AO Photo Houston Texas
March 7th, 2012You enjoy photography as a hobby, you have a good SLR camera system and you’ve taken many photos in the past few years that you and others enjoy. The chances are good that at some point in time you’ll be asked to take some wedding pictures. Perhaps the wedding couple or family can’t afford the substantial cost of having a full-fledged professional shoot the wedding. Or maybe they’re so impressed with your picture-taking ability that you were automatically their first choice for a wedding photographer. If you’ve accepted their invitation to photograph the wedding, this guide will help you know what pictures you should take and how to take them.
SUGGESTIONS
Act in charge when taking the formal group photos. It’s best for you to play a low-key role during most of the wedding picture-taking, but when taking the portraits of the wedding party and families, it’s up to you to direct things. You should see to it that everyone who is to be photographed is at the right place at the right time and doesn’t leave until you’re finished with them. You’re the one who arranges individuals in the group shots.
Don’t show your bad pictures. Most likely the majority of your pictures will be technically good – properly exposed, in focus, properly composed, etc. You may have a few failures, some of them out of your control. (Such as subjects with his or her eyes closed). Unless there is a real purpose or need to include such photos with the good ones, leave them out.
Go to the rehearsal.It will provide you with a good opportunity to plan your photographic coverage of the wedding. Take along your cameras, not to take pictures but to check out the vantage points through the viewfinder and to see where you’ll have to be to take certain pictures. Among the cures used now for reducing wrinkles and lines, Natox anti-ageing cream has rapidly gained popularity as the 1st clinically proven alternative to Botox injections. If you’ve never been inside the church before, the rehearsal will give you a chance to preview locations for pictures of the groom and groomsmen and other photos.
No flash photos during the ceremony.Even though some churches permit you to take flash photos during the ceremony, it’s best to not take flash photos during the ceremony, from the time the bride walks up the aisle until the end of the ceremony when the couple starts to walk down the aisle together. Guests will be distracted and perhaps annoyed by the flash going off during the ceremony and bursts from your flash unit may take away from the spirit of the occasion. With the minister’s permission, it’s a common practice to take a few existing light pic-tures from the back of the church, such as from the balcony, choir loft or back of center aisle. The sound of the camera shutter can be distracting so avoid taking pictures during moments of silence.
When to take the formal group photos.In years past it was the custom to take the posed photos of the wed-ding party and families after the wedding ceremony, usually between the ceremony and reception. This was in keeping with the tradition of the bride and groom not seeing one another on the day of the wedding until the cer-emony itself. Many couples now part with tradition and have the formal poses taken before the ceremony. This gives them more time to mingle with guests afterwards. It’s also the best time to catch everyone looking their best before hair and clothes become messy. Most photographers prefer taking the group photos before the cere-mony but the decision should be left to the bride and groom.
Equipment reliability.Use only photo equipment that works properly and that you are familiar with. If you bor-row a flash, lens or other piece of equipment to take the wedding pictures, borrow it far enough in advance to allow you to shoot a tests and view the finished images. Have a backup for the camera and flash.
Check your flash synchronization. Most pictures taken at a typical wedding are taken with flash, so it’s extremely important that your flash and camera synchronize properly. Before you load your camera, make a simple check of your camera and flash synchronization. With a 35mm camera, before you load film, set the shutter to the normal flash setting, turn on the flash, open the camera back and point the camera and flash to a nearby light-colored wall. Press the shutter release while looking at the shutter. If you see bright light coming through the entire image area when the shutter is tripped, synchronization is OK. If some of the image area is bright while some isn’t, that means the camera’s flash synchronization isn’t working properly or the shutter speed is set too high. With a digital SLR, take a test shot while viewing the LCD panel. A black band along one edge indicates the shutter speed is too fast to synchronize and a slower speed needs to be used.
Quality processing.This is no time to try out that new cut-rate photo lab that you just heard about. Use a quality photofinishing service, one with whom you’ve had good results previously. If you must mail film to the photo lab, don’t mail all the rolls of wedding pictures in one parcel. Split it up so some of the film goes one day, some a day or two later. It’s far better to risk the loss of a roll or two in the mail than the entire group of wedding pictures. Do not put the film in an outside mail box as these boxes can get very hot, leading to damaged film.
