personalphotos

<p>DO NOT DO IT!!!! I can't say that strongly enough. Personally I would have serious concerns about safety in Mexico but that's not why I posted this reply. People will think I'm being alarmist with this post. I am not! I am looking at the reality today, right now. In years past, you could get in and out without much issue. Not today.</p>

<p>Before you read the rest, did you know (I'm in Canada like you), that if I went to the USA to shoot a wedding, I could face fines and gear confiscated at the border crossing (confiscation mean you DO NOT get the gear back) if they catch me (try hiding $15,000 worth of camera gear in your carry on bag). If you (if you were a photographer from USA), came to Canada for the same reason, then you would face the same thing. Canada/USA/Mexico are all members of NAFTA and other Free-Trade agreements. Photography was never covered in these agreements because it was considered that local photographers had the skill to do the work a foreigner could do. There are NO WORK VISA's available between these countries. So you can not do it legally.</p>

<p>Mexico is a corrupt place with very high crime rates and add to that, the local photographers at many resorts and regions have banded together to find out how's taking work from them. So what they are doing is planting 'spies' at weddings. It could be the resort coordinator or some other resort staff. As soon as they see the 'official photographer', they are reporting who's shooting. You have a better than 50/50 chance of getting caught and if you do, you could be in jail, paying a fine/bribe, kicked out of the country and ''Red Flagged". if you ever return to Mexico for any reason, you will most likely be denied access.</p>

<p>If you think I'm kidding, I did a ton of research on this because I was asked to do a wedding there this coming Dec. So I looked into everything and the Mexican consulates will tell you you can work there fine without papers. Then when you are there, they will tell you that you needed an FMM or FMM2 or 3 filled out to be there to shoot. You're there and don't have the papers because, their rules are similar to the US and Canada, if the work can be done by a local, you have no business taking work from them. Try proving that you are better or somehow unique to a local photographer.</p>

<p>Now add to that, you've been arrested and don't speak Spanish or have any support system (lawyer, translator etc) and you just want to go home. Just try to imagine how difficult that would be.</p>

<p>IMO I think any couple doing this is nuts. They fly in from another country and unless they have some way to get the best shooter who is totally reputable in the local market, how do they know anything will be delivered after they go home? How would thy order prints or design an album? Fine if they get married at home and go to Mexico for a celebration service but if they value the photos, this is the wrong place to be going.</p>

<p>If you think I'm over reacting, read this Twitter feed: https://twitter.com/?iid=am-1618412813389178395660503&nid=4+sender&uid=33098019&utm_content=profile#!/CaboProsUnited<br /> Cabo United is a photography group that is doing just what I said in the Cabo region and they are doing it elsewhere as well. They've gotten tired of loosing work to foreign shooters. By simply posting this thread, you could now be on their "VIP" list. They have been hunting the internet to find people who have shot or plan to shoot wedding in their area. This list is given to customs officials and they are checking the names against people coming to Mexico to catch them at the border.<br /> Frankly, who could blame them. They have the resorts and the locations but don't get the work. If I was in their shoes, I'd be hunting for you too..</p>

<p>Here's another story that is a bit old but tells the same story and she wasn't even the primary shooter! https://www.facebook.com/note.php?note_id=385787114544<br /> I should have saved all the stories I found, but there are more. In my case, I turned down the work and a few weeks later the bride told me they had changed plans. I'm shooting her wedding here now.</p>

<p>So go with your point and shoot as a guest or take the following precautons:<br /> 1) Get a lawyer arranged before you go.<br /> 2) Get a translator arranged before you go<br /> 3) Have $5-10,000 set aside for fines and or bribes <br /> 4) take extra time off work just incase you are in jail longer than expected.<br /> 5) save enough money to replace you camera gear once you get home. Insurance won't cover it and forget getting it back.</p>

<p>I did something similar a couple years ago and should post it but I'm lazy and the files are stored on a backup system that's unplugged and locked in a fireproof safe for long term storage. Basically I had the bride and the 4 groomsmen on a large picnic table and they jumped off the table. Then I cloned out the table. It looked pretty good (love the expressions when people try to smile and also keep from landing on their faces).</p>

<p>If you look at the photo in detail posted by John, you can also see the shadow at his left foot (or our right) and that it is forward of the toe of the shoe. Another giveaway that something was cloned. Plus a perspective shot couldn't have him the same size as her and her also clutching his jacket that way. Fun shot.</p>

