e._hughes

<p>Oh wow! I didn't really think my image would be chosen, so I didn't put much of a description...</p>

<p>This wedding was set at an old mansion turned Art Museum in Monterey, California. The "old house" built early last century was off limits to guests, but was available to the Bride and Groom for pictures if they wanted. We took about 15 minutes to just walk around this vintage area, including a long hallway lit by the only the window you see in the photo. This entire space had very little natural light, and I just had them sortof stand in front of the window while I fiddled with camera settings (great excuse to have them act naturally I found...). They started being cute and the like... I snapped about 6 or 7 pictures, and this one was my favorite. I have enough shots to form a series with before, during (this image), and after the forehead kiss.</p>

<p>I understand the above comment about the window frame being too in focus for Richard's taste. I suppose I agree with that. Because of the way I staged the shot (or really didn't stage it) I didn't place them far enough away from the window to achieve a really nice blur. The tweaks in PS look nice, and I'll consider adding them. Thanks!</p>

<p>Ian: Thanks for your comments, I really appreciate them, and that you like the image so much. It turned out to be one of my favorites from this wedding, although I hadn't expected it to be.</p>

<p>I was using a Canon rebel XTI, Canon EF-S 17-55 f/2.8. I'll have to check for the exact stats for this image, but it would have been at f/2.8 and probably ISO 400 or maybe 800.</p>

 

<p>A tender kiss...</p><div></div>

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<p>The female brain just isn't always wired to think about the hassles that usually accompany film. Male brains are prone to this technical diligence.</p>

<p>I'm amazed that thinking still pervades.</p>

 

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<p>Thanks Neil. As am I. A gross generalization to say the least.</p>

 

<p>I have photographed weddings with the XTi and certainly made a point to not push it over ISO 400 unless I had to. Be mindful of your equipment, and although I firmly believe that the XTi is enough camera for the job, you should know your limits. It is unfortunate that the photographers you were working with did not explain <em>why</em> you should stay below ISO 400. Fast lenses help a lot (ex. f1.8, 1.4, 1.2), and in my opinion the XTi really should <em>only</em> be paired with a fast prime in a low light situation. I have found that although a f2.8 zoom like the 24-70 is nice, it's usually not enough. Unless I was purposely striving for a grainy look, ISO 1600 was a definite "no-no". ISO 800 is ok, for the "no other option" situation but not ideal. And all of this requires that the exposure be spot on each time, which means knowing your camera really well.</p>

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<p>You can always take out all that noise with lighroom.</p>

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<p>The above statement bother me a bit... Just for the record, post processing is not going to be able to take out "all" the noise out of an image. I think it's quite dangerous to just shoot and try and fix an issue like noise later. Experiment a little by taking some high (800, 1600) ISO images and trying to process them. See what you get. Know your limits ahead of time. Best of luck!</p>

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<p>Are you saying you did a better job with your Rebels than others with more expensive cameras because other people said it, or because you believe it? I try to let others decide if my stuff is any good, and not let it be up to me to say - but that's my preference.</p>

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<p>Others. I'm not <em>that</em> narcissistic. ;) I'm not saying that Rebels are the best cameras for the job. But, the huff and puff over minute differences in cameras above a certain threshold is ridiculous!</p>

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<p>On a side note, looking at the last poster's portfolio I am seeing some shots that are soft probably because of misfocusing.</p>

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<p>On another side note: I can tell that you think my work is not good by the mere fact that you had to bring that up, and guess what? I really don't care what other photographers think of my work, the responses of the brides and families are plenty for me. And that's the most important thing; that the bride likes, no, LOVES her pictures!</p>

<p>To the OP, now that I think of it, references from past brides are a good way to gauge whether the photographer delivers on great imagery. If the bride raves about the photography or is just "so so" about it IMO is more important than the "right equipment."</p>

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<p>I'm not ashamed to say that I've shot multiple weddings with digital Rebels, and produced significantly better images than many photographers around here who used "better" cameras!</p>

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<p>And just to clarify... by "around here" I meant photographers in my local area...</p>

<p>As far as this equipment selection B.S., I just have to chime in... no one really cares what type of paint brush Monet/Renoir/Van Gogh used for their works, and yet so many photographers are so freakin' concerned about <em>other</em> photographers cameras/lenses. I'm not ashamed to say that I've shot multiple weddings with digital Rebels, and produced significantly better images than many photographers around here who used "better" cameras!<br>

<br /> To the OP, go on portfolio alone. Yes, backups are important and all that, but <em>IF</em> you know what you're looking for and are skilled enough in photography yourself, the portfolio will tell you all you need to know. All of them probably have the "right equipment." However, based on the recent thread about a photographer using images for their portfolio they didn't actually take, gauging authenticity of portfolio is another story...<br>

