Hero Shots

[karina_a]

Nadine encouraged me to put this question into a new thread, so here

goes (& there I was hoping to keep my lurker status - guess you

can't keep a good extrovert down : )) What seperates average wedding

shots from spectacular ones? The 'hero shots' as my wedding

photographer called them. Also interested in whether the top

photographers feel they get 'hero shots' at every wedding, or just

occassionally, and whether they can smell them just before they

happen, create them, or if they are pleasant suprises.

 

From the ones I have seen it has either been incredible lighting,

intense emotion or intimacy, real creativity, a very classic feel,

or a 'decisive moment captured'. The hunt for the hero shot feels a

bit like the photographers version of the hunt for the perfect wave.

I don't know how to surf yet, but the idea of one day capturing that

wave keeps my pulse beating.

 

Love to see some pics too. (Haven't shot any hero shots yet, but

here is one from a recent gay friends wedding - did candid / backup

shots thang - not happy with the highlights [i got to pose them

myself, but couldn't interrupt enough to take them to a spot with

more even lighting, & didn't do well at dealing with the contrast];

& wished I had taken it portrait not landscape, but liked the

emotion). Thanks! K<div></div>

[brady_dillsworth]

I've always heard of them as 'The Money Shot' but the principle is the same.

 

I think the seperation of The Best from The Rest comes from dynamic lighting, great composition and strong emotion. Certainly creativity is important as is a classic feel, but for me ligting seperates an otherwise normal photo from a great one. I consistently produce good images (no wedding disasters yet) but I always work as hard as I can to get a defining shot at every wedding. Each defining shot varies in style and meaning with the couple, sometimes it is an intimate moment or a grand view but I always work as hard as I can to get several portfolio worthy shots. If I didn't push to get the best photos possible I wouldn't do this.

 

The below photo kind of popped up on me. I had a 50mm on a 1.5x DSLR and was pressed up against the wall. The scene lasted about two seconds and I shot one flashless photo in manual mode. Incident metering the scene first and constantly paying attention let me get what is now one of my favorite wedding photographs.

 

I don't typicallly 'smell' them coming, but I'm always ready for when they come. One of the reasons that I try so hard to get a defining shot is that I don't shoot or present hundreds and hundreds of images. I instead shoot a few hundred (usually <300) and really try to make each picture count by capturing the essence of the moment.<div></div>

[adtr]

For me, the most important thing is to capture the emotion, to convey it in a way that is instantly understandable to the viewer and that is why I love that photo you put up. It is nice when the technical side comes together and you get the lucky coming together of people, light and environment but I am always looking for the emotional content. If it doesn't provoke a response, it might be wallpaper.

I only take charge for the documentary shots that mark the ceremony. The rest of the time, I am scanning and being ready for what comes next. Anticipate and be prepared and sooner or later, that shot pops into the viewfinder. I think the reason PJ is so popular with couples now is that they don't feel forced to pose and so the photos have nothing fake about them. With the tools available now, you can fake everything else but the feeling.

[al_kaplan1]

I think you've captured the moment quite well there. Why don't you try cropping it into a nice tightly framed vertical?

[katie h.]

Every once in a while I will get one shot that can summerize the emotion and character of an event better than any others. Usually it's an available light shot (they seem more real to me) with beautiful lighting and great timing. And I work for it. Once I get those must-have shots, I'm always walking around my subject looking for the best angle, the best lighting, trying to be ready for the right moment. Sometimes it works out, sometimes it doesn't so I supposed it's planning and spontaneity that makes what I feel is a great shot. This one is from my last wedding with a 85 1.8 on Portra 800. I'd love to see everyone else's pictures too!<div></div>

[andre j.]

Here's a link to a flash website of one of my hero photographers -

 

<a href="http://www.idcphotography.com" target = "blank">I Dig Cake Photography</a>

 

Dorn's use of light and color and his ability to capture moments is truly artistic!

 

Here's a screenshot for those on dialup -<div></div>

[bruce_rubenstein]

There are a number of elements that are required for a great picture. All great pictures need to have lighting, composition and focus that work together to draw the viewer's eye to the subject. When people are the subject they need to be captured at a key moment that creates an emotional resonance in the viewer. It comes down to being able to see different things at the same time and timing. It takes practice to do well. You have to be able to see secondary things at a subconcious level so you can pay primary attention to the most important things. It goes without saying that the operation of the picture capture box has to be second nature.

 

To see how a great photographer works get a copy of the movie War Photographer and see how James Nachtwey works. Another useful ting is to go to the library and find the photogrphy books that have reproduction of photographer's contact sheets. Photographers work and explore subjects and you can see this in contact sheets and by watching them work. Wedding photography is easier than some other types of documentary photography, because there is little chance of getting killed and, in general terms, you know what's going to happen next.

[karina_a]

I am really enjoying peoples reflections on this topic, and love the photos so far - look fwd to more too. Thanks Colvin & Al for your lovely comments. Al - I agree, I think I prefer the vertical close crop - I think you were talking to me & not one of the other photos?(here it is) - I wish I had more of the lower torsos & hands, but we live and learn. It is great hearing how other people search for and find great shots.

