About Copyright

The reason that photographers need to copyright their images is that this is our livelihood and our art and our creativity. That’s why we are professionals and why you are hiring US rather than letting Uncle Joe take the pictures. In these days of digital photo scanners and printers, this issue is even more relevant.

As an example, there is an FBI warning at the beginning of every DVD and video saying that it is against the law to make copies even for personal use! Of course everyone does, but it is against the law for a reason. And the point is, we are not Sony or Microsoft. Everyone feels ok ripping off large corporations, but this is my livelihood and I earn my living by providing a service and then selling the product of that service.

Everyone knows about musical CDs and software. There are many software programs that you’re only supposed to use on one computer! If you want to use it on another computer, you have to buy another copy or license key. You can import CDs onto your ipod, but you can’t copy them or export to a hard drive.

By the way, pricing is determined by cost and overhead. No one is getting rich by cheating or overcharging their customers. We are all struggling just to stay in business. However, if you call for permission to make up an 8x10, I’ll happily give you a release to make up the picture. It would, of course, be more trouble then it’s worth to get me back the negatives or CDs to print one or two pictures! This is about printing up a large quantity for the sole purpose of cheating me out of my livelihood.

Get this: My son plays piano and violin. He had these yearly NYS competitions. He needed to bring in sheet music for the accompanist. The kids are not allowed to make up copies of the music for this purpose. They must all buy another set of sheet music or the accompanist will not play. There was one time that the only place that we could find his music was in the city, and it was quite an ordeal to get the second original set for the accompanist. There are no exceptions to their rules because of the copyright by the publishers of the music.

A writer has his words and that's how he earns his living. An artist his paintings. Musicians their music. And photographers their pictures.

So please understand.

The Basics

Automatic or Program modes might be fine for snapshots, but if you are at all interested in photography and taking “good” pictures, you need to know the basics.

It’s all about the light and how much light is needed to expose the image. There are several factors in determining how much light is used to create the picture.

1. Aperture or f/Stop: This is the opening in the lens that lets light in and the size of that opening is called the f/Stop. Paradoxically, a smaller number (2.8) means a large opening and a large f/number (like 22) means the smallest opening.
2. Shutter Speed: This is how long the shutter (or f/Stop) stays open. 1/30th means 1/30th of a second and is about as long as most people can hold the camera without movement showing in the picture of shaking the camera while holding it. 1/125th is a typical all around shutter speed that can freeze most movement.
3. “Film” speed: Since we are no longer using film, this number refers to the quality of the resolution. ISO is the designation, and 100 ISO is considered high quality, while 400 and 800 are starting to get iffy about the quality of the resolution. The lower numbers (100) lets in the least light (used outside in bright conditions) while the higher numbers (400 + 800) lets in the most light and is used in “low light” situations such as indoors without flash.

Those are the three factors to consider when exposing a picture. They might seem confusing or like a foreign language, but they are simply 3 factors in controlling and determining the light that creates the picture.

And ………. each of these parameters has an effect on other factors that determine how the picture is going to come out.

The f/Stop (or aperture) affects how much of the picture is going to be in focus. A large f/Stop (f/2.8) means that very little of the depth of the picture is going to be in focus. For instance, it’s possible for a nose to be in focus and the ear to be out of focus. And a small f/Stop (f/22) means that a wide area will be in focus, such as the trees in a forest where 10 feet away and 30 feet away will all be in focus.

The shutter speed (how long the f/Stop is open) might be more obvious to understand. If you take it to the extreme, then you can understand that keeping the shutter open for a long time (a minute, for instance) will show movement, such as a car passing by, whereas a quick shutter speed (1/250th) is so fast that it will freeze the motion of the car passing by and it will look as if the car is not moving.

And I’ve already mentioned the “film” speed, or ISO. Low (100 ISO) means the highest quality, but you need bright conditions in order to get a good exposure for the picture. High (800 ISO) can be used in low light situations, but often produces more grain (or digital “noise”) and might not be able to be printed to a large size.

