Professional Wedding Photographer, Photograph. Wedding Photography.

I'm very particular about the quality of my albums and carry only the models that offer good looks, durability, reasonable production turnaround, and follow-up support.

Making the Contact - Questions to Ask

When should we look for and book our photographer?

As soon as your wedding date has been selected and your ceremony and reception site are contracted, or 6-12 months in advance.

What should we ask a photographer on the phone?

Determine your desires and requirements before making any contacts, so you can rule out those you don't like. Make sure the photographer is available for your event date. If not, get recommendations. The goal of your initial call is to determine if the candidate deserves a visit. Don't try to cover all possible technical details or detailed pricing; just get a general range.

How can we make sure the photographer is a professional?

Trust your intuition. If it seems like an amateur operation, it probably is. Being "full time" does not guarantee a true professional quality operation. Here are a few possible indicators of a pro, as opposed to a hobbyist:

What are the possible situations for photography?

I consider the bold items essential:

I offer all of the services shown above and consider the underlined items as the minimum essentials for wedding photography. The most popular options among my clients are informal environmental portraits and the on-site preparations on the wedding day.)

Rehearsal dinner photography? Next-Morning Brunch?

Yes, here are two a great opportunities for spontaneous photographs of the couple with attendants and families. While no substitute for wedding day photographs, this gets many of these group shots out of the way and captures a spontaneous part of the wedding celebration that is often missed. It also can provide a more natural "everyday clothes" photograph of the wedding couple if a casual environmental is not done.

How much should we pay for wedding photography?

Some bridal consultants say 10-20% of the overall budget. Due to the variation of markets, expectations, and practices around the country, I won't give specific numbers. Here's how to answer that one for yourself. First, list your requirements and expectations. Look at some examples to get an idea of price vs. quality. Note your preference for style and manner of working. If you are considering economizing her ask yourself, "How much would I pay to correct things if my photographer fails?"

When inquiring, don't ask "How much do you charge?" Ask, "How much should I invest to get what I want, based on my needs and the logistics of my event?"

The most important thing to realize is that your photography and video are the only tangible wedding-related purchases that are strictly for your benefit and hopefully will provide benefits years after the wedding.

I do not respond to price-only inquiries initiated by phone or email because each prospective cleint has individual needs, so I obtain some information on the event and give an estimate based on that. At time of contracting, I insist on making a FULL DISCLOSURE or prices for additional prints and albums, so there are no suprises later. I am a firm believer in up-front pricing for what it will take to deliver the result the client expects without depending on add-ons later.)

How can we stretch our very limited budget?

If you are on a limited budget, it is even more imperative that you make wise choices to get the best value for your investment. Do not succumb to lowballing schemes with a small entry and and unpleasant surprise AFTER the wedding when you find the results poor or the initial package inadequate.

A popular cost-saver with my clients uses the Art Leather Galaxie album, which has two photographs per page side (four visible at a time) with all photographs in the 5x5-inch size. This saves considerably on album production time and gives the client ALL the images within a month of the wedding.

For small intimate weddings, consider having professional portraits only done during the week rather than on Saturday or Sunday. Although I discourage the portraits-only plan for larger events, some opt for that and have the main event covered with video-only. If you do choose to have amateur coverage of the event, at least have the essential portraits of key individuals professionally done.

What about having a friend or relative do it?

I advise against imposing on friends and relatives to do the official photography. However, a competent friend may be to an incompetent "professional." It is unfortunate when a couple truly limited in budget gets poor results. (I cover this about six topics ahead.) There is another big danger here. If the photography fails for any reason, then there is lifelong damage to the relationship.

Amateur coverage usually fails due to:

Do we need both video and photography? Does video coverage of the reception eliminate the need for candid stills?

Video and photography are different media. Watching a video is different from going through your album. Of the couples I have worked with, those who got video had no regrets, while those who skipped it regret not getting a good video (one done by a pro, not by a friend). Sometimes couples get video and a limited photography plan. They depend on video to capture the sound and motion of the day and photography primarily for portraits and groups.

What are the dominant styles?

Portrait-based and photojournalism. The former depends on use of a studio setup, or portrait session at some location where lighting and posing are carefully controlled. It is someone more invasive and demanding, but provides the elegant results some brides prefer.

Photojournalism demands alertness and preparation of the photographer to capture the natural, spontaneous images of the day. Most do take a short time for formal group pictures, but the majority are done without prompting or commands to smile. To take advantage of this style, expect to have a large number of pictures in your album. It is the choice for reality with least intrusion and a natural flair.

