kiva

<p>Please consider being involved in letting this wedding go.</p>

<p>Do you know or can you research a good wedding photographer in the local area of the wedding location to see if there is a wedding photographer who can step in and do a nice job in your place.</p>

<p>It can be important to you, as a professional wedding photographer, to see this debacle to a conclusion. If you have to shoot the wedding then do so and take the lose like a man (smile) and if you can find a local photographer to do the wedding then you've gracefully backed away. </p>

<p>It's better, for you, imo, as a pro photographer, to see this through to the end and count your lessons learned. Do the right thing ... you've learned a set of valuable lessons so you might actually be indebted to the sil and the wedding couple. Give thanks and move on.</p>

<p><<<<strong>I just did - I shoot with a D700 along with a D3s and D3X.</strong>>>></p>

<p>Color settings, which is what is being asked for, are located in one's photoshop application: <strong>go to the top menu in photoshop > Edit > Color Settings</strong>. I believe she is asking for someone to give her the actual settings just to get her started down the right track in a quest to get a decent print. </p>

<p>What settings do D700 users have in their <strong>Color Settings</strong>, in <strong>photoshop</strong>, in order to get good prints back from their printer. I see no "Color Management" settings shared by anyone. I could list my settings but I shoot with a nice canon camera so it's not pertinent. </p>

<p>Correct me if I'm wrong Eileen but it sounds like you're saying that you are getting prints back from your printer that are darker than what is showing on your monitor.</p>

<p>You've calibrated the monitor ... your prints are still coming back from the printer and they are dark.</p>

<p>I am a Canon user so I'm not familiar with the photoshop Color Management settings that will work well with your D700 camera. </p>

<p>Is there anyone out here who has a Nikon D700 that can share their photoshop Color Management settings here on the forum? </p>

<p>It's certainly difficult to ask why you are photographing weddings and events if you don't know how to use the primary tool to create average wedding photos. </p>

<p>I guess that's what this forum is about but I'd suggest taking some lessons from a pro photographer in your area as well as reading the manual that comes with your camera. I think both would be a good start. </p>

<p>Also, you might tell the bride and groom that you are working for that you are really not all to sure about how to use a camera at a wedding just so they have that information. It seems only fair to me.</p>

<p>Learn, learn, learn the tools of the trade prior to taking on weddings: IMO.</p>

<p>On my website I post three sample Timelines for brides to download and study.</p>

<p>I ask, as part of the contract, for a Timeline and a Formals list prior to the wedding day. When you plan ahead and "help" encourage the bride and groom to plan ahead you are doing the work that should really not be done on the wedding day. </p>

<p>On the wedding day: I want to be the photographer they hired and not a wedding coordinator. I want to take photographs of the good times and the clunky times. My wife will help "coordinate" if things get rough but, in general, the work should be done well ahead of time. A planned timeline, done in advance, is then given to the groom and groomsmen and all other wedding party persons who will need it.</p>

<p>Plan Ahead so that you are doing "the job" you are hired to do as the person with the camera in your hands on the wedding day. (imo).</p>

<p>All good points and well appreciated. I've already sent a note asking about copyright ... merely interested in the <strong>technical aspects of the situation</strong> in case I get permission.</p>

<p>Many thanks for all legitimate legal concerns which are being worked on by mob.</p>

<p>I have a mother of a bride who has contacted me asking if I'd consider building the bride's wedding album. Long story short: the family did not like the work by the photographer and doesn't want to have that photographer build the wedding day album. </p>

<p>The mother of the bride is asking if I would build the album and says some of the photos will need to be worked on. The MOB says this about the image files they were given after waiting for 1 and 1/2 years after the wedding:</p>

<p><strong>"Then she finally sent us all the pictures in jpeg as well as xmp and tiff file formats. I asked for RAW pictures and this is what she gave us. "</strong></p>

<p>So, the family has: .jpg files as well as xmp and tiff files.</p>

<p>QUESTION: I normally use Capture One to convert raw files to jpg and don't work with tiff files at all but I'm not opposed to working with them at all. The sidecars (xmp) don't really do me any good without the RAW files do they? I really have never worked with xmp files so any help is appreciated. I'm good at working in the software I'm familiar with and the file formats I'm most familiar with but not sure what xmp and tiff allow me to do and how much they will help me in further editing (if needed) of these wedding photographs.</p>

