Equipment failure during ceremony??? I need some advice

<p>Hello I am new to this site, I shot a wedding this past weekend and knew that the sun was setting though lighting was good when I was waitiing for the wedding party to arrive to begin.<br>

Sun light fell VERY quickly and they began to wak, I was shooting with a tamron 70-200mm f 2.8 lens with speedlight and I could not get the lens to focus clearly on any subject! I had a back up 18-135 nikon f 4.5 but had no external flash with this camera, and it was not quick enough for the very low lighting situation I found myself in.</p>

<p>I am just sick, what do I tell the couple??? I shot all the photos in raw so I can salvalge about 5 but this is just horrible... On the good side I got great reception photos the rest of the night but the wedding ceremony was way out in the middle of a golf course with zero lighting only the natural sun settiing behind the moutain.</p>

<p> I did have external 1000w lighting available with me though they said it would not be dark, and lighting was originally fine. At the time the started which seem to take forever, the minister talked for about 10 minutes and by this time light was gone..... I could of USED my light if I would of known.<br>

Is this my fault should I have had my light ready??? but would it not of been very distracting to turnout 1000w or even 500 w lighting in the midde of the ceremony?</p>

<p>I just need some help on how to have this never happen again, and how to deal with the couple about this situation? Oh I thank anyone for a response with this!<br>

Has this every happened to anyone else????</p>

 

<p>Coulda', woulda', shoulda'............you need a backup for your backup. You need to have three speedlites available. Ceremony delays happen often and you need to have contingency plans in place. No, I've never been caught without backup equipment at a paid wedding.</p>

<p>For now: see what you can salvage and tell the couple the truth. Offer a refund, throw in a wedding album - whatever it takes since you clearly botched it. Sorry to sound so harsh but this is why you don't skimp on equipment or back-up.<br>

It's a wedding and nothing is ever on time so you should have taken the falling light into consideration. It's not the minister's fault. Don't rely on anybody telling you "It will be fine". You're responsible for checking the lighting situation and planning ahead i.e. look at the sunset time for the day of shooting at the location. The 18-135 f4.5 is too slow for those conditions and the 2nd camera should have had a flash. In short: plan for the worst case scenario and bring appropriate gear.</p>

<p> </p>

One more criticism: Please, for the love of English, the word is "have," not "of". As in "could have used", "would have known", and "would it not have been". I'm really not a grammatical nit-picker, but this is so distracting, it's as bad as misspelling every other word. This is basic English. Regarding the lighting situation: Yeah, you probably should have been prepared for the changing lighting conditions. If the sun's going down, and you're outside, it's a good bet that it's going to be dark soon. Also, in a pinch, don't be afraid to throw your camera into ISO overdrive. Use ISO 1600 without hesitation, and go to 3200 and 6400 if your camera can do it. It's better to get a clear shot with some grain, rather than a blurry shot, underexposed, with deep grainless blacks.

<p>See my response in your next thread. In addition, with the new details...</p>

<p>1. You must have contingency plans in place for gear failure and changing conditions (covered in your next thread).</p>

<p>2. If you've shot weddings before, you know they never start on time and the likelihood of things changing is high. Sunset ceremonies almost never start in time for the desired effect to take place (sun setting while exchanging vows). Ministers talking longer than they are supposed to is a common thing. Sunsets 'falling quickly' is a common thing. Even in the face of these common things, see #1. I never shoot a processional where I don't also have another camera on my shoulder, and my shoulder bag (with my lenses) on my shoulder. I've had a lens shutter fail just as the bride walked down the aisle. If I'm not using flash, I still have them on the camera.</p>

<p>3. What is wrong with your images? Are they grossly underexposed, or blurry, or both? I never had problems re-creating highlights if I had to, including asking people to walk down the aisle again. At least, you will have something decent.</p>

<p>4. Tell the couple the truth. And make concessions. Offer them reasonable compensation.</p>