Even though I advocate photojournalism, my opinion is that even a wedding photojournalist must know the principles of how to flatter a subject with portraiture. I also include certain must-have groups even if the overall preference is for journalism.

I also believe that many wedding photographers call themselves "photojournalists" in response to the market demand, but do not actually practice it.

Our photographer's (or videographer's) contract states that we must use his studio for the video (or photography) too, or have no video at all. Can he do that?

I'm not a lawyer, but to the best of my knowledge and belief, in the U.S. it is an illegal provision prohibited by Anti-Trust Laws. Illegal contracts are simply not binding. This may be a tip-off to an uncooperative studio.

I have offered both video and photography since 1998 and have handled both media at a given even. My current preference is to choose the one medium that's a best fit for the client and me, then refer the client to a colleague for the other. I will make this referral once our relationship has been established with a contract. Even when I actively pursued getting both media for a particular assignment, I never insisted that a client use me exclusively for both.

Our photographer wants to limit what guests will take with their cameras. Why should that make a difference to him?

I personally have no objection to and feel no threat from guests with their camera. In fact, if I'm not occupied at the moment, I offer to take group shots with the guests' cameras. There are certain times, like the 15-minute post-ceremony formal session, where I need the attention of the group.

But, I've heard of several local photographers who claim that all wedding images are "copyrighted and cannot be photographed by guests." That is patently wrong!

Images on negatives and prints can indeed be copyrighted. There are some critical times, like during formal portrait sessions, where guests cameras distract the subjects, casing them to look in divergent directions. The guest's flash may also cause eyes to be closed for the pro's shot (which you are paying for). Also, some churches prohibit flash during the ceremony. Guests' flashes in this time are not only distracting. They also spoil the wonderful existing-light shots your photographer may be striving for. If guests behave with consideration and manners when using their cameras, there will be no problem.

What about those disposable cameras?

The single-use cameras with built-in flash (required, since most receptions are indoors), are good for the 5-7 foot range. They work best for guests taking snapshots of other guests. In my experience at weddings where these cameras were distributed, the wedding couple later reported to me that one or two always get inadvertently carried off by guests, and of those remaining, about 40-50% of the shots are printable (others are underexposed or blurred). With the cost of developing and printing, figure $17-20 per camera. The disposables ARE NOT a substitute for professional coverage.

If you have already devoted adequate resources to your professional coverage in photography and video, the disposables are a nice adjunct and will give you another slant on the wedding. Just make sure the guests know how to activate the flash and where to deposit the used cameras. If your photography budget is tight, better off devoting that extra $200 to your pro coverage.

What are the relative merits of large studios vs. independents?

Quality of work and service are more important than size. Large studios offer resources and backup in case your assigned photographer gets sick. Some feel more comfortable in dealing with a larger, more substantial firm. Most employ subcontractors, many of whom use photography as a supplemental income source or are just learning the trade. Some big studios are geared to low-budget events. Small studios and independents excel at individualized personal service. You will most likely have your first contact directly with the actual photographer who will do your event. The advantage here is that your album will more closely reflect your personal wishes.

Small or large, make sure the photographer takes his profession seriously.

How can we spot the good photographers?

If ones you have interviewed all seem the same, then you haven't found the right one. Don't accept any excuses for sloppy photography. If the sample looks fuzzy or off-color or frayed, expect the same if you hire that candidate. Colors and tones should be natural and accurate. You should see detail in the whites (gowns) and dark (tuxes) parts of the image. I am personally impressed by wedding albums that portray the true feelings and events of the day and make the people look genuine and natural, while flattering.
Very important: The photographer will be a part of your day and possibly interact with your family and friends. He is at his BEST at the appointment. If you sense insensitivity or abrasiveness, it will be much worse at the wedding. He must be a TEAM PLAYER with others involved in the wedding, such as your clergy, your videographer, and your catering director.

Our photographer seems to have a real "attitude problem." How can we prevent this from spoiling our day?
If you discover this at the wedding, your only hope is to have someone calm the situation as much as possible. Winning an argument or threatening to sue accomplishes nothing if the individual storms off the scene, leaving you high and dry. Avoid such individuals; however, many are deceptively nice until they have your contract.

Sometimes this behavior results from fear or insecurity of losing control of the elements needed to make photographs up to his standard. The remedy is to make it clear that you have confidence in your photographer and will do everything possible to cooperate with him, in exchange for his treating your family and guests with respect and courtesy. It is also essential to have everything clearly in writing and not to go on verbal promises, as many misunderstandings occur when clients fail to receive something offered casually but not promised in writing.

