“Wow! You get paid (insert seemingly exhorbitant sum here) for one day’s work and get to take the rest of the week off!”–from the occasional friend, relative or potential client.

I love to watch the groom's reaction when he first sees his bride.

“I could buy a camera and let my sister/friend/uncle take the photos for that price.” –heard more than once from people bemoaning the general cost of professional wedding and portrait photography.

The first kiss.

“That’s it? That’s all you charge? I know I’m shooting myself in the foot here, but I’ve seen far worse work from photographers who charge far more.” –a graphic designer who was pre-screening wedding photographers for her best friend, upon hearing my fees for 2009. And yes, I raised my rates for 2010.

I’ve heard the whole spectrum of responses to my quotes for wedding photography. While I know very well how I come up with my fees, I have to remind myself that it can be easy for the layperson to be confounded when trying to reconcile how we can charge what we do and still drive dented station wagons, drink sub-par malt beverages and clip toilet paper coupons from the Sunday paper.

Their First Dance

Wedding photography is not the “posh life.” Granted, most of us work for ourselves and set our own schedules, but any small business owner knows that this doesn’t mean we work when we feel like it. But what a client pays is not immediately deposited into the photographer’s personal checking account.

For the sake of this article, let’s take a look at a fictional $3200.00 wedding package. This package includes unlimited photography (up to 10 hours), a 14-page flush-mount album, online previews, 400 printed 4×6 proofs, a digital slideshow on DVD, and an assistant. (This package isn’t offered “out of the box” by my studio, but it’s an example I’ve seen out there among my fellow wedding photogs).

Posing for Mom

Event Specific Investments:

Client Planning: 5+ hours

Shot lists, schedule framework, questions, referrals, site recon and travel, any requested in-person follow-up consultations and factoring in the 25-30% of clients the photographer meets, but who book elsewhere)

Wedding Day: 13+ hours

10 hours’ photography

3 hours’ setup, breakdown, packing, unpacking, light checks, local travel

Postproduction: 50 hours

Exchanging Rings

Initial Downloads, Edit, Burning: 2 hours

Postproduction (minor cosmetic, color/density, file conversion) 45 hours

Average 75 images/hour capture, 10-hour wedding = 750 images

First Dance (Second Photographer)

Web Optimization/Burning or Upload for 750 Online Previews: 2 hours

Albums, DVD + Prints: 25 hours + expenses

Album Consultation: 2 hours

Album Design: 1 hour per page (often outsourced)

Album/Manufacturer Quibbling & Consultations: 1 hour

Client Layout Proofing, first revision 3+ hours

Print Selection & Delivery to Printer: 2 hours, plus expense of 400 unique 4×6 machine proofs

DVD Slideshow: 2+ hours for 100 images, formatted and burned. Custom screen/label graphics, printing, materials, music synchronization.

Assistants (Wedding Day):

$100-$250/day, depending upon experience and complexity/length of event.

General Overhead:

Professional Equipment Maintenance

My gear is professionally maintained as needed, which can be a frequent thing. Digital gear requires that sensors and optical elements be cleaned professionally at least once a season, and in-house before every event.

Wedding photography is a full-contact sport. Equipment gets dropped, bumped, toppled, doused, and in one case, I had a dog come up and pee in my camera bag during a portrait session in the park. All wedding photographers are accustomed to sending gear in for repair at manufacturer-certified pro shops, and budget accordingly. And if Fido fried the microprocessors in my camera…

New Gear

They don’t make equipment like they used to, and in any case, wedding photographers use the heck out of their primary equipment. Whether I’m upgrading, augmenting or replacing equipment, each year I purchase at least $5000 in photo gear alone. I purchase from reputable dealers, and do not buy “gray-market” equipment. Rarely do I buy used, since I want to know maintenance history of any piece of gear upon which my clients and I will depend.

Rented Equipment

Sometimes it just makes sense to rent certain items. I depend upon rental shops such as Pro Photo Supply or Calumet when I need a few extra strobes, that specialty lens or an item that’s out of my current budget. While gear rentals are an expense, it keeps my general overhead low…but does make me get up at 7am on my day off to make sure it’s all returned by the rental shop deadline.

Computers! Software! Peripherals!

While we digital photographers are saving a bundle on film, we’re spending twice that on computer components, upgrades, storage and software. This is something the average Joe can relate to, but also note that computers that are rated to handle, process and store thousands of 50mb files don’t come cheap. I have a notebook for on-site downloads and client presentations, and am about to upgrade my studio desktop…though ideally, I’d have two. Our monitors must be top-quality, and they require pricey calibrators and color profiling. And I’m not even going to go into printers, other than to say that I’m currently outsourcing all but proof index sheets to save time and expenses.

I use three or four photo-specific software programs to edit, convert and retouch my images. Each of these programs is upgraded at least every 18 months.

Photographic memory is another biggie. Microdrives are expensive, cranky and delicate. I use both Compact Flash and Microdrives for image capture, and at about $150/pop per gig of reliable memory, well…

Education & Experience

I put in my hours as a wedding assistant, sometimes compensated, often times not. My first few weddings were more an investment for me than a source of income, as I hadn’t refined my technique and workflow for maximum efficiency. And like any good professional, I’m always learning how to improve my photography and postproduction skills. I spend several hours each month researching and testing new techniques, and several hundred dollars each year–at least–on technical instruction. Of course, there’s also the learning curve involved with new technology and equipment, since I never use a client’s wedding day to try out a new camera or strobe.

