It is true that you get what you pay for! When it comes to capturing the most essential and memorable moments of your Wedding, it does not come cheap.
Long after the last wedding guest has left and the wedding has become a distant memory in the humdrum of every day life you will open those beautiful Albums that you prepared so painstakingly and relive the precious moments.
The radiant Bride in her glorious bridal gown, the proud parents, the nervous bashful groom, it will all come back in memory as if it was only yesterday. That’s what the Wedding Photography is all about to capture those beautiful and not so beautiful moments of your Big Day.
When it comes to planning your wedding photography, the most important aspect is to have an idea of the wedding moments you want to capture and immortalize.
Then comes the task of finding the right photographer with the right kind of personality to immortalize your wedding moments and capture those essential details of the wedding you worked so hard to attain.
This will require more than scanning the phone book or Internet to find the least expensive package deal, If you are only willing to pay the minimum amount, you might just end up with minimum wedding photography service too.
Realize that wedding photography services will consume a significant portion of your wedding budget from the start so you can allocate enough resources for this category of your budget. Also keep in mind that it is an absolute essential to book this kind of talent early on in the wedding planning stages, at least 6 months to a full year before the wedding date. If the wedding is taking place during the summer or holidays this becomes even more imperative. Although that offer from your Uncle Joe to take photographs at your wedding (for free!) as his gift to you sounds tempting, you should politely refuse the offer. This is no time for skimping on unprofessional shots.
To choose your photographer
1. Check Background, References, Samples or Portfolio.
2. View multiple images of their work from the same wedding not just the best work.
3. Check any complaints against the service, person or company before hiring them.
4. How long they have been in business to give you an idea of their experience.
5. Ask about backup equipment in case of some technical failure.
When selecting the wedding ceremony and reception location keep in mind the following points:
1. Make sure the Photographer has access to the Shots you want to get.
2. Reserve an Area for the Wedding Photographer for best shots and for the equipment setup and storage.
After the selection of Person in charge of the wedding Shots discuss What pictures should be taken and then give creative license to the photographer to do his job.
The following should be essential shots.
1. Wedding Pictures before the Ceremony
2. Wedding Shots at the Ceremony
3. Posed Wedding Photography Before the Reception
4. Shots at the reception
5. Shots before leaving and at the end of Reception
Your Wedding Day is for you to enjoy yourself, secure in the knowledge that some one capable, trustworthy and responsible is in charge of capturing your most important moments that will last forever. For that purpose advance planning will pay ten folds.
Friday, February 9, 2007
5 Remarkably Successful Ways for Making Money In Photography
If you enjoy taking pictures, you've probably wondered if there is some way you can profit financially pursuing what you love. After all, you see photos everywhere, right? In publications, on billboards, on product packages and more. And if you've ever remarked to yourself "people must get paid for those somehow", you're correct. It is possible to be making money in photography, and there are several ways to accomplish it. Keep reading for a summary of five of them.
Portrait Photography
The easiest way to start making money in photography is to set up your own portrait studio. Individuals, families, friends, and even people with their pets visit your studio either by appointment or as a walk-in, and you take photos of them. This can be a very successful plan for making money in photography, but it does take time and effort to become established. It also takes some cash. If you want to start a portrait studio, you'll need to buy or rent the space, pay the utilities for that space, and buy or rent lots of studio equipment such as photo backdrops, props, and specialty lighting.
Real Estate Photography
Another promising way of making money in photography is to take photographs of real estate. These types of photos are often used by real estate agents, brokers and home owners when they're attempting to sell their property. Sometimes you can even sell your services to insurance agencies and they will task you to take pictures of homes and property that are being covered by a new or upgraded insurance policy.
Magazine Photography
This is another common type of photography, but many people don't give it a second thought. Magazines are looking for photographers and great photographs just like they are looking for writers and great articles... and they're willing to pay for them. Some magazines negotiate small amounts for pictures while others pay $100 or more for each one.
News Photography
This way of making money in photography is a perfect option for someone living in a busy urban area, particularly if you love getting out and seeing what's going on. With this type of photography, you sell your pictures to newspapers, so the photographs must be newsworthy in some way. You can take photographs of a car accident for example, a fire or other emergency situation, or of public officials and famous people.
