But clients would then say, how much less if we take off the extras? So next I reduced my rates to $8,500 includ- ing the second shooter, but no album, no extras. Guess what? They buy $16,000 worth. And I have 16 weddings booked already for 2011. I think the economy is coming back up, I’m not sure it’s going to last, there may be a second slap.


Above: the seminar in Scotland. Right: Colin Stevens from MPA HQ with Buissink DVDs*, Joe Buissink, Jeremy Price of Gra- phistudio (and album), and Chris Buck from MPA with member- ship information at the event.


files after processing them from raw. My $8,500 fee includes a second shooter, but for wed- dings over 300 people I will have a third shooter. I use in- terns, final college year students who need to do six months intern work for their course credit; they do no get paid.


Joe on Women


Today, 60% of professional social photographers in the USA are women, only 40% are men. I like the feminine touch; my wife edits the wedding book picture choice, she is more intuitive about what the bride will like. Brides nearly always add more images to the edit.


I will have a set of maybe 30 images presented as my per- sonal favourites, on Pictage, an on-line site where the bride can select from the entire edit. They will hardly ever reject my choice, but usually add to select around 150 pictures from the 500 shown.


Joe on the Album


I want to give them a book that they can open up 20 years later, and say, ‘that’s how we were’. Old style albums used to be about who, not about what where and when. Photographers used to try to sell prints. They would shoot to sell prints. Traditional albums are too heavy and too large. I use a Graphistudio album which is 13 by 9 inches, ‘gran can have it on her lap’. And traditional albums are more expensive too.


Joe on Album Design


Graphistudio design my books for me. They send me a PDF back, the client checks the PDF – often we use Skype and a split screen to talk about the layout. Changes go back to Graphistudio, they re-proof, and the album is produced.


Joe on banking


The book can be done a year or even a year and a half after the wedding. But I was receiving the payment long before this. This is a big danger, taking the money up front, you may spend it – go and buy another 5D MkII because you think can afford it. I have a separate account for my Graphi books. I put the money into this and I do not touch it, so no matter how long after the wedding they finally take the book, I have the money there to pay for it.


Joe on Judges


Most judging is mainly too technical. But, judges should start with IMPACT. Then, sub- tract points for composition, focus, and all that stuff. It all starts with impact!


Joe on Photoshop


It’s (photography he sees today) become, to me, graphic art rather than photographic art. I do not even recognise it as an image any more. If you want to sell it as graphic art, sell it. But


don’t call it photojournalism! I do not use Photoshop. I have never used it. I have it on my laptop, but I use Lightroom.


Joe on the Downturn


I was turning over $800,000 a year until 2008, charging $10,000 for seven hours of my time and nothing else included. I was shooting 30 to 40 wed- dings a year. Then in 2009 it was just six or seven. I had lost more than half my income in the credit crunch.


So, first I added a book with 50 images in it – not too many on a spread, maybe just one, maybe two, three or four images. I charged $30 per im- age extra. Then I would add an engagement shoot for $1,500; I would add one more hour at the wedding, for $1,500; I would add a second shooter, for eight hours. At my pre-crunch prices that was a $16,000 package and I would offer it for $10,000.


Joe on Commercial


Commercial studios are going out of business, everything is going to stock now. Clients don’t want to pay a day rate of $15,000 – they would rather go to Getty and $4,000 for a stock photo, then renew it or get a different one for the next year.


Joe on Class


You do not have to be wealthy to work for the wealthy. You just have to know how they think.


Joe on Equipment


I use a Canon 5D MkII, carried on a harness to the front with a 24-70mm f/2.8 lens mounted on it. On my right hip, I have a 1Ds with a 70-200mm f/2.8; on my left hip, another 1Ds with a fast prime lens. It might be a 50mm f/1.2, and 85mm f/1.4, a 14mm f/2.8 or a 24mm f/1.4. I love these fast lenses. They perform best wide open and that is how I use them.


Á


*All three DVDs – Joe Buissink, A Workshop, Defining the Moment and his Portfolio are available as a bundle for £100 from MPA – call 01325 356555.


Yervant’s 2011 spectaculars


That other famous Graphistudio advocate, Yervant, has more activities planned for this year. Each year in October, Yervant & Anie offer workshops in


Venice Italy. Now in the 6th year, the 2011 event will be from Tuesday 17th to Friday 20th October. Earlier in the month, Yervant and Anie team up with six top names for a workshop on the Greek island of Corfu. He will be joined by Bambi Cantrell (USA), Laslo Gabany (Rus- sia), Michael Greenberg (Canada), Graham Monro (Australia), David Beckstead (USA) and Nik Pekridis (Greece). The dates are Monday 3rd to Friday 7th October. See: http://www.yervant.info/seminars.html


MASTER PHOTOGRAPHY 9


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