Now, about the "clod" who is insulting your guests ... you have two choices. One is to have him escorted from the scene by the resident "security force." Here's another. Have one of the more persuasive members of the family or wedding party calmly approach him: "Something seems to be bothering you. The bride wants very much to enjoy her wedding day. How can we make things go well for you, so that both of you will be happy - and civil?" Hopefully, that will diffuse the situation.

Why shouldn't we have a friend or relative do it instead of a pro?

Wedding photography is both an art and a science, requiring someone with the proper equipment and the right skills, plus the demeanor to be effective and creative under pressure. It is almost impossible to be a guest and at the same time, concentrate on the technical details of photographing an entire day. Trust your once-in-a-lifetime wedding to a "pro-for-a-day" and you will have bad feelings for a lifetime.
I feel that asking a guest to do the official photographs and no different from asking dinner guests to work for their meal. The biggest equipment failing of amateur photography in lieu of pro (for weddings) is inadequacy of flash power. Compared to at-home shots, the flash must cover a greater distance in rooms with higher ceilings for a longer day with slower film. Wedding pro flashes have 5-6 times the power for three times as long as even higher end amateur flashes. Don't discourage your guests from bringing cameras, but DO suggest that they enjoy themselves as guests and they should not interfere with your hired pro.

What are the relative merits of 35mm and medium format?

Most professional wedding photography is done in medium format (6x4.5, 6x6, or 6x7 cm) because of its inherent superior technical quality and ease of enlargement production. A larger negative will make inherently sharper enlargements. The 35mm negative is 3.6x2.4 cm and requires a higher enlargement factor for a given print size, so grain and focus errors are much more apparent. Medium format has lots of flexibility for cropping and alignment. It is much easier to retouch blemishes, scars, lines, and pimples in medium because it can be done right on the negative -- 35mm is too small for this. When considering the production of a 10" album, the lower cost of 35mm equipment and processing is overshadowed by the cost of custom printing the material to make it work in the album.

But 35mm is gaining in popularity for professional wedding photography. It works very well (a) for smaller, intimate weddings where large group shots are not required, (b) as a adjunct to medium format coverage, taking advantage of the latest autofocus technology and zoom lenses, (c) when the logistics demand use of a light, compact system (e.g. wedding on a boat).

Is it advisable for our photographer to do the formals in medium format and the candids in 35mm?
This depends on the methodology and philosophy of your photographer. I usually don't because it complicates logistics (twice as much equipment and supplies to carry), and I can see a difference in image quality in a side-by-side comparison of group photographs or other compositions requiring resolution of detail. Many contemporary photographers employ the mix of formats using the advantages of each. Let your eyes judge the merits.

What is the best way to get a mix of black-and-white photographs along with color -- assuming that's possible?
If using the B&W just for the newspaper, then ask for a Panalure (b&w) or glossy color print. If you want some b&w for their artistic merits, your can either have some images originated in b&w film, or have it all shot in color and decide later which ones are best for monochrome treatment.

Some professional labs now offer Kodak Ektamax prints for B&W images from color negatives. Advantage is that you get a nice print, while avoiding the logistical hassle of having two film types shot which complicates the photography and increases chance of a mistake. But Ektamax is really a color paper with B&W dyes. If you are asking for B&W for its archival properties, or want substantial B&W coverage, get traditional B&W film and materials (Kodak agrees).

What about getting the negatives and making our albums and enlargements?

A benefit of commissioning a professional photographer is full service all the way to creation of a finished album. There's processing, sorting, designing the book, mounting the pictures, etc. But some photographers simply give you a stack of proofs and negatives -- and that ends your relationship with them. It seems like a good way to save costs and get a lot for your dollar with great flexibility. I estimate that these photographers charge more per hour than their full-service counterparts!

However, it's wise to cover the disposition of the negatives in contract. Most reasonable photographers provide for release 5-10 years after the event if you keep your address information up to date.

I will provide you with all of your negatives provided that you order 500 dollars or more reprints no later than 90 days following the receipt of your proof book.

What are the popular album types?

Library Bound - simply the best. Bound as a real book. Photographs are individually matted, then matte-pages are bound as a book with a personally tooled leather cover. The most expensive, but the most elegant and long lasting. To my knowledge, the only ones in the US are from Leather Craftsman (Farmingdale NY), Capri (Mount Vernon, NY), and Zookbinders (Chicago, IL).

Z-Page - photographs are slid into the page, which forms the border or matte. The page has steel pins on one edge for snapping into a cover. Most covers are of simulated leather, such as Art Leather's Aristohyde. It's cheaper than library-bound and allows pictures to be changed later, but it's less elegant. This style is the most popular in US today.

