Wedding & Event Photography
The shoot takes a day.
Delivery takes three months.
Delivery pipeline, client selection galleries, retouching workload, contract calendar and delay tracking. In this business, customer dissatisfaction is usually not about the photographs but about the waiting.
Selection waiting with the client. Two reminders sent, still no selection.
Click a job — its status and note open up.
One job has exceeded the delivery period in its contract. When that line turns red the client may not have called yet — but they will. Call them first.
Days elapsed are counted from the shoot date. Figures are illustrative.
Retouching can't start until the client makes their selection.
This is where delays most often happen: the client doesn't choose, the clock runs, and you end up being the one who is late. Once the gallery link goes out, selection and reminders run through the system.
With reminders on record, the "you never told us" argument ends. If your contract sets a period for selection, the client is automatically told that the delivery date shifts once it expires.
Gallery frames are watermarked and low resolution. High-resolution files cannot be downloaded before payment completes — the most common loss in this sector.
Retouching is the studio's real capacity.
Shooting is easy; two weddings can be shot back to back. Retouching isn't — time per frame is fixed, and that time determines how many jobs a studio can take in a month.
That calculation is the real answer to how many weddings you can shoot in a month. Taking an eighth job means all of them run late — and in this business, lateness travels by word of mouth.
Don't promise two shoots on the same date.
Date clashes happen in season, and by the time they're noticed it's too late. With one calendar and crew assignments in place, that risk disappears.
An empty Saturday in season is lost revenue. Seeing the calendar makes running a promotion for that date occur to you; not seeing it lets the date pass empty.
If the contract states a delivery period, it has to be tracked.
Most negative reviews in photography aren't about quality, they're about delay. Knowing the contract period isn't enough — you have to see how long each job has left.
An average of 74 days looks comfortably inside the commitment — yet a third of jobs ran late. A table that looks fine on average is exactly what shows where the delays cluster: all of them with clients who were slow to select.
The rest of the studio
Raw file archive
Which job's raw files sit on which drive, and how long they're kept. Before clearing space, which archive can be deleted is a list.
Contracts and deposits
Package contents, delivery period and cancellation terms flow into the contract, signed by the client on screen.
Album design approval
Album designs go to the client, who can request revisions page by page. Approved designs go to print.
Crew and equipment
Which photographer, which camera and lens on which shoot. The same equipment can't be booked twice.
Shot lists
The couple's requested shots — family group lists, particular moments — on the photographer's phone on the day.
Payment tracking
Deposit, interim payment and pre-delivery balance. High-resolution delivery doesn't unlock while a balance is outstanding.
Questions
Are the photographs stored on your servers?
Low-resolution watermarked copies for the selection gallery are held in the system — those are small files. Your raw files stay on your own drives; the system records which job sits on which drive. A cloud link can be set up for high-resolution delivery, but moving an entire archive to the cloud is expensive and usually unnecessary.
What happens if the client doesn't select?
Reminders go automatically and are recorded. If your contract sets a period for selection, the client is told when it expires that the delivery date has shifted. That notification removes most of the argument that follows.
Is the retouch capacity calculation realistic?
You enter the time per frame — whatever your editor's real speed is. The system calculates weekly capacity from it. Entering a shorter time than reality is fooling yourself, and it comes back as delay.
We have a video team too — does that work?
Yes. Video is defined as its own delivery pipeline with editing, colour and music approval stages. Photography and video sit under the same job but move through separate flows.
Does it track album printing?
The design sent to print, the printing company and the expected return date are recorded. An album that hasn't come back stays open on the list — more albums get forgotten in season than people think.
How many jobs and users?
No limit, and no per-user fee. A solo photographer and a studio with a team use the same system.
Let's take one shoot
all the way to delivery.
How many jobs a season, how many editors, do you supply albums. We'll build a demo on your own packages.
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