Archived posting to the Leica Users Group, 1999/02/22
[Author Prev] [Author Next] [Thread Prev] [Thread Next] [Author Index] [Topic Index] [Home] [Search]snip< > Permit me to suggest a different tack: > > 1. Do a contact print to pick out the best 20 shots. > > 2. Reproduce in postcard sizes. Generally, people are happy to receive > about 15-20 or so good B&W prints. It is also more economical for you and > you spend less time in the darkroom - one hour of enlarger work at most. > > 3. If you want to be reimbursed in kind, ask for films rather than paper. > Most people do not know how to buy paper. They are generally quite happy > to buy you "half a dozen" rolls of film for all your efforts. > > 4. Be prepared to get just a word of "Thanks" only. There are some who > will think that they are entitled to everything without cost to them. > > Dan K. > > >> Am I argumentative or a natural devils advocate?. I can easily take the opposite opinion on your first three points with out even trying to be a pain. Showing contacts are just a bad as showing them machine proofs you've turned your work to **** before they've even seen it. When they hire you its hard to get around showing them the contacts but if then don't, it your work, controll it. Don't start out by showing them your dirty underwear. Every shoot consists of one or two magic moments the rest is ****. You don't invite the critics to see the rehearsals, it kills the magic. Blow up one or two or three 16 by 20s or 20 by 24/s. If you don't put them under glass at least mount them on a board and better yet in a cut mat. Otherwise you are contributing to their stack of snaps and you know what? The chances are great that they have better ones then the ones we would give them. They live with the little monsters after all so they have the advantage. They barely care if its in focus its the moment that counts. Put that big print on the wall and that's that. I personally never except money from people that I approach first. If I do the approaching its on me. I works better that way in the end. When the neighbor sees the print on the wall and calls you quote them a least a grand. Your odds of getting it is much better if you didn't let the other guy get off with some film and/or paper. Love or money. No price to be put on love. And no high enough price to be put on a professional quality image of their precious monsters. Mark Rabiner