Portrait Photography

So You Want to be a Pro?

A Survival Kit for the Once-Off Wedding Photographer

One of the quickest ways I know to lose friends and relations and maybe end up in a court of law and out of pocket is to offer to photograph a friend's wedding. It's almost safer to ask the bride-to-be for a date the week before the wedding or fall on the three-tiered wedding cake during the ceremony.

You are usually asked to perform the photographer job for three reasons. First, you own an (expensive looking) camera. Second, you have (unwisely) demonstrated an interest or expertise in the photography. Third, the bride and groom have just received a quote from a professional wedding photographer for $5000!

You were probably going to be an invited guest at the wedding anyway. You would have relaxed, drunk the odd glass of champagne, enjoyed the food and company, relaxed and had a few more beers, admired the ladies (or gentlemen), had a few glasses of red, swapped a few jokes and gone back to your hotel room or home absolutely happy and relaxed. Forget all that. If you accept to do the Wedding photography it is all about your ability to handle stress and sometimes that stress can be daunting.

Here then are a few tips to help you survive the day, not go loony and at least break even on the financial side.

(SL= stress level rating out of 10)

Initial Contact (SL=1)

Usually the first question asked is ‘How much do you charge?' There are some very cheap wedding photographers around and most of them survive because they have a wife who works.

TIP – Do not sell yourself or your product too cheaply. If for no other reason, you are making it more difficult for the working pro to make a living.

Consultation(s) (SL=2)

Consultations with the Bride & Groom (hereafter referred to as the B & G) are essential. The B is usually more interested than the G. The purpose of consultations is fourfold. Firstly, to get to know each other. Secondly, to discuss the timing of the wedding, the locations and the style. Thirdly, to finalise the ‘Must-Have' shots. Fourthly, to obtain a deposit.

TIP – Ensure you have at least one consultation (preferably two) at least a month before the Wedding day.

Checking Locations (SL=1)

Always try to research the Church/ceremony site and Bridal Party shoot sites well before wedding day but choose same time of day as wedding. Have you obtained site licences, paid fees? Have you alternatives if other photographers rock up?

TIP – Have a wet-weather site as a back up.

Other Photographers (SL=7)

This can be a real hassle and can result in arguments/ill-feeling if not handled carefully. When Uncle Harry and Cousin Fritz (with his brand-new Nikon Coolpix 3000 GX4SSS) want to take pics at the same time, as you there could be problems. Especially when Cousin Fritz wants to show the B & G the immediate results on his LCD!!

There are two occasions when amateurs take their cameras out of mothballs – going on holidays and weddings. It is perfectly understandable that they wish to photograph the B & G. But there are equally good reasons for discouraging them or even banning them! Yes, banning them.

First, if you spend five minutes and your expertise and artistic ability to pose a group and Fritz moves in with his Coolpix he will have exactly the same shot as yours AND he has it NOW. Second, because time is at a premium if you allow two or three other photographers to shoot each set up, YOU will run out of time and it will be YOU who will miss the important shots!

There are several ways of handling the situation. Many professional wedding photographers have, as part of the signed contract, an agreement that there will be no other still cameras at the wedding. End of story. Its on the invitations and announced at the wedding. Second, there can be an announcement on wedding day to the same effect. My approach is one step back – I do not mind people shooting during the ceremony or at the reception, but the pre-wedding shoot with the bride and the bridal party shoot after the ceremony are mine and mine alone. I discuss with the B & G and insist that it is complied with. If someone contravenes, I politely ask him or her to stop. If they persist, I ask my assistant to deal with the matter.

TIP: Discuss the issue with the B & G during the consultation. Reach agreement. Have the B & G make an announcement.

Price Lists (SL=1)

Your price list should include ALL your fees not just print costs. Consider previews, D & P, reprints, enlargements, scans, albums, travel, accommodation.

TIP: Have a clear price list and discuss this with the B & G well BEFORE the wedding not after!!

Copyright (SL=2)

In wedding photography in Australia the client automatically owns the copyright unless otherwise agreed in writing! Yes, the B & G own the copyright. Most professional photographers will not do a wedding unless copyright reverts to the photographer. If you don't own copyright you cannot use the images for promotion. Interestingly, copyright lasts for 50 years from the date of first publication. (What is the definition of publication?)

TIP: Ensure that copyright is signed over to the photographer.

