photography business Archives

Wedding Photography: Five Tips For Second Shooters

back stage with a wedding photograher — Karl Leopold sets up a bride and groom shot as video pro Bruce Reynolds works a separate angle

One of the most common ways to build up your portfolio as a wedding photographer is to start out as a second shooter for someone else. While you won’t make a lot of money, you will learn a lot about taking wedding photos.

If you want to work as a second shooter for the primary photographer there are a few things to remember both in terms of preparation and the actual shoot. Since it’s been a while since I shot a wedding, I decided to hook up again with Karl Leopold and tag along as the second shooter at a beach wedding in Cocoa Beach.

I’m going to be honest here and admit I made some mistakes, mostly because I haven’t done it in a while and because I use my DSLR a lot for video. My mistakes will help you avoid doing the same thing.

On this shoot Karl was using a Canon 5D MK II with a Canon 580 EX ii while I was shooting a Canon 7D and an off-brand speedlite. One of the mistakes I made early on was trying to lock my ISO at what Karl was using for consistency. A crop sensor camera with a long lens simply can’t shoot at the same ISO as a full frame sensor, which has much better response in mixed light. That was one of those moments you ask yourself later what you were thinking.

What To Wear

Unless otherwise specified, you’ll almost always be okay wearing black slacks and a black button-down shirt. For an outdoor or beach wedding you can usually get away with khakis and lighter colors.

We were at a beach wedding and while the guests were barefoot, I don’t recommend that when you’re working. One stray metal scrap will put you on the sidelines. Wear shoes, but not dress shoes which don’t do well in sand.

Arrive Early

Arrive early, particularly if you’ve never shot at that venue before. Use the time to get your angles and exposure settings.

If you’re working with a top-notch wedding planner, the venue will be ready well in advance. Introduce yourself to the venue, support staff and other vendors but don’t take them off task. Everyone there has a job to do besides you.

In the off chance the primary photographer is late, be prepared to step in and shoot some of the preliminary shots. Traffic happens, accidents happen, so even as the second shooter you have to be prepared to do the entire job. If something happens to the primary, it’s all you. Hope that never happens, but approach every job like it could.

Focus On Your Assigned Coverage Area

Mine was crowd shots, candids of the wedding party and guests, and to shoot the diagonals on the ceremony because I had a longer lens.

candid photo — My assignment was guest shots and candids of the wedding party

There’s no point in having two good photographers shooting the same shots. I did a couple times on this shoot, only so I could show you the setups and resulting shots. Otherwise, as second shooter, be out looking around for other shots. If the primary is busy with the bride and groom, grab some shots of the family and kids. Take pictures of little details that can get lost in the rush, those shots can add a lot to the memories of the day.

You’re Not The Only Person Working That Day

There are a lot of people working at weddings, including other vendors. At this wedding we had a video guy besides the wedding coordinator. Give others room to work and try not to be banging away with a flash when the video people are trying to get their set shots.

Also be aware that the video shooter will likely have a wide covering shot running somewhere, try to walk behind that camera whenever possible. Give other professionals room to work and they’ll give you room to get your shots. It will all get done.

Remember Who You Represent

Keep in mind as the second shooter you are representing the primary photographer. Your shots are going out under their name and they’re responsible for you. This is not the time for showboating or self-promotion. I always carry one or two business cards of the primary photographer and if one of the guests asks for a card, that’s the one I hand out.

If other vendors ask for your card, that’s a little different. Then it’s okay as they usually already know the primary photographer.

Who Owns The Shots?

When you’re shooting second camera normally the photos belong to the primary and go out under their name. Don’t expect any residuals on the prints or reorders. If you need the photos for your portfolio or other uses, clear that in advance with the primary. After the shoot is not the time to try and negotiate ownership and usage rights!

The idea here is not to undercut the person you’re working for. In most areas the vendors all know one another and treating someone poorly will get around in a hurry. No person is an island in a small business and you may find yourself someday needing the people you treated badly.

On the other hand, shoot well, conduct yourself like a professional and be responsible and you may find a lot of photographers appreciate what a good second shooter can bring to the table. All the while you’ll be learning from the best and building a portfolio you can be proud to show off.

comparison shot — One of the mistakes I made was framing too tight in the camera. My shot is on the left. Karl's version has room for a decorative picture frame and recognizes that prints come out darker.

Digital Workflow – The Options

I've rarely been in a professional studio that didn't have a copy of Lightroom on hand

Much of your digital workflow is going to be dictated by the software tools you select to do your basic image manipulation and organizing. The tools you select will in part be determined by the type of computer you have and your budget.

Your digital workflow is really composed of two elements: Image organization and image manipulation.

Image Manipulation

Adobe Creative Suite

The gold standard for most commercial photographers is still Adobe Creative Suite, now at version 5.5 with 6 expected soon. The advantage to Adobe products is the fit, finish and integrated workflow. The downside is the price tag. The full version of Design Premium is just short of $2,000, more than many of you paid for your camera! Design Standard is still over $1,200. Recently, Adobe has started sticking it to their user base on upgrade pricing as well and limiting the older versions that qualify for upgrade pricing.