Promotion

Many brides find their photographers in event directories, local wedding guides and glossy magazines. Others visit online wedding websites. All of these charge quite a bit for advertising, and are useless unless the photographer has a professional website and gallery. Most photographers get the most business from client referrals, but as a general rule, a wedding photographer has to have a presence in online and print marketing avenues to gain name recognition.

What else? Oh, yes. Postcards, business cards, brochures, letterhead…all these are part of a professional’s expenses.

I also belong to several professional organizations for many reasons–networking, learning, contests that challenge me to improve my work, and…let’s be honest here…directory listings and peer referrals. Membership, though worthwhile, is spendy.

Outsourced Work

In addition to my assistants, a professional will factor in any outsourced work. Album manufacturers, proof printers, website designers, online preview/shopping cart hosts, postproduction assistants, CPAs, legal consultants…all of them take a bite.

General Business Expenses

Utilities, office supplies, vehicle maintenance, fuel, bookkeeping software, merchant account fees, light bulbs, insurance…you get the idea. And those sensible shoes I wear to keep my dogs from barking in the 11th hour of your wedding…and dry cleaning…and coffee, coffee, coffee, coffee…

Other Factors to Consider

Ever see the Discovery channel series on crab fishermen(Deadliest Catch)? If you have, you know why they make thousands of dollars in a few days’ time. While most wedding photographers aren’t subjected to the risks of drowning in arctic seas, our work is quite seasonal. There’s the boom between April and November, and the relative hang-time the rest of the year (when we busy ourselves with album consultations, new client consultations, training and non-wedding projects). There are only so many weekends in the year (though weekday weddings are becoming more common) and many of us limit the number of events we book due to time constraints and concern for both quality of service and personal sanity. I’m shooting for 30 weddings for 2011–and several of those will be half-day events that, because they are less work-intensive, generate less income.

Like crab fishing, wedding photojournalism is physical. Carpal tunnel, tennis elbow, bad backs, bum knees, sore feet–all of these are casualties of 14-hour event days and the subsequent hours in postproduction. Whether or not we have assistants to help, we still have to carry several pounds of gear on our bodies for hours at a time, ignoring our chiropractor’s demands for weight distribution in favor of accessibility. Am I whining? Perhaps, but few people realize just how much we dedicated shooters invest in each wedding.

Summary

At least half of every wedding package is earmarked for tangible products that are delivered to clients as well as the costs of doing–and improving–our businesses. The rest trickles into our personal banking accounts, to pay the bills that keep us happy, fed and eager to continue doing what we love. Whenever somebody tells me, “You’re so lucky to work for yourself,” I remind them that the opposite is true: A wedding photographer with a similar workflow will have as many as 40 bosses every year, not including the client’s intended spouse and wedding planner. Of course, the only person keeping me on task on a day-to-day basis is me…and Me is one heck of a slave driver.

The “Lucky” part is dead-on. I love what I do, or else I’d be doing something else. I miss a lot of my friends’ and family’s social gatherings, but I meet the most interesting people all the time, and have found new friends among my clients. I get to travel. I get to eat a lot of cake. I get to observe and document a lot of joy (and a little hilarity). I get to hang out and talk shop with some of the most talented and creative photographers in the profession. Every job is different from the last, and the opportunities for learning never end. I’m rarely ever bored. I’ve avoided the prairie-dog colonies that we call office cubicles, and my home office looks out on six urban-dwelling chickens and a determined tomato plant rather than a parking lot. And later this afternoon, I get to meet with two really cool people whose wedding just might become my next favorite.

Rarely will a photographer accumulate great wealth from wedding photography. Not without writing books, conducting seminars and inventing new gadgets, and even then, well. But every full-time professional wedding photographer, in order to continue to do what she loves, must be realistic in her pricing so that she can remain competetive in skill, customer service and workflow. Her prices should reflect the level of service and quality of products she offers, with a great emphasis in experience and self-confidence. When I come across photographers who charge far less than they should–judging from their portfolios and sample weddings–I wonder how much confidence they have in their own abilities, or how committed they are to continuing their career. I wonder if they’ve got a reputation of poor customer service, forcing them to keep their rates low. Perhaps they have a day job to pay their bills, or photography is simply a weekend hobby. In any case, I wonder if they’ll burn out and be gone by the following season, or if they’ll realize the value of their work and time, and change their prices accordingly.

On the other hand, I have no problem announcing my standard rates on my website. Most clients who know what’s up will bookmark my gallery and give me a call, while those who don’t have the same perspective I’ve tried to give you here will quickly move along until they find something that fits their idea of a reasonable rate. While I’ll customize a package for a client, I simply won’t haggle over component fees. I don’t overinflate my products and services, and any client who doesn’t see the value in what I (or my contemporaries) offer is best off looking elsewhere. Sacrifices we wedding pros make to cater to such clients comprimise the clients who are eager to book us at our established rates, and simply forces us to either work below minimum wage or eliminate the crucial improvements to our businesses. That just won’t fly.

