zio,
I think your reading into this.
Our way of working isn't a negative process, it's a planned effective, efficient process and though shoot days are compressed, pre production is the same, if not longer.
Actually on last weeks project, we worked more late hours in pre production that we did on set. On set we started at 8am, finished at 5pm with a lunch break.
We do work fast, we do work constant because time is money but there are only three ways to approach the new economy. 1. scale back 2. adapt and become more efficient while offering more. 3. Make less profit.
I prefer door 2.
You know, If you want to follow the changes of professional photography production, read the wall street journal.
Honestly, American corporations and their overseas counterparts are not selling that much more product and services in the last 4 years (unless you factor in asia/southeast asia), but they are turning more profit from the same sales.
So working backwards from this, if good and services are not selling more volume, for profits to increase the money has to come from somewhere and that usually means expenditures.
From the outside looking in, the world is always different, or as a friend of mine says, "it's never what you think". I've seen/known directors on large commercial or film projects that you would think looking at the size of production and crew are making bank but when you total the numbers, their gaffers, or dp's might be making more.
Same with still photography. You can look into a huge studio and see 20 people, though 10 may be crew, 10 may be clients, but one positive I've seen from the recent economic changes is good clients work more in partnership than ever before. Rarely do I get the client that doesn't understand the process, or asks for images that are unreasonable.
They understand given x dollars, x time, what they will receive and they want to be as clear about what they get up front as we want to be clear about what we will deliver. There is a lot more sharing today than in previous years, at least in my experience.
There are exceptions to every rule, but I always say unless someone opens their accounting books, I don't believe anything, because I work with a wide diverse range of clients and they all responded to the recession in exactly the same way . . . at least in my experience.
That's what this thread is all about, profit and sales. Hasselblad didn't offer Lightroom because it fell in their lap, it probably was the most efficient way to offer a post production suite that works with Hasselblad and other format cameras and not completely invest and redesign Phocus.
In my view it's a good move, but I haven't tried a Hasselblad camera with Lightroom.
In regards to everyone working different, of course and that is their business. I'd never suggest anyone work the way I do, because I/we work in our own studio's culture. If anyone can make a living standing in nature and shooting in a slow, one or two settings a day manner and make a good living then I applaud them.
It's not what I do, not what I want to do, but that's me and we're all different.
All I know is I stay busy and I like working hard, so I guess things are ok.
Klaban,
No I don't plan on the new Nikon, don't see the point. Right now we can shoot a 4:3 ratio with a 5d2 or 1ds3 of a full length subject and zoom in on the face and see eyelashes and skin pores. Nobody I work for is asking for more detail than that.
Also we've moved more to motion and that's an expensive arena, so we dedicate our resources to what is working for us.
IMO
BC