Product Photography
Product photography is also referred to as catalog photography, because you're usually taking photographs of products and those are most often used for sales catalogs. Sometimes businesses will hire photographers to take product photos for packaging or other marketing materials too, such as the company brochure.
As you can see, there are a variety of ways of making money in photography. Unfortunately, they are not usually as quick, simple or easy as they might first seem. In most cases you need to develop the talent and skills first, then you need to build up a reputation. You'll also need a portfolio of your photography work. Once you have these basic things, you will also have gained a good idea of what types of photography you like best, and this will help you figure out the most successful way to start making money in photography.
Portrait Photography
The easiest way to start making money in photography is to set up your own portrait studio. Individuals, families, friends, and even people with their pets visit your studio either by appointment or as a walk-in, and you take photos of them. This can be a very successful plan for making money in photography, but it does take time and effort to become established. It also takes some cash. If you want to start a portrait studio, you'll need to buy or rent the space, pay the utilities for that space, and buy or rent lots of studio equipment such as photo backdrops, props, and specialty lighting.
Real Estate Photography
Another promising way of making money in photography is to take photographs of real estate. These types of photos are often used by real estate agents, brokers and home owners when they're attempting to sell their property. Sometimes you can even sell your services to insurance agencies and they will task you to take pictures of homes and property that are being covered by a new or upgraded insurance policy.
Magazine Photography
This is another common type of photography, but many people don't give it a second thought. Magazines are looking for photographers and great photographs just like they are looking for writers and great articles... and they're willing to pay for them. Some magazines negotiate small amounts for pictures while others pay $100 or more for each one.
News Photography
This way of making money in photography is a perfect option for someone living in a busy urban area, particularly if you love getting out and seeing what's going on. With this type of photography, you sell your pictures to newspapers, so the photographs must be newsworthy in some way. You can take photographs of a car accident for example, a fire or other emergency situation, or of public officials and famous people.
Product Photography
Product photography is also referred to as catalog photography, because you're usually taking photographs of products and those are most often used for sales catalogs. Sometimes businesses will hire photographers to take product photos for packaging or other marketing materials too, such as the company brochure.
As you can see, there are a variety of ways of making money in photography. Unfortunately, they are not usually as quick, simple or easy as they might first seem. In most cases you need to develop the talent and skills first, then you need to build up a reputation. You'll also need a portfolio of your photography work. Once you have these basic things, you will also have gained a good idea of what types of photography you like best, and this will help you figure out the most successful way to start making money in photography.
Flash Digital Photography-Using Flash With Digital Cameras
Fortunately, we no longer have to deal with buying flashes for our cameras anymore. Flash digital photography is now a real term used both in words and in the photography industry. The flash (instead of being put on top of the camera like it used to) is now built right into the flash digital cameras themselves.
Today, our digital cameras come with a built in automatic flash and, even better, is the feature that allows you to change the setting, depending on how much light is available. Some digital cameras even come with a setting that will let you know when the lighting isn't right for the setting you have it set on. Then you will need to change the setting yourself.
The best way to use flash with your digital camera is to first read the instruction manual on how the settings are set up and how you should use them. You should also learn how to use the settings by then taking that knowledge and working with your camera hands-on. Try it outside at different times of the day, in different areas, in your studio (if you have one), in your home and anywhere else you might be taking pictures. By doing this, you can see first-hand what settings work best for what type of lighting.
Unfortunately, some digital cameras have the flash too close to the lens and that can lead to red eyes in your pictures. Fortunately, you can get a digital camera that has a setting to help reduce red eye or you can fix the problem with your photography software.
You should also play with the settings with different areas where shadows could show up. This will help you determine how far away from your subject you can be before the shadows disappear. This happens because the flash didn't reach those areas. The camera manufacturer will usually list the maximum flash strength and how far away you can be when taking a good shot. You certainly don't want to lose any perspective and/or depth in your pictures.
You can reduce both of these problems of red eye and poor depth by getting a flash device that is separate from your camera. You will just need a detachable flash component that is simply powered by a bracket on the camera along with a cable that all work together to help the flash inside the camera to work with the external flash unit. This will help your flash digital camera by providing an extra source of flash and reduce the amount of red eye and poor depth coming out in your pictures.
Your flash digital camera can provide you with a wealth of creative photography opportunities. You just have to know how to use it and this is easy to learn. By using the steps outlined in this article and by playing around with your flash settings, you can get a great number of beautiful pictures using flash digital photography.