You know, all the sudden, that $3,200 package seems downright cheap.

Anybody who might have any specific questions about points mentioned above, or neglected entirely, is encouraged to contact me at fritz@blackeaglestudios.com

From time to time, though, I find myself faced with a different type of job — a private commission. These can be family portraits, baby photos or weddings. And while I enjoy any job (I’m getting paid to take pictures, after all!), the client relationship can be very different, particularly in terms of matching expectations with the commitment required meet them.

A Tale of Two Weddings

To clarify what I mean, I’ll use the example of two weddings I photographed where the expectations of the couples were very different — and yet were a perfect match for the commitment they were willing to make to the photography.

In the first case, the happy couple wanted photographs of their day, but didn’t necessarily want to be photographed. They had heard stories of friends’ weddings where the photographer had been intrusive, distracting or generally “in the way.”

The couple didn’t want the day to be “staccatoed” by a photographer continually interrupting the events to get different shots, taking away from the proceedings and stopping them from letting their hair down.

A more low-key approach suited their aims (and my style) perfectly. Apart from the traditional line-up photographs of friends and family, they opted for the candid approach to wedding photography. Non-intrusive documentation of the day, with happy portraits of people conversing, enjoying themselves and celebrating their friends’ union.

A Greater Commitment

By contrast, another wedding I booked required a much greater commitment on the part of the bride and groom and their families.

They had seen the work of wedding photographers such as Jasmine Star and Ann Hamilton, and rather than just documenting proceedings, they were looking for something that captured the essence of their relationship and the love they felt for each other as well.

They wanted photographs that were a symbol of the day, rather than just a record of it. They understood that to achieve this would mean putting aside a period of time during the day just to pose for photographs.

With their input and efforts, the mission was accomplished and everyone was happy.

I’ve specifically mentioned Star and Hamilton (who also takes amazing photographs of dogs!) because I admire and respect their work in the field of wedding photography. They’re at the top of their game, and are two of a new breed of wedding photographers who are producing beautiful pictures that capture the romance, personalities and magic of the special day.

I see what they do as being a typically American approach to the art that requires dedication and skill, and is fast becoming popular on this side of the Atlantic, too.

But achieving photos of this quality and style requires input and work from all parties — not just the photographer. The bride and groom must be prepared to put some effort into helping the photographer create the images that everyone is looking for.

Matching Commitment to Expectations

Which brings me to the example of a third wedding I shot.

In this case, the couple had seen pictures in the style of Star and Hamilton, and wanted to create similar memories of their day. But in planning their day they hadn’t included time for photography.

Indeed, they didn’t like the idea of being asked to participate in photographs to this extent, reeling away (in true British style) from being asked to pose for such pictures.

Clearly, they weren’t aware of the interaction required, and the work expected of them to achieve their goals. So ultimately, after we discussed the pros and cons of different photographic styles, and with my advice, they opted for a more documentary style of coverage.

The lesson for clients here is that when you’re booking a photographer for your wedding, consider what might be expected of you in order to achieve the pictures you are looking for.

If you can’t set aside time for photography on the day or don’t want the photography to be too intrusive, you may be better advised to opt for the candid documentary approach. If you want something more atmospheric that will recreate a feeling of romance whenever you look at the photos, you may have to put more work into it than you expect.

Ultimately, you need to speak with your photographer, and listen to what he or she suggests. Remember — you don’t get married every day, so it’s worth putting in the effort to capture the images you really want.

From Professional Photographer magazine, March 2010 – Reprinted with permission.

Tips from makeup artists Steve Moore of The Moore Agency in Atlanta, Deanna Rene of Scottsdale, Ariz., and photographer Holly Schumacher.

1. BLEND, BLEND, BLEND. You can use your everyday makeup, but use more than you normally use every day. Many makeup professionals use airbrush makeup, the method of choice for high-definition TV, because it’s lightweight, waterproof and gives flawless coverage.

2. SOMETIMES LESS IS MORE. Use less makeup for a day wedding and more for evenings. You can get dramatic with eye makeup.

3. DON’T SKIMP ON CONCEALER. Use a moisturized concealer on the thin, sensitive skin under the eyes. If your concealer isn’t moisturizing, blend it with a skin cream. For blemishes, first treat them with a natural or over-the-counter anti-inflammatory, then cover with concealer.

4. DO A MAKEUP TRIAL RUN. It’s the only sure-fire, stress-free way to make certain your makeup will look beautiful.

5. NOT ALL MINERAL MAKEUP IS CREATED EQUAL. Titanium dioxide, a chemical used as sun block, can reflect flash, giving the bride a ghostly appearance. In 2009 makeup artist Annie May launched a line of mineral makeup especially formulated for photography called Advanced Mineral Makeup. May promises it won’t white-out the bride under a flash.

6. USE WATERPROOF MAKEUP WITH STAYING POWER. You don’t want to spend your reception in the bathroom reapplying your makeup. Foundation, eyeliner and mascara all should be waterproof. And in case you cry (and you probably will), have a tissue or handkerchief handy to gently blot your tears right at the eye.