<p>What would you do to more deeply process the files mentioned above IF they need some further processing. I am guessing the TIFF files would be able to be further worked nicely in Photoshop but I want to check with others to be sure. Thanks for any advise or tips.</p>

<p>If there family history is such that wedding photography was Unimportant then it will most likely be Unimportant for their wedding too.</p>

<p>The "value" of wedding photography is emotional and familial and spiritual to some because it's a valued tradition. </p>

<p>I have no problem attempting to promote a "value" such as wedding photography. It's not of instant value as much as it is a family value; and, these photographs can be a very important "thing" in times of stress and angst.</p>

<p>It's ok to place value on wedding photography: whether it's emotional or monetary. It does have value, imo. It has tremendous value that can span generations and create a family glue and tradition: <strong>that's not merely Interesting but I'd suggest it's Important.</strong></p>

<p>We offer "Table Top Referral Cards" in our contract as part of the package: it's an opt out item. In other words we are placing them on every table Unless the bride/groom tell us they don't want that service.</p>

<p>I call it a service because it's promoted as a way to avoid a mad and chaotic rush at the bride and groom for photos by giving guests the option to visit their Web Gallery and purchase any of our (expensive) prints they might want. </p>

<p>The service allows guests to review the web gallery and follow up on the wedding which promotes our business as well as keeping the family and circle of friends in contact following the wedding by way of viewing the web gallery. </p>

<p>The table top referral card is definitely a valued item by couples I work with and it's never been refused. If there are 8 or 10 people at a table we might drop 4 or 5 cards on the table. The cards are about 1.5 inches high and about 6 inches long and have a black and white engagement photo on them. </p>

<p>If the couple opted out of the engagement session then we put our company signature image in place of the engagement photo ... all are happy and we get a lot of traffic to the website.</p>

<p>Lovely photograph Melissa ...</p>

<p>Our clients almost never "see" the distortions ... they just see the WOW factor if we don't overuse the lens as David mentioned. </p>

<p>Here's a sample of a potentially problematic distortion IF one is looking at the image file technically but our customers are looking at their photos emotionally. This was an engagement session from a couple weeks ago; they loved it. I only used the fisheye for this shot during the session.</p><div></div>

<p>I find the video light can be a great help when doing some of the Creative shots with the bride and groom after the ceremony and during the reception at various locations in and around the reception hall.</p>

<p>It's always good to have other "normal" ambient lighting available and use video light in addition to the ambient / available lighting.</p>

<p> </p>

<p>This image file is stitched together in Photoshop and combines two image files to make a nice horizon from the location they loved for their wedding ceremony which was on a golf course overlooking a lovely lake on a mostly rainy day.</p>

<p>~Another possibility in this catagory would be a camera on a tripod and taking multiple shots as either the bride or groom or both move about or play out some romantic scene ... later the shots are layered in photoshop and a mask is used to show "the story" that was created. For example: I did one (sorry, can't find it) where the bride was leaning on a tree and I took multiple shots as the groom casually sneaked up a treeline to eventually tickle her and surprise her. I was able to show the groom at various stages of moving towards her and ending with them kissing ... all the stages were visible in the one final image file. There's probably an official name for such an image file; I just call it multiplicity.</p><div></div>

<p>This photo was planned out ahead of the wedding day. The couple were fanatics of sports in general and especially golf ... the wedding and reception were at their golf course. When I shared the idea with the couple they laughed until they cried and were very interested in making time for the planned shot. It was a cold rainy day and they still insisted (to my surprise!) so I put down a palates exercise mat that I carry to keep the groom dry; the groom pulled a nice tee out of his pocket and the groomsmen had the golf bag close by with a driver with a monster head on it. </p>

<p>I choose a fisheye in order to capture the scene; the shot was as much about the scene as it was the pose; the sky was strong and powerful looking so I wanted to get a nice skyline. </p>

<p>I called the image "Commitment" and we all had a good laugh about that too. I was struck by how the groom just laid down right away with full trust knowing that bride was above him with a huge headed golf club. I laughed audibly when I saw him place his hands in his pockets ... it was so relaxed ... he truly was playing the roll of a committed husband/golf tee. </p>

