The differences in wedding photography explained .....

The Differences in Wedding Photography Explained

There has been a recent trend in wedding photography to hire candid photographers who don’t have the experience or equipment or expertise of a professional because the perceived need to hire a professional has decreased because of the immediacy of digital.

In the past, people obviously hired a professional because with film no one knew how the picture would come out until it was developed and professionals were hired to give more insurance and confidence that better pictures would be produced.

Now, people have the perception that they are seeing the picture that is in front of them by looking at the back of the camera. That really isn’t true, but it IS the perception. Plus, pictures are now emailed and posted to web pages instead of being printed, and the quality of the picture (or lack of quality) isn’t perceived or cared about.

And so, the value of pictures and photography has plummeted. The experience and equipment and expertise of professional photographers is no longer valued and the worthiness of what we are capable of is no longer cared about. And so anyone taking candid pictures at a wedding is thought of as being “good enough.”

Well, it sure is easy to take hundreds of great candids at a wedding!

But there IS something missing. And I think it is an important ingredient that needs to be understood.

As a professional photographer for the last 20 years, I’ve photographed hundreds of weddings and designed hundreds of wedding albums. Because my livelihood depends on BOTH photographing AND selling my pictures, I approach each assignment with a different mentality then someone who is just there to be a candid photographer for the day.

Yes, I’m looking to SELL my customers my pictures which is why I’m a bit more conscious of the pictures I take and DO take more pictures that I believe have more value then just the easy hundreds of candids.

Why would anyone want to spend more money and hire a photographer who’s intent is to sell them more pictures?????

The answer is to provide the customer with valuable pictures that are worthwhile that they are willing to pay for because they wouldn’t have them from the candid photographers who aren’t thinking that way.

Here’s the reasons that what I’m suggesting is important: I’ve trained many photographers over the years, and the most difficult photographers that I’ve had to train were the so-called “photojournalists.” The reason is because they think that they should ONLY be doing candids and should NOT be “interrupting” or doing any “hands on” involvement with the action of the day. Now, please understand that I have been considered a very candid photographer going back 20 years. I’m NOT suggesting “interrupting” or “getting in the way” or being heavy with posing. I AM suggesting having an awareness and a consciousness of what we are doing and what is needed and projecting into the future of what will be needed to make sure every valuable moment gets photographed.

Here’s an example: Years ago, I was training a photojournalist and they got a beautiful picture of the Bride’s Mom looking at her while she was dancing with her Father. They didn’t use the picture in the album because there wasn’t a corresponding picture of the Groom’s Father watching him dance with his Mom. Now, that might have been a bit of an anal reaction, but a professional THINKS and PROJECTS that he should get the complementary picture just in case.

Here’s another: It’s very easy to get great pictures of heads over shoulders and looking at each other during the First Dance or parent dances, but it’s also important to get at least ONE picture looking at the camera. Again, I don’t want to interrupt, but I WILL try to get their attention so as to get that one picture that invariably SOMEONE wants and has been commented on when it’s missing.

And there’s the huge difference. I’ve listened to my customers when they complain or comment that a picture that they expected or wanted is missing and I’ve made sure to add such pictures to my list of “must have” pictures BECAUSE of the feedback from my customers. And there’s the rub: If a photographer is NOT GETTING such feedback, how can they know what pictures to make sure to get, beyond the obvious and easy candids?

And more: 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 wouldn’t 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 (on the same side) 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 while my second photographer found different viewpoints to complement mine. 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!

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.

New wedding planning and research service available

We have a wedding research assistant to help with New York City wedding planning! There is NO CHARGE for this service when you book Angelica Studios for your photography. We are offering consultations and appointments in NYC if desired, and will do research on anything from dresses to flowers, music to venues, bakeries and bridal salons.

Mia Brett has lived in NYC for six years (and on Long Island before that.) She is a graduate of Barnard College/Columbia University, and has been working in the wedding industry for many years.