7. KEEP YOUR LIPS MOISTURIZED AND COLORED. Dry lips look dreadful in photos. Have someone carry your lipstick for you and touch up often. Matte and gloss lipstick both photograph well, and be sure to use blended lip liner for enhanced definition.

8. DON’T FORGET THE GROOM. If the groom is red faced due to too much sun (or drinking), a little powder can help. That goes for shiny heads, too. And it’s a good idea to slip a tube of Chapstick in the groom’s pocket for his dry lips, as well as a handkerchief to dab well-wishers’ makeup smudges off his suit.

9. DON’T SPRINKLE ON GLITTER. In photographs, it tends to look like little white spots, as if there’s something wrong with the camera.

10. REMEMBER to apply foundation and powder to your neck, shoulders and décolletage—you want your head to look like it belongs to your body!

• Browse Wedding Photos: Look in bridal magazines or online photo forums, such as those offered by wedding planning sites like The Knot, to find photo styles that you like.
• Choose a Photo Style: Before you start your search for a wedding photographer, think about what style of photos you want. Do you prefer posed photography or action shots, or do you want a little of both? Do you want to capture your wedding day memories in black and white, color, or a mix of the two?
• Interview Photographers: Meet and interview any photographers you are considering. If you’re going with a photography service make sure that the name of your photographer is included in your contract.
• Look at Picture Samples: When you meet with wedding photographer candidates, ask to see samples of their work. You’ll want to look at their composite portfolio, but it’s also helpful to look at a wedding album that they’ve recently made for another couple to assess whether or not you like their work.
• Assess the Photographer’s Skill Set: If you want a tastefully put together wedding album or photographs with special tones or effects, ask you photographer to see examples of her work with different types of lenses, films or effects.
• Consider Personality: Your photographer will be with you all day on your wedding day, in changing rooms and capturing pivotal moments in your life. For this reason, it’s very important that you like her.
• Check the Photographer’s Reputation: Eliminate any photographers who refused to furnish references. Call the client references for the photographers who did provide them and contact the Better Business Bureau to make sure they don’t have any considerable strikes against them.
• Visit the Wedding Sites: Take your photographer to your ceremony and reception sites before your wedding day so that you can find prime backdrops and walk through the shot-by-shot timeline that you’ve made… you’ve made your shot-by-shot timeline, right?
• Make a Shot List: A shot list will ensure that your photographer captures all of the important visuals at your wedding, effectively telling the tale of your wedding day in pictures. You don’t want to leave out those important images, such as the wedding dress hanging on the bedpost or the bride and groom with their families. But give your photographer some freedom to respond to the environment and capture the essence of the event.
• Shoot the Bride First: The bride has so much to do on her wedding day, possibly too much, so why not get those posed bridal shots ahead of time when she is collected and has plenty of time on her hands?
• Put Clauses in Your Contract: Before you and your wedding photographer sign on the dotted line, request that you add clauses into your contract stating that you can upgrade your photo package or lock in the photographer’s initial price quotes for proofs and prints. Otherwise, try to negotiate for the negatives, which might cost a little extra upfront, but you will be able to print the photos any time you want.
• Discuss Finances: Although you should be prepared to invest in high-quality wedding photos, you’ll want to break down the numbers with any photographers you’re considering hiring to make sure that your idea of price is in the same ballpark.
• You Give the Orders: Make sure that your photographer knows whom to listen to at the wedding. If low-priority wedding guests distract your photographer, she could end up getting off schedule and missing important shots.
• Ask About Online Availability: Ask photographers you’re considering if they offer online galleries of photo proofs, where you and your friends and family can log in to browse and shop for images of the wedding.
• Ask a Friend to Help: You’re going to be too busy on your wedding day to keep your photographer on point and gather family and friends for group portraits. Ask someone in the wedding party to handle this task.
• Introduce the Photographer to Key Subjects: Make sure that the photographer meets everyone whom she will focus on throughout the event. You don’t want to have 80 pictures of Aunt Mildred because the photographer mistook her for the mother of the bride

Wedding Photography Guide for Brides – Pre-Wedding Photo shoot

Having a pre-wedding photo shoot can improve your wedding pictures more than anything else you might do. Think about it, your photographer is VERY comfortable on his end of the camera. The time you spend with your photographer in front of the camera will help you become more comfortable being the subject.

Try to get to know your photographer. Have fun. Be crazy. Let’s face it; those “magazine bride photos” that you have been looking at do not happen all by themselves. They are well planned, rehearsed, and the photo that you finally see in the magazine was probably picked from hundreds of photos. The more time you spend with your photographer, the more likely it is that he will capture that one special moment that only happens once.

Wedding Photography Guide for Brides – The Pose

“Chin up, a little to the left, shoulders back, stand on one foot, hold your breath…hang on, don’t move.” Any photographer worth his salt should be able to pose you in an elegant and attractive position. Do you know the reason for all these the contortions? By lifting your chin you banish the double chin.

Holding your elbows away from your body reduces the apparent width of your torso and accentuates the bosom. Shifting your weight to your rear foot cocks your hips into a position that gives you a sexy curviness. There are many other little tricks your photographer may teach you. Just listen and he will not lead you astray.

