I remember reading an article here on Fstoppers three year ago about a couple using a GoPro in a bouquet to film their wedding. That might have been a trend back then in 2012, but now in 2015 forget about the bouquet. This couple may just have started a new thing! They hired their dog to film their wedding.
If you spent even a moderate amount of time on Facebook back in late September, you likely saw a viral video and photo about a wedding photographer who captured a genuinely heartwarming moment in which a bride's biological father stopped the wedding procession to grab the step-father from his seat so they could both walk her down the aisle. While millions of collective "awws" were emitted then, fast forward six weeks and now the situation has resulted in lawsuits and death threats involving the photographer.
Over the years, camera companies have been going head to head in the battle for the best camera sensor. This battle has always focused around the amount of megapixels a camera has to offer, and as of lately, how high the ISO can go. Because of this most consumers, including a significant amount of photography veterans, think that megapixel count is the end-all be-all of sensor technology, with ISO following up as a close second. At this point in the game though, I wish the sensor battle would switch gears and focus more on the dynamic range.
I love taking ring shots. I usually take them during a slow time on the wedding day when there isn’t a lot going on. I have full control of where I put the ring, how I light it, how I pose it, and how I frame it. This leaves a ton of options to really get creative. So it confuses me when people just place the ring on a bouquet of flowers and call it done. These shots are not bad, but they are average. I already did an article on how to get away from the average ring shot, but I didn’t explain how to take one of my favorite ring shots. The ring silhouette.
Rangefinder Magazine has announced the photographers selected for their 4th annual "30 Rising Stars of Wedding Photography." The 30 photographers, who have been shooting for five years or less, were selected from more than 200 portfolios worldwide, including submissions from Croatia, France, England, New Zealand, Scotland, Tahiti, and all over the U.S. The images will be on display at the WPPI Conference in March.
We can argue back and forth for days about if guests should have the right to take photos as they please at weddings, but when it comes down to it, if the happy couple can't experience their special day without a guest interfering, haven't we gone too far? Photographer Thomas Stewart thinks so.
Having the right gear for the job is essential in being able to handle the barrage of lighting scenarios that a wedding photographer will encounter on each outing. I, like many others, am constantly thinking about the next piece of gear. What lens, what camera, or what lighting system will allow me to take higher quality images and provide a better experience to my client? This led me to think, what do I really need to shoot a wedding? I mean in reality, to walk out my door and provide my bride with the images she expects, what are the bare essentials I really need?
On September 12th, Matt and Heather Koehler were set to get married in Michigan. Just before they were about to walk down the aisle, they found out that the photographer that they had hired to shoot their wedding was a no-show. With nothing else to do but move forward, they went through the rest of their wedding without a professional photographer.
You have your gear, you have your shot list, so you're ready to go out and shoot the perfect eight-hour wedding, right? Wrong! Being prepared for a wedding day is about more than just having your camera ready to go. Before leaving for your wedding shoot, you need to be prepared to perform at your best. A big part of that is developing a routine, similar to an athlete, that places you in peak performance and the best position to succeed. When I walk out the door for a wedding I have two main things on my mind other than the images that my client needs. One is that I am now a living breathing ambassador for my brand and the other is that the content for this shoot, and every shoot, is future marketing material.
It is no small thing to know how to pose your clients. In fact I don't feel like it's unreasonable to say that it is the hallmark of a competent, professional photographer. Especially when dealing with couples. Most client take comfort in being directed. It helps remove doubt and awkwardness while yielding a far more professional end product. For this reason, posing can be just as important to your final images as knowing what camera settings to use. Besides, it's always more fun for everyone when you can keep the atmosphere carefree, through confident direction and fluid action.
Capture One has been known amongst high-end retouchers and commercial photographers for quite some time, the main reasons probably being its powerful tethering and color editing tools. Wedding photographers seem to think Capture One is not tailored to suit their needs. At least, that is what I thought. After a full year using only Capture One to process my raw files, I wanted to share with you why I stopped using Lightroom.
A few months ago I wrote a two part article on branding for photographers. In this article I will continue with branding for photographers, and why you should keep your brands separated. The most common thing I see are wedding photographers combining their wedding work with their family, baby, senior, and even commercial work. While I completely understand the tendency to not only simplify your marketing, but also the concept that by showing your multiple talents you will increase your value to clients, combining genre's is one of the biggest things hurting the growth of your business.
A little over a year ago, I got to live out one of my worst nightmares. I had a day where the personification of my anxiety sprouted legs and ambled right into the middle of a wedding ceremony that I was photographing. Mr. Anxiety-Incarnate snuck into a church, and like a biblical plague, snuck right back out and took something precious with him. Never to be seen again was $12,000 worth of gear that was stored in my roller bag. That’s right, I lived out the photographer’s terrifying dream equivalent to showing up to a high school class naked.