Posts from the ‘Tuesdays With Nate’ Category

How To | By Nate…

It’s crazy to think that we just recently passed our 1 year anniversary. (Boom!) It seriously feels like it was just last month that we were exploring Europe and eating our body weight in gelato and pizza. We love looking back at the photos that our photographer took for us while we were there. They are priceless! Needless to say, we know what it’s like to have to decide on something so important, not only did we go through it ourselves, but we meet with people all the time making the same decision. And since we hear, “I don’t know what to ask or where to start.” all the time… We thought we’d try to help…

If you Google “how to choose a wedding photographer”, the majority of the pages that come back to you are either outdated guides, or pieces from planning books with huge lists of seemingly random questions. (Liability insurance, RAW files, megapixels, oh my!) I wanted to share some things that I’ve been mulling over recently. I’d love to hear your thoughts in the comments section afterward too…

First, lets get on the same page and make a few assumptions about couples looking for their photographers:

1. Obviously budget is always factor. But money aside, what’s really important in the search?
2. No matter how cautious you are, there are always a few bad eggs out there that give everyone else a bad name. By taking the time to evaluate what you want in photography and by doing your homework, you can easily avoid any potential messes. Let’s assume that you are choosing between established and reputable professionals so all the standard (do you have liability insurance, do you have backup equipment, do you shoot RAW or JPEG) type questions can be thrown out the window for now.
3. Assuming there are many talented pros to pick from, who is the right choice for you? We’ll be the first to tell you that we’re not right for everyone. This is not a ploy or an attempt at false humility. We’re really just not. Our style is not a one-size-fits-all style and neither are our personalities. But we’re okay with that, and we don’t change it on purpose because we feel that by being true to ourselves, we are better artists and people. Your job is to find the photographer who is perfect for you.
And a few other statements before I proceed:

Fact: Picking out a wedding photographer can seem daunting. You should approach it as a couple (you both need to be confident and comfortable in your decision) and you should always explore several options before making a choice.
Quasi-fact: You get what you pay for. And you get back what you put in. Take the time to be confident in your choice.
Fact: Seahorses do not have a stomach or teeth, and process food so fast that they must constantly eat to live.
Opinion: Seahorses are neat.

Now that we’ve got that out of the way. These next few principles are the three things that I think are paramount when deciding on your photographer. Let’s call them The Four C’s.

Character
If you’re a bride, you have a right and responsibility to research your vendors. Some things will be apparent right off the bat. Do you like their work? Do they post a lot of weddings that are consistently good? Are they quick and courteous in their responses to you? Photography is a service provided on your wedding day, but you don’t see the product until weeks later. You put a lot of faith in your photographer to deliver what they say they will, based on the assumption that the work they deliver will be of the same quality as what they represented before hand. They need to have a solid character that you can trust and that you mesh well with. The best way to get to know us and our character is by looking through our blog here, hanging out with us on our Facebook page, and by flipping through our info magazine.

Consistency
“Even a blind squirrel finds a nut from time to time.” Anyone can buy a website template. Anyone can buy a “pretty fancy” camera. If you take enough pictures you’ll probably get enough randomly good ones to make a decent portfolio. Sadly, there are people out there doing photography that are not exactly qualified to do so. It’s your job to weed them out.  Look at websites, blogs, full sample weddings, and pay attention to the PHOTOGRAPHY, without focusing on the manner in which it is presented. A nice website or an impressive online persona is important to any photography business, but is should not be a mask to make mediocre pictures look prettier. And if you, as a client, would like to see a full wedding of ours, just send us an email and we’ll be happy to send you a link and password to an entire wedding on our proofing site.

Compatibility
This is what we really believe makes us different, what we believe makes us unique, and a part of our business that we take exceptional pride in. We take very seriously the fact that when wedding day comes around, we will spend more time with the bride and groom than they will with each other, with their families, their wedding party, and their guests. If you don’t feel a personal connection with your photographer during your consultations, run away. This is one of the reasons we encourage every single couple to do an engagement session before their wedding, and it’s one of the reasons our engagement sessions so often turn into wine and/or dinner dates. This is also why we like to meet or at least talk with our couples before sending them a contract. That way they can get a feel for our personalities and visa versa.

Cuality and Style
Normally pronounced “quality” (but I needed a fourth “C”) this is pretty self explanatory, but is often overlooked when all of the aforementioned prerequisites are met. Spend time with your future spouse looking at several photographers images, and talk about what you both like and want when it comes to style, price, and how your images are returned (do you want albums or large art pieces, prints or digital files). Ask your friends to see pictures from their weddings. Ask your photographer to define their style, and ask for more of a description than “traditional, modern, vintage, or photojournalistic” (currently the most popular buzzwords in our industry). Make sure their description is consistent with what you talked about and saw in their portfolio.

And lastly…

Once you’ve made your decision, give yourself the freedom to be proud of it and be confident in it. Nothing kills a photographer’s creativity like being micromanaged by a couple that doesn’t really trust that they’ll do a good job. You know what it feels like when you can tell that someone doesn’t truly trust you and it isn’t that great of a feeling. You chose the person you did for a reason. And, since you are brilliant, stylish, and completely on top of your wedding planning game, they are probably pretty darn fabulous.