[karina_a]

Will try that attachment again.<div></div>

[karina_a]

Great site Andre & gorgeous shots - see what you mean. Wish I didn't have dialup so I could view more of it (managed to get a bit) - amazing that I can't get broadband where I live in Melbourne, but have been able to get it in the middle of the desert in India : )

[stacy]

My favorite shots are almost always a surprise. I won't call them money shots though because many times they don't get bought by the couple...when that happens the couple recieves an 8x10 anyway- on me- I make them get my favorites!

 

I've shown this before- but I love it- love the waiter dancing in the background...all luck!<div></div>

[jewan_runhaar]

Great shot Stacy. A typical case of in the right place at the right time.. Love it!!

[lb-]

"My favorite shots are almost always a surprise."

 

a surprise maybe but NOT an accident. Right place at the right time to take a photograph

doesn't just mean that you have a camera with you and your finger somewhere near the

shutter

button and I doubt that stacy's shot was a function of accidently hitting the button. It's

everything we do and learn and become BEFORE the "opportunities" come along that allow

us to see them and take advantage of them. I think.

 

"The hunt for the hero shot feels a bit like the photographers version of the hunt for the

perfect wave. I don't know how to surf yet, but the idea of one day capturing that wave

keeps my pulse beating."

 

be careful karina, if you get hooked you'll never be able to live in a landlocked place again

:)

 

Big part of the reason I work in mexico half the year is to surf. Surfing isn't a bad analogy.

There's much to learn technique wise before you'll be in a position to catch that "hero"

wave, but there's much more to it than that. you can't control anything but yourself in the

water and to be in a good place (both logistically and mentally) to catch that wave you

MUST be totally present in the moment. If you're anywhere else but right there in the now

you won't make it. I think great candid photography (decisive moment etc) shares that

dynamic (at least for me).

 

posed shots and formals is another bag altogether.

 

I don't count on "hero" shots on every job. Not even close. sometimes I'm not in the right

place in my head to rise much above fairly competent craftsmanship and sometimes the

situation is just not happening ( I'm sure we've all shot down weddings).

 

I've also totally given up on trying to predict what shots the client will like. it's such a

personal thing so I just try to focus on creating shots that I like with the hope that

eventually clients of a like mind with find me.

 

Here's a shot from a wedding this year that I liked narratively but I'm pretty sure I'm the

only one who liked it. The bride seemed very nervous and even a little hesitant before the

wedding. anyway,

standard in the mirror deal with the getting ready part ( and yes I did shoot plenty of her

looking happy and pretty and all made up) but this one the one that I liked. oh well.<div></div>

[picturesque]

I think you pretty much summed up the shots--incredible lighting, intense emotion, real creativity (I read that as something like a unique viewpoint, for instance, that makes you really stop and look at the image), a very classic feel or a decisive moment. I don't think you need to have great lighting in every instance. If you capture a decisive moment but the lighting is not great, it is still a great shot.

 

I don't think Karina's definition of the Hero Shot is the same as the Money Shot. To me, the Money Shots are the kinds of shots that people will buy. In most cases, these are very different. I hate to be a fly in the ointment of creative vision, but as I said in the Amateur Photographer post, most people aren't looking for the Hero Shots, and some of them don't recognize them when they see them. Yes, there are very discerning clients who do, but for the most part, people vote with their money, and if you sell your images by the print, you probably know what I mean. People buy good, clear shots of their families and the couple...shots where they look good and look happy. An oversimplification, perhaps, but those are the Money Shots.

[brady_dillsworth]

By the money shot I should explain what I mean. I give all the proofs plus a CD of high res files as part of the package. The B&G can print whichever photos that they want. Typically the only photos that I ever get asked to make for them are big prints (11X14 or 16X20) and those are usually the strongest shots (the hero shots). The ones that really exemplify the whole wedding in one picture that they can show off that on one else will have.

 

I suppose if I sold on a print by print basis I would call the money shots the ones I could expect to sell each time but in my style the money shot is the one wall hanger that people will stop and say WOW over.

[jonathon]

Emotion

[picturesque]

Brady, are those shots that get picked really the hero shots? Most of my requests for large prints are family shots or the formal, classically lit shot of the couple at the altar or of the couple outside with a nice environment. None of them are what I'd call hero shots. Rarely do I get to make a big print of a hero type shot.

[fotografz]

"What seperates average wedding shots from spectacular ones?"

 

Hard work. Alertness. Hunting skills. Believe that it is why you are there. Belief that it is

there for the taking. Belief that the client will recognize it when they see it.

