Q: How do I order prints?
Q: How do I order files?
Q: How does this whole ordering process work?
A: Find your proof set (this will be a long URL you get from either me or someone involved in the performance), and browse through the raw images. When you find something you like or might like, make a note of the image number (this is usually a three- or four-digit number in the filename) or the filename. Mail me [you will have to edit that address manually] with the image number(s), any ideas or requests you have for the images,and the print size(s) or applications you have in mind.
I'll respond, usually with a set of mockup images to make sure that I have the right images (no transposed digits). I may also have questions. Once you've confirmed that I'm working with the correct images, I'll get you an estimate for the cost and get to work. You can pay by cash or check (or equivalent) upon delivery.
Q: Is it too late to order prints?
A: It's never too late; I keep all original images (and most edits and mockups) permanently archived in a safe. It's easiest (and usually cheaper) to order images while I have the proofs on the web, but I can always pull your performance from the archive.
Mail me [you will have to edit that address manually] about the performance in question and the date of the performance if at all possible. My archives are stored by date, so knowing even the approximate date of a performance is very helpful.
Q: I can't find the proofs page for my event. Where is it?
A: I generally keep proofs on the web only for a couple months. After I've pulled the proofs from the web, if you want to see them again, just ask. Let me know who you are, what performance you're interested in, and the date of the performance if at all possible.
Another possibility is that there is a typo in the URL; I use fairly long URLs for proofs.
Either way, mail me [you will have to edit that address manually], and I'll help.
Q: Why do you put the raw images on the web?
A: I generally include the out-of-focus and other "strange" (or "garbage"!) images in proof sets because you may like them. I don't want to impose my own sense of "quality" or "art" on pictures that are, fundamentally, about you and your performance.
I approach this work with the intent to give every performer something to remember the experience, but I may not know you very well (so I may not know what's important to you). Generally, I try to get a clean image of your face (with a decent expression!), costume, and some sense of motion or style from your performance. Sometimes that doesn't work out - especially getting closeups in focus without knowing your routine (This is particularly true of dancers - the funny thing about dancers is that they move around a lot :) ).
This is about your personal experience and memories. I hope I got something for each of you. If the blurry out-of-focus image is meaningful to you, then I want to make sure it's available.
Q: Please take that awful picture of me off the web!
A: Of course. Which is it?
Q: Why the huge URLs for the proofs page?
Q: Why are the proof images so small?
Q: What's the text on my face?
Q: Do I see numbers in the images?
A: This is mostly for your protection. I don't want your image showing up on someone else's web page without permission. I do not link proof pages anywhere on the web - these pages are intended for the performers and participants only, so you need to get the URL from me directly, or from someone involved in the performance.
The small images are less likely to be "borrowed" for other web sites, but hopefully are large enough for you to get some idea of what we have to work with.
Proof images are visibly watermarked so that if they do show up on someone else's web page without permission, it should be very obvious that they are using unauthorized images.
Don't worry, the finished prints and files do not contain the visible watermarks, and are sized appropriately for a given application.
Q: Why didn't you get a particular shot?
A: Could be any of several reasons.
I respect the nature of performace, and the last thing I want to do is have your audience go home and remember me. I'm there to capture moments and memories and make something meaningful for the performers, not to be part of the show. If that means I have to stay in one place during the show, and I can't get different angles, then I'm more likely to miss performers "in the back." I try to do the best I can without interfering with the performance. On the other hand, if I'm photographing at a rehearsal or other non-public event, I'm willing to "get out in front" and get into strange places to get a shot. It helps if I've seen your routine or performance before trying to shoot it, so I can anticipate "key moments" a bit better. Sometimes, that's not possible, and I just pick the wrong moment to change batteries.
Q: What do prints cost?
Q: Is there a print package?
A: (I hate to do this to you, but...) "It depends..."
I am philosophically opposed to people paying for things they don't want, so I don't produce any sort of "standard package." It's worth the extra effort to make sure each of you get something meaningful.
I have two processes available for photographic prints. Both processes produce "real photographic prints" (these are not inkjet or laser prints.)
My usual, preferred process produces "art-quality" matte prints on archival paper, and can be mounted and/or framed.
These prints are richly saturated, fade-resistant, and designed to last a lifetime (or more!).
Art-quality prints are really only suitable for display (they pick up fingerprints easily).
I can print these from 8x10 to 20x24 comfortably; sometimes larger (up to 48x96 - "larger than life"), depending on the source image.
I have control of the entire print process, so I have full confidence in the results.
These are relatively expensive, custom prints, and it's often a collaborative process to get to a finished print, so prices do vary a bit depending on the amount of work required to get to a finished product.
I can also print using a "standard" photo print process.
I've made these prints available to keep the cost of a few prints for a performance reasonable.
These prints are better suited for a portfolio, or any circumstance where the prints will be handled.
I have less control over the process, so color and brightness may be off a bit - but you probably won't notice.
For groups, I generally put together at least one "bulk order" for the group and pass on any savings I can. For these bulk orders, I split the prep work among all the people that order the same image, and if there are enough prints ordered, I can usually save a little on each print.
Q: Can you fix the redeye in the image?
Q: Can you take out the background?
A: Yes. Redeye fixes, cropping, sizing, and fixing obviously distracting things are all included in the finish work for an image.
More elaborate edits (knockouts, new backgrounds, composites, etc.) may take more time, so they may incur extra charges, depending on the image and exactly what you'd like to do.
watch this space for some before/after samples
Don't feel obligated to order these "as is" - tell me what evokes meaning for you and we'll work with it.
Q: This image is really dark, I can barely see anything?
A: I do tend to shoot dark and try to pick up rich, deeply saturated colors. If you like that style, let me know, and I'll dig deep into the darker images with you.
I also occasionally shoot an image with the intent to print in black and white. Often, the background images for the proofs pages show this approach.
Q: Can I use a shot for a business card?
Q: Can I use a shot for a web site?
A: Yes. Tell me [you will have to edit that address manually] how you want to use an image (and which image(s) you want to use!), and we'll work out the terms.
Q: Will you come to my performance?
A: Yes, maybe. Tell me more [you will have to edit that address manually].