Giving the gift that never stops giving
By Jay H. Guttveg
When clients come to my studio and comment on how beautiful my family looks, from seeing the many images displayed throughout my office, I have to tell them that they are not looking at recent shots.
No, it’s not that I don’t take more current photographs of my family, because that I do. The truth is that I see them every day and what I miss most is when they were younger, what I don’t see every day. So I proudly display older photos.
Having photographed thousands of babies, children, couples and families, I have heard many different reasons for documenting a specific moment in time. Some people think that at a certain age their kids have developed their unique personality or the family is now complete.
There is no doubt that in taking a current photograph of the family there is a great value to documenting this moment in time. However, I believe that the moment captured, like good wine, only gets better as time goes on.
Portrait photography is the gift that keeps giving. Every day I come into my office and see my children when they were young, it makes me stop and remember just how precious they really are. Floods of memories pop into my head to create the most incredible euphoria.
There are no words that can describe this feeling. There is no other such reward. In this fast paced world that we live in, we do not take enough time to reflect back and maybe appreciate what we already have. Cars, boats, houses, and money, nothing is more important than your family.
How perfect of a gift, to give someone you love a portrait that will bring such an amazing feeling, that only gets better and better. I am truly grateful that I was given such a special talent to capture my family in photographs, and all my extended families (my clients).
There is nothing more valuable than a professional portrait that reflects the true personality of our loved ones. Today’s portraits are less posed, but should still posses the original characteristics that make up a great portrait, like lighting, harmony, color and balance.
Candid impromptu shots are also great to archive and easy to do with most modern digital cameras. Now a days, I see so many families toting their little digital camera around, taking photos at soccer games, graduations, or just playing in the park. How incredible it will be for those shots to be viewed many years later?
Recently I have been bitten by the Face Book bug. I find myself searching for not just my old school friends, but also all those old photographs that reflected my childhood. I cannot imagine looking into my past and not finding any of these photos. I have to thank my friends for giving me this gift that never stops giving. Without even knowing it, they have given me a something greater than words can express (fantastic memories).
July 2009 Issue Camera Clicks
Insight on Digital Photography, Part X
By Jay H. Guttveg
Wow, our 10th contributing article for the Parklander. Do we get a gold watch? Seriously, I write these articles for the love of photography. And what’s not to love, when you can stare at a sunset shot for hours or Snowcap Mountains without even wearing a sweater.
Photography is forever, timeless and a very rewarding art to all that can appreciate it. If you are like most photo enthusiasts, getting great scenic shots has an emotional value, all on its own. So when our publisher told me that July was our “vacation” issue, what better month to talk about how to get those great vacation shots. Ok, not so much the family snapshots, as our past articles have covered that, but how to capture the perfect sunset or blue sky.
They say that beauty is in the eye of the beholder. Well that beholder must have carried a camera, because there are so many beautiful photographs of nature. I remember a vacation to San Francisco, taking a breathtaking photograph of the Golden Gate Bridge. Then there was my trip to Hawaii, where volcanoes climbed high into a brilliant blue sky. It was on a canoe trip in Florida, that I captured an amazing reflection of trees nestled in the swampy water. That is one of my favorite Black and White photographs!
From California to The Florida Keys, vacation shots just seem to get the juices flowing. Maybe it’s the excitement of seeing something new, for the first time. Or the relaxing frame of mind we are in, when on vacation. Nonetheless, your vacation shots can transform into amazing photographs, with the some little tips.
First, make sure that your lenses are clean of dust or debris. Check your exposure (as we have discusses in past issues) and be sure to use the tips for Landscape photography from Aprils issue (archived on our blog at www.creativefocusinc.com).
A Few Tips: To get that deep blue sky – underexpose the shot just a bit or use a polarize filter. This filter will deepen the color of the sky when you follow the easy instructions that are included. To get pure white snow – try overexposing the image just a bit. For sunset shots – try to shoot 15-30 minutes prior to the sun setting. That is the time that is usually the most colorful and not too dark. A tripod is recommended for all the above, but most importantly for the sunset shot, as you will be shooting with a slower shutter speed / aperture combination (especially as the sun sets and it gets darker).
