“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

Tulum, Mexico.

Tulum Lighthouse

Beach

Another View of the Tulum LIghthouse

Tulum Beach

Tulum Beach

Tulum is the seaport for the Mayan city of Chechin Itza, the Capitol city of the Itza (Mayan) peoples.

Chechin Itza Pyramid

As I get time, I’ll post more.

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!

I guess it all comes down to priorities, and what is important to YOU. It might sound silly, but who am I to assume that people *want* to hear/see what I have to post? Personally, I rarely read blogs, and because I don’t really read them, I guess it’s hard to put an emphasis on my own… I have never been one to talk about myself really… Don’t get me wrong, I like reality TV and all, but in my personal life, I am pretty private. Having a blog, in some way, contradicts who I ‘am’.

**BUT**

Since I have been asked to post, however, I am happy to do so, I just want to hear what you want to hear… Maybe I can turn the corner with this thing and make it something that I love instead of something that I avoid…

Black Eagle Photography

• 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