Today, our digital cameras come with a built in automatic flash and, even better, is the feature that allows you to change the setting, depending on how much light is available. Some digital cameras even come with a setting that will let you know when the lighting isn't right for the setting you have it set on. Then you will need to change the setting yourself.
The best way to use flash with your digital camera is to first read the instruction manual on how the settings are set up and how you should use them. You should also learn how to use the settings by then taking that knowledge and working with your camera hands-on. Try it outside at different times of the day, in different areas, in your studio (if you have one), in your home and anywhere else you might be taking pictures. By doing this, you can see first-hand what settings work best for what type of lighting.
Unfortunately, some digital cameras have the flash too close to the lens and that can lead to red eyes in your pictures. Fortunately, you can get a digital camera that has a setting to help reduce red eye or you can fix the problem with your photography software.
You should also play with the settings with different areas where shadows could show up. This will help you determine how far away from your subject you can be before the shadows disappear. This happens because the flash didn't reach those areas. The camera manufacturer will usually list the maximum flash strength and how far away you can be when taking a good shot. You certainly don't want to lose any perspective and/or depth in your pictures.
You can reduce both of these problems of red eye and poor depth by getting a flash device that is separate from your camera. You will just need a detachable flash component that is simply powered by a bracket on the camera along with a cable that all work together to help the flash inside the camera to work with the external flash unit. This will help your flash digital camera by providing an extra source of flash and reduce the amount of red eye and poor depth coming out in your pictures.
Your flash digital camera can provide you with a wealth of creative photography opportunities. You just have to know how to use it and this is easy to learn. By using the steps outlined in this article and by playing around with your flash settings, you can get a great number of beautiful pictures using flash digital photography.
Taking Better Digital Photos in 2007
I’ve decided as a new year’s resolution to start taking better pictures. Having gone through three digital cameras (one was stolen) I am down to two I use on a regular basis. A Canon SD300 and a Panasonic Lumix DMC-FX5. Rather than spend money this year on buying another camera I’ve decided to do the best with what I’ve got and learn to take better photos instead.
Doing some after new year’s shopping online, I came across an ad for an ebook offering digital photo secrets.
I’m usually pretty apprehensive about buying ebooks online. You never get to see much inside the book and there is no book flipping before purchase.
But it was midnight the day after new years and I wanted info now! Where was I going to go? I took a chance and am glad I did.
The purchase went through petty painlessly. I paid with Paypal and downloaded the books (there are actually several bonuses with the order).
I found the book easy to read and the tips were concise and well presented. There is usually a before and after photo demonstrating the result which I found very useful. Nothing like seeing the tip in action to really “get” it. I will give a brief review of the book in sequential order.
The book is broken up into 14 chapters and gets right to the point on how to improve your digital photos. There is very little on the history of photography, how to interpret famous photos or things of that nature. There’s nothing wrong with those topics and I took evening courses covering them myself but this book is primarily about helping you take better pictures immediately.
The 14 chapters are:
* Introduction
* Top 21 Tips To Using a Digital Camera
* Digital versus Film Cameras
* Better Looking Pictures
* Composition
* Special Occasions
* Zoom
* Using Manual Modes
* Image File Formats
* Coverting from Film to Digital
* Which Digital Camera Should I Buy?
* Caring for your Camera
* Printing Your Images
* Miscellaneous Questions and Answers
The Top 21 tips gets you taking great pictures right away. Solving the most common photography problems. There areplenty of useful nuggets I will try to incorporate into my future photography, but the biggest tip of all is the last one, try to incorporate ALL the other tips every time you shoot and you should get some amazing results.
Digital photo secrets covers some of the other major problems hobbyists like me have. That is white balance, is with white balance, use of filters, focusing and metering. All that is explained better than whatever tiny manual that comes with most cameras.
The digital photo secrets book covers film cameras in the “Digital versus Film” section and while I was expecting the author to bash film cameras, he actually gives a very balanced view and covers the pros and cons of each. That’s a pleasant surprise because I still occasionally like to take a few shots with an old Pentax purchased in a garage sale a few years back just for the thrill of getting them back from the drug store.
I have purchased printed books that were not as useful and that’s even after I had a chance to flip through them. I don’t regret finding the digital secrets book site for one instance. It is well worth the money and the bonuses are just as valuable.
