By Steve Burns

Good wedding photographers are a flexible bunch.  One day they are doing something one way and the next, due to a different set of circumstances, they are approaching things differently.  All the while they must have a certain consistency about what they do.

My taste, or style, in wedding photography is photo journalistic. However my earlier training in wedding photography was directed posed fashion(y) work. Constantly I find my self drawing on some of the skills I learned in my early years in wedding photography.  Some might refer to those skills and approach to wedding photography as classic.

The first time I met Lori was at her house just hours before her wedding.  She was stunning, and I realized that she had a certain awareness and confidence about herself.  When a photographer has the opportunity to work with such a bride, it is an open invitation to latch on to and work with their personality all day.  It can be a blissful experience.  Louis her groom was no different with his self confidence,  and  I thoroughly enjoyed working with the both of them all day.

Bellow are a few of my favorite images from their day.

As I was working on Louis and Lori’s images,  I found myself constantly being pulled back into frame of mind that called for a look from the early 1970′s.  A time where the film we had available to us had a slightly grainy, more contrast(y), but less saturated look to it.  Kodacolor 400 was such a film.  It is a feeling that I tried to maintain as I worked through the photographs of their wedding coverage.

The opposite of this look would be today’s overly used, heavily cooked,  contrast(y), and heavily saturated, totally rad look that in my mind calls attention to the post production of the images, as compared to the content of the images.   In essence I wanted to maintain a classic feel to the work for some very beautiful people.

Their wedding mass was held at The Church of The Assumption, Roselle Park, NJ with their reception being held at The Atrium in West Orange, NJ.  A special thank you goes out to the wonderful staff and management at the Atrium for being very helpful and accommodating that evening!

With the busy engagement season upon us and brides starting their search for that one and only, THE photographer I get asked sometimes during consultations: “what questions should I really be asking?”. The demand for bridal guides and advices from pros seems to be higher the closer we get to Holiday season. I don’t just  mean the list of questions provided by your favorite bridal magazine. These are – unfortunately – rarely helpful. Let’s be honest – most of them are frustrating to the photographers (not because we can’t give answers but because they are…artificial to say the least) and not really helpful to the brides. So I will try to take a more common sense, simpler approach here coming from my own experience and feedback from my clients. What should a bride be paying attention to when hiring a wedding photographer? First and most of all:

1. The quality of work

There’s never a second chance to make the first impression. Correct but not quite in our profession. The website can be polished to maximum with photos edited to perfection, presenting a selection of the best shots from the past few years and… that’s great! Hail to the kings of editing but what will matter at the end of the day is how does the coverage of YOUR wedding turn out so yes – you have the right and you SHOULD ask to see an entire gallery from a recent wedding. With most photographers nowadays it will be online so ask your photographer to e-mail the link to you or write it down. Spend some time at home to go over the gallery. How well did the photographer manage to cover different parts of the day? How consistent is the coverage? Is there enough emotional moments? Is there a good variety of images (details, close-ups, wide angle shots showing an entire scene). Are the reception shots well lit? Is the light pleasing (soft, directional, modelling) or do the photos look similar to what comes out from your own point & shoot camera when photographing in a dark room? Are vertical photos free of harsh side shadows behind the subject? Are the photos focused where they need to be or are too many of them blurry and unclear? Are skin tones from indoor shots, ceremony and reception looking the same as on the photos taken outdoors? Be critical, all of these questions will indicate your photographers technical proficiency as well as editing skills. It’s one of the most important days of your life that’s about to be documented so do not get diluted by the shot of a cute flower girl that is easy to get – look for some signature, unique and compelling photos that you haven’t seen anywhere else.  Raise the bar high!. Don’t just settle for something that looks average or inconsistent!

2. Photographer’s personality

Just as important as the quality of work. Wedding photography is about the relationships. You are about to hire someone that will be around you during the entire day so do not kid yourself – if you don’t “click” during the consultation – let it go. You absolutely HAVE TO feel comfortable around your wedding photographer (even about the way they dress). Unless they are a hard core photojournalist there will be a few moments during your wedding day when you will be posed, they will give you direction. Being in front of the lens can be intimidating, especially when a lot of friends and family are watching. Friendly and organic relationship is the key here! Pay attention to your photographer’s personality and behavior. If there is anything annoying about it – take it into consideration when making your final decision!

3. Photographer’s experience

How long have they been in the business? Are there testimonials from previous brides available? How many weddings can you see on their blog? How many do they say they photographed? All of these questions can mean a lot to you… or not. You have to be the judge here. Some brides will consider this one of the most important factors and will only hire a photographer that has been around for longer than Rolling Stones and some will appreciate fresh approach and young spirit more than twenty years worth of portfolio. Experience can be good if it doesn’t overshadow photographer’s readinessto progress and change when necessary.  Seasoned photographer can be great as long as they remain open to new ideas and use their experience wisely. Sometimes the lack of experience means clear and uncontaminated mind – when accompanied by great talent it creates a great recipe for the new star of wedding photography. Whether you discovered one – unfortunately has to be your own judgement but maybe this analysis will at least let you realize what you are looking for!

