Why everything gets more expensive when you mention the "W" word

If you are making plans for your wedding, then you've probably felt a little "taken advantage of".  Many brides will tell me "as soon as I mention that it's for a wedding then prices seem to go through the roof".   As a wedding supplier, I'm going to give my perspective on this.

Now, I'm bound to try and deny the existence of this phenomenon aren't I? We can't possibly all be money grabbing people taking advantage of brides desperation and inexperience when it comes to planning a wedding, can we?

Well here's the first surprise.  From my perspective, things do get more expensive at the first mention of the dreaded "W" word, and the second surprise is that I think this is (usually) perfectly justified.

Brides get married (hopefully) once in their life, which rightly means that they want their wedding to be a once in a lifetime experience.  Everything needs to be perfect, "good" is simply no longer good enough.

This means as wedding suppliers we are under even more pressure to make sure that we deliver the perfection that wedding couples rightly desire.
 

Let's consider the florist.   If you pop into a florist and buy a £30 bouquet and 6 hours later the heads have dropped off a couple of the blooms, then you'll be annoyed, but you'll probably just get on with it, remove the stems and "make the most of" the remaining flowers in the bouquet.   A week later you'll probably have forgotten it ever happened.   On your wedding day, "make the most of" is not an emotion that any bride should be prepared to accept.  This means that  your wedding florist will select only the best flowers and spend considerably more time carefully putting the bouquet together, making sure everything is secured in place and that no blooms have been in any way damaged in putting it all together.  With that additional pressure for higher quality, it's natural (indeed a business essential) that your florist will charge more than for their day-to-day flowers.

Similarly, if a seam on a dress you've just bought un-picks a week after you've bought it, you'll probably patch it up "and make the best of it".  If the same thing happens to your bridal gown then you'll likely (and rightly) be distraught.

The same applies to my role as a wedding photographer.  If I shoot a portrait session and the images are "off", I can invite you back at my cost, re-shoot you, offer you an extra framed print and you'll walk away happy.  However, if I miss the first kiss at a wedding, or my group shots are underexposed then you'll never have a quality record of those moments and you'll hate the fact you booked me for the rest of your life.   So my quality threshold has to be higher, much higher.  I need to spend more time and money training, to make sure I have the best equipment, have selected the best suppliers, and even at the end of what is often a 14 hour working day, I need to immediately get onto the computer, even if it's midnight and get the images backed up and safe from any possible damage or loss.  

Your wedding day deserves to have a "premium" feel and you won't get that by paying rock bottom prices.   Do the maths, if a supplier is offering you a price that means that they can't possibly be doing this as their only full time job, then how good a service are they going to give you?

     Dan

The crafting of a portrait.

I've recently created a new blog at LoveEnfield.blogspot.com which showcases some of the great people in the borough who are making Enfield such a great place to live, work and shop in.     I decided to do this as I wanted the opportunity to make some great, considered portraits of these people, to help promote their businesses or events and to make some local connections.

Yesterday I photographed Karen & Gunther, who run a great local coffee shop, MyCoffeeStop at Enfield Chase station.   It's a small unit, and I wanted to maximise the space available to me, so I thought about using my 8mm fish eye lens.

I decided to pop this on my 40d as the crop sensor would mean that I got a slightly less wide field of view, and could focus more on Karen & Gunther than I would had I used my 5dII.   

Here's how I set up:

This gave me the following photo, straight out of camera:

Importing the photograph into Lightroom and allowing it's automatic lens correction feature to complete gave me this:

Which is OK, but leaves Karen and Gunther a little small in the middle of the frame.  I therefore chose to manually "correct"  the photograph, which gave me this, still distorted but more natural look:

My next task was to enhance the effect of the steam.  Pushing the clarity & contrast helped a little, but I didn't like what it did to my subjects who'd turned a ghostly shade of pale!