Doing some after new year’s shopping online, I came across an ad for an ebook offering digital photo secrets.
I’m usually pretty apprehensive about buying ebooks online. You never get to see much inside the book and there is no book flipping before purchase.
But it was midnight the day after new years and I wanted info now! Where was I going to go? I took a chance and am glad I did.
The purchase went through petty painlessly. I paid with Paypal and downloaded the books (there are actually several bonuses with the order).
I found the book easy to read and the tips were concise and well presented. There is usually a before and after photo demonstrating the result which I found very useful. Nothing like seeing the tip in action to really “get” it. I will give a brief review of the book in sequential order.
The book is broken up into 14 chapters and gets right to the point on how to improve your digital photos. There is very little on the history of photography, how to interpret famous photos or things of that nature. There’s nothing wrong with those topics and I took evening courses covering them myself but this book is primarily about helping you take better pictures immediately.
The 14 chapters are:
* Introduction
* Top 21 Tips To Using a Digital Camera
* Digital versus Film Cameras
* Better Looking Pictures
* Composition
* Special Occasions
* Zoom
* Using Manual Modes
* Image File Formats
* Coverting from Film to Digital
* Which Digital Camera Should I Buy?
* Caring for your Camera
* Printing Your Images
* Miscellaneous Questions and Answers
The Top 21 tips gets you taking great pictures right away. Solving the most common photography problems. There areplenty of useful nuggets I will try to incorporate into my future photography, but the biggest tip of all is the last one, try to incorporate ALL the other tips every time you shoot and you should get some amazing results.
Digital photo secrets covers some of the other major problems hobbyists like me have. That is white balance, is with white balance, use of filters, focusing and metering. All that is explained better than whatever tiny manual that comes with most cameras.
The digital photo secrets book covers film cameras in the “Digital versus Film” section and while I was expecting the author to bash film cameras, he actually gives a very balanced view and covers the pros and cons of each. That’s a pleasant surprise because I still occasionally like to take a few shots with an old Pentax purchased in a garage sale a few years back just for the thrill of getting them back from the drug store.
I have purchased printed books that were not as useful and that’s even after I had a chance to flip through them. I don’t regret finding the digital secrets book site for one instance. It is well worth the money and the bonuses are just as valuable.
Sunday, February 4, 2007
Stock photography tips
Selling Your Photography To Agencies.
Have you ever tried to sell your images to an agency.
Anyone with the ability to use a camera correctly has the potential to sell their images. Picture agencies handle images of every subject and are always looking for emerging talent.
Pictures libraries and stock agencies are in the business of selling images. The don’t give you advice on how to take better images. Their purpose is business - they sell images to magazines, book publishers, the travel industry and many other industries that use images.
Many photographers look upon agencies as a last resort to sell their work; if you have been unable to sell any of your images, the chances are that most agencies won’t accept them.
If you are interested in an agency selling your images, you must be able to produce high quality images which are suited to the agencies market. Check out their website to view samples that are currently in use. If you feel your work meets their standards and suits their customers - then approach them by e-mail or by standard mail.
But, before placing your work at an agency make a short-list of the agencies that seem to suit your work. Contact each agency outlining your work and which magazines have already published your images. If an agency is then interested they will ask you to send them samples.
If an agency accepts your work, don’t take this as a guarantee that your images will sell.
Don’t approach an agency until you have a large collection of images. Minimum first submissions can consist of anything from 50 images to 500 and regular submissions are normally required thereafter. Most agencies work on a commission basis - 50 % being the standard rate. If an image sells for two hundred euro - the photographer receives a one hundred euro fee.
When an agency takes on a photographer’s work, they normally require a four or five year retention period. Agencies normally sell the reproduction rights of a pictures - the image being licensed to a buyer for a specified purpose.
It may take as long as six months before an agency sells a picture belonging to you. First they need to scan your images if they are submitted by film; then they need to contact their clients and let them know that there is new material available - all of this takes time, so you must look at supplying a picture agency as a long term investment. It is only when you have several hundred images placed in a library that you’ll start to see regular sales.
Remember: agencies can’t sell images if there isn’t a market for them and placing images at an agency does not guarantee you sales.
Have you ever tried to sell your images to an agency.
Anyone with the ability to use a camera correctly has the potential to sell their images. Picture agencies handle images of every subject and are always looking for emerging talent.