Wedding Photography Guide for Brides – Hair and Makeup

Your wedding day is not the right time to experiment with makeup and hairstyles. Be sure to plan a separate day to have a hair and makeup “dress rehearsal”. If you plan to wear a headpiece, use this time to make sure that it will fit with your hairstyle. If you plan it right, your photographer may be available to take some formals on this day too.

Wedding Photography Guide for Brides – Props

Give your photographer the tools he needs to be creative. When ordering flowers for the wedding, be sure to order an extra single rose, boutonniere, ribbon or other inexpensive items that the photographer can use in your photos. Don’t forget to have a copy of your wedding invitation that he can incorporate into the detail shots of your big day. Photos of wedding rings with flowers, invitation, maybe even your shoes and garter can really add to your album.

Wedding Photography Guide for Brides – The Bouquet

How should you hold a bouquet? In a single word…DOWN!! Never hide your thousand dollar dress with a hundred dollar bouquet. If you are a five foot bride, do not order a 3 foot cascading bouquet. It’s going to be a long day. By the end of the day, you will be wishing that your bouquet was smaller, lighter, more durable, and maybe even artificial. And if it’s too big you may even injure your guests during the bouquet toss.

Wedding Photography Guide for Brides – Backgrounds and Angles

Remember, your wedding day is all about you. Many times complicated backgrounds in your photos distract the viewer’s attention away from the bride and will take away from your photographs. Keep backgrounds as simple as possible. Interesting angles are what keeps the images of a professional photographer from looking like the images of “Uncle Joe”. Everyone knows what a wedding looks like from 5 feet 6. You may see your photographer lying on the ground or climbing trees. Don’t laugh at him. That’s why he gets paid well for doing a great job.

Wedding Photography Guide for Brides – Lighting

When choosing your venue and time of day, keep lighting in mind. If your wedding is outdoors, the best light happens 1-2 hours before sunset. If your wedding is indoors, try to avoid buildings with high dark ceilings and few windows. Since natural light will look much better in your photos, try to plan your wedding when the room will be the brightest. By the way, photographers hate fluorescent lights. They make you look green.

Wedding Photography Guide for Brides – Single Use Cameras

Lots of people use them and they seldom work. You may get a few good photos here and there but don’t expect too much. You’ll probably get a whole camera full of photos of Cousin Skip’s girlfriend that you hardly know. Your three year old niece will probably take a lot of pictures of people’s belly buttons. And if anyone gets tipsy at the reception you may get a lot of photos of the ground, shoes, or eyeballs (from holding the camera backwards). Your photography is best left to professionals.

Well that’s it for “The Brides Guide to Better Wedding Photos”. Congratulations on your big day. Now let’s make those memories last!

Black Eagle Photography

Eric, the eldest son, acting as MC

Original wedding album and bridal shoes

Reliving the first dance

The "tennis group" reminisce

Cutting the cake

Early Monday morning, we were able to get a few moments on the OSU football field, which is where they originally met.  Dad dormed in the stadium, and Mom came to a ‘mixer’ in the dorm with a date of her own.  She wasn’t impressed with her beaux, and was quite pleased when Dad called her a few days later, and they went out.  She thought Dad was a nerd, and dumped him after one date.  Fortunately, he wasn’t quite so easy to dissuade.  When they came back to school the next year, he called Mom for another date.  She acquiesced, and this time they hit it off.  The rest, as they say, is history.

a) I wear glasses and I have seen pictures of people with lots of glare in the lens. I do not want this to happen in my pictures. What should I do?
**** GLASSES: There are a few tricks that we can do during the session to reduce the chances of glare, but they are not always effective. Glare can be a problem so I suggest you contact your optician and have him or her remove the lenses prior to your shoot. It is a common request and they do it often. Most will do it free. Some will even lend you a blank pair of frames. The removal of the lens also prevents any distortion if the lenses are thick. If getting to the optician is not possible, glare can be removed via retouching, but there is a cost difference between this type of retouching and normal retouching.

b) I am not sure what to wear. My parents want me to wear one outfit but I want to wear another. What should I do?
**** CLOTHING: What you wear is important. This is one of the primary reasons we allow unlimited outfits with our sessions. Solid colors are much better than prints. Avoid very dark or white tops. Avoid sleeveless tops. Avoid bright red or yellow tops. Bring at least one dressy outfit, one casual one, and one that is middle of the road. Another reason why I offer unlimited clothing changes is to provide you with a variety so mom and dad AND you can have the outfits of choice! When we schedule your session, I will go into more detail as to why the above suggestions work well.

c) I am worried about my acne. When I have the enlargements made from the proof, I do not want to look like I am a giant pimple. What should I do?
**** ACNE: Acne is a real concern and can be removed through retouching. Every pimple can be removed when we make the enlargements.

d) My braces are not scheduled to come off for another six months and that is past the picture deadline. What should I do?
**** BRACES: Braces can be removed via retouching. As with any extra, there is an additional cost, but when you get your reprints made, you will never know you were wearing them at the time the picture was created.

e) I get nervous when I have my picture taken. What should I do?
**** NERVOUS: Many people dislike being in front of a camera. This is something I fully understand (I am one of those people who prefers to stay away from the wrong end of a camera). I will work with you to help you relax. Additionally, you are encouraged to bring along a pet, friend, or parent for support.