Post-bound - similar to above, but page ends and covers have 2-3 holes for screw posts. It's an old style, subject to distortion.. Posts gradually loosen, allowing the album to fall apart. Offered by several major album companies such as Tap and Holson.

Hinge-bound - ends of pages form a brass hinge. Pictures slide into paper pages which are thinner than two styles above. Pages and covers twist and distort. I have seen these fall apart in short order. I recommend against them and won't list the makers.

What about getting loose pictures and putting them in our "magnetic" album?

These albums will not preserve your pictures. In time, the adhesive will deteriorate and the covering will fall off. It may adhere to the picture surface and destroy the emulsion. Pictures won't stay put! A danger with any album that puts a picture surface behind a plastic cover is the picture sticking to the plastic, which ultimately pulls away the color layers, or mildew growing under the plastic. I have yet to see an off-the-shelf album that compares in quality, workmanship, and durability to a custom-made pro album.

What can we do if our album and enlargements are way overdue? How can this be prevented?

If at the booking stage, make sure completion schedule is addressed in contract and accept no verbal assurances. If after the wedding, review your contract to determine if the items really are overdue according to the terms. Make sure you have fulfilled your part of the agreement, including payment of balances due, completion of selection, approval of album design, and return of previews. Also look for clauses about seasonal variation in completion times. If the items really are overdue, try a series of gentle but increasingly firm reminders. Get a commitment as to when things will be done. Be a squeaky wheel!

I don't recommend legal action unless you get stonewalled by the studio or repeated reminders fail. Once things go into arbitration or litigation, your items may be held up pending the outcome particular if the studio makes a countersues. Other recourses include contacting your state's pro photographer's association, the local Better Business Bureau, and if all else fails, the Court System. If things get tricky, communicate in by certified letter to establish a paper trail.

How can we get away from the standardized "posed" look?

First, put enjoyment of the wedding day ahead of posing for pictures! Choose a photographer whose samples illustrate the look you want and who is willing to work with you in creating a unique repertoire of images. If you have some unique or novel ideas, share them with your photographer. Do some brainstorming together before the wedding day.

How can we lessen the intrusion and enjoy the day?

Pick a photographer who works unobtrusively and goes for natural expressions. If doing formals and portraits, schedule as many as possible early in the day - before the ceremony, or even on a prior day. Make sure the photographer is keenly aware of your wishes.

Should the bride and groom see each other before the ceremony for portraits?

Don't worry this unless you want lots of portrait groupings or combinations which involve the bride and groom in the same picture. I firmly believe that couples who are opposed to a pre-ceremony photo session in wedding attire, for whatever reason, should not be pressured, coerced, or embarrassed into it. But they must also be made aware of the consequences with respect to picture results or impact on the flow of the day. If you want lots of posed romantic portraits, there's no other way, unless you are willing to take time out from festivities or don wedding attire a few weeks later for photos.

In my personal experience, many couples have regretted not meeting in advance for nice pictures and some moments alone. But NOT ONE COUPLE that met in advance ever regretted it; many admitted afterwards that it was their most memorable experience of the day. Many have started a new tradition of the First Meeting. Let it be a private personal moment you share before the vows. You will see each other close up at your best. And it is a wonderful opportunity for spontaneous, expressive pictures that really show your relationship. What an improvement over "ASOC" pictures (artificial smile on command)!

Do we need to feed the photographer?

The photographer's day starts several hours before the wedding and goes on for several hours after the party's over. It is a long, hard, tense day of being creative under pressure. It is in your interest to help him function comfortably and effectively, and providing a suitable meal helps; it doesn't have to be a full banquet meal. Your caterer may offer a sandwich or snack that's just right and will be greatly appreciated.

I recently dropped the contract requirement for provision of a meal. I do ask my clients whether or not a meal will be provided, so I can bring a cooler or plan for an office style break.

How can we get everyone in at least one picture?

This is easy for very small events, but challenging when the guest list climbs toward 100 or more. In my experience, the best way, when having formal seated dinner service is to get table shots (before main course, preferably). Or, have the master of ceremonies call for a huge group shot of all the guests. It's fun and makes a great shot for the album!

How many previews should we expect?

Depends on the style and approach of coverage, length of coverage, and size of the wedding. For a ceremony and reception with dancing and over 100 guests, you should have at least 75. Possible guide: 15-30 images per hour. Beware of photographers who claim the 40-50 previews will result from a 6-hour event with 125 guests! If you have read this far, e-mail me with this code #: 040867 and I will discount your photography package 100 dollars.

What about slide previews?