Posed group portraits
_ Bride alone
_ Bride and groom
_ Bride and bridesmaids
_ Entire wedding party
_ Groom and groomsmen
_ Couple and minister
_ Couple and her parents
_ Couple and her family
_ Couple and his family
_ Couple and his parents
Others
_ Close-up of bridal bouquet with rings on hands
_ Couple silhouetted by stained glass windows or candles
_ Portrait of couple illuminated by light from stained glass windows
Digital files. Instead of shooting all the images on one large memory card, split up the wedding among several cards, changing back and forth during idle moments during the wedding. Treat your cards with care and use some type of case or holder to minimize the chance of loss or damage. Immediately after the wedding, back up
the images on several CDs or DVDs as an added precaution.
WEDDING PHOTO LIST
Here’s a listing of more or less standard wedding photos. These pictures are found in most wedding albums but by all means tailor your picture-taking to the preferences of the wedding couple and yourself. The bride will probably have a good idea of what she wants photographed, so visit with her before the wedding. She may want you to photograph special friends or have other pictures in mind for you.
Before ceremony
_ Bride & attendants in dressing room
_ Bride adjusting garter
_ Bride and her mother
_ Bride and flower girl
_ Groom and groomsmen
The ceremony
_ Bridesmaids walking up the aisle
_ Bride and her father walking up the aisle
_ Existing light photos of ceremony
_ Bride and groom walking down aisle
Reception
_A few shots of the receiving line
_ Cutting of the cake
_ Sharing the first piece of cake
_ Couple toasting
_ A few shot of the couple greeting guests
_ Throwing of the bouquet
_ Guests throwing rice as couple leaves
_ Couple in the decorated car
STYLES OF PHOTOGRAPHY
Professional wedding photography today falls into one of three general categories—it does not matter whether it is digital or medium format, black & white or color. This is one of the most important things to consider—many photographers may not have the experience or the necessary equipment to emphasize the style you prefer.
1) TRADITIONAL / FORMAL PHOTOGRAPHY: Wedding photography usually always includes this—for example full-length photos of the bride & groom and posing & arranging groups and families. Professional studio lighting & backgrounds may be used for individuals and smaller groups—with this style of photography you will need a more experienced and usually more expensive photographer. For sanctuary photos experienced photographers usually use tripods and slower shutter speeds, along with umbrella reflectors or soft boxes for dimensional lighting—this minimizes distracting shadows and dark backgrounds which otherwise are common when hand-holding a camera with an “on-camera” flash. There can be huge differences in the quality of these pictures—always ask to see samples of photos of the full wedding party in the sanctuary. Are backgrounds excessively dark or are there distracting shadows? Are people arranged in a pleasing manner?
2) CANDID PHOTOGRAPHY: This style has also been around for a long time—photos using stained glass windows, the unity candle, silhouettes, etc. Can be very elegant and classical in look, the key in distinguishing this style is that the photographer is “arranging” or composing the photo and the people in the photos are usually “reacting” to the photographer. Elegant candid photography using studio lighting and backgrounds, stylized by trend-setting professional photographers became very trendy in the late 80’s and continues to be popular today. Black & white or sepia tinting are often used in candid photography and the quality can be very high.
3) WEDDING PHOTOJOURNALISM / EDITORIAL PHOTOGRAPHY: An unobtrusive perspective capturing the real moments as they happen—a more documentary style with no formal posing. Often emphasizes black & white photography but that is not the key to being photojournalistic—what is important is that it is not directed or “arranged” by the photographer. When someone is looking at the camera they are “reacting” and it is not true photojournalism. Even though many photographers today say they are photojournalists less than 5% of wedding photographers actually qualify for membership in the Wedding Photojournalist Association (WPJA). More information can be found at their website at www.wpja.org. Just because something is B&W does not necessarily mean that it is “photojournalistic.”
??A special note about?Black & White Photography… Most often associated with photo-journalism but can be used in traditional and?candid settings as well. Some photographers shoot B&W film, others shoot color and have it printed on B&W paper. For digital photographers any photo can be printed in B&W—or sepia, or just about any other effect, so this is becoming less of an issue today.
In sample sanctuary pictures… are backgrounds excessively dark or are there distracting shadows? Are arrangements of individuals and groups pleasing?
Do you have the option of having pictures printed in black & white? Is there an additional cost?