Having difficulties shooting a particular scene? Send me an email at jay@creativefocusinc.com and I will get you the answer.
Equipment to pack: A tripod is a wonderful tool to help make your shots look more professional. There are inexpensive, lightweight tripods that are available at local camera stores that will work fine. A plastic bag is a great thing to have, if it starts to rain. And don’t forget to pack lens cleaner, lens tissues and those extra batteries!
June 2009 Issue Camera Clicks
Insight on Digital Photography, Part IX
By Jay H. Guttveg
When we think of June and photography, we think “weddings”. This is due to the large number of weddings that take place in our northern states in June. As we mentioned in last months issue, this is not the case in South Florida, where it is so hot.
But in keeping with the spirit of our June wedding couples, whether up north or in sunny Florida, I thought I would elaborate on weddings from last months issue, by talking about “wedding styles” of photography.
For many years, a professional photographer was judged on the equipment (medium format), the lighting and the posing that he mastered. The style was considered more of a traditional nature in comparison to a candid or an un-posed shot. The photographer would take time to set up the shot, arranging and angling subjects to appear their best.
In the end, a slender person looked more full and a full figure person looked thinner. Lighting was used to create shadows, enhance the appearance, but also to create depth and dimension. It took a special talent to capture all this effort and these photographers stood out.
Today, there is a whole other style to add to the mix. It’s a very popular style that can be a great asset, when done right. This style is called Photojournalism.
Ok, so what is this photojournalism style? It is a great style that captures real emotion, details of the day and pictures that communicate (tell the story). Well, to put it bluntly it’s the paparazzi shooting your wedding. Think of a photographer shooting thousands of images, bouncing all over, obtrusively covering your most intimate of moments. After the event, he will edit through all those images, to see which ones came out and which ones to delete. At best, you are shown a small percentage of all those shots.
It seems that the younger the photographer, the less expertise. The foundation of lighting and posing or photography schooling is secondary to learning in the field and at the expense of the couple. Yes, sometimes they get great shots, but can’t you get the same from thousands of shots? Where is the consistency?
There is an answer. There are some photographers that are truly dedicated to their craft. In mastering the right way of shooting this very popular look and style, they have taken the time to get reacquainted with the basics of photography – exposure, lighting and posing.
This photographer will slow down just a bit, to make sure that before they click the shutter, you look great as well as the lighting and exposure. There is no need to shoot thousands, because their finely tuned skills will ensure that each shot taken is truly spectacular. This photographer can be unobtrusive, as well as creative, knowing the precise moment to capture the image.
So to recap, Traditional style is more posed, and the lighting more fine-tuned. Photojournalism is more spontaneous to capture the emotion of the day.
Most photographers will usually have a preference to what style they like to shoot or have the talent and knowledge to create. So the question is which one do you choose?
- As well as the emotional journalistic shot of her dad first seeing her as she walks out the bedroom in her wedding gown.
At our studio, we love to capture both styles and have equally learned them both.
May Issue 2009: Camera Clicks
Insight on Digital Photography, Part VIII
By Jay H. Guttveg
May – this month’s “wedding issue”, is also a very popular time of year for South Florida weddings, how appropriate. Unlike our northern states where June is the infamous time of year to have a wedding, we Floridians know that our June heat is not so comfortable in tuxedos and gowns. Its our gorgeous weather in February through May, October and November that make us such a popular state for local and destination weddings alike.
Since our wedding industry is normally slower in the summer months, it lends an opportunity to negotiate better pricing. Something to think about when facing some of the hefty costs associated with planning a wedding (although I’ll take the cooler weather any day).
There is so much planning that goes into a successful wedding day and getting started can be quite overwhelming. With over 25 years as a wedding professional, we have seen it all. Our best advice is to stop, take a breath and make a plan. Don’t try to take on too much at one time and set a budget.