<p>Matt, thank's for hosting as usual. Fun shot and nice story as well.</p>

<p>Some very nice work again this week from each and every member. A few favorites so far that I liked: <br /> Jana, Love the shot and processing. If I may suggest, brighten her face a bit. Seems under exposed to the rest of the shot. Otherwise great work and fun pose.<br /> Rich, a big congrats. Beautiful!!!!<br /> Martin, very good. I love these shots that isolate part of a subject or item. Well done!<br /> Samuel, Very nice result from that lens. Well done.<br /> Richard, that is one odd looking bird. Kinda reminds me of the shopping cart bottle collectors, bags and bags overflowing and going in every direction. There's no grace to this creature but it is colourful. Nice pic.<br /> Dieter, Nice, Looks like amazing work. If you are in the area again take the shot from the top of the steps! The subject is the artwork.<br /> Robert, Beautiful scene.<br /> John, lovely looking spot and very nice shot.<br /> Panayotis, Beautiful dog and looks great for her age. Nicely captured.</p>

<p>This was from a trip to Rockport Mass to meet up with some (forum) friends for the first time. Great to talk to guys I've "known" for several years but never met. I liked how the red fishing shack just jumps out from the other brown and grey buildings/surroundings.</p>

<p><img src="http://img265.imageshack.us/img265/9468/pcf2864.jpg" alt="" /><br>

<strong>D700, 78mm (70-200 f2.8) ISO800, 1/500th, f9</strong></p>

<p>You're seeing the Jpeg preview on the LCD and not the RAW. A lot will also depend on the lens used, ISO setting, aperture, used any shutter blur etc. You say it's different from shot to shot, what are the settings and lens differences between those shots?</p>

<p>I agree with Nadine, no need to rent a MKII. Manual flash for off camera light is not difficult with a little practice.</p>

<p>Jerry, I'm not sure what you are trying to say. The wording of your post is ambiguous at best.</p>

<p>If you are suggesting that Alex shoot with only one camera and only use the 'backup' if the 5DMKIII has problems, then I would disagree. Certainly many shooters do it this way and shoot with only one body successfully. Just as many or more, shoot with 2 and for good reason. Having different lenses on each body gives you different lenses on each and is ready right when you might need it. Having to change lenses in mid shot, maybe several times, all the while, possibly missing shots while doing this. Plus if you don't change lenses on the shoot, you don't have to worry about dust on your sensors.</p>

<p>If you're suggesting it can become an editing issue with images not being in the correct order you can fix that easily with the camera clocks being at the same time.</p>

<p>Not to single anyone out as everyone's work is nice and most tell a story.<br /> A few shots that I liked:<br /> Chuck, cool capture. Missed the eye a bit but no matter, still a neat moment captured<br /> Lorne, fun shot of the duckling. Nice.<br /> Jana, Excellent shot and pose. Well done.<br /> Richard, I like the mode and composition of Harbor Lightshow<br /> Chris, Nicely captured shot on the track. Great motion blur with the sharpness in the right spot.<br /> Jeannean, Very nice, beautiful capture.<br /> John, Secret Canyon is very nicely done, good work.<br /> Roberta, Lovely. nice sharpness on the bird and beautiful DOF. How did you get her to pose so nicely?<br />Steve L, Great water drop shot, sharp and excellent colours.<br /> Doug S, nice mood and feel to the old building. Like the PP for B&W. Kinda wish you had the entire roof in the frame though.</p>

<p>Some very nice images this week. I need to join this more often but don't take many personal shots anymore. Gotta change that.</p>

<p>My son's final band concert, grade 9 and they were joined by the local orchestra. I probably looked funny, trying to get the right angle to isolate the one instrument and not get other hands and heads in the pic. </p>

<p><img src="http://img703.imageshack.us/img703/1100/pcf768712.jpg" alt="" /></p>

<p>D700, 200mm ISO 1600, f4, 1/160th</p>

<p>So Crystal. Now that you've had some time to look over the photos, how do you feel about the shoot and what have you learned? What would you do differently? I'm sure everyone here would like to hear back and maybe see a few samples of your favourites.</p>

<p>So often people come here with the same question; <em>Help, shooting my first wedding!</em> Lots of advice is given and then as soon as the wedding is shot, they don't come back to share the experience in much detail or at all. I'd be interested to hear what advice worked and what you couldn't manage.</p>