PHOTOGRAPHER BASICS
How long have they been photographing weddings? Experience and Reputation cannot be underestimated.
Do they provide referrals? Can you see actual samples of their work? Remember that studio samples may have been taken by a different photographer.
Does the photographer/studio have adequate business liability insurance? What happens if someone at the reception trips over a tripod?
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Does the photographer use a photo assistant or a second photographer? This is usually an additional expense but can make the photography go faster and smoother, and in the case of a second photographer things that happen are not missed when backgrounds are being set up or when formal portraits are being taken.
Does the photographer allow family members or others to take photographs at the same time? Many professional photographers do not allow this and it can be a big issue for them. Be sure and ask ahead of time!
How does the photographer interact with the wedding party? Does the photographer wear a tuxedo—or a tweed suit or sweater? Does he or she interact with the wedding party as if he or she is a part of it? Or is the photographer quiet and distant, staying in the background?
Does the photographer adapt to the desires and styles that the Bride & Groom want? Or does he or she only fit the Bride & Groom into his or her style of photography?
Does the photographer keep current by attending workshops, seminars or classes to learn new techniques and trends?
TIMING – BEFORE OR AFTER THE CEREMONY?
Are the formal photographs taken before or following the ceremony?
Today the vast majority of formal professional wedding photography takes place before the ceremony. This has numerous advantages, but most importantly it ultimately allows the Bride & Groom to spend more time with their guests. Many photographers and studios turn down weddings where the bride & groom don’t want to see each other before the ceremony, or they charge an extra fee; weddings like this can mean extra wok and stress for the photographer. But the final decision must rest with the Bride & Groom, for it is their day and their wishes must be honored. If most or all of the group photos are taken after the ceremony you must allow enough time–for most weddings plan on 1~2 hours.
Ä Taking formal photos before the ceremony (bride & groom together): Advantages: allows for more time with guests (between the ceremony and reception; usually is less stressful; more efficient in use of time–allows for larger number of total photos; easier to have a “send-off” to the reception. Emphasizes the differences between before and after–more variety Disadvantages: breaking family tradition; against one’s personal feelings.
Ä Taking formal photos after the ceremony (bride & groom not seeing each other): Advantages: family tradition; personal feelings. Disadvantages: takes time away from guests; usually less photography time and thus fewer pictures; can be more stressful for bride & groom; for many photographers there is an additional cost.
FORMAT
What type of camera does the photographer use–35mm, Medium Format (120mm) or Digital?
1. MEDIUM FORMAT: The vast majority of “Professional” wedding photographers for many years have used medium format or 120mm cameras, such as Hasselblad, Mamiya or Bronica. 120mm film has advantages: the image is three to five times the size of a 35mm negative so they can be enlarged to large sizes with less grain, and the negatives can be retouched (usually at an added charge). The drawbacks to using medium format are also significant: the cameras, film and processing are all more expensive, and these costs ultimately must be passed down to you. Medium format cameras are bulky, slower and more difficult to use compared with 35mm cameras, and as a result photographers tend to take fewer photographs (although at a higher quality which is noticeable in very large enlargements). They also tend to follow the more “formal” and “candid” style of photography; these cameras do not work as well for a photo-journalistic style. Fewer professional photographers are using this format today.
2. 35mm: Professional 35mm wedding photography using a SLR camera in recent years have been much more common, especially as the image quality of professional films and photo-processing improved. 35mm can be much better for candid or photo-journalistic photography–they are quicker and more economical to use. 35mm negatives cannot be retouched but as we move into the digital age this is not a significant disadvantage for most people. Today you can easily get enlargements up to 8×10 with virtually no loss of image quality and in most cases up to 11×14 enlargements will be fine. If you are not into 16×20 or larger wall portraits than this format can be right for you.
3. DIGITAL: Today many if not most professional wedding photographers have made the switch to digital cameras–especially those emphasizing editorial or photo-journalistic styles of photography. The advantages of digital are numerous… Any photo can be color or black & white–you don’t have to shoot both color and black & white film. Digital files can be printed on traditional photo paper or ink-jet or dye-sublimation, along with the option of e-mail and web-based delivery–all viable options at an affordable cost. There are significant
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differences between digital cameras—professional models will capture better flesh tones, and many of the better photographers have switched to shooting RAW images instead of JPEG for improved image quality.