So I took this copy of the photo and layered it on top of the previously unaltered copy of the same photo.    This further enhanced the steam, and gave me further options for refining the image:

The image below shows where my photoshop work was done:

1. The image was naturally vignetted, but because of the crop I needed to darken down this one remaining corner
2. By masking out the blend over Karen & Gunther I could allow the original, natural skin colours to come through.
3. A Waitrose carrier bag behind Gunther was cloned to remove the logo, and darkened down where it had caught the flare from the flash behind him
4. The tiles were cleaned up, the various posters being removed and cloned out.

This gave us our final image (see it large at the top of the post):

I hope you found this useful and/or interesting.  Let me know in the comments below and I'll do it again if there's enough interest.

Dan

A photographers wedding preparations

When presented with a headline figure, many people wonder if their wedding photography is an unaffordable luxury and whether their photographer is "raking it in" with their high charges.

With a full day’s photography and wedding album almost always costing in excess of £1000 it seems a huge fee for a “single days’ work”.

For me however, a wedding is much more than a single days’ work and to demonstrate this I thought I'd take you through my check list for the day before a wedding.

The first task is to check that my kit is clean - this involves.

• 3 Camera bodies (two used, and one backup).   Clean viewfinder, puff dust from mirror and sensor.  
• 5 Lenses. Clean front and back elements of each, along with inside and outside of filters, clear dust from mount and exterior, check full extent of zoom and focus mechanisms for smooth travel.  Ensure set to Auto and not manual focus.

Now I have clean kit, I need to make sure that my cameras are set up correctly.   I check that all are:

• Set to the correct ISO for the expected conditions.
• Have the right motor drive mode set.
• Are set to RAW format for the highest possible image quality.
• Have their internal clocks synchronised (so that images taken across both [or all three] cameras can be imported and displayed "in time order" and the overall order is correct - which helps to tell the story of the day.
• Have the correct white balance set.
• Have the correct focussing mode set.

I can then move to my memory cards.    I prefer to use several smaller cards during the course of a wedding - this spreads the already small risk of image loss further should one card become corrupted.     I therefore need to check that every card is formatted and blank, ready to be inserted in seconds into either camera when required.

Next come the camera batteries.   Most weddings pass with one set of batteries per camera being sufficient, but of course I carry multiple backups.    Camera batteries at least, are pretty good at holding a charge but I always check that every battery is fully topped up the day before someone gets married.

Once the camera is ready I prepare the 4 flashes.   I clean the front, battery contacts and hot shoe attachment for each of these, as well as checking full zoom, bounce and rotate movements.  All are checked for use both on camera, and when remotely triggered.      I'll also check and pack my coloured gels which allow me to "create" a sunset in camera even when nature lets me down should the couple wish for this sort of shot:

These flashes run on 4xAA batteries.   I always use NI-MH rechargeables, these have several advantages.   They allow me to shoot faster than non-rechargeable batteries, and unlike normal NI-CAD rechargeables are less susceptible to "memory effect"  and don't discharge themselves whilst stored as quickly.

Each of my batteries is labelled as belonging to one of 16 sets that I carry with me always.   Every set is fully charged the day before a wedding, and goes through a multiple discharge/refresh cycle in my most advanced battery charger each six months which further prolongs their life and ensures that they are always in "tip-top" condition.

My flash triggers consist of rechargeable receivers and a battery based sender.  These are also recharged and checked before leaving for every wedding, and I also ensure I have at least one spare battery for each trigger.

Once this is all packed away safely, I can relax right?   Unfortunately not!

Now comes the car.   I can't risk any mechanical problems en-route to the wedding (even though I always build spare time into my journeys), so off to the garage it is to check:

• Fuel 
• Oil Level
• Water Level
• Tyre Pressure

Then the sat-nav needs pre-loading with the location of (all of the) venues along with printing out of paper based directions as a backup.    I'll also spend a little time here checking various travel websites for advance notice on any possible disruptions to the next day’s journeys.

Into the boot goes a stepladder (useful if I'm short of space or just need a slightly different perspective on a shot), along with a beautiful pair of white lacy umbrellas (well this is England after all!) and a very pretty clothes hanger (because you don't want a picture of a gorgeous, expensive and unique bridal gown spoiled by me shooting it hanging from a cheap, ugly clothes hanger do you?!).  I also pack the mini photo cards that will direct guests to the online wedding gallery ready to be placed on the tables at the reception.