<p>Good Luck Vail! Post some results when you can.</p>

<p>Given that lens list, I'd probably glue the 24-70mm on the 5DIII. That will be your most useful combo. For the 7D, the 70-200mm makes good sense and if you are in low light, possibly going to the 50mm on the 5D when needed. The 10-22mm might get a little use for a few fun shots indoors but it may stay in the bag most or all day.</p>

<p>The 2 flashes on camera much of the time makes the most sense. Looking at your earlier posts, shooting weddings is new to you? If so, don't get all tangled up with lights and trying to figure out how to use them. Nothing better than having a wedding party watching you trying to set up and figure out how to take a shot. That 3 minutes is a very long hour with 20 pairs of eyes staring at you. Keep it simple and concentrate on how to get good and creative shots. At most, I would use one off camera light in combination with the on camera flash.</p>

<p>Practice shooting the triggered light in manual mode, With practice, it's not that tough and 90% of shooters do it this way anyway. Honestly I don't know why anyone uses Pocket Wizards. They've bought into the hype or just like to spend too much money on unreliable equipment. I'd sell them and get Cactus V5's, Phottix Odin or FlashWaves III's. All are cheaper and work much better.</p>

<p>Where you'll want the second flash is possibly a larger family shot or a creative personal shot with the couple. You most likely will want them if there is a large head table and you need to light both ends. Also if you want to light a dance floor or do something unique for the first dances.<br /> Otherwise <strong>KEEP IT SIMPLE!</strong> You have so much to consider and worry about through a busy wedding day, don't get all tied up fooling around with lights. Experience wedding shooters do use off camera light or more often, fill flash but also have learned that they need to hone their skills with natural light shooting to make sure they can be always ready for the shots they might miss while fiddling with lights.</p>

<p>As Nadine has outlined, there's a perception that you can shoot your sisters wedding and now you are a professional photographer. That not how it works. It takes years of experience to be good. It takes skills as a businessperson and salesperson to make the business work at a profit. It takes an investment in computers, software, computer accessories (tablet, colour calibration unit, data storage etc). It takes a big investment in the right lenses, flash systems, off camera triggers and camera bodies and a host of add on accessories. It takes having a quality web site and a marketing plan. You need at least 2 types of insurance (Liability and to cover your equipment).</p>

<p>It is old school but I shot as a second shooter/assistant, while going to school for 2 years, for a season with a local professional to gain experience and understand both the business and how to shoot better. I then did 12 weddings free to gain experience and a portfolio. Without that education, training and background, you are not ready to take on weddings alone. These are one time and very expensive events that people are trusting you with and there are no do-overs. You have to be able to produce the work they expect. If you can't find a local pro to work with, then enroll in a community college program dedicated to teaching photography. Attend seminars from the many travelling professionals that hold the 2-3 day sessions.</p>

<p>Once you have done this, you need to decide if you enjoy shooting weddings or it's just a paycheque. You need to see if you have the vision and creativity to capture a wedding in ways others can't or if it's just a job you do without thinking. Not always but generally the $500 Craigslist shooter produces terrible work that lacks both skill and creativity. before you can ask for larger fees to shoot someone's wedding, you have to be far, far better than that.</p>

<p>Frankly, until you're ready and capable (this is a general statement because I haven't seen your work), you shouldn't even charge for weddings and be clear with those that might consider you, that you are learning and there may be issues. Once you've done 15 or 20 and feel you're more ready, then begin charging. People have this opinion that they can just grab the camera they got at Christmas and start charging. They would never get their surgeon to practice on them. They would never hire and engineer who's learning to build bridges on the job instead of going to university. This is no different. You need to learn and practice the skills and you need to make the investments in time, training, legal matters, insurance and equipment.</p>

<p>Look closely at the start up budget for the business. I would suggest a starting point is about a $15,000 budget for the right things I listed above as well as getting insurance and a number of other things you'll need. A Rebel or D3100 isn't a professional camera and since you never listed your gear, I have no idea what you've got to start with.</p>

<p>As Michael asked, show us your work to date.</p>

<p>Marcus and Nadine have given you great tips and i would suggest with that, you have just about everything you need. I'll offer 2 other tips.</p>

<p>1) Most people don't have much experience shooting people in normally harsh light like sunshine at 2PM. Add to that, he's wearing black normally and she's wearing white. The 2 toughest colours to expose for. On a bright sunny day, take a white dress or bed-sheet and hang it over an outdoor clothesline. Then take a black suit on a hanger and hang it right beside the white cloth. Now take your camera and flash and try shooting these from both sides. On the sunny side, you'll get practice exposing for the white dress and approximately what settings you may encounter. Shot from the rear where these items are shadowed and us your flash to fill in those shadows to get an idea of the right exposures. It's not a perfect way to learn but can help understand how tough it is and what to do to overcome the light you'll be working in.</p>