Till next time,

Nate

I mentioned on my Twitter account that I wanted to do a post about our gear today, so I asked people to submit some questions for me to answer, and here they are!  If you have more questions, head to our formspring page.  Next week I’ll be doing a full fledged description of all of our gear and bags, what we use, and why… and testing out a solution for foggy lenses.  Enjoy.

my Spider Holster, two cameras, and favorite sling bag by Kata

Q: What gear are you taking on your trip to NYC? What about on your trip to Europe?

A: This is a tender subject.  I obviously want to bring it all.  Hopefully, while in NYC we’ll be able to stop by B&H and Adorama, and maybe pick up some new toys.  But as far as what we travel with, Becka will bring her 5DmkII and her 50 1.2 and 24 1.4, I’ll bring my 7D with my Tokina 11-16  and my 35 1.4. In Europe, I may bring along the 24-105 as a walkaround option.

Q: I recently got a Nikon FG, and I’ve gotten my first roll back (film = awesome). Do you have any recommendations or personal preferences for types of film to use?

A: Film is very personal.  For my medium format camera I’ve been using the FujiColor Pro400H.  Try Try Try…. get your hands on a lot of different films, and find a good local lab to develop them.  I made the mistake of converting everything to digital first, which is very expensive, but lately I’ve been making regular prints, and if I have picture I really like, I can always take the negatives back. If you live in Central Florida you can take your film to our favorite place, Colonial Photo and Hobby, to be developed.

Q: If you could only use the SX-70 or one of your regular vintage film cameras, which one would you choose? (And why :) )

A: As much as I love the tone and simplicity of the SX-70, It’s just not practical for regular shooting and the film is expensive. (The two SX-70′s that we have in our collection are actually Becka’s cameras and she adores them and probably prefers them to everything except our twin lens.) I’ve got an Olympus OM-1 that would be my first choice, simply because of the light meter and ability to shoot a normal size roll of film.

Q: Which would you recommend? The Canon 50mm 1.4 or the Canon 28mm 1.8 on a 40D.

A: Considering the crop factor on the 40D, the 28mm (or 44mm after crop) isn’t a bad focal length, but I think the 50mm will be more practical and more useful for most applications.  28mm really isn’t wide enough to give you the dynamic look you want. That being said, I’ve only ever used the 50 and not the 28.

What 2 lenses would you take if you could only take 2 to a wedding?

This is actually not as difficult of a question as Becka thought it would be for me.  A few months ago, I dropped my Tokina 11-16 during a wedding, and for the next couple of months I shot almost entirely with my 35mm F/1.4 and 85mm F/1.2.  It pushed me a lot to not rely on my wide angle and start shooting a lot tighter, and I was really happy with the results.  Sometimes when heading to a shoot, trying to decide what to bring, I will only grab one lens to try and force myself to see things a little differently.  It’s helpful, but also more convenient for someone that has someone else shooting in case I don’t get what I was looking for. To answer on Becka’s behalf, she’d pick the 50 1.2 and 24 1.4 and with those two she could probably be happy for the rest of her life.

Q: Nate, I don’t think this went through with my others, but I wanted to ask, how about a post on the gear you use to carry your camera? Do you use a Spider Holster? Or the Black Rapid straps? Or do you use just the plain old strap that comes with it?

A: I know a lot of photographers like the strap that comes with their camera. I think they are crazy.  All of my bags are from Kata, as are my straps.  The exceptions are Becka’s ShootSac, her brand new Kelly Moore Bag, and I have one neckstrap from CPS (Canon Professional Services).  We also both have Spider Holsters, but mainly reserve them specifically for really long weddings where we bring pretty much all of our toys. They are definitely one of the best inventions and investments we’ve made.  They are truly brilliant.  The Kata Neckstraps are very soft, have quick releases on both sides, small storage for CF Cards, and are the only straps I’ve found that are long enough for someone that is 6’2″.  Same goes for the sling bag I use, it has a very long strap, room for 2 lenses and a flash, and three small pouches for small things like lens cloths, spare batteries, lens caps, and filters.

(Editors note: On facebook I promised to post a wedding today. But after reading this post that Nate prepared, I decided that it rocked and so I bumped my wedding post till tomorrow. Enjoy your Tuesday with Nate…)

Hello everyone! I’m so happy to be back on the blog writing a Tuesdays with Nate post. Time for honesty with Nate. Every time I think I’ve gotten on top of my game, like I finally know what i’m doing, like I can finally be comfortable with my skills as a photographer, I’m quickly brought back down to earth and reminded how little I know and how much really goes into mastering the art of photography, namely the art of lighting.

When I get stumped, I find myself calling my good friend Erik Valind. We met when we were both working at Apple, and quickly bonded over the fact that we were photographers. Over the last two years, I’ve watched Erik really transform into an even more amazing photographer, and grow a lot as a person into someone that I’m honored to call a great friend. He was recently picked up by Wescott as one of their Top Wescott Endorsed Pros, and knows more about the technical aspects of lighting than anyone I know (no pressure Erik). I asked him if he’d be willing to discuss lighting with us today as it is an area that I’m not ready to teach anyone but that I think we can all learn more about. I’d also like to make a disclaimer (public apology) because these are the first pictures ever to appear on our blog that were taken with a Nikon. I present to you, Mr. Erik Valind (on the far left in the image below).

