Tag Archive for 'collaborating with your photographer'

WYSIWYG: What You See Is What You Get (or Getting What You Expect) – Some Thoughts On Selecting a Wedding Photographer.

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WYSIWYG (what-you-see-is-what-you-get) is something we photographers talk about all the time when we’re printing our photographs.  We want our prints to precisely match what we see on our computer screens.  Obviously.  We want to get what we expect.  And with wedding photography, so do you.

So how does that work exactly, when you hire a photographer—or, now that I think about it, when you hire any vendor or artist?  Well … we do what we do: what you see is what you get.  So when you’re thinking about hiring someone, see enough of her work that you have a really good feel for what she does—a representative sample.  This could include images on a website or blog, some albums, and perhaps a client gallery or run of proofs.  By that point, you should feel like you “get” the scope and style of her work.  If you like what you see in that photographer’s portfolio, chances are that you’ll like what she can do for you.  But if you don’t, or if you yearn for something altogether different, no amount of direction, coaching, or unrealistic expectation is going to change how that photographer works or sees.  You aren’t going to get something different.

Two stories to highlight this point:

Once I was at a meeting with a potential client.  She kept pulling photographs out of my portfolio, dropping them on the coffee table, and pounding her forefinger on the photos,¹ asking over and over again, “Can you do this? Can you take photos like this?”  I was boggled.  What a query!  I had, of course, taken all the photographs in question, and there were dozens of them.  She had a whole, ever-growing pile of photographs she wondered if I could take.  What she was really asking, of course, was whether I not I could take photos like that for her. But still.  It’s ridiculous.

In another meeting, a potential client asked me, no less than twice, if I could take photographs like the ones taken by another well-known local photography studio.  Um … why not just hire them? (I hope they did!  Otherwise, they were surely and sorely disappointed.)

Neither one of these potential clients understood the principle of WYSIWYG. And I’m sure it’ll be no surprise to know that neither one of them hired me.  Nor will it be much of a revelation to know that I’m relieved they didn’t.

So … hire a photographer whose work makes your heart go pitter-pat.  Someone whose eye you trust.  And then let her do her thing.  (Why in the world would you want to interfere with what you trust is going to be marvelous?)

photo: Gia Canali

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¹ Yes, yes, she was smudging them to death.

Getting Great Wedding Photos, Tip #12: Dance With Your Friends, Too!

bride-dancing

We all know it’s important to dance with your beloved.  But don’t forget your friends!  Not only does it make for good photos, it makes for good memories.

photo: Gia Canali

Decoding Wedding Photography Lingo, Part V: Post-Processing :: Editing, Retouching, and Color-Correction

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Nowadays, there’s so much being said about photography and digital photography and digital wedding photography, that it sometimes makes my head spin.  And I’m on the inside!  So I imagine it’s quite intimidating to feel like you have a handle on what you are actually getting when you invest in professional wedding photography.  The advent of digital photography has changed not only how we photograph weddings, but also how we talk about photographing weddings—and especially how we talk about “post-processing” them.  In the olden days, I’d photograph a wedding, then wait with breath held and fingers crossed for the film and proofs to come back, toss out the few proofs I didn’t really like, and give them to the client.  Now, it’s much, much more involved.  There’s a workflow.  And although I don’t want to get into the whole long-drawn-out process right now, I do want to highlight some of the lingo that goes along with it.

**Other photographers may use these same words differently, so if you’re unsure about what any one photographer means, just ask!!

I. Editing

Editing is probably the most-used and least-reliably-defined word to describe post-processing.  For one thing, “editing” can encompass the entire process of getting images ready for a client.  When photographers say they’re “editing” a wedding, they could mean that they’re cutting out all the crummy images, or they could mean that they are color-correcting individual images or they could mean they are retouching individual images.  Or they could mean some combination of all of the above.

Personally, I like to stick to using these words how we used them when we wrote essays in grade school.  Editing meant organizing the whole piece, keeping the good stuff and cutting what didn’t work.  (Retouching is more like revising, but we’ll get to that in a minute).   So when I say editing, I mean organizing the images into categories that make sense, keeping the good images, and ditching the ones that don’t work (like accidental shots or ones where your eyes are closed).