So! ALL of these factors need to be considered when taking pictures. Yes, cameras are very intelligent these days, and Auto or Program modes are quite effective in most situations, but there may be times that you want to decide yourself which factors are more important. For instance, if you are taking pictures of a marathon, for instance, you might want a wide field of runners to be in focus and you also might not want them to be blurred with motion.

That’s it!

About Photojournalism

I’ve been doing a spontaneous style of wedding photography since 1989 with two photographers, black and white, and lots of pictures.

How is that different from wedding photojournalism?

TRUE photojournalism means that the photographer is looking for the truth in a moment. Something hidden. Which would mean people eating or whatever the photographer felt like photographing. Often, a true photojournalist doesn’t do weddings as his main work. That may be fine. Perhaps you don’t want a typical “wedding” photographer. But I need to suggest that you get someone who knows what the critical points are at a wedding and makes sure to capture the key moments (and be prepared for them.) Typically, a photojournalist doesn’t like to interrupt or direct. Well, that may be fine, since neither do I, but there are key moments that you might not want to miss and sometimes a LITTLE direction is necessary. For instance, although none of us like to interrupt your dance (or your dance with parents) there are subtle ways to get your attention so that you get at least one picture looking at the camera. Candids are easy, and pictures of heads over shoulders are great, but you might miss one good picture looking at the camera.

Here’s what I mean: A few years ago, I was a guest at my wife’s cousin’s wedding in the Berkshires. I went up to the main photojournalist and asked if he would mind if I take some funky pictures that wouldn’t conflict with his work. I was squatting down at the back of the aisle taking pictures that would produce an impressionistic look (combination of lens and film.) As they were exchanging vows, I looked up and didn’t see either photographer. This was distressing to me, since I was set up to take different kinds of pictures. I looked further, and there they were: Both photographers were up on the hill far from the main event! What I found out later was that the bride had requested overall pictures of the entire scene with the Berkshires in the background. Well of course! I would normally take those pictures (without being asked) and then run down to take front views of the bride and groom and family and guests and bridal party and then been in the center aisle for the vows, rings, candles, and kiss. Both “photojournalists” missed those crucial pictures and only had wide views of the whole scene. They BOTH stayed there for the WHOLE ceremony. Every picture must have looked the same. They didn’t move!

Also at this same event I got to witness (and be involved with) how this particular photojournalist posed a group portrait. There was a request for a large group family picture (basically everyone there – maybe 40 people. He brought us to a hill (good!) and got us into maybe 4 or 5 rows (good again.) However, he didn’t check to make sure that every face could be seen (bad.) Yes, I pose my groups quickly, and yes, I tell them to just “come together” but it’s REALLY important to see every face in the picture! I just do a little fine tune moving – it doesn’t take much. That makes the difference between a disappointing picture and a satisfying picture. My daughter and her cousin thought it was such a joke that they actually hid behind people on purpose!

FAKE photojournalism is thinking that just black and white qualifies. What would normally be color taken in b+w is not photojournalism (or candid photography.) Asking the subject to look at the camera and snapping a picture doesn’t count either. Nor does handing a camera to the lighting assistant to take a some candid pictures. Having a lighting assistant at all means that photojournalism or spontaneous photography is NOT going to happen. Imagine holding a pose until the lighting is just right and then holding it further to take the picture. As far as I know, that’s what everyone hates. Taking two hours to do the formal posed pictures cannot be spontaneous either. I take ALL of the posed family groups, bridal party, and bride + groom pictures (ALL of the combinations that any other traditional photographer might take – if you want) in as little as 15-30 minutes or so. I get great pictures because the people are still alive with personality instead of stiffly holding a pose.

There needs to be SOME compromise and SOME overlap between traditional and completely candid. Please understand that all candids is the easiest method for any qualified photographer. It’s knowing what pictures are needed that makes the difference.

But then again, what do I know?

Why hire a professional?

Why hire a Professional Photographer?

The past few years, because of the advent of digital and the downturn of the economy, professional photographers seem to be having a less important role in the planning for a wedding.