Pictures libraries and stock agencies are in the business of selling images. The don’t give you advice on how to take better images. Their purpose is business - they sell images to magazines, book publishers, the travel industry and many other industries that use images.
Many photographers look upon agencies as a last resort to sell their work; if you have been unable to sell any of your images, the chances are that most agencies won’t accept them.
If you are interested in an agency selling your images, you must be able to produce high quality images which are suited to the agencies market. Check out their website to view samples that are currently in use. If you feel your work meets their standards and suits their customers - then approach them by e-mail or by standard mail.
But, before placing your work at an agency make a short-list of the agencies that seem to suit your work. Contact each agency outlining your work and which magazines have already published your images. If an agency is then interested they will ask you to send them samples.
If an agency accepts your work, don’t take this as a guarantee that your images will sell.
Don’t approach an agency until you have a large collection of images. Minimum first submissions can consist of anything from 50 images to 500 and regular submissions are normally required thereafter. Most agencies work on a commission basis - 50 % being the standard rate. If an image sells for two hundred euro - the photographer receives a one hundred euro fee.
When an agency takes on a photographer’s work, they normally require a four or five year retention period. Agencies normally sell the reproduction rights of a pictures - the image being licensed to a buyer for a specified purpose.
It may take as long as six months before an agency sells a picture belonging to you. First they need to scan your images if they are submitted by film; then they need to contact their clients and let them know that there is new material available - all of this takes time, so you must look at supplying a picture agency as a long term investment. It is only when you have several hundred images placed in a library that you’ll start to see regular sales.
Remember: agencies can’t sell images if there isn’t a market for them and placing images at an agency does not guarantee you sales.
IS WEDDING PHOTOJOURNALISM A FAD?
We’ve all flipped through well-worn wedding albums of parents, aunts and uncles, and even grandparents, chuckling at dated hairstyles, handlebar mustaches, peach taffeta bridesmaids dresses, and powder blue tuxes. Wedding photojournalists might contend that these photos wouldn’t seem so out of style (hideous wedding gowns and bad male perms aside) if more emphasis had been placed on the un-styled, un-planned moments of the wedding day, rather than the prescribed agenda of highly organized groups of people staring at the camera.
On the contrary, naysayers insist wedding photojournalism is merely a trendy, passing fad that disrespects the venerable traditions of the classic posed shot. They point out that tradition, and true photographic quality, is often sacrificed for grainy, natural-light candids that claim to be "art."
photo by peggy bair
Others scoff at the idea that tears and laughter recorded forever will soon be going out of style. “When real life goes out of style, we’re all in trouble,” says WPJA award winner Peggy Bair. “When is that ever going to go out of style? Real moments – you can’t fake them.”
Bair argues that when people look back at their wedding photographs, they’d like to remember what they felt at the time, not just what they looked like, which is surely to be out of date 20 years later. What really matters, she says, is the actual experience the photographer is documenting.
“I think people want to experience real life as it happens. They want to remember their wedding day, without someone asking them constantly to move or stand a certain way,” she says. “They don’t want to remember the photographer making him dip her back like that. They want to remember the spontaneous moment — the real moment.
“Then they can say, ‘That’s what I look like when I’m really living my life. That’s who I really am,” she says.
STAYING AWAY FROM TRENDY
Bair adds that there are trendy photos out there posing as wedding photojournalism.
Today’s “trendy” wedding photojournalism happens when a photographer takes photos that have become expected in the genre. “Someone decided that it was photojournalistic to take a photo of the dress hanging on a hanger. Now every photographer takes a photo of the dress, and it’s not [wedding] photojournalism anymore,” muses Bair.
PERSONALITY
Other, au currant photo poses to be wary of: dipping the bride; the jumping bridal party; tilted horizons (“tilting photos does not make you a photojournalist,” she says); and close-up detail shots. “Don’t just take a picture of the shoes, and then say, ‘OK, I got that.’”
“We can look back at the 70s and 80s and say, ‘Oh that’s so passé,’ but we’re doing it again, just with a different set of pictures,” Bair notes.