<p>5. I would have had the lights ready. I probably would not have turned them on in the middle of the ceremony. But I don't think I would have been in the position to need to turn them on in the middle of the ceremony. I also would have used flash, unless it was prohibited. Flash is, in a way, less distracting in a totally dark situation.</p>

<p>Experience comes with a price. You can pay it the easy way by learning your equipment, knowing what you need, being prepared and so on. Or you can pay it another way, by not doing these things. Either way, you must pay the price. Not my rules! You will get plenty of advice on what you should have done and what you should do.... my concern is this statement:</p>

<blockquote>

<p>I just need some help on how to have this never happen again</p>

 

</blockquote>

<p>Seriously? You don't <em>know</em> what you should have done? </p>

 

<p>Michelle -- </p>

<p>I'm going to be blunt, but that's the way I am. Take this as a lesson...possibly an expensive one...and learn from it. You've taken the first step by asking for help, so here's my advise:</p>

<p><em><strong>Be honest, take full responsibility, and own what you have done.</strong></em><br>

You need to do this in a controlled environment, preferably during your post-wedding consultation (if you don't normally do one, I'd make the exception for this one). <br>

Show the couple what you have and offer them something if they are not satisfied with your results. <br>

If they are outraged, offer whatever you can, up to a full refund and copies of the "keepers." Whatever you decide to do, keep the couple happy. In today's day and age, word of mouth spreads fast and you don't want your reputation smeared.<br>

This is a situation that you can remedy. You may lose money to do it, but it needs to be done.</p>

<p>Now that you have my advise on how to handle the couple, here's what you need to take from this.<br>

<em><strong>This is a situation that could have been avoided with proper planning.</strong></em></p>

<p>Equipment failure is not an excuse. Three things separate the professional from the "Uncle Bobs" and "Craigslist Shooters". Equipment is not one of these things. Preparation, execution, and delivery are what separate pros from everyone else that has a camera</p>

<p>Preparation:<br>

Part of your preparation is being ready for anything...this includes equipment failure. You need to have a backup plan...and you have to have a backup for your backup. This means, <strong><em>at a minimum</em></strong>, you should have 2 bodies, 2 lenses, 2 flashes, 2 batteries per body, and 2 sets of batteries for each flash. Plan for EVERYTHING and you will never be unprepared. </p>

<p>Any time I am shooting on-location I take a trip out a few days before at the time of day the shoot is supposed to happen, <em>even if I have done a shoot at the location before</em>. I get a feel for the lighting and shoot several test shots so I know what settings I should be using on the day of the shoot. This goes for weddings, portraits, engagements, and anything else I'm getting paid to do.</p>

<p>You should have a "wedding kit" checklist...everything you know you will need for a wedding, things you think you'll need, and things you probably won't need, but would be handy if the need arises. Go over your checklist the day before the wedding and make sure you have everything. Assemble your wedding kit and make sure you know where you put everything in your bag(s).</p>

<p>Execution:<br>

Present yourself as a professional. Shoot the wedding to get the results your client expects. Remember...you're getting paid for every shot, not just the ones you present at the end of the day.</p>

<p>I can't tell you how to shoot professionally...everyone shoots differently. Everyone has their own style, and everyone interacts with their clients in their own way.</p>

<p>Delivery:<br>

Again, this step is very personal and should reflect you and your style. You can "churn and burn" if that's what your clients expect. You can have a post-shoot consultation to sell albums, prints, and digital files if that's your business model. I can't tell you how to do this, I can only tell you to make it memorable and only present what you would pay for.</p>

<p>I may have gotten a little off track as to what constitutes a professional and what to do to prevent this from happening again. Remember, you're the pro...you control what you deliver..you're responsible for setting client expectations and delivering on them. </p>

<p>I hope this helps and I hope I wasn't too blunt <br>

RS</p>

<p>So why did you not switch to manual focus? The problem appears to be with the cameras autofocusing mechanism in low light and not the lens. In my opinion the equipment did not fail but you failed to understand your equipment. I put the focus on manual, focused on a specific spot and when they arrive at the spot the image is taken. When the bride makes her march I follow using manual focus. Autofocus is not always the best solution.</p>