II. Retouching

Retouching is kind of like revising an image.  The photographer alters the image in the interest of improving it.  Usually, we think of cosmetic retouching, like removing blemishes or whitening teeth (no, I’m not kidding!), but clients sometimes request other sorts of retouching, like removing extraneous people or shadows … or “exit” signs from the background of photos.¹  We do not retouch images as a matter of course, only by client request.  We’re all for beauty, but we’re also all for reality, however “imperfect,” being the beautiful thing.

III. Color-correcting

The great thing about digital photography is its flexibility and creative freedom.  I love it just as much as the next girl.  However, I do wish all the livelong day that I could have the creative control I get from my digital cameras with the picture perfect color I get straight-from-the-camera with film.  It’s just not possible, at least not yet.  I find images that come straight from a digital camera to be a bit dull.  They need a little color-correcting, a little pizazz, some finessing.  Some photographers really style their images a lot, others hardly at all, according to their own personal aesthetics.  There are no strict rules about color-correcting.  But images that are called color-corrected should look good and be print-ready.   We color-correct every image we show and give our clients.  As much as you want to look good, we want you to look good!

photos: Gia Canali

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¹ Better yet, don’t plan the events of your reception in front of an “exit” sign.  Toasts are usually the culprit and it’s so easy to avoid it’s almost laughable.  But lots and lots of folks have their toasts in front of an exit sign anyway.  It baffles me.

Collaborating With Your Photographer, 108: What You’re Really Paying For (And Waiting For!) With Your Wedding Album Purchase

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{pictured: Leather Craftsmen Fine Art Book. click any image to enlarge}

Although I’m not surprised that folks balk at album prices—most people don’t know what goes into making them (!)—a wedding album is really essential, the finishing point of your investment in wedding photography.

I. The Labor

I like to think about the album making process as a labor of love.  It is certainly laborious—even a simple album can sometimes run upwards of thirty hours of labor.  Custom books can amount to much, much more work.  So what goes into making an album that can add up to so much time? Well, here goes:

  1. Design time.
    This is a big one.  Perhaps it’s the big one.  Album design is a back and forth process—and sometimes a long one—a collaboration between a photographer and her clients.  Often, there are meetings.  There is always time laying the album out.  An opportunity for client feedback.  Changes to the design. Another opportunity for client feed back and/or a final approval.  Design time is all about decisions: decisions about which album(s) to use, which images will and won’t be included, how to tell the story of the wedding day and best flatter the bride and groom; decisions about making the best overall presentation, including choosing cover treatments (leather vs suede vs book cloth), cover photos, deciding on stamping or imprinting …
  2. Editing images.
    Once the images are chosen, and the client has “signed off” on the album design, we begin preparing images to print.  Final color corrections need to be made.  We always take a good second look at images that will be included in a client’s album.  Retouching issues need to be addressed.  The images need to be sized and cropped (if the album’s matted) or inserted into an overall layout (if the album is flush-mounted).
  3. Ordering prints from the lab.
    This seems pretty self-explanatory, but this often takes an hour or two depending on the album type.
  4. Checking quality.
    When the prints come back from the lab, we check every single print to make sure it’s up to snuff.  If we don’t like a print, we have to send it back to the lab.
  5. Assembling the prints & order forms.
    Not my favorite part, for sure.  I check everything about a zillion times.  Prints have to be put in numerical and size order and sometimes hand-trimmed.  I always reference emails and notes to make sure I get everything filled in properly on the order form.
  6. Shipping or dropping the order off at the album bindery.
  7. Checking quality again.
  8. Shipping or dropping the album off to the client.  (Phew!)

fine art book

II. The Prints

A gorgeous album requires gorgeous and expertly-made photographic prints.

III. The Binding (Album Assembly)

This is actually part materials cost and part labor cost.   The album cover and its pages are certainly a substantial cost in and of themselves, but binding is all about the artisan who actually makes the book.  Handmade albums are more laborious and therefore more costly.

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So why is it worth it?

So, although the price of making a wedding album seems high, there is very little markup in the end.  Not only are the materials quite costly, but album-making is also quite labor-intensive—for both the artisans involved and for the photographer.  Ultimately,  your wedding album becomes the official record of your wedding day.  We work tirelessly to ensure that our clients get albums that will become heirlooms.  That’s the goal.  Frankly, your grandkids aren’t going to be interested in a digital photo file.  And neither are your grandparents for that matter.  The albums available to consumers don’t even compare to those available to professional photographers.  And getting expert professional help with the design, printing, and binding is invaluable.  Not to mention that not doing it yourself is pretty grand.  I own my negatives from my wedding (which was back in the all-film days).  I am not sure when I’ll get around to making an album for us … and I think it’s the labor time that’s my hangup (that and the five hundred or so dollars I’d need to spend on prints).