What has happened is that because almost anyone can take “good” pictures these days with the current crop of digital cameras and then they can easily improve (or “fix”) the pictures in Photoshop (or other less complicated programs) people think that it’s easy to take pictures and don’t think that it’s as important as it used to be to hire a professional. Eventually this concept will turn around, because nothing can replace the experience and artistry (and equipment) of a professional. Some of you might want to realize that now, before a mistake is made with your wedding pictures.

As an example, I’ve worked with and trained many photographers over the past 20 years. They’ve run the gamut from bad to average to extraordinary, and these are professionals (or aspiring professionals) who spend MUCH more time at their craft then most amateurs do. Whenever a photographer (who hadn’t photographed weddings before) came to me looking for work, they would have to go out with me perhaps dozens of times before I would let them be a main photographer on a wedding. And generally their first time out would be at something simple, such as a couple of hours with the ceremony at the same location as the reception and maybe a few dozen guests. I would then carefully critique their work and see if there was improvement the second (and third) times out. So the idea is that if we can see such a variance in the work of photographers who have spent many hours honing their craft, then why would anyone think that it doesn’t take much to be a wedding photographer? Don’t be fooled! There IS a difference, and what most people don’t seem to realize is that you DO get what you pay for! A bargain is a bargain for a reason, so be prepared for the consequences.

Just one technical note having to do with equipment: One thing that a professional knows how to do (or SHOULD know how to do) is avoid digital “noise.” This is NOT the same as film grain, which is SOMETIMES desirable. Digital noise is never desirable and cannot be “fixed” in Photoshop. Shooting at 400 ISO (fine with film and common with digital) is too risky and should be avoided. One way to avoid this is with a powerful flash (IMPOSSIBLE with a “pop-up!”) My flash costs $1200 and is so powerful that I can almost always shoot @ 100 ISO. It has the highest guide # of any portable flash. Sorry to get technical, but these are issues that any professional would be aware of.

Here are some analogies: If you are arrested for some reason, would you hire a paralegal or a lawyer? Would you entrust your future to someone who has passed the bar? Or not? If you were sick and didn’t know what was wrong, you MIGHT get the right answer from a paramedic, or maybe not. If you had cancer, the local hospital might be fine, or you might prefer Sloan-Kettering. Willing to take the risk?

Or how about these: If you’re a musician, are you going to be careful about the music you choose for your wedding? Is a Harmony guitar as good as a Fender Strat or (my favorite) a Rickenbacker? Is there a difference between a $500 violin and a $5000 violin? If you’re a car enthusiast, would you understand the difference between a Kia and ….. maybe anything else? If you’re an audiphile are you going to be satisfied with any speaker system? Is there a difference between a Dell and (yes, my favorite again) APPLE!? I’m sure you get the point.

There’s a story about Isaac Stern (who was running Carnegie Hall) that he was checking out different violins and someone replaced one of the million dollar violins with a mere $100,000 model. He noticed IMMEDIATELY and freaked out! Now, admittedly that’s a bit extreme. But you get the point.

Many people take pictures with the pop-up flash on the camera. Well, there IS a difference with the $1200 flash that I use. There IS a difference with professional equipment! The best digital camera is $8,000. Not too many of us use such an expensive camera. But the most popular price range for professional cameras is around $2500. There MUST be a difference with a point and shoot that costs a few hundred dollars! And yes, it IS noticeable!

Here’s a question for anyone who thinks they know how to be a professional photographer: Let’s say your subject is standing under a tree and there’s a combination of sun and shade on their face (not so unusual) What would you do to get even lighting on the face? (and Photoshop is NOT the answer! That would take MUCH too much work and would take a real Photoshop expert to make it look natural.) There is a simple answer, and it is NOT to set the camera on automatic!