<p>And on a side note I have yet to photograph a wedding where the processional shots were considered that critical. Yeh, they were nice to have. But the situation for the processional is not very controllable. You only get when you can get. Aunt Minnie stepping in the isle and all other manner of distractions.</p>

<p>Unless the ceremony was delayed by two hours or so, I think you were cutting it a little too close by not being ready for lower lighting. Besides the lower lighting, I think the problem is more fundamental: You weren't ready for a lot of things.</p>

<p>Next time you find yourself in a similar situation:</p>

<p>1. Focus the lens manually.</p>

<p>2. Have a tripod available. You can get many shots where the subjects aren't moving much.</p>

<p>3. Always have your bag beside you (though in this case I doubt a 50 f/1.8 would have helped at "night time").</p>

<p>4. Are you using cameras from two different manufacturers? Why couldn't you have used the speedlight on your backup camera? You would still have had to focus manually.</p>

<p>Oh, and are your 1000ws strobes battery-powered? If not, how would you use them in the middle of a golf course? But even if you had used your strobes, you still have had to focus manually.</p>

<p>What else can one say here that hasn't been said already. Except that, as was discussed here before (but which is no help to you now), the Tamron 70-200 is a piece of junk. I'd say it can be used in controlled situations where you control the subject and the light but that's about it. I would not trust it in any other circumstances. Even in broad daylight it can hunt, and hunt, and hunt for focus. That noisy focusing mechanism trying to lock on for what seems like hours is the worst sound in the world when you need to get the shot. So if you decide to stick with shooting weddings job one should be investing in quality glass.</p>

<p>Mitch--it could be that Michelle was using it in AI Servo in dim light, which would tax even a top of the line 70-200mm f2.8 Canon or Nikon.</p>

<p>Be that as it may I would caution anyone thinking about getting this lens to at least rent it first. My copy had trouble locking focus in bright daylight let alone low light. Never had the same problem when I switched to the Canon 70-200 2.8. </p>

<p>Sure, Mitch, not saying the Tamron isn't bad with focusing. Just that the 'answer' isn't getting a better 70-200mm lens. The answer is knowing your gear, what you can and can't do with your gear and being prepared.</p>

<p><em>Sun light fell VERY quickly and they began to wak, I was shooting with a tamron 70-200mm f 2.8 lens with speedlight and<strong> I could not get the lens to focus </strong>clearly on any subject! ""</em><br />OK, the failure was camera would not focus ? Did you try to manually focus the camera ? If you were shooting w/o a flash, you could have bracketed the manual focus. I carry a flashlight if the wedding is going to run into night time to shine so I can manually focus.<br />1000 watt lights, you really did not want to flip on 1000 watt lights on a outdoor wedding that was supposed to be in a sunset environment.<br /><strong>What to tell couple: </strong><br />The truth, tell them they did not turn out like they should, offer free 11x14 framed, or parents album for mom, if you do not offer proof book, offer to take 1/4 or 1/3 off printing all the images. No need to give them a free wedding over bad ceremony photos.<br /><strong>Before next wedding:</strong><br />practice manually focusing camera in various dark situations, happens all the time at weddings.<br />practice shooting camera on all manual settings. You will never know when anything auto will give false readings. Know how to use your flash on manual also.<br />Know how to use your ISO settings.<br />Make sure of back-up equipment. You really did not have much of a failure, but it happened at a bad time. I had a $3400.00 camera quit in the middle of the wedding photos.. The next day I whipped out credit card spent another $2400.00+ for another one because I had 2 weddings the next weekend. <br />We live in a "auto" world, but weddings will test you. So be ready for anything.</p>

<p>I agree, Nadine. But if this is a focal range Michelle relies on then getting a better 70-200 <strong>is</strong> definitely part of the answer. In my humble opinion of course.</p>