1) A lot of newer photographers call themselves “natural light photographers”. In your opinion, is “natural light photography” an art form or an excuse to not spend the money and time it takes to learn off camera lighting?

Natural light photography is certainly an art form. After all the hours, ego and money we spend trying to control light in the end we are just trying to recreate something that exists all around us naturally. The best lighting doesn’t draw attention to itself, but to the subject, whether it be natural lighting or carefully crafted and controlled light. Now after saying that I think one should beware of labeling themselves a “Natural Light Photographer” as a crutch, instead strive to be a better photographer all together – one who draws/paints with light. With natural light it seems more about capturing an image, when other lighting elements are introduced you start to get more involved with creating an image.

2) You’re on a shoot and you can only take one light and one modifier, what do you bring?

Definitely a large reversible umbrella. With only one modifier I’d go for the most versatile. Used as a shoot through and brought in close it can produce a even soft lighting for beautiful portraits. When pulled back and used as a bounce umbrella you get a more crisp light without any light bouncing backwards, finally if partially collapsed you gain even more control over the light spill, similar to that of a softbox. The newer Canon and Nikon speedlights afford a decent amount of power with great mobility so you can’t go wrong there, just don’t think you can compete with direct sunlight.

3) How can you make it practical to use off camera lighting in something as dynamic and fast paced as a wedding?

Take full advantage of TTL and E-TTL. Its amazing how intelligent the current proprietary flashes are. The new Nikon SB-900 can even read the color temperature of the gels you put on it to auto White Balance for you. A little practice and understanding here goes a long way towards creating dynamic images through off camera lighting.

4) What is one principal of lighting that everyone should know that most of the “naturals” don’t know or commonly misunderstand? (distance/size of modifier)

Just about all wedding photographers seem to have grasped that bouncing a flash, when possible, produces more attractive lighting. I wonder what percent truly understand why though. It has to do with the size of the light source in relation to your subject. The light coming from your flash is emitting from a very small source when compared to a person and lends to a harsh unflattering look. Now when bouncing the flash off of a white ceiling, you’ve effectively turned the entire ceiling into your light source… a much larger one when compared to the little opening at the end of your flash. This large light source produces a more evenly spread soft light which is pleasing for most portraits. According to this principal, the “naturals” might ask, “Why then does the sun create such harsh shadows most of the time if its such a big light source?” Well thats where the third variable comes into play, distance. The sun is much larger than the biggest softbox or that high ceiling but it’s infinitely farther away too. Understanding these 3 variable of light will allow you more control in any lighting environment.

5) Why are modifiers so important, what is your favorite, and when do you use a softbox vs. an umbrella?

Lighting modifiers afford you the creative control to bend or build a scene into something all your own. Without them we are left to only interpret the light as it exists at that moment. Currently my favorite lighting modifier is a 28″ Westcott Apollo. It is an extremely lightweight softbox built on a collapsable umbrella chassis. This provides for fast setup and breakdown just like an umbrella but with the added control you normally expect from a softbox. It also doesn’t require a special adapter like most softboxes so it can be used with speedlights or studio strobes quite easily. Both softboxes and umbrellas are capable of producing soft beautiful light, but when it becomes important to curtail the light spilling from your strobe, that is when you would begin to think about using a softbox over an umbrella.

6) What wedding photographers are great with their off camera lighting? (The McLellans, IMHO)

Most of your readers can probably rattle off a longer list of respected weddings photographers than I, but I had the pleasure of meeting a photographer earlier this year, that quickly comes to mind, David Ziser . He is an extremely talented shooter and a prime example of how to use off camera lighting in the fast paced wedding world. He has a great book out on the subject and his blog is a excellent resource on off camera lighting for wedding industry professionals. Canon shooters should especially check out his blog, as he sheds light on speedlight shooting techniques that were once only available to Nikon camera systems.

7) Would you rather shoot Scarlet Johannsen with natural light and a kit lens, or Rosie O’Donnel with an unlimited budget?

Haha I really did laugh out loud after reading how you loaded up this question. Either of these two woman would be a blast to photograph. I’m really glad I get to end with this one too, because it refocuses the interview on what’s most important. In the end cameras, lenses, and lighting are all just tools… While it would be awesome to have an unlimited budget one might easily get lost in the process and forget the most important part of photographing people, the rapport. We photograph people in many ways for just as many reasons, but every time we do it is an intimate exchange. That human connection and what it communicates is what counts. Sometimes it’s just easier to open that channel when you’re not buried in a million modifiers and camera controls. Thanks for having me on the blog Nate!

You can see more of Erik and his work on his website, Erik Valind Photography or you can follow Erik on Twitter and Erik Valind Photography on Facebook. Take a minute to check out with stuff. He posts awesome behind the scenes videos of some of his shoots as well so you can see what his setups look like.