TREND VS. STYLE
Brides and grooms need to understand the difference between real wedding photojournalism and the trends some photographers are buying into, according to our experts. If you are adamant about documenting your wedding in a photojournalistic style, make sure you communicate your wishes to your photographer, so he or she doesn’t feel pressured to get those canned shots, and can instead focus on the real moments, happening organically, without direction or interruption.
photo by joe milton
WPJA award winner Joe Milton says since none of the popular styles — traditional, portrait photography or wedding photojournalism — is going anywhere; that it’s more about understanding the differences so you don’t get caught up in the fads.
“Usually my clients have looked at several photographers, and they’ve looked at websites – and they’ve picked me, specifically saying they don’t want those posed shots that they’ve seen in everyone else’s album,” he says. “They don’t want those cliché photos — the groom dipping the bride in front of a mountain, the brides veil thrown over the groom’s head. They already know that they don’t want the experience of the photographer being in charge and directing the whole day; they want someone to record it.”
Advice to brides and grooms: do your research, and then ask yourself some questions — and be honest. Do you want your wedding photographer to have control of how you look? Do you want him or her to be directing you during the day? Or are you the type of people who would rather not worry about the photographer, but instead have someone who is there to document the day as it happens, free from interference? Are you confident enough to let the moments speak for themselves, or do you already know how you want the photographs to look, and you simply need a photographer to help you set them up and capture them?
Another WPJA award-winner, Marc Climie, maintains that there’s more to picking a photographer than simply picking a style; that each photographer brings characteristics to the job that will influence the photos. “The traditional photographer is more apt to mingle with the crowd, talk to people, and interact. It's his or her personality,” he charges. “The documentary photographer is more of an observer, watching people react and interact.”
photo by daniel sheehan
Marc Climie
It’s that observing eye that captures the reality of a wedding — the real moments that you’ll remember years later when flipping through your photos. Does he think that’s a trend? “I believe there is beauty and art in reality,” he says simply.
“It is a fad no more than a mother standing back in awe of her daughter's beauty is a fad, no more than a tearful father walking his daughter down the aisle is a fad, no more than life is a fad.”
On the contrary, naysayers insist wedding photojournalism is merely a trendy, passing fad that disrespects the venerable traditions of the classic posed shot. They point out that tradition, and true photographic quality, is often sacrificed for grainy, natural-light candids that claim to be "art."
photo by peggy bair
Others scoff at the idea that tears and laughter recorded forever will soon be going out of style. “When real life goes out of style, we’re all in trouble,” says WPJA award winner Peggy Bair. “When is that ever going to go out of style? Real moments – you can’t fake them.”
Bair argues that when people look back at their wedding photographs, they’d like to remember what they felt at the time, not just what they looked like, which is surely to be out of date 20 years later. What really matters, she says, is the actual experience the photographer is documenting.
“I think people want to experience real life as it happens. They want to remember their wedding day, without someone asking them constantly to move or stand a certain way,” she says. “They don’t want to remember the photographer making him dip her back like that. They want to remember the spontaneous moment — the real moment.
“Then they can say, ‘That’s what I look like when I’m really living my life. That’s who I really am,” she says.
STAYING AWAY FROM TRENDY
Bair adds that there are trendy photos out there posing as wedding photojournalism.
Today’s “trendy” wedding photojournalism happens when a photographer takes photos that have become expected in the genre. “Someone decided that it was photojournalistic to take a photo of the dress hanging on a hanger. Now every photographer takes a photo of the dress, and it’s not [wedding] photojournalism anymore,” muses Bair.
PERSONALITY
Other, au currant photo poses to be wary of: dipping the bride; the jumping bridal party; tilted horizons (“tilting photos does not make you a photojournalist,” she says); and close-up detail shots. “Don’t just take a picture of the shoes, and then say, ‘OK, I got that.’”
“We can look back at the 70s and 80s and say, ‘Oh that’s so passé,’ but we’re doing it again, just with a different set of pictures,” Bair notes.
TREND VS. STYLE
Brides and grooms need to understand the difference between real wedding photojournalism and the trends some photographers are buying into, according to our experts. If you are adamant about documenting your wedding in a photojournalistic style, make sure you communicate your wishes to your photographer, so he or she doesn’t feel pressured to get those canned shots, and can instead focus on the real moments, happening organically, without direction or interruption.
photo by joe milton
WPJA award winner Joe Milton says since none of the popular styles — traditional, portrait photography or wedding photojournalism — is going anywhere; that it’s more about understanding the differences so you don’t get caught up in the fads.