<p>The golf course asked for a nice print as well. Letting the couples "strengths" dictate the fun gave us a fun shot to go along with all the other shots that day. </p>

<p>I used my Canon 5d, ss 1/100, iso 500 and f16 ... Camera in the usual M mode ... I probably puffed in a wee bit o' diffused flash too.</p>

<p>The family and bridal party were standing behind me huddle against the cold wind and laughing hysterically and we were about to finish the shooting to head into the reception area for introductions so it gave a fun boost to the wedding party on a day the bride started out a bit sad because her outdoors ceremony plans had to be canceled. </p>

<p>Note: I cloned out clutter like curious on lookers in the upper left hand corner who where in the parking lot area. Also, cloned out a wee bit of the palates mat that was showing under the groom (the ground was saturated with water).</p><div></div>

<p>Robert, the $219 is pennies compared to your savings in time saved and quality.</p>

<p>If you look at my website you can see I use FF to create collages to start every wedding gallery, family session and even Christenings or Portrait sessions.</p>

<p>I can convert the collage size (11x8.5) and create an album size later if needed or I can create a new album in a few hours and that's creating each new album as a new work of art instead of saving each album as a template (which is easy to do also but I enjoy a new look each time (one of a kind). </p>

<p>I do save one Blank template for each size wedding album I use so I merely open the blank template for the size album I want (that I've already created and saved as a blank template) and I have the first half pano and that is followed by multiple full pano spreads and then it ends with the last half pano. All pages are the right size for your printer/binder and ready to roll after you Output to image files.</p>

<p><strong>Method (quickie overview):</strong> I use my ACDSee browser and select photos in ACDSee that I want on a FF page and merely drag the image file from ACDSee into FF and start dropping them onto FF where I want them; I can drag any number of image files I want to work at that moment ... no searching or opening other windows in FF. Just identify photos needed in ACDSee and minimize it about 1/2 way so I can see the FF under it and then drag onto FF page and plant them where I want them. Easy. </p>

<p>To <strong>edit or enhance further in FF</strong> I have my "Images" tab in FF set to find my Texture Galleries, my Backgrounds Galleries, and any other "goodies" so that I can find them fast and easy and apply them to any page/image in my album. I have the Extreme version so I can quickly/instantly move from page to page and rearrange the pages and even "append" a page from my templates or other saved albums (which I rarely do but it's an option). </p>

<p>That's a quickie overview on ways I've found to move quickly through FF without jumping through all their "methods" ... I want to: create blank templates that I know I'll use again and again, I want to: drag and drop image files from my "normal" image browser (ACDSee works for me) because it's got nice sized thumbnails to work from (you see them better!) and I think it's just easy to work right from the browser I already have and just drop into FF in an instant without needing to jump through FF "buckets" and so on.</p>

<p><strong>The money</strong> for the upgrade to the top level FF software can <strong>pay for it's self in one album.</strong> But, it will take you some time to get used to your new method so just figure that in. Practice by creating collages for each photo session you do because it's good "practice" for your wedding album work and collages are great surprises for customers for family sessions and any other sessions you do photographically. Do I think this is a good "expense" for you: yup. Oh, btw, collages also "set you apart" from the thundering herd so the practice in creating collages for all sessions pays off for you in many ways: smiles on all customer's faces and quick turnaround when you get to the all important FF wedding album. Don't wait for weddings; practice, practice, practice with the simple method I've outlined above. Keep is Simple when possible.</p>

<p>If you need occasional help/tips then email me and I can share my method and you can improve my method but this is already very, very easy, lol.</p>

<p>Do all as you'd normally photograph but always keep in mind the photographic concern you have for the eye. It's your concern and just deal with it using the suggestions above but do it without creating angst. Shoot normally but also shoot some photos <strong>with the quiet intent to have the brides eye of concern be located as the far eye (2/3 view)</strong> ... but, all the shots you take don't have to be positioning the bride with the eye in mind. </p>

<p>Just shoot but give them some photos where you've quietly planned the eye of concern on the far side.</p>