This is where projection slides are made in lieu of the usual paper previews ("proofs"). Advantage is that you view the images 3-8 feet across, not 5" across. Plus, there's a mechanism for photographer input in the design and faster turnaround of the album. Disadvantage is that this format is not as portable as print previews. I use what I consider to be the best of both worlds: slide previewing with a take-home video or digital previewing (see next question).

What about video-only or digital previewing?

Some photographers use devices like the Tamron Fotovix to convert negative images to positive images on tape, or the Snappy video framegrabber to capture video images for display and manipulation on personal computers. Each image gets a unique number for identification. The photographer can zoom on the image to simulate cropping or enlarge the faces so you can judge expressions. This saves the cost of actually printing slides or paper proofs, which are among the highest expenses of photographing a wedding.

I make videotapes of the wedding preview slide shows. These include personalized covers, electronic titles, and background music. The slide sequence is repeated with image numbering for an order reference. Still, this is no substitute for slide or print previews for critical image selection.

Photographers using the Fotovix may also add titles and music to spice up the show. Often, several copies are made, saving you the hassle of returning proofs or worrying about who's got your proof album. Downside is that video at this stage does not have the color accuracy or resolution (ability to show detail) of photographic materials. It is also hard to plan out your album with them images appearing sequentially on tape; that step is relatively easy with prints spread on a table, or 2" slides on a lighted surface. However, a database listing of the images, sequenced to the video, makes selection and ordering a snap. For my own work, I have retained the use of projected slides even though I can transfer the negative images directly to video; nothing matches the impact and quality of photographic projection in my opinion.

I have personally used digital previewing with private websites for the client to enable the images to be shared with their relatives and friends. So far, I have had great success with this. But I'm not ready to abandon slide or print previewing yet.

Why do albums take so long? How can we speed it up?

Biggest delays occur before the order is compiled (see prior question) and are due to some family member holding up the selection. Other big delays are due to laxity on the studio's part, so make sure your contract gives a completion time based on when order is submitted. And get your selection made on time!

I recently switched from a large out-of-town laboratory to a small family-owned one that offer excellent qualtiy and personal service. That reduced my turnaround time considerably, and in some cases, I was able to give a one-week turnaround on quantity enlargments.

How long will our photographs last?

Several labs claim 100 years for their color prints when not abused. I think properly-sprayed and mounted prints will last as long as the marriage! Kodak has now a Promise of Excellence program which effectively gives a lifetime guarantee to portraits done with their products through studios in the P/E program. However, don't pick a photographer based on his film brand, as many get great results with Fuji film as well as Kodak.

How can we best preserve our photograph album?

Keep the album closed and flat; don't store it vertically. Keep it in a cool dry place. Don't expose the pictures to excessive UV from sunlight or fluorescent lights. Avoid abrasion. When kids arrive, store the album till they are old enough to respect it. And keep the photographer abreast of address changes so you'll get the negatives before he trashes them. I have personally made replacement albums; the most recent due to destruction by the family dog, so store it out of Rover's reach!

Can we save money by getting black & white instead of color?

No! Even though B&W film is cheaper, developing and printing are more expensive because B&W has not been automated to the extent of color and usually required hand processing and printing. So expect to pay a premium for B&W coverage.

Why can't we just copy the proofs to save money?

Of course, some photographers do not claim copyright and even release the negatives. The right of a photographer to copyright the photographs has a firm basis in law. A number of copyright infringers have learned the hard way that illegally copying a photographer's work is a big no-no and cost them LOTS of money in damages and fines - and legal fees! So unless you have written permission, don't try it - and don't ask anyone to do it for you.

How can we be sure our photographer won't mess up?

Photography inherently involves an element of risk and speculation due to its technical nature. You can lessen the chance of problem by booking a competent photographer and clearly communicating your event information and expectations.

But mess-ups happen. Film jams. Labs ruin film. Cameras break. Most photographers are very sensitive to customer perceptions and will try to remedy the situation or compensate you in some way. (See question about overdue items.)

What if our photographer gets sick or has an emergency?

Most have a contract provision that says, in effect, that in such instance they will attempt to get a substitute, but that their liability is limited to a refund. This is where professional association membership is important; members cover for each other. However, realize that all the details of your wedding involve an element of risk.

How can we get the most from our photography investment?

Our photographer did a great job? Is tipping appropriate?

The size of your order for additional prints is one indication of your satisfaction. The most valuable gratuity is your recommendation of the photographer to others. And a very special token of appreciation is a personal letter of recommendation to the photographer. I can't speak for other photographers, but I have refused offers of cash gratuities.

How or where can we learn more?

Work as an assistant for a photographer for a day to observe from the other side of the camera. Take Photo 101 at a college.