There is no guarantee that your budget is going to be accurate or on target. In all likeliness, your budget will be off. Planning a wedding is not like buying a car, where there is a world of information out there to assist you. Wedding costs will vary by the quality, service and professionalism of the vendors you choose.
Just think about it. You can have a DJ vs. a band and dinner at The Boca Raton Resort vs. The Holiday Inn with one not being better or worse, just different to your particular taste and budget. Most people have champagne taste with a beer budget, so how do you get the most for today’s shrinking dollar.
Well, that is a whole other article in itself, and something that we help our clients with every day. Learning where and what to save on will not only make you a wiser consumer, but also help to create the perfect affordable wedding day.
Budget aside, there is so much information needed to make those wise decisions. Listen to the people in the business for real facts and suggestions. Great vendors will network and work well together, while promoting quality and better service.
With Photography, there is such a wide variety to choose from. Inexpensive photographers normally have less overhead (like no insurance, studio, back up equipment) or less skill. More seasoned photographers are better skilled and use better products, offering guarantees.
Wedding Photography does not have to be overpriced, but there is definitely a threshold for where it gets cheap. When interviewing your photographer make sure not to compare apples to oranges, so you don’t end up with lemons. Remember it is not simply about someone taking photos to put into a book, rather than a unique eye and talent to unobtrusively capture your day and create an heirloom. Coverage should be customized to your style of photography.
Want to learn more from a seasoned professional with over 25 years, give us a call, we’ll be more than happy to give you some ideas – no obligation.
April Issue 2009: Camera Clicks
Learning your digital camera, Part VII
By Jay H. Guttveg
Mother Earth, what a great topic for this months Parklander issue. One of my most beloved areas of photography is shooting landscapes. I remember several trips to California, having the feeling of being in heaven, with beautiful green mountains, that fall right into the deep blue ocean. What great pictures!
Taking the most breathtaking nature and outdoor photographs, does not have to be a hit and miss attempt. Anyone can get award winning scenery shots with the right knowledge. So today, we will discuss some trade secrets to taking those award winning portrait landscapes that scream to be blown up and hung on the wall. And yes, you can sell these shots.
First off, for a professional looking landscape shot, you must keep your horizons lines straight and level. For this I recommend using your trusty tripod. It is very difficult to hand hold your camera, compose, focus and keep those lines level. There is also something called the “rule of thirds”.
The rule of thirds states that the important elements of a composition should fall within one of the thirds of the photograph, either horizontally or vertical. Aligning a subject within these thirds creates more tension, energy and interest in the composition than simply centering the subject would.
So in example of a beach scene, one would line up the horizon to either the top or bottom third to create a more technical pleasing photograph. Where you place this level line (top or bottom third) is a matter of preference and where you want the viewers attention to go.
Selective focus can be utilized to either bring attention to the foreground or the background. For this you would focus on the main interest of the composition and use a narrow depth of field; i.e. focus on mountains in the background and let the foreground be less sharp. We have learned in past articles (October 08) that this is accomplished by selecting a large aperture like f/2.8 or f/4. However, most landscape shots are photographed with a small aperture like f/11 or f/16 to keep the entire scene in focus.
Adjusting your shutter speed can create further drama. Using a slow shutter speed will create motion to moving water, a somewhat dreamy type of look. A fast shutter speed will freeze a moving wave. I have used both settings on the same scene to catch two completely different looks, successfully. After all it’s all art!
Finally, there is color. How do you get the perfect blue sky, deep green grass and pure white snow? It all starts with getting the right exposure, a subject that we have learned over the past several issues. Once the exposure is recorded accurately, we can further enhance it in editing software like Photoshop (a subject that we will save for a future issue). There are also several filters that can be applied to the front of the lens to enhance colors (another subject to save for the future).
