
Once scanned, it's processed in Lightroom like everything else and
digitally uploaded to the lab for printing. It's just an analog
front-end to the process.
These days, what I do is I give the customer a proof book and a thumb
drive. If they order reprints or an album from me, awesome, but I
don't expect anything more after I hand them the goods. It's easier
this way and we're priced to make our money on the shoot, not the
reprints. This equation changed several years back. I think it was
2007 or 2008 where we lost our shirt when the industry changed on us
and nobody wanted albums and reprints. Of the weddings I shot in 2015,
I've seen zero reprint/album income from them, so far. I could try
fighting it by not giving away the files, but in reality, I don't make
enough money off of these services to make it worth my time and effort
of dealing with the clients in their indecisions.,
I'm likely to drop the proof book in its entirety this year, except it
is a product differentiation in a crowded market and helps explain why
I don't race to the bottom in prices. The proof book costs me about a
hundred bucks, but I get a couple hundred more because I offer it, so,
whatever.
Of the half-dozen I've done recently, I've supplemented with film on
two of them, but it was a nuanced usage. Running the numbers is
telling me that I might be in good financial shape if I do a hybrid
approach. Just as the proof book is a hundred dollar cost item that
allows me to charge more, spending a hundred on film would allow me to
keep my prices up too. Covering that is easy. All the reception and
low-percentage shots stay digitally shot, though.
Ag
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