 

Hero shots, don't leave the wedding without at least one ... even if you have to make one

happen.<div></div>

[karina_a]

Great shot Stacey! it looks like an outdoor dance floor (because of clouds?) A great moment. I agree with everyone who is saying that the work you do before the moment (learning etc) that makes sure you are ready for the moment when it comes, is key. I think I am ok at seeing moments (well I have been told that anyway )- perhaps because of my creative work in other fields, or love of people and emotion, or obsessive study of the works of great photographers, and real excitement at interesting light (my husband & I confuse all our friends when we go into raptures at the arrival of great light). But I need to get to that point where I am technically able to make the most of the moment (which is quite some time away & I am trying for patience). Some of the lighting, tone and atmosphere in many great hero shots I have seen (on this site included) eludes me - but I am working on it. And look forward to when the technical stuff is so second nature that you don't have a knot in your stomach hoping you've done the moment justice (not that it matters to anyone but me because I am only ever doing backup).

 

I also agree with the person who said that it is important to be able to be fully in the moment. Doing Buddhist meditation, this is a life philosophy of mine (which of course I often don't achieve, but work towards), and I definately think you are right - it is vital in any photography, but especially this type when moments come & go so quickly.

 

Interesting Nadine & Stacey that you are saying that people don't buy prints of the hero shots. Do they usually include them in their album? I think I would have to keep searching for them even just for myself to keep the passion going.

 

?be careful karina, if you get hooked you'll never be able to live in a landlocked place again :)?

 

Lucas - I live right on the southern most edge of Australia (it's right across the road from my house if you walk through a couple of hundred metres of national park) where the ocean is wild & the surfers are in heaven. Unfortunately I hate swimming, which is a bit of a waste really - those surfers sure look happy - I envy you!(however the beauty is not at all lost on my eyes - will post some pics soon). So the waves I hunt in my life certainly are those metaphorical ones. Great shot - yes not very flattering, but very intimate & emotional, & I love that you see her eyes twice.

 

Brady - I think 'defining shot' is a really good term for the Hero shots that the B&G & family will see (hopefully) as a defining shot for their wedding. And I think it is vital to look for those & try to understand what it is that will be defining for this family. I wonder however if there are hero shots that only we 'see' because they might be of something the B&G would consider unimportant, but for us it defines something not about that wedding necessarily, but about what we strive for in photography. I guess eventually that starts to develop our 'style' & hopefully as Lucas puts it, attracts the types of clients who will appreciate our style. If not - so long as the B&G are getting what they want as well, I think I would have to keep looking for that special shot - and probably like Stacy, I would not be able to resist giving it to them. I wonder Stacy if they are just looking through different glasses, and when they see the gorgeous 8x10, realise there is another way to see photos?

 

Alright that's long enough from me : )

[karina_a]

Sorry Lucas - my exclamation marks came out as question marks.

 

Marc - amazing shot as always. The tone & light make this a hero shot for me as much as the moment & composition. I see shots like this and they keep me going - I say "I want to know how to do that" (dramatic sky's, tones, atmosphere) & add it to my list of 'learn how to...'. Thanks for the inspiration (all of you). And thanks for the optimistic post Marc - will try to take that approach. I think when you have control over those technical aspects, perhaps it is possible to create those shots when they come your way. One day... : )

[karina_a]

whoops - meant 'when they DON'T come your way'. (Or when the hunting isn't coming together)

[brady_dillsworth]

First realize that I rarely make prints, the few times that I do I would say that they are in the class of a hero shot. I don't think I have ever been asked to enlarge a family shot or a standard wedding photo past 8x10. I give them a CD of photos ready for Mpix.com and provide them with step by step instructions of how to order so they can get a quality print on their own.

 

When they do order large prints from me I'm sure I contribute to the hero shot enlargements in how I present the photos to the couple. We usually go over a few dozen images and I make sure to have the best of the best as the ones that I display to them. I have the hero shot from their wedding enlarged for myself and show them an Mpix.com print or a custom BW print to emphasize a quality print of a strong image. This gives the impression that a quality reprint is worth it and they are seeing it with a great photo that I endorse.

 

Personally I don't care what they get printed or what stays on their hard drive. It makes me feel good when they can tell a great photo from a normal one but my ego isn't bruised if they don't get it either.

[picturesque]

Karina, most of what I consider my best shots aren't made into large prints--11x14, 16x20 and up, like Brady was saying. Sometimes they are included in the album, especially when I lay it out myself and can slip them in. I don't sell my photos individually in the album. On occasion, a client recognizes the "art" of it, but usually, as I said above, the emphasis for large prints and album shots is on family groups and portraits of the couple, intermixed with story telling shots of the events during the day--detail shots, etc. Only when a great shot happens to include the couple looking great and happy, for instance, would I get orders for it--either large prints or included in the album, or orders from other people. But instead of choosing the one where they are doing something or interacting with each other, usually they pick the one where they are looking at the camera, smiling...ho hum, but that's what makes them happy.

[karina_a]

Thanks to everyone for taking time to consider my question. Great answers & discussion.

[stacy]

Thanks Karina and Jewan!

 

Karina- after you have some practice you'll feel much more confident. You'll start to look at the venue- the light etc and know how you want to shoot it. This particular venue is an old movie theater that was renovated- the clouds are painted on the ceiling. It's really charming but in a very run down area...this was the only time I've shot there. I sent the venue tons of photos trying to get more work! The best part was a spotlight from the balcony...ahhhh.

 

Anyway- interesting topic and good luck with your own hunting!