oliver_jones1 Posted July 23, 2009 Share Posted July 23, 2009 <p>Hi Jeff, thank you for an inspiring seminar on Sunday. I came away with a new outlook towards wedding photography and am looking forward to trying out some new ideas on Saturday.<br /> <br /> I just wanted to clarify something – am I right in thinking that you don’t particularly care about capturing guests and that your focus is very much on the bride and groom, parents and bridal party etc?<br /> <br /> If that’s the case, I am just wondering two things. Firstly, I suppose I’m interested in <strong><em>why</em> </strong> you don’t feel any pressure or obligation to photograph as many different people as possible? And secondly, how you manage the couple’s expectations that many of their guests will not appear in their photographs?<br /> <br /> I think the reason we can usually avoid a lot of groups is because our clients know we will photograph guests more naturally. However, I think if this wasn’t the case, then our clients would end up requesting more formals to make sure more people were included! So just wondering how you deal with this?<br /> <br /> Many thanks, Oliver.</p> Link to comment Share on other sites More sharing options...
jeffascough Posted July 23, 2009 Share Posted July 23, 2009 <p>Shawn - I've always loved 50mm lenses. My Leica Noctilux was my absolute favourite. The Canon 50mm f1.4 was ok but I broke three of them, so I used a 35 f1.4L for a long time instead. When the 50 f1.2L came onto the scene, I was able to get back to the 50 and that has been my fave lens for ages now. My first L lens I bought was the 28-70 f2.8L and that was the lens I cut my teeth on, I had a tear in my eye when I sold it last year.</p> Link to comment Share on other sites More sharing options...
jeffascough Posted July 23, 2009 Share Posted July 23, 2009 <p>Rob - being unobtrusive is simply a state of mind and a way of behaving. I wrote a whole peice on my blog about it which was highlighted on the online photographer. This pretty much explains everything. http://jeffascough.typepad.com/jeff_ascough_blog/2009/06/one-of-the-most-used-lenses-for-wedding-photography-is-the-big-70-200-f28-personally-ive-never-seen-the-fascination-for-us.html<br> I never, ever tell the clients to look this way, or hold a pose or a moment. If I do that, I'm influencing the day and I don't want to do that. It then becomes my vision of how I think the wedding should look, rather than a true representation of the day. Most, if not all, of my clients come to me because they don't want direction on the day, so there aren't any client expectations to manage as such. We get an occasional enquiry that will state that they want a lot of staged pictures so we tend to pass them onto other photographers who will be a better fit for them.<br> The only problem I have had with a CF card was a Lexar card that screwed up last year. It wasn't on a wedding though, just some landscape stuff. I change my cards every year and always buy Sandisk. I currently use 4GB Extreme IV.</p> Link to comment Share on other sites More sharing options...
john_hobson1 Posted July 23, 2009 Share Posted July 23, 2009 <p>Hi Jeff, You say that you do a few portraits with the couple, but also that you don't provide any direction during the day. Is this one bit of the day where you might provide some direction such as 'walk along the path, be yourself, do whatever feels natural'? Or would you not even do that?</p><p>Also, as a lot of venues have fairly harsh overhead lighting I know that 'raccoon eyes' can be a problem. Do you have any particular strategies for coping with this such as picking a moment when your subject looks up a little so that the overheads provide some fill?</p><p>Thank you so much for contributing so openly in this thread, it has been a fascinating read and given me much food for thought for how I approach weddings in the future. I do hope that you might be able to make it up to Scotland for a seminar sometime, if not I will certainly be making the effort to come down to Lancashire.<br></p> Link to comment Share on other sites More sharing options...
jeffascough Posted July 23, 2009 Share Posted July 23, 2009 <p>Oliver - that is correct. My main focus is on the couple and the closest people to them - bridal party, parents etc,<br> It is impossible to shoot everyone at the wedding without the coverage resorting to nothing more than snaps of guests, which the guests themselves are more than capable of doing. I'm not offering a complete, shoot everything that moves coverage; I'm offering more than that, and in order for me to get the images which my clients book me for, I can't be concerned with shooting hundreds of pictures of guests. I don't show lots of guests pictures, not in my sample albums or on my website. I don't know the relationship with the guests that the client has, and it would be impossible for me to ascertain that relationship.<br> If a client wants a flavour for the quantity and types of guest at the wedding, then I will often incorporate a lot of scene setting images with lots of guests in those shots. If a client wants to see everyone at the wedding, then we suggest a big group of everyone. Obviously there will be times when the guests interact with the bride and groom and then they will be in the pictures, but I will never take a wedding on where the client expects me to go and shoot everyone at the wedding, because that client is after nothing more than a record of who was there on the day, and I believe my skills are worth more than that.</p> Link to comment Share on other sites More sharing options...