SUGGESTIONS FROM THE STAFF AT BLACK EAGLE STUDIOS:

****We suggest that you bring shoes to match your outfit choices. Many people forget to bring sneakers for their casual outfits, or do not bring their dress shoes for formal attire. While we can compensate for this by not including your feet, we have found that most people will photograph more naturally if their entire ensemble is well co-coordinated, even if we do not include non-matching items in their portrait.

****We suggest that you make (at least in your head) a list of features that you like best about your appearance, and another of features you dislike. We will be sure to emphasize the first, and minimize the latter. Please be sure to have this list handy when you talk to us initially, so that we can suggest colors and/or patterns to help this process. Please also bring this list with you, so we will know exactly what features you want featured.

****We suggest that you bring a few pictures from magazines, books, etc. of poses that you like. We realize that everyone has a picture in their head (regardless of what others may see) of their appearance, and the poses they select will subconsciously be those that most closely fit their self-image and personality. We will also make images based upon what we see, but we want to ensure that there are some images that make you look the way you think you should.

****We would like to re-emphasize the importance of clothing and color choices. Think about your features when you choose your clothing: if you do not like your thighs, then wear dark slacks. If you feel your chest is too small, wear a light colored blouse of solid design. If you feel your arms are thicker than they should be, then wear sleeves, etc. The basic idea is, whatever you want to emphasize, wear a light solid color on, to de-emphasize, wear a dark solid color, and cover it up. When we talk to you about your session, we will go into much more detail with you about your clothing choices.

I hope the above helps you. I look forward to creating your portraits.

Fritz

Most people don’t cut a wedding cake in this manner unless they are newly married, so there you go.  ’Nuff said.  No?  Okay…

That should do it.  No, wait, every girl wants to look pretty occasionally, so this could just be prom or something like that, I guess.  All right, more proof…

A boutonniere being applied to a father by his daughter.  Okay, this gag is getting old, even to me, so here are a few more images…

Or maybe it was all just a dream.

A few ideas and things to consider when preparing for your wedding photography…

To create and preserve pictorial memories that last a lifetime, you need to be assertive and specific about your desires.

1. Do your homework

Spend time researching photographers, looking at their work, and meeting with them.

Tip: List all the poses you want in the order they will probably occur.  This makes it easier to check off which ones have been taken.

1. Assign your own “photographer’s assistant”

This person’s allegiance will be to you, not the photographer.  Choose someone close to you who will know your family and friends and be able to point them out to the photographer.  Give your photo assistant his or her own copy of your “list of must-have shots” to check off as each one is taken.  This way the pressure is off you to stay on top of your photographer.  Make sure your loved ones look fantastic in all your shots by having your photo assistant check smiles and fix hair, dresses, flowers, etc.  A little preventative care can help ensure everyone (and everything) is preserved in your photo album looking their best.

1. Inform photographer of special events

Throwing a surprise or two into your wedding or reception helps to keep a magical, spontaneous atmosphere.  For example, some brides like to slip out of the reception to change dresses and return with a grand entrance to dance the night away.  Be sure to let your photographer in on the secret!  Otherwise, you may miss what can be the best candid photos of special moments in your wedding or reception.

1. Mix it up

Have your photographer take different kinds of shots.  Unusual angles or fuzzy focus can add interest to traditional photographs.  Zoom in so close on the wedding cake you can see the texture, or photograph the bride and grooms hands as they talk at the reception table.

In addition, candid photos are often taken by guests at the reception tables.  These provide a delightful complement to the more formal compositions of a professional photographer.  When it comes time to place your photos in a wedding album, arrange them so their varying size and style will add visual interest to each page.

1. To color or not to color?

Many of today’s brides are having their photographer snap both color and black and white photos.

Black and white images provide a classic, timeless look.  This traditional approach focuses in on your faces and expressions of love without the flashy distractions of color.

Color adds a liveliness and reality to photos and can preserve a more accurate record of how your day really appeared.  After all, you do not want to have spent all that time anguishing over your wedding colors for nothing!  Get the best of both worlds by combining the two approaches.

1. You (usually) get what you pay for

“PAY MORE FOR BETTER PICTURES, you’ll kick yourself later if you don’t.  We paid more, but they turned out great!”

This does not mean you cannot save money on your photography budget; just remember not to cut corners on the quality of images.  Once your wedding day is over, you will be left with your memories and your photographs.  Make sure you have the best you can afford!

How to Choose Your Photographer

1. Why hire a Professional Wedding Photographer?

If you are on a budget, you might be tempted to get a friend to photograph your wedding. He might even be a skilled amateur photographer. However, this is one area where you do not want to try to save money. You have only one shot at your wedding photography; you do not get any second chances. A professional wedding photographer makes all the difference. The wedding photographer will be the one person who has a lasting effect on the memory of your wedding. A professional wedding photographer is reliable, prompt, and will deliver on time. Having photographed numerous weddings, an experienced professional wedding photographer will be in his element at your wedding, not nervous and under pressure like an amateur. A professional wedding photographer uses the best color processing laboratories that deliver uncompromising quality. Professional wedding photographers are experienced in working efficiently with the limited time available, and are comfortable directing the family groups during the formal group photography. When you consider the entire wedding, the cost of professional wedding photography is insignificant. Do not skimp. It will come back to haunt you.

