Coming from the previous post , but this time approacing the business side
of this all, I have these observations and questions:

If you check the MANY many times people (photographers) are asking  in the
forums about how to adapt the change from film to digital to elaborate on
their fees( how to calculate capture, how to charge for
post-processing,etc,etc) showing in a very dramatic way that almost nobody
has a real clue to this very basic aspect of the digital shooting style, and
no one has still a real clue as to how it will afect their business in the
med-long term,  then why in hell are we going to embark into the printer's
side of the equation first??

THis is also an emotional aspect  of the thing, but this time,cold  numbers
are involved here. This same discussion is running around the forums in the
US( editorial photographers, APAdigital. Photodigital, etc). There is no
consistency on the way fees are being handled,and actually many big
corporations are taking advantage of this situation, asking for lower
pricing, since "digital is cheaper",with no film and processing and Polaroid
involved, and at the same time many of us are embarking on  how to deal with
GCR and UCR and percentages of black ink and angles , and etc,etc,etc.

I guess some way to define guidelines to this dreadful situation should be
issued by the photographer's organizations, or else, this vision that
digital is cheaper will affect our business for good, and our knowledge of
UCR and GCR and inks etc, will be rendered useless when and if  we close
shop.

The amazing wave of Work for Hire and BuyOut  contracts issued by big
corporations like Time Warner( owner of no less than 100 magazines) is just
as amazing as the wave of " digital is cheaper" , so those big guys feel
more empowered to push for lower fees  to be offered to photographers.

 Should we not worry about this first, well before ink angles??

   All the best.

  Jorge Parra
   APA/ASMP
www.jorgeparra.com 

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