I leave you with this last piece of advice. The next time you see a beautiful sunset, a gorgeous beach, or travel to a mountainous landscape, take out your camera and “Camera Click” notes and take the shot. Applying your newfound knowledge, you too can become the next Ansel Adams (just remember me).
March Issue 2009: Camera Clicks
Learning your digital camera, Part VI
By Jay H. Guttveg
Taking a break from our monthly technical model of writing these articles, for this issue I will provide some suggestions and guidelines to hiring a “professional” photographer. With digital cameras being so readily available and automation getting better and better, the variables of professional and amateur has gotten closer and closer. What actually makes up the difference and what do you need to know, to have the best experience in getting your photographs taken?
In the beginning. Most professional photographers start out their profession as a hobby or part timer. It is relatively easy to start up this business, as there is no diploma or insurance required. You can own just one camera, one lens and maybe one flash, with no investment into back up equipment. You can work out of your home and do all your shoots on location. Since the main income is not from this business and most jobs are referred, the operating costs are negligible.
Just like any real business, there are expenses. A true professional photographer is going to carry insurance (equipment – for his large investment & liability – if someone should get hurt). The photographer should rent or own a studio, where his clients can come to get quality lighting, backgrounds and props. In addition, there are advertising costs, employee payroll, maintenance, office supplies, accounting fees, and the purchase of replacement equipment. Professionals have at least two or more of everything, including the camera. Can you imagine – right in the middle of your once-in-a-lifetime photo session (wedding or portrait), the photographer tells you he has to go home because his camera broke?
Experience. A seasoned photographer will not only be more confident and comfortable with his equipment, but also not have to second-guess his exposures. Less experienced photographers are going to check each shot by looking at the screen on the back of the camera. This slows down the momentum of the shoot. Children have about 10 to 20 minutes of patience, on average. I like to say that adults sometimes have less. A quick photographer will keep your interest and get better emotion in his shots.
Equipment. I can write a book on this subject. Simply put, there is a difference between a $7,000 camera and a $1,000 camera. High-end professional gear will not only react quicker but also be more consistent in the exposures. If you have suffered the frustration of waiting for your camera to focus or click the shutter, you know what I mean. A professional photographer will not only see that once in a lifetime expression, but capture it instantaneously, every time!
Lighting. The professional knows how to use light to make your image have dimension, make you look thinner and more flattering.
Finessing the images. Professional photographers are masters of imagery. Using tools like Photoshop, they can make most anyone look younger, healthier and smarter (ok, maybe not smarter). However, just because they can do this, does not mean that they do. Check with your photographer to see where their skills and knowledge are here and if they apply it, don’t assume.
Is it worth the price? Photography costs range widely. The sitting fee can be small, but the prints may not be or maybe artwork is additional. In applying what we have discussed, and with a little common sense, you will easily recognize real value.
Great portraits are not expensive, they are priceless. Choose wisely….
January 2009 Issue: Camera Clicks
Learning your digital camera, Part V
By Jay H. Guttveg
The New Year is here! And what a great time to make “better picture taking” your new-year resolution. Hopefully you have been keeping up with the last four issues, as each month’s topic builds from the previous issue. This month we are going to get a little technical by talking about histograms.
Histograms
Many of today’s digital cameras have now included in the option menu, a chart called the histogram. Some point and shoot cameras might not have this option, so sorry if this does not apply to your camera. However, understanding the principles of the histogram will help you to take better exposures and ultimately become a better photographer.
Although I can give you the technical explanation of what a histogram is, I would rather make this simple and easily understood.
The actual histogram looks like a mountain peak or a series of peaks, with the left side of the chart representing shadow detail (the darker part of the image) and the right side representing highlight detail (the lighter part of the image). The height of these peaks represents the level of dark or light values in the scene.
The histogram acts as an information panel, telling you what the camera is recording. If you took a photograph of a white sheet, there would be high peaks on the far right side (the highlight detail) and nothing on the left. If you took a photograph of a black sheet, there would be high peaks on the far left side (the shadow detail) and nothing on the right.