It’s my opinion that Adobe products are over-priced for what you get, but there are certainly compelling arguments to the contrary.

GIMP

GIMP has been around forever but lacks the sophistication and polish of Photoshop. The advantages of GIMP are the price tag and huge user base of support.

GIMP keeps getting better every year, so do check in it from time to time. You might be surprised.

Image Organization

Adobe Lightroom

Lightroom is the application you’ll find in most professional studios using Windows. You’ll find it in some Mac shops as well, but more Mac users are using Aperture.

Digikam

Known to users of Linux for a long time, Digikam was recently packaged for Windows users as well. I use Digikam because it runs on both my Linux and Windows boxes and I like it.

Digikam puts professional level image organization and basic corrections in your hands for free. What I can’t live without in Digikam is the automated batch processing.

Hasselblad Phocus

I don’t like Phocus as well as Lightroom or Digikam but I want to give Hasselblad credit for coming up with a very polished application that’s available for the trouble of a free registration. Originally developed to work only with Hasselblad raw images, they have opened it up to other users and image formats.

After some initial issues with DirectX, I found Phocus to be a very nice application for cropping, straightening and color corrections. I’d highly recommend giving it a try.

The Five Biggest Lies In Wedding Photography

wedding picture — February is Pop The Question month which officially kicks off the spring wedding rush - by Diamond Farah via Flickr

We’re coming up on Valentine’s Day, which a wedding photographer friend of mine euphemistically calls Pop The Question Day. No matter how you look at it, there will be a lot of rings in a lot of champagne glasses by the middle of the month.

The Valentine’s Day rush will inevitably kick off the wedding booking season, which promises to be a good one in 2012. Wedding photographers I know are already seeing healthy bookings for the season, with one reporting 15 deposits in already.

As brides pull out their checkbooks and the real stampede starts to book venues, arrange catering, find a DJ and book a photographer, this is a good time to review the basics of shopping for a wedding photographer and to be aware of the most common untruths that can slip through unnoticed in the rush.

Sometimes it’s not a deliberate lie. Wedding photographers have a natural tendency to answer every question with yes, yes, yes. That sometimes leads to misunderstandings with brides thinking they’re getting service that isn’t in the contract.

The “Now Or Never” Lie

wedding 4 — "Now or Never" is a love song, not a negotiating strategy - by I.A. Walsh via Flickr

If a wedding photographer tries to tell you that you have to book today or the slot won’t be available tomorrow, leave. Anyone trying to bully you into signing a contract is a major red flag.

The best photographers will book early but that doesn’t mean you need to be in a rush. There are many great photographers out there and cancellations happen. In fact, be suspicious of any photographer who tries to use fear of availability as a pressure tactic to get you to sign a contract without giving you a chance to sleep on it. The best photographers will show you their calendar, show you the dates they have open, remind you that bookings are only finalized when they get the deposit and let you leave with the contract to read at your leisure.

The very best wedding photographers will also have a shelf of books you can sit down and page through at your convenience.

The “Sure, I’ve Shot That Venue Before” Lie

wedding shot 2 — Sure I've shot that venue before...where is it again? by Photos In Cancun via Flickr

Some photographers will say they’ve shot a venue knowing they can figure it out. If they really have shot that venue before, then they’ll be able to show you a wedding album shot there.

If they haven’t shot a venue before, an honest photographer will just admit it and the really good ones will swing by on their own time beforehand and take some background shots to make sure they have the proper lighting gear on the big day.

The “Preferred Vendor” Lie

This is a big one and usually comes from a caterer or venue operator, but sometimes a photographer will trot out a list of local venues and caterers that claim them as a preferred vendor. Those endorsements are almost always paid.

Carters and venue operators rarely get to the see final pictures anyway, so why would you take their word in the first place?

The “Top Rated Wedding Photographer” Lie

Some wedding photographers will trot out some really impressive ratings and endorsements from groups with names that sound really impressive. Anyone can manufacture endorsements and there are companies specializing in what’s called “online reputation management” that can boost vendor ratings in online forums and rating sites.

The best wedding photographers have a blog and post a few pictures from every wedding they shoot so you can see consistent quality from one wedding to the next. Pick out your favorites and ask for the bride’s contact information as a reference check.

wedding 3 — If their assistants were that good they'd be running their own business - by Harold Hoyer via Flickr

The “My Assistants Are As Good As I Am” Lie

Really? Then why aren’t your assistant photographers running their own successful wedding photography business? The real pros are members of a professional association or a guild and when they need help, that’s where they go.

This is a topic to approach with some caution. After all, if the photographer you really want is sick or ends up under a bus, you want someone there, right? Many photographers do have hand-picked teams doing most of the work while the top person goes from wedding to wedding inspecting the shots and maybe adding a few of their own. That’s okay as long as they explain that all up front and you agree to it.