Advice for a new photographer to increase his skills

1) If you use the 70-300 @ 300 most of the time, then perhaps you need a 200 - 400 lens or ..... get closer. Your tools should be utilized for what they were meant for. In other words, you might prefer a fixed 300mm lens which would be an improvement over using a 70-300 @ 300 and not utilizing the rest of the range. There are always compromises, so what you are giving up to have a zoom might give you more to have a fixed.
2) If you are adjusting the overall brightness then you are not using the advantages of having digital which means that adjusting overall is fine as long as adjusting a section isn't needed. If you are not adjusting a section and ONLY adjusting overall, then you are staying in amateur mode and won't be able to progress. Photoshop is intense and takes years to learn. Start with Photoshop Elements for under $100 and start learning it. VERY necessary. Otherwise, go to film and learn about neutral density filters and developing in your own darkroom. One way or another, in order to progress beyond amateur means ....... progressing and doing more then amateur point + shoot.
3) Metering and focal point is beyond critical, it's necessary. Central spot is correct, but move that spot to where you want the exposure AND the focus and then hold that exposure or focal point.
4) You MUST be on Manual except for basic point + shoot pictures. Using any automatic mode does NOT give you the advantage that you as a photographer must demand.
5) I DID know what you were going for with the lizard (but missed and am still missing the political implications but it is imperative that we NOT discuss ANYTHING political! PLEASE!) but it needs not to be so subtle. Subtle is fine for certain pictures, but not this one. Fill the frame with your picture.
6) Depth of field needs to be more in your control. If you need the shallowest DOF to make the best picture and you need 5.6 or 3.5 then THAT is what you need. If you want the shallowest DOF then YOU must create the shallowest DOF and not rely on the camera's automatic features.

For people who care about the quality of their photography ........

The Differences in Wedding Photography Explained

There has been a recent trend in wedding photography to hire candid photographers who don’t have the experience or equipment or expertise of a professional because the perceived need to hire a professional has decreased because of the immediacy of digital.

In the past, people obviously hired a professional because with film no one knew how the picture would come out until it was developed and professionals were hired to give more insurance and confidence that better pictures would be produced.

Now, people have the perception that they are seeing the picture that is in front of them by looking at the back of the camera. That really isn’t true, but it IS the perception. Plus, pictures are now emailed and posted to web pages instead of being printed, and the quality of the picture (or lack of quality) isn’t perceived or cared about.

And so, the value of pictures and photography has plummeted. The experience and equipment and expertise of professional photographers is no longer valued and the worthiness of what we are capable of is no longer cared about. And so anyone taking candid pictures at a wedding is thought of as being “good enough.”

Well, it sure is easy to take hundreds of great candids at a wedding!

But there IS something missing. And I think it is an important ingredient that needs to be understood.

As a professional photographer for the last 20 years, I’ve photographed hundreds of weddings and designed hundreds of wedding albums. Because my livelihood depends on BOTH photographing AND selling my pictures, I approach each assignment with a different mentality then someone who is just there to be a candid photographer for the day.

Yes, I’m looking to SELL my customers my pictures which is why I’m a bit more conscious of the pictures I take and DO take more pictures that I believe have more value then just the easy hundreds of candids.

Why would anyone want to spend more money and hire a photographer who’s intent is to sell them more pictures?????

The answer is to provide the customer with valuable pictures that are worthwhile that they are willing to pay for because they wouldn’t have them from the candid photographers who aren’t thinking that way.

Here’s the reasons that what I’m suggesting is important: I’ve trained many photographers over the years, and the most difficult photographers that I’ve had to train were the so-called “photojournalists.” The reason is because they think that they should ONLY be doing candids and should NOT be “interrupting” or doing any “hands on” involvement with the action of the day. Now, please understand that I have been considered a very candid photographer going back 20 years. I’m NOT suggesting “interrupting” or “getting in the way” or being heavy with posing. I AM suggesting having an awareness and a consciousness of what we are doing and what is needed and projecting into the future of what will be needed to make sure every valuable moment gets photographed.

Here’s an example: Years ago, I was training a photojournalist and they got a beautiful picture of the Bride’s Mom looking at her while she was dancing with her Father. They didn’t use the picture in the album because there wasn’t a corresponding picture of the Groom’s Father watching him dance with his Mom. Now, that might have been a bit of an anal reaction, but a professional THINKS and PROJECTS that he should get the complementary picture just in case.

Here’s another: It’s very easy to get great pictures of heads over shoulders and looking at each other during the First Dance or parent dances, but it’s also important to get at least ONE picture looking at the camera. Again, I don’t want to interrupt, but I WILL try to get their attention so as to get that one picture that invariably SOMEONE wants and has been commented on when it’s missing.

And there’s the huge difference. I’ve listened to my customers when they complain or comment that a picture that they expected or wanted is missing and I’ve made sure to add such pictures to my list of “must have” pictures BECAUSE of the feedback from my customers. And there’s the rub: If a photographer is NOT GETTING such feedback, how can they know what pictures to make sure to get, beyond the obvious and easy candids?

And more: 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 wouldn’t 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 (on the same side) 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 while my second photographer found different viewpoints to complement mine. 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!

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.