2. How do I search for the Professional Wedding Photographer?

A recommendation is the best way to gain confidence in a professional wedding photographer. In the absence of a recommendation, you will have to do your own research. The fact that you are reading this article online indicates that you will most likely do some of your searching on the internet. This is a good way to reach a large number of wedding photographers quickly, and to reach professional wedding photographers outside your immediate geographic area. 

A good professional wedding photographer will travel to exotic wedding destinations for his clients. You can look for a local professional wedding photographer, or for a wedding photographer who will travel to your locale.

3. How do I narrow down the Professional Wedding Photographer Short List?

Examine the wedding photographer’s portfolios whether they are at his premises or his online portfolios. Look for a style of wedding photography that suits your own particular style, wants, and needs. Are you looking for traditional classic wedding photography, or do you want a more casual candid approach? Have you considered the photojournalistic style of wedding photography? Perhaps you would prefer a blend of styles. A good professional wedding photographer is capable of offering all styles, but might specialize in one particular style. Look at what styles he offers in his wedding portfolios.

4. When do I speak with my Professional Wedding Photographer?

You do need to speak to your potential wedding photographer very early on in your planning process. Good professional wedding photographers are often booked up months and even years in advance. You need to secure your photographer as soon as possible.

The way you are received on the phone should give you some indication of how you will be able to connect with the photographer in person. Having a close professional working relationship is a vital requirement. Be sure that your wedding photographer is approachable, calm, collected, listens to you, and actually pays attention to your requests and questions. 

Establish whether your potential wedding photographers are available on your wedding date. Find out whether the marquee photographer (normally the owner of the business) will be doing your photography. It is important to note that the large wedding studios employ many second and even third tier photographers, one of whom may be assigned to your wedding. 

If you are not going to get the services of the marquee wedding photographer, establish who will be the actual photographer assigned to your wedding, and make sure that you meet with, and see portfolios shot by, the photographer that will be assigned to your wedding. Does the second tier photographer have the technical expertise, the artistic expertise? Does the photographer have an eye for the memorable image?

5. Why should I meet with my Professional Wedding Photographer?

Based on what you have found, make your first choice and arrange a meeting with the wedding photographer. This meeting will tell you a lot about the photographer, whether it is the marquee wedding photographer, or the assigned wedding photographer. Both Bride and Groom, if possible, should attend this meeting. You will quickly tell if you are going to get along, whether you and your wedding photographer are on the same page. Are you comfortable with the photographer, does he make you feel at ease? Does he really listen to what you have to say? What style of photography does the wedding photographer prefer to shoot? What style does he think would suit you? Does he offer references with telephone number for you to call and se how they enjoyed the experience? When you leave, did you feel as though you had met someone who could become your friend? 

If you have a positive face-to-face experience with the professional wedding photographer, and the technical and artistic expertise exceeds your expectations, this is the time to discuss all aspects of the wedding photography. Ask the difficult questions. Don’t hold back. Get them off your chest. I have listed most of the important questions below.

6. How much does a professional wedding photographer cost?

Prices can range from as low as $500.00 to well over $5000.00. If you are offered a wedding package under $500, you are probably dealing with an inexperienced wedding photographer and you could be at risk of inferior photography. Most couples underestimate the cost of good wedding photography, sometimes by as much as 50%. The total amount spent on your professional wedding photography should be at least 20% of your total wedding budget.

7. How much time does a professional wedding photographer need in order to give me what I need?

The time the photographer spends photographing your wedding is dependent on the events you want covered. The options are endless, they are entirely up to you, and include

•Rehearsal dinners and services

•Bride’s preparation

•Formal bride and bridesmaid photography before the wedding

•Formal bride and groom photography before the wedding

•Wedding ceremony

•Leaving the church (ceremony)

•Formal group photography

Reception photography, including speeches, first dance, bouquet toss, garter toss, cake cutting, and departure of the bride and groom

8. How many wedding photographs should I get?

Many professional wedding photographer now include the price of the proofs (typically 4×6” prints) in their package. This number will be dependent on the amount of film shot. Photographers will remove all unflattering photos from the proofs. A minimum of 120 – 150 photos is typical, allowing you to select the best ones for your album and enlargements.

9. Who keeps the wedding photography negatives/files?

Most professional wedding photographers retain the negatives and/or digital files, and have the clients order reprints and enlargements as necessary. They make a portion of their income based on the reprint and enlargement orders. They will keep their negatives/files on hand for at least two years allowing you the opportunity to order reprints up to two years after the wedding. Other photographers give the negatives/files to the client. They usually charge more for this approach as they forgo the future reprint income. Decide which option is best for you and ask your wedding photographer.

10. What about wedding photography packages?

Professional wedding photographers often price their wedding photography in terms of packages that include enlargements and albums. This is often a sensible approach for the client as the photographer has the artistic eye to arrange the photos and enlargements in the album in an artistic and sensible display, often at a fraction of the cost that you would be able to do yourself. The cost of the wedding photography package you choose will depend on several factors.

