If you weren’t already aware, Nikon’s newest DSLR, the Nikon D810, was just released on July 18. For the announcement history, features, sample images and other current D810 posts, you can search Photography Life’s archives. When I saw the camera’s features, a few of them got me immediately excited. I don’t consider myself to be a photographer who has gear lust and must always have the newest camera body, regardless of how incremental the improvement may be. With that being said, as soon as it was announced I simply knew that I had to get the D810. Why? I’m glad you asked.
I am a big supporter of the “get to know your gear” opinion. I strongly believe that the more you use something, the better you learn to take full advantage of the strengths of that particular piece of equipment, and the better you learn to manage its shortcomings without even thinking about it. To a point where they just disappear, in fact, and make the statement that gear does not matter as truthful as it is. Gear does not matter (to an extent), but knowing it and liking it does. This, I think, it the crucial link between equipment and photography itself.
Engagement sessions are a big hit with couples and photographers. Almost all couples agree for a session before the wedding, so engagement photography has pretty much become a staple of wedding photography. An engagement shoot is done after a couple gets engaged and it usually is captured before the wedding. Some photographers sell this session as a separate product and most photographers include this session in their wedding packages. Regardless of how you like to approach it, understanding the basics of photographing couples and knowing how to coordinate a shoot that involves more than one person is crucial. Hence, I decided to write a piece to explain what goes into the planning process of an engagement session.
When asked what gear I use most for my work, I will first of all give tribute to the classic fifty and talk about how useful and versatile it is for my style of shooting. And yet I would never willingly rely on that lens alone, no matter how much I liked it. Nor should someone else, really. In this follow-up article I will describe the two most popular lens combinations used among professional wedding photographers. Both of these lens combinations are enough to cover the biggest part of the wedding and, in that context, can be called workhorse lenses. One of the duos is used primarily by fixed focal length lens shooters, the other is very successfully used by photographers who largely prefer zoom lenses. Each of the combinations has their advantages and disadvantages when compared to the other, but whether one is better than the other remains very subjective. Please note that lens choices presented below are a result of a mini-research, where we asked a number of wedding photographers what two lenses were their favorite / most used.
While talking about these lens combinations, I will also try to objectively highlight their biggest strengths and weaknesses when compared to each other.
Even just a few hours ago, I was once again asked by a reader what lenses do I use most for my wedding photography. The answer is and always has been the same for my wedding, family or general photography needs – a classic fifty. I am sure hardly anyone will find this at all surprising, because fast 50mm fixed focal length lenses have become a legend of sorts. Ask any photographer and he will tell you – that is one of the two most versatile fixed focal length lenses you can buy (the other being a 35mm lens). It is time we back up that claim with actual photographs, and plenty of them. Is there a single reason for it being so versatile? No. Rather, it is a combination of various characteristics and generally pleasing manner of “drawing” the photograph that, even today with all the amazing zoom lenses, makes it such a sought-after lens.
Naturally, the Nikkor AF-S 50mm f/1.4G is not the only lens I own and use, but I really do feel this particular focal length deserves a separate article just to show how truly special it is. I adore it. More than that, my warm feelings towards such a lens are not dictated by raw technical characteristics, rather how much it resonates with the way I previsualize my work. And that is why, instead of boring you to death with technicalities, I will gladly let photographs do most of the talking for a change.
Like any event photographer, most of my wedding shots are of people, i.e. the bride, the groom and their guests. This, after all, is what a wedding is all about and what people mainly want to see when they open a wedding photo album. Weddings, though, are always packed full of other visual details besides the people. So much time is spent in preparation to make a wedding look beautiful that it would be a shame not to preserve some of this in the album. I find that sometimes the best way to achieve this is to make these details the subjects of some of my photographs, even if this means leaving people out of some shots completely.
Efficient time management is a major factor in a successful wedding shoot, and it can be difficult to capture all the shots you require across the day. That’s why I always endeavour to turn up early. I do this partly because it affords me the opportunity to walk around the venue – both inside and outside – and assess the lighting conditions on the day. However, it also gives me the chance to get some photos of the building itself and perhaps some of the decorations, flower arrangements and so on before any of the guests have arrived.
Of course, often we are asked to take photos of the bride, groom or both getting ready for the wedding. If this is in a hotel or other location far from the venue, it may be difficult to find time to turn up early and capture these detail shots. If so, don’t worry, there will be plenty of other opportunities. Try to spot details and photograph them across the day, and perhaps steal a bit of time at an opportune moment. An ideal opportunity is usually during the meal; most people don’t want to be photographed when they’re eating, so I take the chance to have a walk around the building and its exterior to grab some extra shots.
Here are a few examples of the finer details at some of the more recent weddings I’ve shot. You’ll notice that none of these photos feature people as their subject.
The Venue and Location
What was the weather like on the day? What did the venue look like? Where did the wedding take place? These questions can be answered by taking some photos from outside the venue. Wide angle landscape shots that take in the whole scene can certainly play a role here, particularly if the wedding is in an especially picturesque setting. However, don’t just restrict yourself to landscapes. This is all about capturing the fine details of the day, so try to photograph some of these with a normal or telephoto lens too.
Try to consider: is there anything unusual about the location; any distinguishing features that are worth capturing? Also remember that it’s often possible to have some fun with these photos, especially if the wedding is in a quirky location.
Summertime for wedding photographers in the northern hemisphere can be quite hectic! Since the beginning of May I have been shooting 3-5 portraits sessions and 1-2 weddings per week – that means before I have little time to process, edit, and complete a session/wedding before I am already onto the next one. It goes without saying that good time management is crucial for not falling behind. In this article, I will share a few time savings tips for busy photographers like me.
Many photographers prefer to have second shooters to help them out during events, especially big weddings. Hiring or becoming a second photographer to work along with you on a job might be very complicated, tricky and sometimes downright nightmarish. You hire a photographer to come and help you out during one of the biggest weddings of your season, and the photographer shows up late, completely unprepared, with empty batteries, no flash and a completely different camera system. If you wish to avoid such situations, read this post up and make yourself thoroughly prepared. It sure is a hard job to let someone else represent your business. But when you are ready, you can make the experience both pleasant and even memorable for all parties involved.
1) The difference between a second shooter and an assistant
First things first, without diving into semantics too deep, I want to clarify the difference between a second shooter and an assistant. A second shooter is a photographer that is called/asked/hired to work alongside the main photographer for a particular event. An assistant, on the other hand, is not necessarily a photographer – it could be anyone that is hired to assist the main photographer in carrying his/her gear and perform simple tasks like holding lights, reflectors, etc. While second shooters can also perform assistant roles (if agreed upon earlier), keep in mind that they could be skilled professionals, just like you. Assistants, on the other hand, can be interns or student photographers, who are hired to assist and who are there to learn. Regardless of who you choose to work with, a binding contract with clearly stated duties and dues should be put together and signed in advance.
Today I want to present to your attention a person who is not just a great photographer but also an amazing humanitarian who has an “eye” for that perfect detail and a helping hand to those in need. I am often drawn to people who I think have a soul; photographers who have set a greater mission in front of them than just clicking the shutter away. I think such quality helps people to be more grounded and in touch with the reality.
So I chose Kelli Lyn
As my first post here on Photography Life, I thought I would write a bit about why I shoot film as a wedding photographer.
I started my career in photography in 2008 as a digital shooter. Since it was the digital age, it didn’t even cross my mind to shoot film. I had some preconceived notions about it — at the time I thought film was old, outdated, and produced inferior images compared with digital. But the more I learned about film, the more I realized I needed to take a second look.