“Usually my clients have looked at several photographers, and they’ve looked at websites – and they’ve picked me, specifically saying they don’t want those posed shots that they’ve seen in everyone else’s album,” he says. “They don’t want those cliché photos — the groom dipping the bride in front of a mountain, the brides veil thrown over the groom’s head. They already know that they don’t want the experience of the photographer being in charge and directing the whole day; they want someone to record it.”
Advice to brides and grooms: do your research, and then ask yourself some questions — and be honest. Do you want your wedding photographer to have control of how you look? Do you want him or her to be directing you during the day? Or are you the type of people who would rather not worry about the photographer, but instead have someone who is there to document the day as it happens, free from interference? Are you confident enough to let the moments speak for themselves, or do you already know how you want the photographs to look, and you simply need a photographer to help you set them up and capture them?
Another WPJA award-winner, Marc Climie, maintains that there’s more to picking a photographer than simply picking a style; that each photographer brings characteristics to the job that will influence the photos. “The traditional photographer is more apt to mingle with the crowd, talk to people, and interact. It's his or her personality,” he charges. “The documentary photographer is more of an observer, watching people react and interact.”
photo by daniel sheehan
Marc Climie
It’s that observing eye that captures the reality of a wedding — the real moments that you’ll remember years later when flipping through your photos. Does he think that’s a trend? “I believe there is beauty and art in reality,” he says simply.
“It is a fad no more than a mother standing back in awe of her daughter's beauty is a fad, no more than a tearful father walking his daughter down the aisle is a fad, no more than life is a fad.”
Monday, January 29, 2007
Getting Your Foot in the Door
Five Steps to Photographing your first Concert.
1: find a media outlet to shoot for, even if it is a small local paper, a weekly, a website, etc...
Offer your services pro-bono if you have to.
2: contact the PUBLICITY DEPARTMENT of the label; tell them that you want to shoot the show for the aforementioned media and that you need a ticket and a photo pass. Ask them what the photo restrictions are. This alone will make you sound like a pro. Do not sell yourself. They don't care who you are as long as you have a media affiliation; unless of course you are a notorious concert shooter know to them.
3: At the venue, you will deal with the PROMOTER who doesn't always like photographers, especially if you're dealing with Clear Channel. Don't take anything personally. Just in case there's a problem at will call, where you would retrieve your pass and ticket, make sure to bring a print out of your e-mail exchange with the publicist. You will need to show this to the TOUR MANAGER. The promoter will have no idea who the publicist is.
4: Most bands in larger venues have a first 3 songs only, no flash rule. If you have a photo pass but no ticket, you will probably get escorted out after. If you have a ticket, you will be asked to secure your gear back in your car or in the security office of the venue. Don't [whine], don't negotiate. That's how it is.
5: make sure to follow up with the PUBLICITY DEPARTMENT after the show once the coverage is out. A thank you note never hurts. They are middle men (and women), and like to feel appreciated. In addition, if you distinguish yourself without kissing too much [tail], they will make it very smooth for you the next time around.
1: find a media outlet to shoot for, even if it is a small local paper, a weekly, a website, etc...
Offer your services pro-bono if you have to.
2: contact the PUBLICITY DEPARTMENT of the label; tell them that you want to shoot the show for the aforementioned media and that you need a ticket and a photo pass. Ask them what the photo restrictions are. This alone will make you sound like a pro. Do not sell yourself. They don't care who you are as long as you have a media affiliation; unless of course you are a notorious concert shooter know to them.
3: At the venue, you will deal with the PROMOTER who doesn't always like photographers, especially if you're dealing with Clear Channel. Don't take anything personally. Just in case there's a problem at will call, where you would retrieve your pass and ticket, make sure to bring a print out of your e-mail exchange with the publicist. You will need to show this to the TOUR MANAGER. The promoter will have no idea who the publicist is.
4: Most bands in larger venues have a first 3 songs only, no flash rule. If you have a photo pass but no ticket, you will probably get escorted out after. If you have a ticket, you will be asked to secure your gear back in your car or in the security office of the venue. Don't [whine], don't negotiate. That's how it is.
5: make sure to follow up with the PUBLICITY DEPARTMENT after the show once the coverage is out. A thank you note never hurts. They are middle men (and women), and like to feel appreciated. In addition, if you distinguish yourself without kissing too much [tail], they will make it very smooth for you the next time around.
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