•Time allocated to wedding photography

•Number of photos (proofs)

•Number of enlargements

Albums, type of albums and parents albums. There are many different types and styles of wedding photo albums from the inexpensive to the very pricey. The more expensive albums will endure better and give you a lifetime of happy viewing. Ask to see samples.

11. What about black and white wedding photography?

Clients often like the timeless feel and beauty of black and white images. All good professional wedding photographers will offer both black and white and color wedding photography.

12. What lighting will the professional photographer use and will it ruin the service?

Outdoor photographs are usually made with ambient daylight and the use of reflectors to minimize harsh shadows. Fill-in flash is also used outdoors to remove shadows. Photography indoors normally requires the use of artificial lighting, normally flash. These days, on-camera flash units are suitable for most applications, but in the more expensive weddings, professional wedding photographers will use flash bounced off tripod-mounted umbrellas, often using radio-controlled triggers. Photography in the church is a delicate matter, and often flash is avoided if there is enough ambient light. Certain churches restrict the use of flash. A good photographer will be prepared for any lighting conditions, but restricting the use of flash can greatly reduce the quality of the images.

13. Should the wedding photographer use filters?

If he is using a film camera, then expect that he will use several different effect filters, allowing more creative imagery. However, these should be used sparingly. Digital cameras allow the photographer to add effects later.

14. What camera equipment will the professional wedding photographer use?

Wedding photographers typically have the choice of several formats:

•35mm (36mm x 24mm)

•Digital (CMOS or CCD)

•645 (60mm x 45mm)

•2-1/4 square (60mm x 60mm)

•6×7 (70mm x 60mm)

Digital and the larger formats will yield immeasurably greater image quality. 35mm, while greatly improved, is still an amateur format.

15. What style of wedding photography should I choose?

Wedding photographers normally have a preferred style, whether it be classic/traditional, informal/candid or photojournalistic. The photojournalistic style lends itself to telling the story as it unfolds. The classic traditional style captures the romance, affection, and mood of the event and is still the most popular choice. Non-conventional clients often go for a more casual approach to their wedding photography. This is typically carried through to their entire wedding, shirts, and slacks as opposed to Tuxedos, barefoot in the beach sand as opposed to patent leather shoes. 

The good professional wedding photographer should be equally comfortable in all three styles. It is up to you to decide what you want, and be sure you inform the photographer what you desire. Communication is the key to great photography.

16. Why do some professional wedding photographers insist on an assistant?

Wedding photography has to be accomplished in a very short period of time and often involves moving lots of equipment, organizing many groups of people, film/memory card changes, and lens and filter changes. This is normally too much for one person; yet there are professional wedding photographers who photograph weddings solo. Having an assistant helps the professional wedding photographer concentrate on the images, not on the details. The bride should appoint at least one person as the wedding photographer’s liaison, and who can help with organizing the groups for the wedding party group photography. Another person to assist the solo wedding photographer is also advisable.

17. Why do professional wedding photographers insist on a schedule of events?

A lot of photography has to be accomplished in a short time and often critical moments are over in a matter of seconds and the unprepared wedding photographer might miss the moment altogether. A well-detailed script will give the wedding photographer a timetable that prepares him for the proceedings.

18. Should we do the formals before or after the ceremony?

If formal photographs are important to you, set-aside time prior to the ceremony so that the wedding photographer can take his time in getting posed formal photographs out of the way. If you rely on formal photographs being taken between the ceremony and the reception, this means that the wedding photographer has limited time to get all the formal photography completed. This often takes longer than expected and this is normally responsible for the guests waiting interminably for the bride and groom to arrive at the reception.

19. Why do professional wedding photographers restrict other photographer’s activities?

There can only be one director of proceedings and having several photographers all vying for the attention of the subjects is a recipe for disaster. Flashes from other photographer’s cameras can trigger the professional wedding photographers studio flash units, ruining his shots. The end result is that nobody gets good images.

20. Who owns copyright to the photos?

The professional wedding photographer is the creator of the images and therefore is the owner of the copyright. Even if the photographer hands over the negatives, the copyrights still lies with the photographer. Ensure that you have the photographer’s permission before making reprints, or submitting your photos to a magazine or newspaper. You may not sell any images without the photographers written permission.

21. Do I need to sign a professional wedding photography contract?

Yes! All professional wedding photographers will require you to sign a wedding photography contract that specifies the terms and conditions of the agreement between you and the photographer. It will describe everything from payment policies to cancellation policies. A good contract protects the client just as much as the photographer. However, the photographer wrote (more likely had it written by his attorney) the contract to protect himself, so make sure that you read and understand the contract. A professional photographer will allow you to take the contract home before signing so that you can read and understand it without undue pressure from the photographer. You may even want to have your attorney peruse the contract before signing.

22. What are normal payment terms for professional wedding photography?

Professional wedding photographers require a deposit to secure the wedding date. This can be as little as $250 or as much as 50% of the wedding photography fee. Typically, 50 % of the wedding fee is due 30 – 60 days before the wedding and the balance payable on the day of the wedding. Additional costs are typically invoiced after the wedding but before receipt of the photographs.