<br /> And although it is tempting to suggest a photographer for this bride from your personal opinion, she still needs to take the time to meet them and make sure <em>she</em> actually gets along with them. If all else is equally good, the rapport she has with the photographer will make the difference between "ok" wedding pictures and fabulous ones!</p>

<p>I think this was a cool, interesting, unique bridal portrait. I like the idea and what you were going for. This is how I would edit it...</p><div></div>

<p>Just yesterday I was talking to one of my good friends who works in a photo lab in town. She specifically mentioned that recently a young couple had gotten a bunch of disposable cameras for their wedding, she developed the images, and had to break the news that she had done all she could but they just didn't come out. Not a single one. So they had absolutely no pictures from their wedding... ick. If I were getting married nowadays, I would NOT do the disposable cameras... why bother if you already have a great Photographer...? :)</p>

<p>The first dance of a long-awaited wedding.</p><div></div>

<p>I did a wedding for two brides a couple months ago, and changed every place in the contract that said "bride and groom" to "bride and bride". The couple noticed it and thanked me for making them feel like brides, not just "client #1" and "client #2".</p>

<p>It's a bit of a tricky situation because some wedding images can be very personal, and some brides/grooms might not want them displayed for some reason. I always make a point to explain the section in my contract that allows me to my images of them in advertising, websites, etc. I also make sure to let them know that if for some reason they are not comfortable with the exhibition of any or all of their images, as a professional courtesy, I won't exhibit them. I have never had any of my couples feel uncomfortable by using a photo of them on my website or blog, most are ecstatic that they were chosen. I agree with David that you could probably still use the wedding, seeing as you feel it is your best one yet, as a sample album shown to clients in person. A lot of people get nervous about photos of themselves being on the internet because you never know who might be seeing them. Either way, I would suggest taking them off your website, and be sure to explain next time more clearly what your policy is.</p>

<p>I agree with the wrist thing... it's a little awkward. I suppose the slightly blown background is a bit bothersome as well, but that could certainly be edited. I suppose the thing that I notice the most is the framing. The branches of the trees behind the bride and groom seem to make a nice arch, and if you had taken a step or two to your right and placed the bride and groom more under it, it could have made an interesting subtle natural frame. There is a lot of dead space at the top of the image for me, and it doesn't do anything for the image. But maybe all that wasn't possible, I don't know, I wasn't there! Anyways it was just an idea!</p>

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<p>So there's a use for DSLR onboard video afterall. Camouflaged evidence gathering for when the photographer is blamed later on for producing poor results. </p>

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<p>On my gosh, that made me laugh sooooo hard!</p>

<p>To answer the original question... I completely understand, as I had a couple for an engagement session a couple months ago who were very similar to what you are describing. Although the future groom was talkative, and yes, awkward, I still got some amazing shots using him as a kind of frame for his beautiful fiance. I also sat them down in a coffee shop and telephoto'd the heck out of them for some really sexy intimate moments of whispering sweet nothings into each other's ears...</p>

<p>When it really comes down to it, this guy is probably nervous as all hell, and this is part of <em>him</em>. She obviously loves him, even the dorky side, so get it on film. It sounds so silly, but if you're getting nervous and upset, they pick up on your energy so fast! Stay calm, and regardless of what is happening, stay positive. Work on the timing of capturing who these people really are, not just saying, "ok, now turn this way, and... smile!" I promise, they will love you for it!</p>

<p>Yes! The hours should be consecutive! What are you possible going to do in the time in between????</p>

<p>I guess I'll submit one this week... This is the Bride and Groom's entrance to their reception.</p><div></div>

<p>Try Asuka Book, or GraphiStudio, Leather Craftsmen... all good quality albums, some more expensive than others. I use Pictage for online proofing and print ordering, and they offer quite a few different album styles as well as free design service. Ultimately it depends on the style and quality you're looking for, but check out the ones I mentioned above to get an idea of what's out there.</p>

<p>I started off (in weddings/portraits) offering just a disc. When I was starting out, it was easier not to have to worry about prints. Now, I offer wedding packages including some final prints, with the add-on option of a high-resolution Image Disc. It seems to work well because most of the time folks appreciate the options, and some just stick with the included prints. Most of my clients are more than willing to pay the extra charge for the Disc. For Portraits, I offer small print packages, again with the option to buy Digital Negatives. I structure the Digital Negatives for Portraits as: 4 image, 8 image, 16 image, or full session, priced accordingly. The more images on Disc, the less expensive each image is to purchase, so it's a bit of an incentive. Hope that helps you!</p>