New album design website

Check out my new wedding album design website @ www.ArtisticAlbums.com

Taking the plunge, your 1st Wedding shoot.

Someone recently asked:

Hey:
I'm going to have my first wedding shoot of two college friends of mine and I have very little knowledge of photography as well as NO experience! I'm a newbie on lighting, what to look/shoot for, tips, what to expect and be prepared for, what I need to shoot, can you help me out with your thoughts and ideas?

My Reply:

Like any photog newbie, you must concentrate on composition. Like other replies here, look at a LOT of wedding work and read about things like "the rule of thirds."

There's nothing wrong with taking the plunge, but hopefully, you and the B&G will come out of it having more respect for what we seasoned pros are accomplishing.

Put your camera (what kind will you be using??) into Auto mode, and pay attention to what is going on around you. Don't be distracted by the B&G all of the time, there's a lot of emotion surrounding them. Be sure to capture some of that too.

If you are using a DSLR, be sure to have a powerful flash with a swiveling / pivoting head. Always bounce the light off of something like the ceiling or wall, never right at the subject, if you can help it. After you try to bounce the light in that section of the room, have a look at the review screen on your camera and see how it looks, and adjust accordingly. If you like it, then you have a "bounce plan" for that part of the room.

For indoor group shots: Keep the folks AWAY from the wall. For full length groups (head to toe) you could be as far from the wall as the tallest person in the group. You can use less distance if you are composing tighter. This way the shadows fall way down and will not be seen in the photos . . .

Want more?? There's lots . . .

A wedding pro has the experience of attending lots of weddings, seeing what goes on and stepping in if needed. Believe me when I write it, sometimes we can save the day, or hour . . .

Can you bustle a dress because the only Bridesmaid who knows how to do it is mad at her boy friend and stormed out . . .?

Would you know how line up the bridal party for their entrance into the reception because the Banquet manager was arrested an hour ago?

If the Bride starts to throw up, be there for her but you may want to think twice before even raising the camera! However, when she squats down to say hello to her little niece but slips and lands on her butt lauging, how many pics do you take before you help her up? Can you suggest to her that she "do it again for the video guy, because he missed it" and be funny about it?

If there's a blackout, see if the piano in the lobby is tuned, then find out if any guests play. If so, have the staff roll the piano out on to the dance floor . . .

When the professional dancer knocks over a light stand which in turn narrowly misses a guest but knocks over the dried flower centerpiece on the table into the tea candles, setting it on fire . . . What exposure do you use to dramatically capture the flames and the expression on the Mother of the Brides face?

Take the plunge . . . enjoy yourself. I'll bet you'll get a GREAT set of photos - you know, "beginners luck" style!

Camera Kits

Camera Kits

There are a few basic principles that are needed to be considered when choosing the camera equipment that you want to use.

There are a few problems with the current “kits” that are available. One is the flash. When the flash is a part of the camera, it is inherently weak (not powerful enough past ….. perhaps 12 feet.) Another problem with the flash being a part of the camera is that when the flash is too close to the lens, then the phenomena known as “red-eye” occurs. Professional photographers know how to avoid red-eye and the first and simplest method is by moving the flash as far as possible from the lens. That means that an “add-on” or external flash is necessary. One way to attach an external flash is with the hot shoe, but most point and shoot basic cameras no longer include a hot shoe. If your camera does not have a hot shoe, then an alternative is a flash with what is called a “slave” that triggers the external flash with the flash from the internal one attached to the camera. Naturally, when adding on an external flash, the power of the flash (and hence the cost) is a factor.

Another factor in your choice of equipment is how much of a “field” you are taking a picture of. The range is from wide to telephoto. 18mm is wide, while 150mm is telephoto. Most of the current “kits” come with an 18mm-55mm lens, which is practically worthless for wedding photography (or other all around photography.) If you get this lens with your camera, you would have to purchase a telephoto zoom lens and then switch back and forth between the two lenses. A MUCH more practical solution is to get one lens to cover the field of both. For film cameras, this was a 28-200mm lens, but for digital it is more like 18-150mm.

Because of the current pricing of available lenses, we are currently recommending the 28-200mm lens.

Basic

Canon SX110IS with 220EX Speedlite Flash $550

Upgraded

Canon G10 Powershot with 430EX Speedlite Flash $825

With 220EX Speedlite Flash $725

Advanced

Canon XSI EOS Rebel SLR w/18-200mm lens + 430EX Speedlite $950

The advantage of the Canon SLR Rebel is that it takes interchangeable lenses and is a basic start towards a more professional outfit. It is more expandable. SLR stands for Single Lens Reflex and is the general standard for professional photographers.