The goal is to make sure that the peak does not fall off the left side (underexposure) or the right side (overexposure). A proper exposure would run along the edge of each side. How high or low the peak is would be determined on how much of dark or light area there is in the image.
OK, in plain English what does this all mean? Well, if you photographed a scene that had light and dark areas, the histogram would reflect those densities. Reading the histogram and comparing it against the scene would confirm if the exposure was accurate or not.
If we photographed a moderately lit room with a woman dressed in a white gown, a man dressed in light grey suit and a child wearing a white shirt and black pants, we would see a histogram that showed a high level peak on the right side (the white dress and boys shirt) and a moderately level peak in the middle (the mans grey suit), with a low level peak on the left (the boys black pants) – voila, our scene.
Remember the height of the peak represents the amount of each value that the camera sees. Now, the fun part. If the peak fell off the right side (overexposure), change your aperture or shutter speed to bring the exposure level down. If the peak fell off the left side (underexposure), change your settings to let more light in.
So now you have a much more accurate means of capturing the perfect exposure other than looking at the image on the back of your camera (which is really not that accurate).
December Issue 2008: Camera Clicks
Learning your digital camera, Part IV
By Jay H. Guttveg
Frequently I am asked questions like “how do you take pictures at night or how do you take pictures in bright sun? There are so many opportunities to take great photos; I always say, “that with a little bit of knowledge anyone can be dangerous”.
Getting great night exposures
Ok, the goal is to get available light (street lights, building lights or moonlight), to be part of the exposure. Without these light sources, the background will be dark and dull.
Go to the Shutter Priority or Manual mode to set the shutter to a long exposure. Use the camera or a hand held meter, as you are basically using this exposure to take the shot. The aperture will mostly affect the length of time on your exposure.
For this application you need to mount the camera on a tripod. A cable release is a must for long exposures, as pressing the shutter release on the camera will most likely cause a vibration and blur the shot. Avoid tugging on the cable release by leaving a little slack in the cable.
When photographing a person within the fore mentioned scene, you will need to use flash. The key is to use the setting stated above for the exposure and the least amount of flash necessary to expose the subject properly. Adjusting the flash power level located on your flash unit does this. Try different power levels until you find the one that looks most natural and the one that does not overpower the scene.
Taking great photos in bright sunlight
It is truly a challenge to take digital photographs in direct sunlight. So one word of advice, “don’t”. Digital exposures are best taken when the contrast between very bright and very dark are at its smallest range. There are several tricks to help minimize that range, here are just a few:
1) By placing the subject in a shaded area, you have more control over the exposure. If the subject appears too dark against the bright background, you can supplement the exposure with a small amount of flash (as mentioned above).
2) Underexpose. Digital exposures are easier to adjust when underexposed a little, rather than overexposed. Notice I said “a little”, as the goal to any photograph is to properly expose the image.
3) Learn how to read the histogram in your camera’s menu, a very useful tool and means of understanding the exposure.
And with that said, we now have a great subject (histogram) to learn next month. So until then, enjoy shooting.
November Issue 2008: Camera Clicks
Learning your digital camera, Part III
By Jay H. Guttveg
Continuing to build on our topics from last month—Shutter Priority, Aperture Priority, Auto and Manual—this month we are going to discuss applying these settings.
Shutter, Aperture and Auto are great settings to use when there are variables like sunlight that alter the exposure from shot to shot. If the lighting is consistent, I recommend the Manual setting.
Shutter Priority
Best used for action shots where you need to freeze a moving subject, like at a soccer game. Outside natural sunlight will often change (as the clouds move) and the camera will make the necessary adjustments to the exposure based on the fast shutter speed you choose. This setting can also be used for slower shutter speeds to capture a nighttime scene or ambient lights from a building. With slower speeds you will need a tripod to keep the shots from getting blurry as a result of camera movement.