<p>When you have the control over where people will stand, have the sun to their back to avoid both hot spots, blown out lighter colours and so people don't squint. Use your flash to fill in those hot shadows as much as possible. Cross your fingers for a cloudy wedding day!</p>

<p>2) Look at various wedding web sites and sharing galleries. Create a small booklet of images that you might want to try for the formal (personal) and bridal party shots. You will be nervous and forget a lot of the ideas you've considered ahead of time. So you should have a 'cheat sheet' to refer back to. Plus if you aren't that familiar with posing people, you can show the couple the image and what you'd like to try and get. I would strongly suggest that any images you do copy, once the wedding is over, delete any copies after the wedding is over.</p>

<p>Oh and a third thing. If you don't own any editing software, you can download free copies of GIMP and Paint.net which are very similar to Photoshop to complete the work on the photos.</p>

<p>One from yesterday where it was just the couple getting married alone. Wonderful people and a great little wedding.<br>

<img src="http://img716.imageshack.us/img716/2338/pcf8226.jpg" alt="" /></p>

<p> </p>

<p>If you shoot in poor weather, and the budget allows adding the extra cost, then get it. It's a good and cheap way to make sure the kit is sealed. Sure the other glass you have is better but this is a good lens and in bad weather, it's better to have this than nothing.</p>

<p>Simon means " Set Picture Control" found in the Shooting Menu. That has nothing to do with exposure, it's sort of like saturation in Photoshop, more or less vivid in colour capture. Standard is pretty much what everyone will have their cameras set to and make the changes they want in software. I'd guess as well but not certain, that this only effects the Jpegs recorded.</p>

<p>I agree with the others, my earlier comments not withstanding, that you're putting the cart before the horse. Its time to look at a D7000 or D300s. I'd suggest the 300s partly because of build and partly because the controls are nearly identical and switching back and forth is much easier. Once you get a D300s, then either keep the D70 as a backup spare or sell it off to fund the upgrades.</p>

<p>As Katrin says, I'd normally suggest upgrading glass first, it's the item that will make the biggest difference in your shooting and once you have the glass kit you want, you don't need to change it much over the years to come. In this case, both cameras have some big limits and that is the first priority IMO.</p>

<p>I've not used the Nikon 17-55mm but everything I've read about it is extremely positive, so that needs to be considered if 55mm will do. I was suggesting the Tamron 28-75mm because it is an economical lens that is so good. For about the same money as the 24-70mm, you could make a big upgrade to your kit with a D300s, 85mm f1.8 and a Tamron 28-75mm.</p>

<p>I'm not saying that the Nikon 24-70mm isn't one of the best lenses around but would also suggest that many Nikon shooters have a "It's Nikon or nothing" in their thinking much of the time. They often don't even look at any alternatives. At 24mm and wide open, the Nikon is a bit sharper than the Tamron but the Tamron is no slouch. At other focal lengths beyond 28mm, the Tamron can keep up with the Nikon and has very little distortion (pincushion or barrel). Like the Nikon, the Tamron is also very good in the corners with very little falloff in sharpness. Frankly it's a very undervalued lens. It's one of the ways I could afford to shoot a pair of D700's since I didn't spend the extra $$$ on the 24-70mm. It's not built the same as the Nikon which is a tank but it's also lighter, which can be a plus and I've taken maybe 20-30,000 shots with mine in all types of weather and not babied the lens. it's still going strong. Even if you compare the 2 lenses at new prices ($599 vs $1899), the Nikon isn't worth 3 x the price of the Nikon. The optical differences might be 2-4%.</p>

<p><br /> If funds were unlimited and you <em>needed</em> this lens, then sure get it. You also have to consider a practical use of the budget with getting the most for your money spent.</p>

<p>I'd also suggest you keep the Tamron 17-50mm if you can afford to (I've owned this lens and would agree with you on it's characteristics). for the times when you need something wider. Instead of being a primary lens, it becomes a specialty lens for certain situations.</p>