<p>To Greory C</p>

<p>Thank you fro the kind response. I will make this right with them, I did not lose all the ceremony photos alot of them yes but I have some. I will do whatever it takes. No the camera/lense would not focus manually ..... The store is overnighting me a new lense to comsensate for the lemon. But I thank you for the actually advice and not just insults like so many others. THANK YOU!<br>

I will think twice aboout posting to this website in the future =(</p>

<p>Some people just seem mean it's done. If this goes to court usually you will be responsible financially for getting everyone their tuxes rented again and reasonable travel & site expenses for a reshoot depending on just how few or any you were able to get. Avoid going to court, you will have nothing you can say or argue and the judge may incur pain & suffering.</p>

<p>Show them what you were able to recover, say there was an equipment malfunction you were unaware of during the actual wedding (do not tell them you were aware at the time), and offer the rental of tuxes for a reshoot and if they will be okay with taking them somewhere else (like a park) and all pictures and your services are free. Tell them to think about it, and think how this makes you feel you're human, you're trying your best to make it right. Then, see where it goes from there. Good luck.<br>

*EDIT* I like the person who said "They did not come out like I had expected" instead of saying equipment malfunction like I had posted. You may be able to get away with all free services and the like, but if this does go to court you will likely be responsible for a reshoot and tux rental again (and hopefully not have to rent the golf course nor pain & suffering). </p>

I apologize if it seems like I am insulting. To criticize a person's approach is not necessarily an insult; sometimes it merely is an observation that something is lacking. If you happen to be at fault, I'm sure most of us can see why that could be taken as offensive, or at least hard to swallow. Sorry, but if you're going to come into a forum and present a problem, you have to be at least a little prepared to take peoples' honest assessment of the situation as they understand it. Alot of the people here politely asked "Could you not have focused manually?" The truth is, we all really know that you can ALWAYS focus manually. That's why it's called manual focus. It relies on the power of your hands to accomplish. Your hand turns the ring, and the lens focuses. We were just being polite to phrase it as a question, as if there were some option, and you didn't have to take it personally. Unless there is a cam broken inside, this always works. There are really only two things that can finally spell the doom of a lens: 1) broken focusing cam mechanism, 2) stuck or broken diaphragm or linkage. But hunting autofocus due to low light levels is simply the fault of the photographer. Now, if the lens truly has broken parts on the inside which prevent the focusing ring from interfacing physically with the lens elements, then obviously this is just a case of a photographer without a proper backup lens and/or lights.

<blockquote>

 

 

<p><br />I will think twice aboout posting to this website in the future =(</p>

 

 

</blockquote>

<p>Think twice about posting to this website... and not think twice about properly preparing for a wedding?</p>

<p>One option for next time which I haven't seen mentioned yet is the wonderful world of the 50mm 1.4. <br>

In no way will this compensate for what has happened, but for the $300-400 this lens will work beautifully in most lighting and it doesn't cost a bundle. <br>

Backup equipment obviously has been beaten into you by now I'm sure, but I understand it's not always an option to buy 2 when you are just starting out. You can rent backups, they are not that expensive and you can build them into your pricing.<br>

But yes, I would immediately go out and purchase a fast prime lens just to keep in your pocket incase this ever happens. Seriously, I keep a 50 1.4 in my pocket during every wedding.<br>

You don't need the 50, get whatever your most common focal length is. If you shoot long get a 135. If you shoot short get a 35. But they are priceless when you need them.</p>

<p>Michelle - if some people appear harsh or mean, this does not necessarily make them so. In fact, this may be just the gut reaction to the unthinkable that happened - and should not have happened.<br>

My first reaction when reading your post was "Oh, no, don't tell me that - how was this possible ?!"<br>

And the reality is - you were not prepared. What do you expect people to say ? I am not a wedding photographer - but I can't imagine putting myself in a situation like this. You went to a shot w/o backup lens and w/o speedlight - what did you expect ?<br>

You said "I just need some help on how to have this never happen again, and how to deal with the couple about this situation?"<br>

It seems to me that you are just looking for compassion and sympathy (quite understandable, but maybe a slap on the backside would also be in order).<br>