Aperture Priority
This is a great setting for Portrait photography, especially if taken outside. Choosing a large aperture will blur the background nicely to create more depth in the photograph. If you are photographing small children, you know they will not sit still long enough for you to continually change settings. Set your Aperture to f/2.8 or f/4 and let your camera figure out the shutter speed. Make sure to check that your Shutter speed is at least 1/60 of a second or faster or you might get some camera shake (blur). One way of altering the Shutter speed is to choose a higher ISO (film speed) setting.
Auto
I call this the “lazy” setting. Great for a BBQ, where you have had just a few too many wine coolers. Let the camera do all the thinking. Not too creative, but you’ll get a shot.
Manual
This is the favored setting of many professionals. It allows you to control the speed to stop or blur action and the depth of field, by sharpening or blurring the background. Since there is so much creativity available from using this setting, I am going to save it till next month. Enjoy shooting.
October Issue 2008: Camera Clicks
Learning your digital camera, Part II
By Jay H. Guttveg
Last month, we discussed basic settings that most point & shoot cameras have. Today we are going to explore Shooting Modes, which include Manual, Auto, Aperture Priority and Shutter Priority. Always refer to your manual to find additional information and where these settings can be found.
As we learned last month, the main principal to taking photographs is to let light in to expose an image, using the shutter and aperture. Combinations of these settings create just the right exposure and can also be utilized to create different effects.
Shutter speed is measured in seconds or fractions of seconds.
Using a slower shutter speed can enhance motion by blurring movement, whereas a faster shutter speed will freeze the action. With a slower shutter speed, you let more light into the camera to which you need to compensate by letting less light in through the aperture (making it smaller).
The lens aperture is specified as an f-number.
Aperture controls the depth of field, the distance range over which objects appear sharp. Using a large aperture will blur the background, whereas a small aperture will make it sharp. With a large aperture, you let more light into the camera to which you need to compensate by letting less light in with a faster shutter speed.
The confusing part is that a higher number like f-22 is a smaller aperture opening, whereas a lower number like f-4 is a larger aperture opening.
The great news here is that you can take incredible images without doing all this thinking, by using the available shooting modes of your camera.
Simply put, if you want to place priority on capturing motion, you would choose Shutter Priority. This setting allows you to choose the desired shutter speed (slower to blur motion or faster to freeze it) and the camera then chooses the aperture to create the perfect exposure.
In Aperture Priority, you choose the aperture (small opening will keep the background sharper, where the larger will blur it) and the camera then chooses the shutter speed to create the perfect exposure.
Can it get any easier? Yes. When you choose the Auto setting, the camera will select the aperture and the shutter speed for a perfect exposure. The downfall is that you loose your options to blur a background or freeze the action, etc. The camera does all the thinking for you, which is usually not the most creative.
Ok, let’s say you understand all these combinations better (it might take some time); you can gain the ultimate control over your images by selecting the Manual setting. The choice of professionals, this setting will let you choose both Aperture and Shutter Speed, allowing you the ultimate control over the exposure to get the best results.
This setting is really not that difficult, as the cameras have a built in meter (usually seen within the viewfinder) that shows if you are exposing too bright or too dark. Adjusting either the Aperture (larger or smaller) or the Shutter Speed (faster or slower) will change the values of the exposure.
Next month we will focus on applying these settings. Pun intended.
September 2008 Issue: Camera Clicks
Learning your digital camera, Part I
By Jay H. Guttveg
In the next few articles, we are going to learn some tips on how to best use your point & shoot digital camera. Let’s begin by going over some of the basic settings that most point & shoot cameras have. Learning these settings can seem intimidating at first, however once you get familiar with them, you will open up a world of better picture taking. Review your manual to find additional information and where settings can be found.
The main principal to taking photographs is to let light in, to expose an image. There are two basic components to creating the exposure.
1. The Shutter: A mechanical opening and closing of the lens.
The slower the closing of the shutter, the more light comes in. The faster the closing of the shutter, the less light comes in.
2. The Aperture: An adjustable opening in the shutter.
The wider the opening, the more light that comes in. The smaller the opening the less light that comes in.