<p>If they bring it up then talk Briefly and assure them you'll shoot some shots with their concern in mind but tell them to just smile and have Fun. Assure them that all will be done well and suggest the best way to handle it is for them to have Fun ... the smiles will out-shine the eye.</p>

<p> </p>

<p>Hi Amanda, what are you thinking is the difference between your former supervisor seeing "a photo shoot I did for a friend" and a wedding event at several locations?</p>

<p>Merely asking so that you can self-assess.</p>

<p><<<strong>What is an aesthetically pleasing image for you?</strong> >></p>

<p>An aesthetically pleasing image for me stops me and makes my eyes widen/brighten a bit. </p>

<p>But, for completion, it's got to make that happen to someone else too. At that point the image has created a connection between human beings instead of just being an object sitting alone in space.</p>

<p> </p>

<h1><br /></h1>

<p>Windex is not recommended, imo.</p>

<p>Get a good lens cleaning fluid at an optical store.</p>

<p>I kept thinking it might be interesting to find out what Julie Harris might want us to know. </p>

<p>Julie has posted her response on her blog:</p>

<p><strong>"I read the forum posts and have posted a response on my blog. Please feel free to share a link to my blog post on photo.net if you'd like. </strong> <br /> <br /> http://www.julieharrisphotography.com/blog/2009/12/dear-otto-harring-and-paul-mongan-and-anybody-else-whom-ive-neglected-to-get-back-to-some-secrets-to-my-work/<br /> <br /> <strong>Thanks!<br /> <br /> Julie"</strong></p>

<p>********************</p>

<p>This may limit the guesswork and speculation (as fun as it's been).<br>

Thanks for helping out Julie!</p>

<p>This past weekend I was asked by a former apprentice (who became one of my second photographers who is now a lead photographer) to travel to another state to help as her second photographer. I jumped at the chance! I won't do it a lot but she needed help with a wedding that was sporting 350 confirmed guests and a wedding party of 22.</p>

<p>I love this concept and idea of creating a network of photographers with like-minded styles and energy. <strong>The brides and grooms benefit greatly, imo. </strong> It makes the photography at a wedding "stronger", imo. That's an important factor.</p>

<p>The best thing that happened at this past weekends wedding was that I met the main photographer's new apprentice who introduced herself by complimenting the work on my website (the lead photographer asked her to look at it) and proudly stated <strong>she was benefiting from my work with the lead photographer because she was passing forward (paying forward) the photographic style and process she'd learned from working with me.</strong> And, at this point the apprentice (who was being paid with the opportunity to observe: which was her request) <strong>told me she'd do the same for someone else some day! </strong> I did not suggest or ask about this; she merely understood it was a Good Thing. She expressed gratitude.</p>

<p>This apprentice said she'd have been willing to pay for the opportunity and I believe her; I just smiled and told her to get to work ... then winked. She laughed.</p>

<p>Her first observation was in "seeing" that shooting a Senior Portrait session or Family Session outdoors in steady lighting situations was a world different than wedding photography where the exposures could be a huge range for consecutive shots and then exclaimed that it all had to be done Right Away without re-takes at a wedding: this was a surprise to her. </p>

<p>This "awareness" is worth gold for her <em>and now the learning can start.</em> I know the lead photographer will spend a Lot of Valuable time with her and some day she might have her own business and take on a fourth generation wedding photographer that will find Joy in wedding photography instead of seeing it as something else less satisfying to the heart. That's a Lovely Human Element that is often left out of the equation, imo.</p>

<p>The Fact of the matter is that I get nothing but Gratitude from people I've taken on as second photographers and are now either running their own business or on the verge of doing so.</p>

<p>How do you explain away the Gratitude towards the relationship senor? I won't personally bash you for choosing to not get involved with newbies: that's a choice you make. You want a finished product and it's not really important to you whether that person "fits" into your style or gets what you need at the wedding. Just pay them and get the image files and slap some money in their hands is good enough. You might enjoy having minimized human interaction and prefer giving money for a product: that's great!</p>