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Those of you who are working on albums might also want to check out these posts:

Collaborating With Your Photographer, 107: Choosing The Most Stellar Photographs For Your Wedding Album

Decoding Wedding Photography Lingo, IV: Wedding Albums

photos: Gia Canali

Nicole & Abram’s Malibu Wedding

walk in the woods

Nicole and Abram had a beautiful summer wedding in Malibu.  And although they wanted to wed on the beach, both imagined having some photographs that were decidedly more woodsy and magical.  I’m not sure how many times Abram went scouting by himself—at least twice!—but the afternoon the three of us visited this site (pictured above), we knew we’d found what we were all looking for.  This brings up an important point about working with a photographer: communicating your vision can make all the difference in the world.  While you’re at it, it’s good to let your imagination run a little wild.  You don’t know, really, what is and isn’t possible.

The feeling I got from this place made me want to pull out all the toy cameras …

{click any image to enlarge}

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bride by tree

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groomsmen bridesmaids

cute couple

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Megan Fickling-Pearson from {La Partie Events} did an outstanding job on the day-of wedding coordination.  We love her boundless creativity and good spirits and cannot wait to photograph a wedding where she does the floral design, too.  Her {blog} is always a good read—Meg knows where to find all the cool stuff! Below: a few photographs from the ceremony. Nicole and Abram were so sweet with each other.  I love that!

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ceremony overview lean on each other recessional

walk on the beach

Below: some of the details. Chalkboards can be really fun decor elements at weddings. Abram decorated these for the reception.  DIY projects like this are great for weddings, as they are easy and memorable. We also liked the sweets table!

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n+a chalkboard you are so divine to me giacanali037

After the ceremony and just as the sun was setting, Nicole and Abram took a few more minutes to run around the beach.  If you have an opportunity to take advantage of multiple setups or locations for portraits, do it!  Your album will have lots more variety.

sunset beach kiss

walk on the beach

Nicole and Abram made a point of getting the portraits they wanted—and it really paid off.  Photographers are always ready for a happy collaboration!  We highlighted their good sense previously, but this tip from their wedding is definitely worth reiterating: take a walk!  It’s nice to have some quiet time with your beloved and it makes for really good photographs. 

photographs: Gia Canali Nicole’s gown: Edgardo Bonilla Florals: Michelle, Larchmont Village Florist, (323) 464-8146

Getting Great Wedding Photos, Tip #10: Laugh Easily

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Laugh easily and laugh much!  It’ll give you a break from “posing” too stiffly.

photo: Gia Canali

Collaborating With Your Photographer, 106: Getting Great Group Photos (Without Losing Your Mind!)

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Nobody wants to spend their entire wedding day, standing around, lining up for photos.  This is why group photos, generally, have a bad rap.  But they are an important part of family history, and of your history.  And done right, they will take up little of your lovely wedding day.  There are two parts to non-insanity-inducing group photos—planning them properly with your photographer, and helping your photographer execute them properly.

♥ Planning Ahead ♥

I. Make a List. Be Reasonable.

Stick to essential group combinations!

Include everybody’s names so the photographer’s assistant (rather than you!) can call people into each shot.  Your photographer probably has a starter list.  Mine is very simple: bride + groom with immediate family, parents, and grandparents on each side.  Siblings, if applicable.  Extended family, if desired and feasible.

*Keep in mind that, for the most part, nobody really cares who else is in the photo besides you and your beloved.  So zillions of permutations of each group really aren’t necessary.

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Why the Big Fat Group Photos Take Longer:

Brides and grooms (or their parents!) sometimes suggest gigantic group photographs thinking they won’t take any longer than photographs of three or four people.  The truth is that while the actual shooting of those group photographs doesn’t take any more time, the wrangling of big groups of people takes much, much longer.  Even once we’ve rounded up all the right people (and found whichever straying uncle or brother is at the bar or in the bathroom), we need to arrange them, making sure we can see each person’s face.  It just takes longer. Much longer.