At this stage I'll also pack at least one light stand, a reflector and possibly an easel and any signing frames that the couple want displayed at their reception.  I'll then make sure to have a couple of energy bars and some water available in the car should they be necessary on my long working day.

The expensive camera kit of course is safely locked away ready to be loaded into the car the following morning (just in case the local burglar is reading this!)

Around 10 days before the wedding l will have had a final chat with my brides & grooms, checking that there have been no last minute hitches or changes to the schedule and that I have plenty of contact numbers for the couple and the venues.    These details are printed out and additionally synchronised onto my phone, which is then fully charged and set to vibrate.

Finally, I'll remove my suit from its dry cleaning bag, check my shirt is neatly pressed and lay out the remaining clothing for the day, before shining my shoes.

As you've seen the day before a wedding is busy and a vital part of my professional service.   Missing any one of the steps can result in missed shots (or worse) and weddings are a one-time only experience.   I love the adrenaline of being in this situation, but adrenaline is quickly replaced by fear if I don't feel prepared, and that's not a pleasant sensation.

Make sure that your wedding photographer demonstrates the same level of care about your wedding photographs – you deserve nothing less!


Dan

North London Photographer: Tips from a Professional #2 – Improving your everyday shots.

So, you've read my last blog entry and are suitably inspired to go out and take some photos. You’ve purchased your beautiful shiny camera (or dusted down the old one that you’ve kept in a drawer). The next question is how can you get better pictures from it?

There’s a variety of advice and wisdom available on the net as to how to improve your photography, none of which are worth listening to until you have the basics down pat. Today’s post considers these basics:



Pretty much every compact digital these days has a big display on the back. It shows in very pretty colours what the camera can see but encourages you to hold the camera at arms length so that you can see through it.

Holding it like this means that you are much more likely to move the camera slightly when taking the shot.



The more traditional method of pressing a camera’s eye piece against your face makes for a much more steady hold. It’s like using a tripod with three legs against one with only two!

If your camera has an “old fashioned” viewfinder, then use it! It might not be so “sexy” but it will help you achieve slightly more sharpness, critical to turning your picture into one you’ll want to keep.



Cameras work by gathering enough light through the lens to make a bright picture. Whenever there is less light around (at night, on gloomy days etc) then the camera will keep the shutter open for longer. This means that you need to hold the camera even more steadily in these conditions. How can you do this?

Firstly – look at your stance. Stand straight, open your feet slightly more than shoulder wide (or kneel on one knee). Lock your body.

Now – make sure that you’re holding the camera correctly, breathe out slowly – hold your breath for a split second and whilst holding it, squeeze the shutter slowly (don’t jab it) and release it slowly (then don’t forget to breathe again!)

Step 1 complete then, your photograph is sharp.

Next – create more impact with your pictures by using one of the two zooms you are equipped with.

Pretty much every compact these days has a decent zoom. As I mentioned previously, ignore the digital zoom (which tries to invent detail that the camera doesn’t actually capture), but use one of the two others at your disposal. You can use the camera’s optical zoom or how about employing your own “foot zoom” (walk closer to the subject you are photographing!)

Getting closer to who you are photographing so that they fill the frame means that you’ll create a connection with the subject and makes for a photograph with much more oomph!



I’ve talked about low light and slow shutter speeds, but what should you do when the sun is out and the light is bright?

This is exactly the kind of situation where your flash can come to your aid. It seems counter-intuitive to use a flash in bright sunlight but consider this. The sun is an (at least occasionally here in the UK) extremely harsh source of light. It’s also very high in the sky. If you take a picture of someone in bright sunlight then you risk very harsh shadows. These often show up worse in someones eyes when the eyebrow’s shade the sun’s light from the eyes themselves – we call this “panda eyes”.

Switch your camera’s flash on (use the “fill flash” option if the camera has it) and the flash will fill in some of the missing light and give you a much more appealing result.