<p>Well, it's not the way I enjoy operating and <strong>I'm not asking anyone to do it that way</strong> but I don't like to be demonized for Bartering my skills for a bit of time when the end product is agreeable and human and it actually Grows a person (professionally and personally) in the process. It sounds like what you want is more like Socialized Photography that can be rigidly controlled like it's a Union! That's scary. You have not a clue about the time and effort that goes into it so just keep slapping money in their hands and I'll teach them and trade my time and knowledge with them for their time until they can stand up and proudly take on their first wedding with me as a second shooter (for no fee at all in many cases) ... Life is Good when a person actually Earns and Learns at the same time. Don't forget that we're talking about newbies here and not finished second shooters: that is the threads focus.</p>

<p>Why is "money" the only trade that a person can be given. People in Welfare states are crippled by "given money" and it's well known to be a way to enslave people: why not interact and teach a trade and allow a person the dignity of working off the time as they learn. No one is Forcing the deal on them and they are filled with Gratitude for the special attention and Opportunity to learn. I am giving of my time: is my time not worth anything? I spend time away from weddings to help them with exposures, lighting and even processing the photos. I talk over the phone and respond to emails and multitudes of questions patiently: is my time worth Nothing? ... I give them inside knowledge on a personal level that just can't be learned in any other way.</p>

<p>I'm quite satisfied and proud of the process. It's known of as bartering and is win / win and More: it involves a relationship that extends beyond just handing over money and being done with the interaction instead a socialized enforced and controlled "it must be done this way" which is what can be seen in unionized workers in an angry forced process that always seems to be Fighting someone or something to get what they Think they Deserve instead of finding a mentor and learning an art or a trade with caring and responsible human interaction.</p>

<p>I am not shy about saying that I do offer an interested "person" the opportunity to shoot second and I tell them they will not get paid until I see they can do the job and show the interest and zest that it takes to do the job correctly.<br>

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It's the great part of the free enterprise system; like Marc, I always end up "giving" them something ... even if it's just my valuable time and feedback on how they did and what they might consider doing the next time to create the skill set necessary for "the job". The most shallow means of payment is cash, imo.<br>

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I'm very clear up front what the deal is and I think this "method" is a great way to weed out the interested from the uninterested which saves everyone time.  The first interview I ask them to bring their equipment and after talking we shoot together for an hour or so.  I am trying to discover what they know; my time is not "free" and it's valuable and I give it freely towards the interview: hey, maybe I should Charge Them!  hmmm.<br>

 <br>

Our Country is starting to lean heavily towards a mentality that seems to advocate a system that speaks loudly about Giving people something without that person actually Earning it in some way other than outright cash. This practice, imo, is not only misguided it's dangerous to the recipient in many ways.<br>

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There are many, many ways to be paid and to earn something other than cold hard cash.  I may be different than others but I prefer to train a new/interested person how I want the wedding date looked at and treated with a camera: I don't want a polished and finished photographer who "knows" everything... nope, I'd rather take a person with energy and passion and ask them to "Give" me some time to see if they have the right stuff and I, like-wise, give them my valuable time to train them and give them the opportunity to learn a great skill that they are passionate about.<br>

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I can say that those who have worked with me, to this point, are grateful and fulfilled and thriving so <strong>I'll not accept the view</strong> that I must do something that appears honorable but, IMO, is only an alternative for those who only want to "hire" a set of skills and the relationship part of the "agreement" is based on Money.  Frankly, I'm getting tired of hearing the non-human "right" way of doing things that seems to shame those who actually give while asking others to give in a process that is void of monetary exchange at every turn in the road.  (yes, I do barter photography sessions if the deal is right!)<br>

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I, for a fact, know that <strong>"giving" a person a chance</strong> and asking them to "give" something into the deal is much harder on me while being much more meaningful, in a human way, to the second and to myself.  I ask them to work for free for a limited time (with No Shame) but I don't tell them I'm working for free when I spend hours and hours with them guiding them into "the art".<br>

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Life is Good ... sometimes compensation is "valuable ether stuff" that endures and creates human value, IMO. It's actually "better" than a cold and impersonal cash exchange.<br>

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For those who prefer the less interactive method of pure exchange of Money Stuff I say if it works for you then wonderful but please take a few moments to consider the values of a more interactive method that can lead to something of tremendous value as well; I don't accept the cold hard money exchange combined with the put down on a more personal method that involves giving of time and effort and human interaction  in payment.</p>