jeffascough Posted July 23, 2009 Share Posted July 23, 2009 <p>John - Yes I pose the people for group pictures and bride and groom images. I just get them to get together very naturally and quickly.<br> Overhead lighting isn't an issue normally but if it is very direct, then like you say I will often wait for a moment when the lighting works with the subject. If it is a group of people, then I will often look for the bodies creating fill light if they have light clothes on, or subtractive light to create shape if they have dark clothes on. In any lighting situation there are always points where the light is soft and usually shaded, and I try to work in those areas. Even harsh downlighters will have an area right next to the main beam of light where the light is even and soft.</p> Link to comment Share on other sites More sharing options...
brian_blattner Posted July 23, 2009 Share Posted July 23, 2009 <p>Jeff - As so many of us have already stated, thank you for taking time out of your busy schedule to answer our questions about something that we share a passion in.<br> My question has to do with capturing the moment with the proper lighting, composition, and story-telling. I have practiced the techniques that you have taught using only single shot mode, and clicking the shutter button at the right moment, and I must admit that it has really helped me see the image in my mind well before I see it on my computer screen; however, if the lighting and composition isn't exactly what you desire, but there is a rare moment to catch something in the story-telling that is a one-time shot, will you go ahead and capture that moment in hopes that you can improve the image in post-processing?</p> Link to comment Share on other sites More sharing options...
jeffascough Posted July 23, 2009 Share Posted July 23, 2009 <p>Brian - I don't ever think that I can fix anything in photoshop. I think it was Joe Buissink that said "You can't polish a turd." A bad picture fixed in photoshop is still a bad picture; and getting into the mindest of fixing an image after the act is a bad place to be.<br> If the image has decent light and storytelling, or storytelling and composition then that's fine. If it has just one element, then that's not so good unless that element is so strong that it can make the image stand out on it's own. So that one-time shot needs to be pretty special for me to accept it.</p> Link to comment Share on other sites More sharing options...
think27 Posted July 23, 2009 Author Share Posted July 23, 2009 <p>First I want to thank you for taking the time to answer questions from people on this thread and I think your advice is very valuable and clear. Your work is a testament to a unique approach to wedding photographer that I think everyone can learn from. </p> <p>Jeff, there has been much heated debate on this forum about jpeg vs Raw. Can you address your thoughts on this subject for us?</p> Link to comment Share on other sites More sharing options...
jeffascough Posted July 23, 2009 Share Posted July 23, 2009 <p>Mary - I don't think it matters what you use, as long as you are happy using it. I've shot jpeg in the past and now I choose to shoot RAW. Some of my peers still prefer to shoot jpeg. In an ideal world I would still shoot jpeg but RAW gives me some latitude for error, and that is important especially with b/w work.<br> To me, even though jpeg requires more discipline in actual shooting, that can be a very good thing. Jpeg also speeds up camera operation and post processing quite significantly. You don't need as much storage, and everything just works more efficiently with jpeg.<br> However, I use RAW because I can see the benefits of highlight and shadow recovery. Being able to pull highlight detail back, and open up shadows was important to my b/w work, and that is the deciding factor.<br> In terms of quality of output, I doubt that anyone on this board would be able to see the difference between an image taken on jpeg and on RAW. I often scratch my head as to why people get so protective of the format they shoot in. Does it really matter?<br> If I was a traditional wedding photographer, studio portrait photographer, or I was able to guarantee the lighting situation, then I would shoot jpeg without hesitation. I've often wondered about shooting jpeg + RAW and just going to the RAW files when I need some extra latitude, but that would just complicate my workflow, which is why I haven't done it.<br> RAW software is getting better and faster but I still find it a PITA sometimes. I would save several hours in PP by shooting jpeg, but RAW just gives me that margin for any error and that is the pay off.</p> Link to comment Share on other sites More sharing options...
fellipe_de_paula Posted July 23, 2009 Share Posted July 23, 2009 <p>Jeff, you mentioned you don't use battery grip. Why? For better grip reasons? (like being able to handheld slower speeds) For making the camera smaller and being less intrusive?</p> Link to comment Share on other sites More sharing options...
jeffascough Posted July 23, 2009 Share Posted July 23, 2009 <p>Fellipe - I have small hands and find the battery grip to be uncomfortable for long periods. It also makes the camera significantly heavier and bigger.</p> Link to comment Share on other sites More sharing options...
tallman Posted July 23, 2009 Share Posted July 23, 2009 <p>Jeff, I have admired your work for a long time, thank you for sharing your work and your insights with us! <br> I notice that you don't concern yourself with details as much as many of the popular wedding photographers in the US do. Is this a personal style choice or due to the cultural differences in the weddings over in England?</p> Link to comment Share on other sites More sharing options...
laura_rhoades Posted July 23, 2009 Share Posted July 23, 2009 <p>Hi Jeff,<br /> I'll echo Michael's question on detail shots and add that shots of the wedding rings in creative settings are all the rage in the U.S. I enjoy these myself, but I'm not sure that I'd like to get a macro lens for this sort of thing alone.</p> <p>It sounds like probably not, but do you use a macro lens for this or any other purpose on even an occasional basis? And if not, do you prefer one of your other primary lenses for any detail shots you might take? It's a minor question, but you've answered all my major ones already! Thanks so much!</p> Link to comment Share on other sites More sharing options...
