Progress has long been associated with the ability to do things faster. So it has been with digital photography.

Along with zillions of megapixels, fourth-generation Photoshop, and cameras that can sometimes make hobbyists look like seasoned pros, the digital age has brought us the ability to finish jobs faster.

It has also led to impatient clients with a “need for speed” when hiring out photography assignments.

Faster vs. Better

But is faster always better?

Sure, the car is better than the horse and buggy. But is fast food better than “slow” food?

Whereas once photographers shot on film, took the film to the lab, waited for the film to be processed, and only then revealed the finished product to the client, we can now simply press the shutter release and have an image ready in seconds. Shooting tethered has taken this to an extreme — enabling us to connect a computer to the camera and see our images appear on screen at almost the moment we shoot them.

No doubt, this is technological progress. And it gives us the capacity to increase our turnaround speed dramatically on assignments.

But just because you can do something, that doesn’t always mean you should.

Patience Rewarded

In the days of film, we had the ability to proof on Polaroid film as a compositional and exposure measure. We could take a clip test from film stock that would again allow us to ensure all was well and then “push or pull” processing times, allowing us to compensate for exposure if required (within reason). We could affect so much in the print production from slide or negative film stock — and that’s not mentioning the necessity and potential in marrying the right film stock to the project in the first place.

Digital photography allows the photographer an even greater degree of control. And unlike with film, all the tools to create a polished finished product are in the photographer’s hands, if he or she takes the time to use them.

The problem is often the client’s expectation — and increasingly, demand — for speed.

If you are a photography client, understand that you are only short-changing yourself by rushing the process. By allowing the photographer adequate time for post-production, you will receive considerably better images than if you insist on downloading them onto your computer immediately after the shoot.

With alarming frequency, I receive e-mails asking me to provide my services for free. Very often they state that a “great opportunity” has knocked on my door and that, once that door opens, a myriad of fame and fortune will come pouring in. In other words, if I just do this one job gratis, it will invariably lead to paid work.

Big Event, No Photography Budget

Let me give you a real-life example that happened to me. One month before London Fashion Week, I received an e-mail from the press secretary of a new designer who was showing at an incredibly fancy venue in London.

It was the designer’s first show, and he was putting together an ultra-expensive extravaganza — which would ultimately amount to a 15-minute viewing experience for his well-heeled audience.

All of which is fine by me. I’m all for people creating a strong visual experience to help promote their business. Isn’t that what commercial photography is all about?

On returning the call to the press secretary, I gave her a reasonable price for the expected two hours of work, including travel, shooting and postproduction.

The press secretary apologized. She had neglected to mention in her e-mail that there was no budget available for photography.

The job, she said, would be a great chance to add images to my portfolio and to get my name in front of the fashion media, leading to paid opportunities.

Politely, I declined.

Everybody Loses

Aside from the fact that absolutely no one (apart from perhaps other photographers) would even glance to see who shot a catwalk image, runway shots don’t do much to bolster an editorial portfolio.

What saddened me most was that this designer didn’t realize the importance of what should have been his No. 1 marketing tool, photography. It ought to have been factored into the budget at the onset.

Once the memory of the designer’s big event subsided (aided by the flowing champagne), all he and his press secretary would have left to promote the brand is images. Should these really be left to the chance of finding a professional photographer who would take the job for free?

Of course, they found someone to shoot the event. I checked the designer’s Web site afterwards; it didn’t mention the photographer’s name once.

The press secretary’s offer turned out to be a bad deal for the designer, who failed to budget for high-quality photography, and for the photographer, who I’m sure got little if any business out of it.

Clients should understand that, with photography as with other services, you get what you pay for. In the current economic climate, it is more important than ever for marketers to set their brands apart — and distinctive imagery is one of the best ways to achieve this.