You can also improve your photography on sunny days by making sure that the sun is behind the people you photograph. So long as you are careful not to have the sun “in shot” (which will cause flare and sunspots) then it will provide an attractive halo around the subjects head and again, you can use fill-flash to brighten up peoples faces.



Above all, digital photography makes it exceptionally easy to practice – with the cameras display giving you instant feedback. Learn these principles, know your camera and I guarantee you will produce more compelling pictures far more often than you did before.

Check back soon for the next in my series of “Tips from a professional photographer” and watch your photography take off!

North London Photographer: Tips from a Professional - buying a new Compact Camera

As a professional photographer, friends and relations frequently ask me which camera they should buy.   My first response to this is always "do you really need a new camera?"    Most cameras these days are so advanced that many people do not use 80% of their functionality.   Unless you really know how to get the best out of your current camera then buying a new one is likely to lead to dissapointing results.

If we ignore mobile phone cameras, generally there are two main types of camera on the market today:

    * Compact or "Point and Shoot" cameras - these are designed to be easy to operate and carry around and produce pretty good shots in most conditions through automatic procedures.
    * SLR cameras which are larger, have interchangeable lenses and lots of extra components like external flashes that can be connected to the camera.   These are much harder to operate but can, in knowledgeable hands, produce a higher quality image than is possible from a compact camera.

I'll talk in a later posting about the issues to consider before purchasing your first SLR - this post will concentrate on the more commonly used compact cameras.

If I was choosing a new compact camera today, then these are the points that I would be putting top of my list of considerations:

§         Lens quality: Cheap digital cameras have cheap, plastic lenses made by “no name” companies without a history in the business – a cheap lens will distort light and change colours leading to soft & lifeless pictures.   Generally if you pick a camera manufactured by one of the well known names (Canon, Sony, Nikon, Kodak, Fuji etc) you wont go far wrong.

§         Autofocus ability:  Because of the way cameras work, only a proportion of the area between the camera and the distance will be in focus (or sharp).  Good cameras have intelligent autofocus mechanisms which do their best to make sure that the most important part of the image is sharp.  For example when taking a portrait, the ability of a camera to lock onto someone’s face (particularly if it’s a little dark) and bring it into focus is vital.

§         Shutter Lag:  Cheap cameras often take a second or more from the time you press down on the shutter button to the time that they actually take the picture. That second is often long enough for the critical moment to have passed.  If you are trying to capture a picture of say a bird perched on the feeder in your garden, by the time the camera takes the picture, the bird may very well have taken flight and left you with a lovely picture of an empty bird feeder.

§         Zoom lenses will help you to have the subject fill the frame  – but don’t be fooled by “digital zoom”.  All this does is to take the central area of the picture and enlarge it – this loses quality.  The phrase “Optical Zoom” is the important one to look for.

§         How does the camera work for you?   Where possible, handing the camera that you’re about to buy before you purchase it is very useful.  With a myriad of different options, cameras can be complicated things and finding one where the controls are logical to you, which fits in your hands comfortably and can be carried for extended periods of time is a really important consideration.

IGNORE THE MEGAPIXEL MYTH
Most cameras are sold with their "Megapixel count"  (the number of "digital dots" that go to make up the image) emblazoned at the top of their sales literature.  This suggests that it's the most important aspect of your potential purchase.   However technology has moved on so far that I feel this should be a minimal consideration only.  For example it is generally recognised that 5 Megapixels is enough to print a picture at A4 sized, so the difference between a 9 and 10 Megapixel is largely academic.

 
DONT BREAK THE BANK
I would also want to spend a little less on the camera itself to give me a little more money to buy additional batteries and memory cards.   What good is a camera that you cant take pictures with, either because the batteries have run down or there’s no space for additional pictures on the memory card?   Always have plenty of spares and there’s no excuse for running out at the vital moment.

 Keep watching this space and in the weeks and months to come I'll pass on more "tips from a pro" to make sure you get the most out of your photography.

Dan Davies