jameel_morrison Posted July 23, 2009 Share Posted July 23, 2009 <p>Jeff, you and your work are definitely an inspiration, and your responses have been both helpful and informative. Do you ever use filters, hoods, or other accesories in your work or do you find these to be burdening/intrusive as well?</p> Link to comment Share on other sites More sharing options...
jeffascough Posted July 23, 2009 Share Posted July 23, 2009 <p>Michael - I do them, but I don't show them and I don't like them. I don't think they add anything to a coverage. I would prefer to shoot them as part of a moment where perhaps they aren't the most significant thing in the shot, but it isn't always possible to do this.</p> Link to comment Share on other sites More sharing options...
jeffascough Posted July 23, 2009 Share Posted July 23, 2009 <p>Laura - I don't own a macro. I never have done. I tend to use a 24mm for close ups or an 85mm and come back a bit to get the detail images.</p> Link to comment Share on other sites More sharing options...
jeffascough Posted July 23, 2009 Share Posted July 23, 2009 <p>Jameel - I don't use filters as they significantly degrade the image, especially in low light. I don't tend to use hoods unless I'm outside in full sun, as they get in the way and make the lenses look really intimidating.</p> Link to comment Share on other sites More sharing options...
ad12345 Posted July 23, 2009 Share Posted July 23, 2009 <p>Hi Jeff,<br> Thanks for taking the time to share your hard-won knowledge. Your words and thoughts are helping me get through some of the challenges of improving my craft.<br> One question about location research - when you started out how much time would you take to scout a location before an event to familiarize yourself with layout, light opportunities etc. Do you make a mental map (or paper one) of where you think the light and activity will be best throughout the day to help with positioning?<br> It seems like your technique requires keen instinct plus a whole lot of research to enable you to work so quickly and efficiently to find the shots you find.<br> Thanks again for the insights,<br> Andrew</p> Link to comment Share on other sites More sharing options...
tallman Posted July 23, 2009 Share Posted July 23, 2009 <p>Jeff, thanks again for all your answers. Can you talk about how your decision making process works as far as which images are finished in color? Do you know when you are shooting, or decide later? What's your criteria for choosing color? This was easier for me when I shot film, but now I can second guess myself. </p> Link to comment Share on other sites More sharing options...
jeffascough Posted July 23, 2009 Share Posted July 23, 2009 <p>Andrew - I used to scout locations when I shot traditional work, but that's some fifteen years ago now. I never scout a location these days. I'll find out where the locations are and the best way of getting to them, but I won't walk about looking for the best places to take pictures. It's up to my clients where they decide to go on the day; and wherever they are, that's where I'll take the pictures, even if there is a stunning location right around the corner.</p> Link to comment Share on other sites More sharing options...
jeffascough Posted July 23, 2009 Share Posted July 23, 2009 <p>Michael - It was easier for me with film too ;-)<br> I don't tend to think about it too much, because I haven't got to make a decision as to which camera I need to put to my eye, I just look for pictures. This is a good thing in one respect because you can just concentrate on the image; but on the other hand it can lead to second guessing as you mentioned. With film we made the decision before pressing the shutter and that was that, we didn't even think about it.<br> What I have noticed is that I could easily keep all my images in colour these days, because colour is the most exciting thing for me at the moment, and I'm constantly working out colours in my head when shooting. The 5DII really helps here because I can get great looking colour in really low light; something which I couldn't get with film, or previous generations of DSLRs.<br> So I tend to start off looking for the strongest colour images, in terms of colour harmony and rhythm of the image, and keep these as colour. Then I'll look for those images which have a strong sense of line and geometry and look at these in b/w. The rest of the images will then be looked at in terms of flow through the wedding. I tend to know which images will look best in b/w or colour so it's quite an easy process.</p> Link to comment Share on other sites More sharing options...
jameel_morrison Posted July 23, 2009 Share Posted July 23, 2009 <p>Jeff, given the previous comments about the number of images captured at a wedding and the desire to offer quality images vs. larger quantities, do you limit the amount of media cards or shots you take per day? I started with digital, but recall paying for film up front for a class in high school :). Do you deliberately control the number of images you capture in some way, or is the aforementioned 1,000 or so shots just representative of what you regularly and comfortably come away from days with? </p> Link to comment Share on other sites More sharing options...
jeffascough Posted July 23, 2009 Share Posted July 23, 2009 <p>Jameel - I don't limit the number of images I take, and I take way more memory than I will ever actually need. I just turn up and see where the shooting takes me. I don't have a set minimum number of images that I have to take, and don't have a maximum either. I couldn't work like that anymore. If I don't take an image for ten minutes, it's not a problem; and if I need to shoot a lot of images quickly, that isn't a problem either.</p> Link to comment Share on other sites More sharing options...
laura_rhoades Posted July 23, 2009 Share Posted July 23, 2009 <p>Hi again, Jeff. Thanks for the macro answer.</p> <p>To clarify your answer to Jameel's filter question, you don't use UV filters as lens protection either? Do these degrade image quality? Thanks again!</p> Link to comment Share on other sites More sharing options...
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