<p>I wasn't going to respond to this one, but I guess I will anyway...<br /> It is NOT hard to get into wedding photography. All you need is a camera, and someone willing to give you a chance to document their most special day... BUT, it is hard to do it <em>well</em>!!! I can't stress this enough! If it were EASY, EVERYONE would be churning out amazing photographs. But, they're not! It is never <em>easy</em> to be great.<br /> Based on your website, your post, and your photography portfolio, I would guess that you are just beginning to really delve into the world of photography. You also seem to be VERY new to this country. <br /> I see two obstacles for you as a budding photographer: You are not fluent in English, and you have not had enough practice/classes/etc in basic photography skills. If I were you, I would endeavor to work on both at the same time.<br /> Most community colleges offer basic and advanced Photography classes, which will help develop the skills necessary to use your equipment to it's full potential, as well as more exposure to the English language. This goes a long way in breaking into the industry, if that is indeed what you want to do.<br /> You could view your lack of English as a downfall, but perhaps look at it as a strength. There are a lot of other Indian families in this country, and I've found (as a non-Indian descended American) that most Indian families would prefer to work with an Indian Photographer. Try getting involved with other Indian people locally and offer to take photographs, probably portraits to start with. Practice, practice, practice. Then maybe when someone you have taken portraits for is looking for a wedding photographer, they will ask you. Take your time. Practice takes time, and you can't expect it to happen over night. If you are patient, and always continue to improve, you just might make it. Good luck!</p>

<p>You know, I actually really like the lighting on the original image, and I think the color gives the photo a warm lovely glow. I would definitely keep the color image. I have a very difficult time with the original framing of the image. It's just bad in my opinion... The bottom of the image is dominated by a huge, incomplete white skirt. If you had stepped back a tiny bit and gotten the whole skirt, it would have been better, otherwise, lose the skirt. The top is good, the facial expressions were good, but I would have also turned the bride a little more away from the groom for a more slimming effect. Not that she looks bad, but she could have looked better. My version is below, I obviously cropped the image, boosted contrast, and added a selective blur (Kubota lord of the rings everyday) and returned sharpness only to their facial expressions to emphasize them in the photo.</p>

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<p>If you want some direct wedding inspiration, try googling "Yosemite wedding" "ski wedding" or things like that. I'm sure all the greats have done a winter wedding at some point. Otherwise...<br>

I find most of my inspiration, strangely enough, from National Geographic. I have en entire 2 bookshelves filled with those yellow covered books with amazing inspiration sprinkled through every page. I especially love the issue with the Afghan girl on the cover... Amazing! I'm also a big nerd, so that helps too.<br>

If you're going to be in a place that has snow, and wanting to incorporate the scenery, I can't think of a better photographic resource than National Geographic, or similar publications. In fact, I'm shooting a wedding this year the day after Christmas up right near Yosemite, and I can tell you that my inspiration will come out from between the yellow covers of my collection. Not to mention the beautiful scenery at the wedding location...<br>

You don't necessarily need to find inspiration in other wedding photography. Try looking at other photographic resources for inspiration. Jasmine Star openly professes on her blog that most of her inspiration comes from fashion magazines. Other well-respected photographers look elsewhere. Figure out what your inspiration is, and just go with it, winter or not!</p>

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<p>Instead of asking if I can leave, I just tell that we have so much great stuff, when it will be on-line and what they need to do next. Take the hug and out of there.</p>

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<p>I agree with Brooke's approach to the situation. I also second the idea of not working with a specific "ending time."<br>

At the booking meeting, I make a point to explain what the "8-hour" package includes... It includes UP TO 8 hours of coverage so that if things are happening, great we're right there! But when the reception winds down, and nothing is happening, that is when we leave. I imagine you are more worried about clients wanting a refund on one hour that they "paid for" or something like that, and most couples are happy to have a time cushion once you explain why it's there. And, time flies by SO QUICKLY on a wedding day, and its pretty safe to go home once you can visibly tell that the bride and groom are getting ready to leave (or however the end works out at the particular wedding). As I write this I realize how hard it is to make generalizations about wedding schedules because every wedding is so different. I suppose the best way to work on this situation is to play it by ear, and go with the flow. Sometimes you might leave early, and sometimes you might stay later, and other times everything will be perfectly on schedule (rarely...lol). I feel like I know the Bride and Groom well enough by the end of the night to gauge when it's time to leave. I really hope that made some kind of sense!<br>

Erin</p>

<p>Ooooh, I like Jodi's version!!! Although I like the authenticity of the original, I also found the fence (bars?) thing in the window to be distracting. It's a lovely relaxed innocent bridal pose, and although it has been done before, I would bet that the bride and her family will love it!</p>

<p>I'm sorry if that sounded harsh, but your post reeks of inexperience, and I have a hard time with the entire concept of NEW photographers shooting WEDDINGS... The most important piece of advice is to practice with whatever lenses you have, and see what you like or dislike about them and THEN seek better lenses to overcome the shortcomings of those lenses. Everyone has a different shooting style, and one man's "must have" lens might be completely worthless to another. Lens selection is about personal preference and shooting style. You MUST develop these before venturing off to capture someone's once-in-a-lifetime memories.</p>

<p>I guess that would work (jpegs, and auto everything) but I don't think I would be comfortable handing everything over like that... those photos are like my babies! :) </p>