<p>I would consider the New Tamron 24-70mm f2.8 that also adds VR. A few wedding shooters I know have gotten it (just released) and they feel it matches the Nikon in IQ at a lower cost ($1399).<br /> I'm considering this new lens and have been using the Tamron 28-75mm f2.8 for 3 years now with excellent results. In fact that might make the most sense for you. Used ones go for about $300 -350. I've compared it to the Nikon 24-70mm on the same body and the only difference I can see is the Nikon has slightly smoother bokeh. For $300 vs $1900, I can't rationalize the extra cost. Plus the Tamron is lighter and on a full wedding day, that makes a big difference.</p>

<p>We'd need a lot more. Metering mode? Shooting mode? EV settings etc. How you meter a shot. IE: do you spot meter off brighter skin or dress or take a matrix metered exposure? Do you meter off the dark suit or a shadow area?</p>

<p>Now unless you are blowing out the dress or faces, 1/2,1 or even 2 stops isn't going to be a big issue most of the time but it would be good to solve this. Btw, don't trust an LCD for exposure unless you use the 'Blinkies' or have the histogram on. The LCD is good but not perfect to evaluate an exposure setting. </p>

<p>Green Photog, this is going to be a long post, sorry in advance. It's also going to be a bit harsh but only because I'm passionate about this. After writing this post and reading it a couple times, I'm posting it with some hesitation but I think it needs to be said.<br /> <br /> Earlier, after reading my first post in this thread again, when D. Haas replied, I was thinking I might have been a bit hard on you with the following: <em>"You are just as much to blame for the results as she is."</em><br>

Well with your last statement:</p>

<blockquote>

<p>Because it wasn't much of a wedding for anybody to ruin when all you got was 3 people in front of a fireplace, a meal and a 10 minute walk around a park.</p>

</blockquote>

<p>Is jaw dropping. Granted that she has arthritis and would have trouble getting around. That's something you should have known beforehand if you met her prior to the wedding. In her case, then it's your job to scout out spots or locations that would allow you to get some special shots within her limits. Maybe it's all going to be in one indoor place, like finding a nice historic building she can sit down in and take shots, a park bench, whatever. There's no question that her limits would pose some big challenges. I'm sure with consultation and careful planning, you could have worked within those limits.</p>

<p>I shoot small weddings regularly. Probably 6-8 per season. The last one was just Friday and the couple came to Canada from Germany to get married and have a honeymoon all in the same trip. Most of these weddings are so small I am one of the witnesses who signs their marriage certificate (2 are required here). Personally I love these little weddings. They are intimate and fun. They challenge me to find unique ways to make the day memorable for them. I get my highest referrals from these and it's because the couples feel that I helped to add something special to their day.</p>

<blockquote>

<p>I also think that the fact that she didn’t have much of a wedding</p>

</blockquote>

<p>Basically you repeated the same feelings about this twice. Frankly it's not for you to judge. A small wedding can be much more "real" and beautiful. It can mean much more to the couple and they may have many reasons for wanting it small which we don't know about. I really think you need to reevaluate why you shoot weddings. It's not your job to be party director, wedding coordinator and photographer all in one. Of course not, although some of those things and others are part of our role, particularly since few people use wedding coordinators these days. If you are going to be paid to shoot <em>any</em> wedding, you absolutely have to bring your "A" game each time you show up to shoot no matter how big or small the wedding. You should know what's expected, where they want photos done, how much you can do with them (IE physical limitations or if they are shy etc).<br /> They've never done this before much of the time and they look to you for instruction and guidance. Often times it's not all about the photos, it's the <em>experience</em> as well. Both your experience in getting the best out of tough situations, physical limits, small groups, poor venues, bad weather but also the fun or energy you inject into the shooting.</p>

<p>I'll give you a perfect example. I had a wedding like this 2 years ago that still stands out in my mind. It was going to be a beach wedding. Me, a paid witness, the WC and the couple who were travelling to my area for the wedding. She was 25, we "met" over the phone 3-4 times and I asked many questions, including to tell me about her wedding dress. Was it long? Was is white? Was it lace or zipper? Will you both be at the hotel together? Now you'd think with a small wedding like this, why would I need to know? Because she was alone at the hotel. He was coming separately. Her dress was a lace up. Try putting that on by yourself! Physically impossible. To her surprise, I showed up at the hotel 45 minutes early to help her get laced in to the dress. It never occurred to her that she couldn't do it alone. The wedding was a blast. She cried, he was great, they had a nice intimate dinner at a restaurant I recommended. She has since referred 4 weddings to me.</p>