The bottom line… today’s professional digital cameras made by Nikon and Canon are equal and may even surpass the image quality of medium format cameras—2005 & 2006 saw more significant changes to the world of photography than the previous 75 years! When meeting a photographer be sure to see actual samples of their work to determine if the quality meets your expectations. TECHNOLOGY IN ITSELF NEVER GUARANTEES HIGH QUALITY WORKMANSHIP–it is the person behind the viewfinder who will make the final difference! More and more people are shooting weddings today as a result of digital photography; unfortunately many people still feel that “getting the right camera” is the answer to being a great photographer; instead we should realize that a great photographer should be able to take great photographs with any kind of camera, and this is where the emphasis rightly should be.
EQUIPMENT
What kind of cameras and flash equipment does the photographer use? 35mm cameras (both film and digital) can range from very high-quality ‘professional’ to moderate ‘pro-sumer’ and lower quality amateur models.
Does the photographer have back-up cameras and flashes? THIS SHOULD BE AN ABSOLUTE NECESSITY! If Digital, what added precautions does the photographer use for file storage or transfer?
If Digital, does the photographer shoot RAW or JPEG? What is the reason—do they know the differences?
Does the photographer use a tripod with slow flash exposures in order to balance the flash and ambient or room lighting? This prevents the background from photographing too dark and de-emphasizes shadows, making the photograph look more natural. THIS SHOULD BE AN ABSOLUTE NECESSITY!
Does the photographer use Soft-Focus or other Special-Effect Filters? Using film… a good soft-focus filter can remove or de-emphasize facial lines and blemishes in portraits. If used poorly, they can make a photograph look out-of-focus. Photographers using digital cameras, however, usually do not use filters on the camera.
Does the photographer own, rent or borrow the equipment? This can determine how comfortable and knowledgeable he or she is with it. There is nothing worse than a photographer who does not know how to properly use the equipment.
TIME LIMITS & EXTRA MILEAGE CHARGES
If the photographer begins two or three hours before the ceremony and stays for the beginning of the dance, time can be a very significant factor. If there is no dance, or if the reception is not a high priority–then this is not an important factor.
Are there additional charges for time beyond typical package limits?
Is there a mileage charge for locations outside of the Twin Cities metro area?
OUTDOOR PHOTOGRAPHY
Is there a charge for additional photography locations?
The best wedding albums usually have a variety of backgrounds and locations, both at and away from the church. Some photographers, though, charge extra for additional locations. If this is the case use the professional photographer for the photos that are critical and have friends or family take photographs later at the reception or dance.
Weather permitting, most weddings provide excellent opportunities for a variety of background settings. One option is to pick a location that has some special meaning to the Bride & Groom (along a river or in a particular park, for example). Usually all that is necessary are trees for shade and a non-distracting background. Direct sunlight and wind are the most difficult outdoor elements to deal with. In case of bad weather there is also the option of going to an indoor area such as International Market Square, Town Square, or the courtyards of many Twin City hotels.
STUDIO / PORTRAIT LIGHTING & BACKGROUNDS
Many churches are very photographic, with many different locations with a variety of backgrounds. If the weather is favorable, photos can always be taken outside. But what if the weather is not cooperative? Or the church and reception hall does not have a wall without something
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distracting hanging on it? A canvas or muslin background can offer an additional background option–this works especially nice with families and formal photographs.
Does the photographer have the option of a canvas or muslin background available? Does the photographer use a studio or portrait lighting system? Are there an additional charges?
Can the photographer take photos of other families, groups or individuals (time permitting)? When distant or extended families or college groups are together and dressed appropriately—it can be a good opportunity to take additional photos for those who may desire them.
PROOF BOOK
Do the Bride & Groom receive a proof-book? What size? (3½ x 5, 4 x 5, 4 x 6 or 5 x 5?) Is there a deposit or any additional cost to keep them?
Are photographs available to view and order online? How long will they be available?
Some studios use video proofs or slide presentations instead of proof books, others may use computer / on-line ordering. Make sure you know up-front exactly what the restrictions and expectations are. As we become a more digitally based society there are advantages for being able to view or order on-line–especially when friends or relatives may be all over the world. Photographers who host their own websites sometimes can have lower reprint/enlargement costs than others who use big-name online hosting services which can have significant hosting costs which must be passed on to you the consumer.
