Reception practice - Photo class idea

[alex_stein]

Hi All -

 

I've seen a mention of "trash the dress" bridal sessions, where a group of

photographers get together with a model, a wedding dress, and a location to

practice shooting, compare notes, etc.

 

I was wondering if there was any interest in doing something similar with a

reception. I see quite a few questions here regarding lighting receptions,

considering the size of the room, the crowd, white dress and black tux, etc. If

we got, say, 30 photographers, some strobes, and a bride and groom model, could

we set it up so one person has maybe 20 minutes to shoot the "reception," while

the remaining photographers act as guests. It seems like there is a strong urge

here of people wanting to try new things with lighting, but being concerned

about learning "on the job" and potentially getting sub-optimal results during

someone's wedding. Why not have an opportunity to try it safely first?

 

Having a group would reduce hall and equipment rental costs, as well as allow us

to bounce ideas off each other and compare results.

 

I'm in the LA area, I know there are a few of us here - any interest?

 

I'll post a similar message on the FM wedding forum as well.

 

Thanks!

 

-Alex

[picturesque]

I believe trash the dress sessions are not primarily a class for wedding photographers to practice shooting. They are actually money-making products for wedding photographers to offer to their clients. What you suggest is a class, really, and while not a bad idea, I would make the following comments. First, receptions take place in all kinds of environments, so practicing in just one won't help you deal with different kinds. Also, the cost of renting halls used for wedding receptions is bound to be prohibitively high for this purpose. This is why assisting is so valuable--you get to work in all kinds of environments.

[William Michael]

I do not think a workshop style approach specifically for `The Reception` will work, either.

 

Primarily rental and (models?) costs would be prohibitive as mentioned by Nadine.

 

But moreover, there is another issue: there is no PRESSURE on the photographer to perform.

 

>>> This is why assisting is so valuable--you get to work in all kinds of environments. <<< (NO)

 

Specifically in regard to the `Reception` and all the incarnations receptions are: much experience is also gained simply by the novice taking his camera and portable flash to all public venues; restaurant etc day and night, with her family and friends and evaluating and taking 1 pair and 1 group shot with the backdrop available.

 

For the student to provide 2 x 12 different venue shots like those described was a one week homework assignment for one of the `Flash / Portrait` portions of an High School course I used to teach.

 

Yeah . . . it might sound corny to some newcomers, so laugh away: but pull 12 decent saleable Flash Location Portrait shots and another 12 group shots, between Monday and Monday just in the Public places or Restaurants, with speed and a minimum of fuss: trust me it gets the brain working and the eyes `seeing` the backgrounds and the lights capes much better.

 

Certainly a collaborative approach to the exercise and comparison, critique and analysis of the results (and problems encountered) produces better results than doing it solo.

 

WW

[buckry]

20 Minutes doesn't seem like enough time to practice anything useful. Especially if it's supposed to be a chance to try experimental techniques, 20 minutes is probably just enough time to get set up, no time for making any exposures at all. If you're just talking about practicing capturing the standard dance shots and cake cutting, you might be able to get through a couple of those.

 

Seems like a lot of effort for a part of the wedding that doesn't have much impact on sales anyway. At least in my area I only sell a handful of smaller sized prints from the reception to any given client. In fact the most common use the reception shots get is in the coffee table book I design. If I had the chance to practice I'd probably work on ceremony shots especially the kiss. That shot sells every single time.

[breanne_schaap]

wow.... lots of critics, I am a portriat photographer breaking into the wedding business, and I am intrested! I am also from California, the central valley area, but we have a second residence in so cal. Talk to me if you still doing it.

my blog: http://schaapstudios.blogspot.com/

breanne.schaap@yahoo.com

-breanne schaap

[William Michael]

>>> wow.... lots of critics, <<< (bs)

 

I do not see it that way, I read three (lots?) points of view evaluating the time, money and effort outlaid for the possible returns: seriously good business practice IMO.

 

I would term that active analysis by interested people, not being a `critic`.

 

I note also, there are other ideas proffered.

 

In specific regard to the original, I would be interested of your evaluation of the session should you go ahead with it.

 

WW

[jeffreyc]

An idea that might be a little more practical which will also maintain a spontaneous atmosphere and challenging lighting of a reception may be to find local dance groups or studios that are hosting dances like ballroom, swing, or Latin.

 

Dim lights, sometimes conflicting between candlelight, low houselights, stage or DJ lights, tables and a crowded dance floor to navigate, (if at a studio) a wall sized mirror, an of course your own flash combined with people doing their own thing offers a venue of people who are in their element and once they get over the novelty of your being there will probably act naturally. Or at least more so than photographers trying to play a part.

 

Also, in addition to lighting, photographers working on their timing, ability to find better angles when trying to capture candids of people talking or dancing, or just exposure in general could also see a benefit to participating.

 

In theory, there would be little or no cost to your group as this event was already happening, you and one or two others would be there to photograph, and if there is some expectation to perform (work out a deal where the studio gets to get pictures to give to the attendees or use the pictures for promotional use (w/ model releases of course)) there would be some leeway in balancing the experimental vs the safe bet when it comes to exposures. Plus multiple photographers could work with each other, for example, one holding the secondary to back light a solo couple on the dance floor.

 

Coordinating photographer participants would also be much easier, needing only 2-3 people covering a dance rather than the 30 needed to pull it off. The larger club could participate in the critique, along with those who were on-site helping and learning from each other. With a good schedule keeper this could be something executed several times a month, rather than a once in a while plan.

 

Of course there would be some elements found in receptions, not covered: cake cutting, bouquet and garter, wedding dress next to black tux, etc. If the goal is to create a project for a local photography club or professional association, work with lighting which provides a challenging environment that allows for experimentation this may make a fun assignment.