Sometimes there are really good reasons for a person not to be available and you want to be a little flexible. What you do want in writing is some reasonable assurance that the photographer you want isn’t merely handing the paper off to someone else while they’re out playing golf.

Food Photography A Growth Industry

One of the challenges in photography is to make enough to keep eating. In that light it may be somewhat ironic that one of the fastest growing specialty fields is food photography.

The field of food photography has undergone changes since the introduction of the cell phone camera. The rise of sites like GrubStreet and Tastespotting where users are posting their culinary adventures, complete with photos.

The rise of food blogs has in turn put pressure on restaurateurs to raise their visual game on both the food they serve and the visual environment on their menus and web sites. That creates a growth environment for food photographers.

Just like any other field of photography, it’s a tough slog to get established. You can’t expect to post a food portfolio online and have work rolling in. Even if you did, you run the risk of pitching a big time client when you lack depth in the industry.

4454703313_6604706000 — Use a reflector to bring some more light to your subject - Photo by Emily Hill from flickr

Lighting, Lighting, Lighting

You’ve heard the old saying in real estate that a home’s value is related to location, location, location. In food photography the corollary would be lighting. The best food photographers are lighting freaks and happened to find a home in food photography because their passion for lighting combined with a field of photography that requires a slavish dedication to detail.

Many food photographers work alone, but some bigger shoots might have an assistant, a food stylist, an assistant food stylist, and prop stylist. Most prefer to work in their own studio due to the difficulty of hauling all their gear to locations, though sometimes that can’t be avoided.

The food photography studios I’ve visited look more like industrial machine shops and the really good ones are booked for weeks in advance.

While there is a lot of lighting, none of it is particularly big. Surprisingly, I saw one big floor flash and the rest were smaller, point source lights and a lot of articulated arms holding mirrors, scrims, and reflectors. There were none of the big softboxes, umbrellas and lighting kits you’d find in a portrait studio. It’s a different kind of lighting, more directional, more sharp shadows than you find in portrait photography.

79171718_89cce33ce8_z — Photo by Benjie Ordonez from flickr

While the market for many types of photography is changing and for most that change is toward fewer opportunities and less income, food photography is showing surprising growth. One of those reasons is stock photography is not terribly useful in this application. Most food shots are of unique creations specific to the client, a work of art you can eat.

Some large customers, like restaurant chains and some hotels, are creating master image libraries for their food pictures, but other than that there are few ways to cut corners. The market for food photography is likely to stay healthy for quite some time.

Has The Retouching Arms Race Gone Too Far?

retouching example — In this photo I reduced the wrinkles around the eyes, whitened the teeth and smoothed out her skin - Too much?

Has the retouching arms race gone too far? That’s a question a group of scientists are asking and they’ve developed a new metric for rating photos on a scale of 1 to 5, depending on how much retouching the photograph has received.

It’s not enough anymore to have fantastic cameras, a portrait lens that could inspire glass lust, and a high end lighting setup. Today we need even more.

Photoshop plugins like Portraiture and stand alone products like Portrait Professional now make what were once time-consuming alterations to portraits little more than point and click.

Health organizations are increasingly concerned that the photography profession is pushing an unrealistic standard. We could argue at length whether the main driver is the photographer’s drive for perfection or client demands, but I think we have to own up to at least a contributory role.

It all started innocently enough, just using the clone tool to mask the zit here, the small blemish there, and maybe fill in that chipped tooth just a tad. Later that grew into smoothing out the skin tones. Plugins popped up to make it all as easy a few clicks of the mouse. It wasn’t long before we were making the eyes bigger, making the eye color brighter, slimming the jaw line, making the neck longer. We could take inches off a waist or pounds off of hips and customers loved us for it. It was all very gradual and we were praised by clients and peers every step of the way.

Now the question is have we become guilty of creating a Frankenstein’s monster of perfection unattainable by mere mortals?

If you’ve ever worked with real, paid, high-end models, you already know there isn’t a lot of Photoshop required. You’re dealing with the top 1 to 2 percent of people in the entire population; you’re playing in the shallow end of the gene pool. They make their living looking good and with a good makeup artist they are the real deal.

But with software to the rescue we can gain near perfect regardless of the physical form we start with. We don’t need a top model anymore, we can pull any waif off the street, bad skin, bad teeth, bad hair, no makeup and make them look like a supermodel.

So now Professor Hany Farid and Eric Kee, computer scientists at Dartmouth College in New Hampshire, are set to rat us out. About to publish a set of tools that analyze how much retouching has gone into a photo. Soon the world will know if her eyes are really that color of if they were punched up post. If her skin really that smooth or if it’s an adjustment layer.

So, what do you think? Do we deserve to be outed? Has the retouching arms race gone too far without a discussion about whether we’re setting unrealistic standards?

I’ve seen portraits worked so much in post they look fake, like a mannequin. Somewhere in between there has to be a happy medium.