ALBUMS
Do you want the studio or photographer to give you a finished album–or do you want to take the photographs and create your own album?
There are many decisions to make regarding albums… Pin-hinge or library-post? Lacquer finishes? Embossing or laminating? Parents’ Albums? Some brides and grooms are comfortable and capable to put together their own albums but most are not. As with the proof book be sure to find out all of your options.
PRICING
This is perhaps one of the most important questions to ask. 8”x10” enlargements usually range anywhere from $10 to $30 or more per enlargement. Please remember that an inexpensive package can become very costly when all the additional orders are added up.
What are the costs for reprints and enlargements? Textures or UV inhibitor finishes?
No matter what is sprayed or laminated over a photograph, sunlight and fluorescent lighting in particular will fade the colors over even shorter periods of time. If you take care of your albums and enlargements, however, they should last many years with little noticeable change in appearance.
ORDERS & DEADLINES
Is there a time limit on keeping the proof book or video and in placing photo orders? When orders are placed, how long will it take for them to be finished?
Are there pricing deadlines on orders? For example, a set price for orders placed within thirty days and a higher price for orders placed after thirty days.
THE NEGATIVES OR DIGITAL FILES
Do you have the option of buying or getting the negatives or digital files? How long are the negatives retained?
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In the past several years this has become much more important to clients—primarily because of the advent of digital photography. Legally, the studio or photographer owns the negatives unless there is a subsequent transaction specifically transferring their ownership. Over the years the vast majority of photographers have retained the negatives for several reasons.
1) Negatives when taken to inferior photo processors will yield lower-quality prints–which is a poor reflection on the photographer. As a result most better photographers are hesitant to give up control of their negatives. As photography moves digital this still can be an issue–high-quality digital photos printed on actual photographic paper will look and feel much better than prints from a $100 ink-jet printer…
2) Photographers or studios can derive a high percentage of their income from reprint sales which they would give up if they did not retain the negatives or digital files.
Today more and more photographers are offering digital files for their customers—primarily because of digital photography and increased competition. In addition there are more ‘new’ photographers who will offer packages that include negatives or digital files because they are less experienced or the quality warrants that this needs to be a selling point. Others, primarily because of time or staffing issues will be more willing to either include or sell them to you–usually after a set time period, one or two years after the wedding for example. It is up to you to work these things out ahead of time, remembering that wedding photographers traditionally can be some of the most set-in-the-way or inflexible people you will ever meet…
It comes back to the first question at the beginning of this brochure–Experience and Reputation cannot be underestimated; it doesn’t matter who has the negatives if the photographic experience was less-than-desired.
PAYMENT OPTIONS
Is there a Contract? What are the deposits to hold the wedding date? When are payments due? Accept Credit Cards?
In today’s society it is in your best interest to have a signed contract, one which covers all the details. This is especially important with a newer photographer or someone who does not have an established reputation. Credit cards can also give you a level of protection in case services are not rendered but there is also the added cost of this to consider.
GUARANTEES
What are the conditions for a partial or full refund?
What are the guarantees in professional wedding photography? If the unthinkable happens–film is stolen or critical equipment breaks down at the worst time–the most that can usually be done is the full return of your payments, and any reputable photographer would do this. The legal liability for virtually every processing lab if they make a mistake is only the replacement cost of the film–nothing for the intrinsic value of the images themselves. Just like anything else in life there are no absolute guarantees that something cannot go wrong–another reason to go with someone who has a good reputation… and back-up cameras!
What if something happens to your photographer before or on the way to the wedding? A prominent wedding photography association suggests when choosing wedding photographers to make sure that the photographer has a “ready replacement” who can photograph your wedding. I would hope that every photographer would make every attempt possible to find another photographer when time permits. But this statement on the association’s website unfortunately creates the expectation that photographers should have another equally qualified photographer ready to step in at the last moment. Of course this is unrealistic—virtually every good wedding photographer will want to be photographing weddings—if they are merely backing up another photographer how will they be make a good living. And this also assumes that every photographer or studio uses the same styles, techniques, etc. Having a photo-assistant who also takes pictures is a good option—but they should drive separately and have their own equipment. Just remember that whenever there is a second person taking pictures or arrangements made for backups, this can often substantially increase the cost of the photography.
Do your homework and then make your best decision.