The proper combinations of these two functions create the perfect exposure, however there are numerous combinations available. We’ll save this discussion for a future issue.
Flash
Most cameras have an option to turn on the flash, turn off the flash or automate the flash. Using flash inside will alleviate underexposure (dark or yellow images); however using flash outside is beneficial as well. Outside, using flash in shaded areas or when the lighting gets dim will make your subjects stand out from the darker backgrounds.
Exposure Modes
Portrait Mode: Indicated by a person, it creates separation from the subject to the background. It does this by blurring the background, which gives your portraits more dimension and depth.
Landscape Mode: Indicated by a mountain, it keeps the foreground as sharp as the background. This setting is best used outside, as the camera needs more light to expose the image.
Sports Mode: Indicated by a runner, it is useful for those moments where the subject is moving quickly, like soccer, lacrosse, or football.
Night Mode: Indicated by a half moon, it is used for time exposures where the camera shutter stays open for a predetermined time. On this setting you must use a tripod or the exposure will become blurry.
Macro Mode: Indicated by a flower, it is to take extreme close up shots, like a butterfly, stamp, or flower.
ISO
If your camera has an ISO setting, this is what used to be referred to as the film speed. The lower the ISO number, the less light the camera requires to take an exposure and the higher the ISO number, the more light the exposure requires. Okay, so simply put, if you are outside (bright light) set your ISO to the lower number, like 100 and if you are inside (darker) set it to a higher ISO, like 400.
Next month we will be discussing Shooting Modes, which include Manual Settings, Auto Settings or Program Settings, Aperture Value Settings and Shutter Speed Settings.
August 2008 Issue: Camera Clicks
How to Hire a Wedding Photographer and Without Breaking Your Budget
By Jay H. Guttveg
Welcome to our inaugural issue of Camera Clicks. These articles are designed to give you first hand knowledge on how to best use your point-and-shoot camera, and other helpful hints related to your photography needs.
Today’s topic is: How to Hire a Wedding Photographer and Without Breaking the Budget. Although June is not necessarily the busy wedding month it is up north, it is a great time to begin planning for your upcoming wedding. The summer months are generally slower for wedding professionals, which allows you more flexibility in meeting with them and negotiating prices.
Learning what to look for and what questions to ask are the most important issues of concern when finding the right photographer. Younger photographers tend to be more photojournalistic, where the old timers are more comfortable with a traditional style of photography. You should learn the differences between these styles and see where your preference leads you. Our recommendation is to find someone who has the talent to do both, as each has significant value.
Besides style, lighting is a great way of qualifying your photographer. Most photographers work with a single flash (on their camera), making their images appear flat or comparable to a novice. Multiple flashes create dimension as well as assisting the subjects to appear more flattering. At first, you might not notice this lighting technique, but over time and with more education, it will soon stand out and become obvious.
Editing is another way to determine the photographer’s level of professionalism. Taking the images from the camera to computer to disc is not good enough. The images need to be finessed. They need to be adjusted for color consistency, density, and expressions. In the world of digital and endless exposures, it is not uncommon to receive 800 or more unedited images, which you’ll have to go through, only to find that there are a limited number of really acceptable photos. Make sure that the photographer presents you with adjusted images and not unedited images.
Finally, I saved the best for last: price. The old adage, “You get what you pay for,” is too true in digital wedding photography. There are many ways of cutting costs, from less expensive albums to delaying the production of the wedding album. But whatever you do, don’t cut the hours of coverage. Photograph the entire day, as it is better to have it and not use it, than to not have it at all. We tell our clients that you can always put an album together some time in the future, however we can’t print what we haven’t covered.
There is typically no charge to meet with a professional wedding photographer, so take the time to check out at least three. This will allow you an opportunity to see some differences. Do some homework by checking with other industry related vendors and the Better Business Bureau about the photographers that you are considering to hire. In general, an experienced photographer that is highly recommended is not going to let you down.