Why You Should Notify Your Photographer of Any Sensitive Family Situations (deaths, divorces, etc.):

We want to address your friends and family properly during the photographs.  And we want to arrange them properly.  At one of the first weddings I ever photographed, I was trying to arrange a photograph with the parents of the groom next to each other and they wouldn’t move in to the photograph.  When I made a little joking comment, I was told that they were divorced.  And it became very apparent to me at that point that the divorce was unfriendly.  I was mortified.  And I’m sure they were, too.  Luckily, it’s easy to avoid that sort of awkwardness with some very simple communication ahead of time.

As of Your Wedding Day, You and Your Spouse Are Each Other’s Family.

It borders on absurd to make this point but I’m doing so because I often get requests for photos without one of the spouses—bride with bride’s immediate family (without groom).  And vice versa. Nobody orders that photo.  Nobody wants it afterwards.  And were someone in your family to order the photo and hang it on the mantel, sans the spouse, wouldn’t you feel weird about it?

Bride + mom or bride + dad or groom + either one of his parents are totally fine.  It’s just the groups that are awfully strange.

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Don’t Forget Your Siblings!

My favorite photograph at my twin sister, Meghan’s wedding, aside from the one where she’s flipping me/the camera off, is the one of her and her husband and Matt (then my boyfriend) and me.  It’s the first photograph of the four of us.  Matt and I are looking a little rough (I was wearing pants(!), which I never wear to weddings anymore, and I had altitude sickness).  But we are happy and we are together.  Which is kind of the whole point, as I see it.

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II.  If You Want Something Funky or Fun, You’ll Need More Time.

Most brides and grooms want to speed through the group photographs—line-em-up-and-move-em-out style.  Others want something more stylized—the bridal party in an unusual location, the family organized on multiple levels, some seated some standing, near a unique couch, for instance.  These photographs can be so visually interesting, but they do take longer to set up (which is a deterrent for many folks).  If you’re hoping for something other than the lineup, so to speak, tell your photographer, so both of you can plan for it.

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III. Make Call Times.  Lie if Necessary.

I can’t believe I almost forgot this all-important tip!  You don’t need people waiting longer than necessary, but you do want them to be there when you need them for photographs.  You can almost always get away with separate call times for the bridal party and the family.  If your family and friends tend to be late, buffer the call time.  If they miss it, you may not get a chance for photographs with them later on.

♥ On Your Wedding Day ♥

IV. Let Your Photographer Choose a Spot With Open Shade.  Period.

This is really a non-negotiable for me.  Maybe you will luck out and it’ll be overcast or (better yet) foggy.  But if not, no view or nifty background is ever worth a bad exposure.  Technically speaking—and, friends, your grandmothers will agree—the priority is to see everybody’s faces and especially their eyes.  A big, bright sunny spot will give everybody what we photographers call raccoon eyes.  Dappled shade is just as bad.  And most views won’t even show anyway, unless it’s the same amount and kind of light on the faces of the people and on the background.

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V. Be Sure You’re Looking On Camera During Formal Group Photos.

There’s a lot going on. I know.  And I’ve mentioned it before, but it’s worth reiterating.  Look on camera during the formal group photos. (You don’t have to look on camera during informal group photos, though).

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I Heart Chaotic Group Photos. Don’t We All?

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I think … I’ve said this before, too.  I’m sure it’s a throwback to the 8000 times my mom and grandmother had my siblings and cousins and me pose for them, on the brink of chaos (picture Meg and me posing primly, with our younger brother and sister in our laps, both crying their little heads off).  In fact, now that I think of it, my love of the chaotic group photo probably goes back as far as my Aunt Paula and Uncle Tom’s wedding.  Meghan and I were four, and we were the flower girls, and God bless the poor photographer.  Meghan kept running straight at him every time he tried taking a photo of the wedding party.  In the official photo, it looks just how I remember it: like she’s bull-running him!

I think we all expect those nice give-to-grandma group photos, but hope for something a little more spontaneous, humorous, and vibrant for ourselves.  So set yourself up for the right conditions: only the closest friends and family, beautiful light, and enough time.  Glasses of champagne, all around, don’t hurt either.

photographs: Gia Canali

Getting Great Wedding Photos, Tip #9: Take A Walk

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Take a walk. It is a way of taking {quiet time}, to be sure.  And it always renders so nicely on film.  Congratulations, Abram & Nicole!