Ownership of Negatives/Digital Images (SL=3)

Quite a few photographers advertise ‘You keep the negatives'. However, few if any quality wedding photographers make such an offer. Wedding photographers should aim to provide a top quality product. If they hand over the negs, they have only half done the job. What's to stop the B & G taking your negs to the cheapest, nastiest in-house chemist shop and resulting in pics that are off-colour, poorly cropped and fading in just 12 months? Then, when someone asks the B & G who did the photography, your name is quoted! And then when the B & G return to you to get them fixed up – you discover that the negs are scratched and covered in dust! It's too late then!

The second main reason for not releasing negs is that that is the area where the cream of profit is made. Sure, reduce your profit margin for Cousin Beth's wedding but do not release the original images.

TIP: Do not release the negs. If B & G want negs suggest they go somewhere else.

Pre-Wedding Photography – Bride's House (SL=5)

This is often where the coverage starts and it's filled with romance and fun and nervousness and great photo opportunities. You will also notice that a certain lack of sanity has developed in the bride (often aided by several glasses of champagne) and that her awareness of time has all but evaporated.

TIP: Arrive early (before bride has make-up or is dressed). Photograph B & her Mum & Dad & Bridesmaid & Flower girls & her favourite teddy etc.

Wedding Ceremony – Church/Other (SL=5)

It may be an advantage to speak to the celebrant prior to the wedding to check on the protocols. Nowadays, there is a relaxed atmosphere except in formal church services and Nuptial masses. Use a tripod, 400 ISO film and avoid flash inside. Try to vary camera angle, height and focal length. Ensure you get the ‘kiss' and the signing of the register.

TIP: Get up into the choir loft and shoot the whole congregation and bridal party.

Hugging and Kissing Time (SL=3)

Immediately after the ceremony is the time when guests congratulate and kiss the new couple. This is a great opportunity to get a few candid shots – try to get the bride's face as she greets her special guests. Use a wide-angle lens to get in amongst it and capture the atmosphere.

TIP: Be VERY mindful of the time here. Often, the ceremony has started late and has run over time. And brides and grooms are notorious for letting the hugging and kissing drag on. Check your timetable and after a reasonable time go up to the B or G and whisper in their ear that its time.

The Main Shoot (The Bridal Party) (SL=7)

This is where you get nearly all your main shots. Very careful planning is required. Select an attractive location away from the guests. Ensure the bridal party knows where it is and get there on time. Watch the timing very carefully. Bracket the friends and rellies group shots in a separate area. Have a marshal to round up and group friends and rellies. Have your assistant minimise delays with film, lenses, and battery changes. You need to work quickly, creatively and methodically. Open shade and 400 ISO Portra NC film is a magic combination.

TIP: Make sure you get at least 20 or 30 shots of the B & G together. Don't spend too much time on friends and rellies.

Travel/Parking (SL=5)

Make sure your assistant knows precise locations and routes between locations. Note any difficulties such as one-way streets, no parking zones etc. If there will be a significant time delay in getting to your car make sure the Bridal car gives you a lead time. You may need to park illegally at churches etc to ensure you are there on time.

TIP: Have mobile telephone numbers for VIP's so that contact can be maintained.

Time Management (SL=8)

No matter how good a photographer you are, you will only get good results if you have excellent time management on the day. It starts with the consultations and times allocated to each part of the wedding. Weddings usually run late. B & G's rarely allocate sufficient time for travel or the main shoot. Allow 3-5 mins for each family group (and that's pushing it!). Allow between 45 mins and 100 mins for the main shoot depending on size, contract and size of bridal party. Give gentle reminders if the wedding is running late. Wedding party members are notorious for wandering off (you've got 18 people lined up and cant shoot because Fred's in the loo!).

TIP: Discuss timing with the B & G to ensure sufficient time is allocated for each stage of the photographic coverage.

Protocols (SL=4)

There are some written and unwritten protocols for wedding photographers. First, you should look like a photographer NOT a guest. Get changed later if you are also a guest. Second, you should be everywhere but invisible. Third, know the protocols in the church and how you relate to the celebrant. Fourth, be early and well organised.

TIP: Be liberal with your praise of the Bride – you probably have more contact with the Bride than almost anyone on Wedding day.

Follow-Ups (SL=1)

Follow-Ups refer to post-wedding contacts. First, there's the presentation of previews/prints/album. Follow-ups are good for PR and may also result in increased sales. A good promotional technique is to contact the B & G 1-3 months after the wedding and offer a free or discounted enlargement. This normally results in a second wave of orders.

TIP: Diarise follow-up contacts with the B & G

Photographic Labs (SL=2)

There are a large number of services available from the various labs. First and foremost, ensure that all the film you shot is protected and secure until you get to the lab. If you have made an error with your ISO setting ask the lab to push/pull the roll. Then, there is an important decision on the service you want:

Develop and preview