<p>Katrin D took the time to look up that earlier post and when you read that and some of your comments here, I get the impression that you do this more for the payment and less because you enjoy being part of a wedding day. Getting paid and paid what you are worth is important, otherwise you are out of business or can't deliver. This isn't however a job at a factory where you just come for a pay-cheque. If you really want to do a good job, you have to bring a lot more of yourself to the table. If small weddings are not something you're comfortable with, then don't take them. If you're in it mostly for the money, then find a different part time job.</p>

<p>This experience should be an opportunity for you to really learn and change how you approach shooting weddings.</p>

<p>Well, that's true, we might think we ar a good fit or connected to the couple's vision and it just doesn't turn out that way. With enough weddings, I can happen to most especially if price is the main purchase motivation before the wedding. The photos will be the main motivation afterwards, no matter what the price point.</p>

<p>It really sounds like a big communication breakdown. Was there a contract? Why would she expect an album when none was mentioned? Did she get a copy if a package or price list? Something doesn't seem to fit here. </p>

<p>You've offered prints and I guess she doesn't want them? The only other option I could suggest is an inexpensive coffee table book but there's quite a bit of time/cost involved in a good design and if it doesn't meet expectations, you've made things worse. I'd leave things as they are and move on. You may not be able to satisfy this situation. </p>

<p>In future, get things in writing and be clear about expectations. </p>

<blockquote>

<p>I didn’t do enough poses during the ceremony,</p>

</blockquote>

<p>What is she talking about? You don't interrupt a ceremony to get a couple to pose, no matter how small the wedding. That's just odd and there is some sort of communication breakdown here. I'm glad you pulled the shots and agree with Mike. Talking about a wedding issue in general terms on a public forum is one thing, showing shots would have been a bad idea. </p>

<p>I've turned down 2 weddings this season because I knew we were a bad fit. I just wasn't going to produce what the couple wanted no matter what I tried. IMO it's better to back away than take a wedding you know in advance is not going to work out for you or the couple. Frankly it's bad business and not responsible. You are just as much to blame for the results as she is. </p>

<p>David, actually if you used the tools in the article once a week, then you would know in about 10 minutes if anyone's copied any part of your online work. I'd say it's worth the time to check periodically. I would agree though that we shouldn't have to do this but it's the age we live in.</p>

<p>Batteries, cards, flashes, lenses and camera bodies all need spares of comparable quality to the primaries. Doing a wedding without those backups is a recipe for disaster. Let me tell you about the wedding where body primary cameras failed by the time the service ended (and these were $3000 cameras). I resorted to the "carry around" camera in the car that's normally used for vacations. Without that 3rd body, I'd still be in trouble.</p>

<p>Allow me to add a few more.<br /> - Everyone forgot the family shot list and you just realized it's in the 'details' email on your smartphone.<br /> - The hair/makeup/flowers/limo are late, one or any combination. Dinner is at 6PM sharp so now your 90 minute formals are 15 minutes and you still have to get 180 minutes worth of signature shots.<br /> - The bride is organizing everything without help and she's fretting over details. You become her physiologist or every shot will have a furrowed brow and look of concern.<br /> - The bridal party is 18 people plus the B&G. The sunny day that was forecast turns to rain, You now know why you bought those 25 umbrellas in the trunk.<br /> - The beautiful historic inn that's the ceremony site has 200 year old wooden floors. The ceremony is quiet and no matter how softly you move around, the floors creak like a haunted house.<br /> - Your perfectly set up for the first kiss and just as the minister announces it, Uncle Bob pops out of his seat in front of you. You dive to the side to still get the shot.</p>

<p>I could go on....</p>

<p>I guess we're all "livin' the dream" because it seems this past week or so, wedding photography theft in various forms has been exposed quite a bit. I'm posting this with the express purpose of exposing this issue and the people who steal your work as well as how to protect yourself. TinEye, Copyscape and a few other sites will help you check to see if your work is being stolen.</p>

<p>A big debate over the stolen work that was re-posted on Meagan Kunert's web site and Facebook page is here: <br /> http://carusophotography.com/blog/photographers-stealing/<br /> Another couple of examples and ways to protect yourself are posted here:<br /> http://enticingthelight.com/2012/05/10/photography-theft-and-how-to-protect-your-work/</p>

<p>It can happen to you. Make sure you are watching and checking the internet. File a DMCA takedown notice and contact the site's web host, most will yank a site quickly if you have proof. If you catch someone, please sue them into the stone age!</p>