How to deal with the couple - whatever it takes to make them less unhappy and somewhat forgiving, and enough on that has been said above.<br>

How to have this never happen again ? Simple, and had been explained about a million times by people way more experienced than me, here on this site and elsewhere: have a backup camera: have a backup lens (fast prime would not ruin your budget): have a speedlight (with backup), have spare batteries. And - CARRY THIS STUFF WITH YOU when shooting. Big camera bags have been invented some time ago - specifically for the purpose of CARRYING STUFF AROUND.<br>

And - mastering the dark art of turning the manual focus ring may come handy.<br>

Good luck - and hope that you learnt from the experience.</p>

<p>Folks, to be fair, it seems that Michelle had back up gear, and had a flash on her main camera--the one with the 70-200mm. The problem, as I see it, isn't having back up gear or a flash, it was having the gear immediately available, as part of a contingency plan for unforeseen situations, such as lens failure, and for changing circumstances and lighting. Now we know (from her other thread) that the 70-200mm failed to focus--in both autofocus and manual modes.</p>

<p>In other words, Michelle was ready, with her main camera, flash on a bracket, and 70-200mm. She had a back up camera and kit (slower) lens but no flash on that camera. Her bag with the 50mm f1.8 (from the other thread) was somewhere not quickly accessible. Circumstances did not go as planned, resulting in having to shoot the ceremony in what is essentially darkness with a failed lens and no suitable options.</p>

<p>Her questions in this thread are:</p>

<p>1.) What to tell the couple?</p>

<p>2.) Should she have had the lights ready to go?</p>

<p>3.) How to prevent this from happening again?</p>

<p>4.) Has this happened to anyone else?</p>

<p>Here are my answers, given the new information.</p>

<p>1.) I always tell the couple the truth. I would not deviate from that in your situation. I would tell them your lens failed at a crucial time. These are the images I could salvage. Depending upon how bad the images are, what they are of, and how important they are to the client, I would offer what I felt was reasonable compensation. Album upgrade, extra prints, even a re-shoot of just the missing parts. I would have options ready to discuss at a face to face meeting with the client.</p>

<p>I would be calm, speak calmly, make the offer, and negotiate, but not offer them the world with a cherry on top. I don't know what specific images are 'missing' or how bad the ones you got are, but since we are talking a small percentage of the total number of images, the compensation should be commensurate with the proportion, given that some images have more weight than others--such as the processional image of the bride with her dad. I would document everything that is said. Hopefully a resolution can be reached.</p>

<p>2.) I would have had the lights ready to go. Actually, I would have had off camera flashes ready to go. As I said above, in my experience, sunset weddings never go as planned. And also, 'just in case'. I would not turn them on in the middle of the ceremony though. I would have taken the failed lens off the main camera, put the kit lens on, turned the flash on, and shot that way. A 'flashy' image is better than a noisy, blurry one.</p>

<p>3.) Be prepared with contingency plans. Re-create the highlights after the ceremony, if you know you didn't get the required and expected shots.</p>

<p>4.) I've had shutter failure when the bride and dad walked down the aisle. I've had all kinds of gear go down. You have to be able to reach over to your back up whatever (on you or near you), and keep shooting.</p>

<p>To be fair, Michelle, I don't think anyone above insulted you.</p>

<p>Too late now, but a 50mm f1.8D or a 50mm 1.4D or a 50mm F1.4G lens in your camera bag would have been the one thing that may have been a good item for you to use in the low-level light you had to shoot in.</p>

<p>There are many, many comments in the 'starting to shoot weddings' area on Photo Net.</p>

<p> </p>

<p>Hi Michelle.....<br /> I would recommend that you request that these threads be deleted. Other than that, try to salvage what you can and do whatever it takes to make them happy. And get this thread removed!</p>

<p><strong ><em >"I will think twice aboout posting to this website in the future =("</em></strong><br>

Well, that will be your loss IMO.<br>

<br>

WW </p>