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I SEE WHAT THE DAY LOOKED LIKE, BUT WHAT DID IT FEEL LIKE ?
Everything is different. In what seems like a minute ago, photography was still a mystery. It was successfully executed by only a handful of artsy people who possessed a load of patience and a penchant for breathing chemically-laced fumes in dark rooms with red lights. It required expensive equipment that in itself was complicated to operate.
Making a picture was difficult. Making a good picture was a mystery.
Now, the veil has been lifted. Photography is no longer a mystery. Anybody who has splurged on a new digital camera knows that making a good picture isn’t that difficult (I can’t tell you how hard that it is for me to admit). This has changed the playing field for those of us who still consider ourselves professionals. How do we compete? How do we convince clients that we are worth the investment when so many less-expensive options with similar-looking cameras are producing pretty good stuff?
These are good questions. My answer: “Good” shouldn’t be good enough.
Wedding photography is extremely difficult. It is a high-wire act with no net in ever-changing weather conditions. How, when the room is dark, do you still make a pleasing image? How do you know where to be when there is so much going on? How do you know whom and what to photograph when everything is moving so fast? And how do you handle the pressure knowing that at this once-in-a lifetime event you get only one chance at success? It is our job as photojournalists is to take these variables and not only produce a portfolio but a thoughtful and creative one.
So everything is different, but everything is also the same. You want your pictures to shine. You want them to hold up to time and you want them to have a strong point of view.
I think you are not seeking to be reminded of what it looked like that day. I think you want to remember what it felt like.
ONE OR TWO PHOTOGRAPHERS (or three, or four, or five – or the whole paparazzi) ?
The best photographers are invisible. They blend into the woodwork. They’re professional observers. They don’t become part of the party … they disappear into the party. They quietly observe and hunt all in a deliberate attempt to not affect the outcome. They want to capture moments as they unfold … unfettered, undisturbed and untouched.
I am a photographer. I know that there is nothing more intrusive than a photographer. It is my desire to temper that intrusiveness with a quiet and unassuming approach. That is hard enough to do working alone.
My favorite thing to hear is: “I didn’t even know you were in the room.”
Certain weddings lend themselves to two (even three) photographers. These weddings always have an extensive guest list (200 +). The general tone is expansive with many things going on at the same time –
I feel these weddings are best served by more eyes (of which I have a couple of extra sets available to me with a similar point of view and incredible talent).
Yet, if I can work alone with the confidence of knowing that the size and scope of the wedding is more than manageable and that I can do a thorough, and thoughtful job without compromising an ounce of quality, then I will. And I most often do.
QUESTIONS TO ASK A WEDDING PHOTOGRAPHER
1. Who owns the pictures that you shoot? Me, or you? Will they be high-resolution? If the photographer retains ownership of the pictures, ask how much you should expect to spend after the ceremony building a collection of pictures that you actually possess.
2. Who will be shooting my wedding? If not you, then who? Where can I see their work?
Can I meet them? (After all, you are going to be spending a lot of time with this person on one of the most important days of your life and you may want to make sure you connect with them on some level.)
GOING WITH THE LATEST?
You probably want the theme of your wedding to be timely. The mood, the colors and the overall feel will reflect the time and space. Your wedding will not look like your mom’s. And your mom’s didn’t look like your grandmother’s. Things change fast.
I love a contemporary feel. Nobody wants to be dated – but trends in photography are not the same. Trends in photography, like trends in color schemes and dress styles come and go. The problem with photographs is they are permanent. Anything other than honest images that shun the latest “look,” no matter how cool, contemporary and cutting-edge, will one day, very soon, look ridiculous.
So, study the content of the images you are considering. Ignore everything else. Ask yourself, if this picture was stripped of every bell and whistle (over-color saturation, under-color saturation, high- contrast, over-exposed, under-exposed, sepia-tone, an arctic-chill tone (one of my favorites. Just why
does everybody look blueish?)) .... or anything other than reality, would it still be as compelling?
If the photographer has a strong point of view, the pictures will have a timeless mood, style and feel that no software program can replicate.
When considering portfolios, ask yourself, does this look like my world?
No software program (and that is what the tricks are, software, not art) beats simple, well executed photographs.
Fads fade. Content never does.
” Style is a voice, not a prop or an action. If you can buy it, borrow it, download it, or steal it, it is not a style. Don’t look outward for your style; look inward” – Cheryl Jacobs Nicolai via The Online Photographer