Working with masks in Photoshop

A reader asks:

In a Photoshop class I am taking I'm told to do the following: "What we want to do is leave the "hard" edge in the middle, but soften out the other areas. To do this, we will work with a soft brush at a flow of around 30-50%. Adjusting the flow is important; it will determine how smooth the transition will be. Switch back and forth between white and black (X key) to blend, but leave the hard edges of the dune, as adjusting them will give you a double shadow (not desirable). We'll be painting in the area circled in black to smooth the edges. After completing our masking, we will revert to the standard mode and add the resulting selection as a Curves adjustment layer."

I think I got the Quick Mask but then what?

Good Question:
When using the paint brush tool to "draw a mask" you use the paint brush tool to apply the mask to certain areas of your image that you want to either hide or reveal. Another use of the mask allows (or prevents) an effect, filter or adjustment to have an effect on portions of the image and not others.

This tool has four major settings. Flow is one of them. When you are working with masks, white and black become more symbolic. 100% white = 100% transparent mask, whereas 100% Black = 100% Opaque mask. Shades of gray = the continuum between transparent and opaque "coverings over the portion of the image."

Opacity:
You'll notice that the brush tool has two settings "Opacity" and "Flow". In a mask mode, the opacity will either load Bk, Wh, or gray into the brush. You can also load these shades into the brush using the color palettes on the bottom of the tool bar on the left side of the screen. If you want to swap the foreground color with the background all yo have to do is click "x" on the keyboard and they'll switch places. This is particularly helpful if you want to use Bk AND a shade of gray, for example. You can set these to shades into your foreground/background palette and toggle between them.

Flow:
The other setting for the Brush tool is "Flow". In it's most practical way of looking at it, this controls how feathered the edge will be when you paint with a 100% soft brush.

-E!

In the beginning . . .

I can't say that I remember the first few times I was given the opportunity to shoot second camera with Mark. I'm pretty sure this is because it must have been a hurricane of an experience!

Now that we are in the digital age, it's an amazing thing to have preview screen that lets me verify that by bounce flash illuminated the scene in the way that I wanted. I wish I had that feature then! Despite this great feature, I am uncertain that the instant feedback would have helped much then. Wedding photography is truly a job for the "multi-tasker!"

At the beginning of the day, it is more typical to arrive at the brides house never having seen it before. It's buzzing with activity. There's wedding "stuff" like flowers, cards and decorations around. There are always a lot of friends and relatives in the house. Funny thing is that they usually form themselves into two kinds of groups. Those acting with a purpose, and those waiting around to spring into action or be told what to do. Naturally, the busy ones are the ones helping the bride get ready. Sometimes the ones waiting around are the Brides dad, cousins and other relatives.

Three minutes have now gone by, and hopefully I have captured 5-10 GREAT candid images already. So that means not only have I identified these two typical groups, but I have decided how I am going to illuminate the scenes before me (flash or natural light or both), located the bride and let her know that her photog has arrived (if I am the first to arrive) and finally spotted some suitable outdoor locations for shooting some groups, if the weather is good.

"Second camera" means that I'm not working by myself. So Mark and I have a strategy that doesn't put pressure or demands on the bride to get her picture taken "now that we've arrived." Frankly, we almost don't want anyone to be aware of us! The thing is for some brides, her wedding day begins as soon as two things happen: She reveals herself in her dress AND when the photographers start photographing them. (move over Groom! It's her day :)

Training new photographers

In the past 20 years running my own wedding studio, I have had many photographers come to me looking for work, and I've enjoyed the process of training them, or guiding them, or simply watching their work. What I've found is that virtually anyone who enjoys photography can learn to take good pictures. But that doesn't mean that they can photograph a wedding! As a second photographer, most of the photographers I've worked with can produce excellent pictures. But there are very few who have graduated to being the main photographer. THAT takes time and experience. When a couple comes to me looking to hire my studio to photograph their wedding, I need to make sure that the team that I send out is going to produce what they expect. And that doesn't mean just taking good pictures! Photographing a wedding means taking on a LOT of responsibility and making sure that certain pictures are done right AND done at all! It doesn't mean just snapping away! That is the worst mistake that a photographer can make when shooting a wedding. There needs to be SOME conscious understanding of what to do when, even in the MOST photojournalistic of weddings.