FOR JANUARY 1986 Newsletter
was a scholarship involved in this particular programme and
the girl that won the scholarship was obviously a leader. Interesting to note, she was also a diabetic and had
been working within her own community helping young children
who were also diabetics.
Youth Salute Programme is basically designed to recognize the
future leaders in any given community and is a great volume
builder for the various studios involved. We are looking at probably trying to get something like
this running ourselves in 1987, and to build up to this, we
will be looking at 1986 as a learning year and will possibly
be leading a small group of people that are interested in this
programme, to America to see it in operation in a particular
area, possibly Tom and Etta McCarthy's studio in Paducah, Kentucky. If anybody is interested in following
this particular programme through, please contact the writer.
does approximately 100 to 200 appointments a year, averaging
over 1000 dollars per appointment, and seems to be doing very
very nicely thank you very much.
business is an extremely personal one, having many contacts
with his customers, and it almost seemed to me as if he had
been reading some of my newsletters with some of the things
that he is doing.
programme in February looks as if it is going to be an extremely
interesting one, and I for one, am looking forward to it.
GROVES in HARRODS
photographs unfortunately were a different situation as none
of them appeared to have even the basics of print finishing
done, and I am sure that any of the studios in New Zealand that
had attended a basic print finishing course given by any of
the people that we have brought in, would have been able to
do a better job and make his photographs look just that much
FINISHING - NEGATIVE RETOUCHING
me it's amazing that somebody can exist in a high quality store
like Harrods without the rudiments of print enhancement or print
finishing, and yet charge the prices that are obviously charged
to all of those people that can afford it. It is gratifying to know that we down here in New Zealand,
whilst we may be as far as one can get from most places, our
photography is of as high a standard as most countries anywhere
in the world.
looked at his submission (they call it a panel) and I must admit
that I was impressed by his high standard. I felt art-work would have made some of his prints just
that much better, but as I've mentioned in a previous newsletter,
art-work is not done to any degree at all in England.
was interesting also to talk to Charles about the Institute
and his comment was that you've almost got to be a Fellow within
the Institute to be able to be listened to by the executive
of the Institute.
was to find this out for myself later at the APL Trade Fair
when I was talking to some of the full-time executive on the
Institute's stand, and I was horrified at the things that the
Institute were not doing and the things that the Institute believed
it should not do. It
almost appeared as if it was a body to give members some qualification
and a social organization.
of the questions they asked him was if he had done any print
finishing on his photographs, which of course he hadn't, and
in my conversation with him and others, it almost appears as
if they're frightened of letting somebody get their Fellowship
with the help of print finishing.
course, when one understands that when the executive of a body
or the qualifications board of a body are unable to do a particular
phase of photography, they're most reluctant to recognize anybody
else who has that ability. This is my summing up of the situation and it's an unfortunate
situation that people of that responsibility in any organization
should wear such heavy blinkers.
doubt the lab that he uses, uses that technique for spotting,
and I just wonder how this particular photographer's reputation
will stand up when bacteria starts eating away at the surface
of the prints that have been spotted by the lab. Hopefully his was one of the few labs in England that
did not use that technique, but in my questioning of the labs,
they were not aware, or had not even considered the bacteria
in saliva doing damage to prints. Possibly in the cold English climate they may have been
knocked dead the minute they left the person's mouth, but I
wouldn't count on it.
following morning I visited with a local photographer who had
a studio in the main street. His particular comments were the same as every other
photographer I called upon, so for brevity I will summarize
On walking into his studio, I handed him my business card, introducing myself as "Ivan McLellan, I have a Colour Laboratory". At that point his mind must have turned off at his ears, because he did not hear "I'm from New Zealand".
His comments were "Boy, am I glad to see you", and he examined my card a little closer and at that stage he must have clicked with New Zealand, as to its location, and that's where I was from. Because his next words were "but I can't send my printing to New Zealand".
they have some problems dealing with their laboratories. They evidently cannot rely on post to get their work
to the 2 or 3 good laboratories that they are aware of, and
have to make do with second-best at a laboratory reasonably
close to them.
comparison to their re-orders, their 1st Run is extremely cheap,
but it is not colour balanced.
re-orders, are accepted in the massive range of sizes we used
to have in black and white, for example;-postcard, 5x4, 5x5,
7x5, 6x8, 8x8, l0x8, l0x10, l0x12,12x15, 20x16 and so forth. However, when they are ordering their reprints from their
laboratory, they must order it as "all of negative". If they want any cropping done whatsoever, they are automatically
onto the hand enlarged price list. The hand enlarged price list is some three to four times
the amount of their "machine prints". If they want their machine prints matching they add 25%
to their price list.
It was not uncommon to send 70 percent of the work back for re-makes. Most of the laboratories that I visited and going by most of the photographers' comments, the majority of laboratories appear to be more interested in producing work for commercial photographers or for D&P than getting involved with the portrait/wedding business.
felt sorry and horrified at the same time for the conditions
that the English photographers had to work under, and it also
explained to me the high proportion of photographers in England
producing their own work. Unfortunately the photographers that were producing their own
work, their quality was no better and usually worse than those
that were not producing their own work, and it was not uncommon
to see photographs on display that had a very high red content
or a very high yellow content.
certainly does give a tremendous boost to one's morale seeing
the work that is produced in other countries, and it would certainly
give a boost to the average photographers' morale in New Zealand,
seeing some of this work.
if you are an average photographer, with average ability, and
you want a great boost to your confidence, visit some studios
in England. It
will do you a great deal of good.
and Energizing Relationships with Employees
one person could be a mix of 2 or 3 of these types which are...
only do you need to know the different styles of people when
you are dealing with customers but if you have somebody working
for you you need to know the type of commands they find easy
and it was brought out that you can talk to these 6 different
types of people in their own individual way and the other people
don't really take notice of what you are saying. This means if you are talking to a workaholic the other
5, if they have no characteristics of a workaholic, don't really
bother listening to what you are talking about.