4. The style

Is what you are looking at bringing a smile to your face? Is the content of the photos what you would like to be seeing captured at your wedding? Before you judge the photographer’s style answer some questions for yourself, like: am I looking for someone contemporary and edgy or do I prefer safe and traditional? Do I like photos that are dynamic, unposed and show real moments or is am I leaning towards those carefully posed where the subjects are always camera aware? Pay attention to what the photographer says about their style on the website, in blog posts and in their own words during the consultation. Make no mistake – it’s close to impossible for a photographer to change their style just for your wedding. What you see on their blog and their portfolio is how they prefer to work. If it’s not ‘up your alley’ – don not schedule the consultation. Artwork is very subjective and that is totally all right. What some people will love others will hate. To some brides technical excellence and simple approach to wedding photography will be number one priority. To some artistic vision and wicked ideas will be more appealing. The important thing is to know what you prefer as a bride and as a person. Look for that before you even contact a photographer.

5. The presentation

How is the work packaged? Is it just a bunch of prints thrown on the table, a slideshow projected on a big screen or are they in beautiful albums? If they are in albums how are the albums looking? Are they similar to those your parents received for their wedding (I’m sorry but there is no compromise here – that is a definite RED FLAG! Steer away if the albums look like they were done 20 years ago!). I totally understand that no one updates their sample album inventory every season but the reasonable approach is to present at least one fresh and contemporary looking album with work no older than 2-4 years back. Finally when talking about their photographs, style and work is the photographer also genuinely interested in your wedding? Are they asking YOU questions or just going through their typical sales pitch? It is important for both sides to feel like they are communicating well so make sure there is a good balance between asking questions and answering them for your photographer. If they really care about working with you – they will be curious about details of your wedding arrangements. You should be able to tell whether they are treating your event with genuine interest or does it look like it’s going to be just another job for them…

6. The price

Finally we come to one of the most important factors. Money and how much of can you/are you willing to spend. Of course budget is important and we, wedding photographers do understand and respect it. Weddings are expensive and there’s nothing wrong with trying to save a few hundred dollars where possible. While there are definitely areas where cost can be lowered I will strongly discourage every bride to try and cut corners when it comes to photography. Your friend’s friend with the newest DSLR is NOT the answer. Uncle Timmy will also not deliver the quality and level of work that a true pro who puts their entire heart and skill in what they do can. Going with someone who is offering to shoot your wedding for free ‘to build their portfolio’ – nope, not recommended either. They will have plenty of opportunities if they start working as a second shooter with a more established photographer. Just the same as you wouldn’t like to have a surgeon perform his first surgery on you – don’t put your weddings into hands of a complete novice. The difference is usually clearly visible when it is too late to change your mind. Just as there is a client for every photographer’s price level – there is a GOOD photographer for every budget. If the photographer you really love and want to hire is a bit more expensive than what you’d be willing to pay think about why it is so. Are they really popular? Is there a lot of weddings on their blog? If so this is probably a good sign. What are other brides saying? Are their testimonials convincing and real?

7. The contract.

It’s a good idea to read the contract. No, I mean it – you really should READ the contract. Most photographer’s contracts are no longer than three pages. Make sure you are comfortable with all the clauses and the payment schedule. If you have questions – do not hesitate to ask them BEFORE placing your signature at the bottom. You are entering the legal agreement that binds both sides into certain responsibilities.

8. Technical details

While in general equipment is less important than the knowledge and skill that determine it’s use, the latest digital cameras do offer considerably more creative freedom and dramatic increase in quality compared to a few year old models. Do ask your photographer how current is their equipment. Backup should be out of question. Every serious photographer will have backup equipment as well as business insurance. Those are basics and you should ask about them. If second photographer is mentioned in the contract/package that you are booking – who are they? Are they really a second professional photographer that is fully capable of delivering comparable quality of coverage or is it a student/apprentice?

If you are a bride and just got engaged = congratulations! I hope the above suggestions will help you making an educated choice for your wedding photography and therefore make the challenging task of wedding planning a bit easier! If you are a photographer – maybe this article will give you some ideas and help you prepare for consultations with your clients during this booking season. I will be happy to answer any questions or take suggestions. Please e-mail me or connect with me on Twitter and Facebook. Happy bookings!

By Steve Burns

A ways back I covered a wedding of one of the leads from “The Phantom of The Opera.”  The newly married couple had a small intimate wedding.  Their wedding reception was held at the Westbury Manor on Long Island, NY.  At the reception places were set for 40 guests, with the music being provided  by a 16 piece swing band!  The happy wedding couple and that band elevated the wedding day experience of their guests from what would have been nice, to one that was sublime!

Music at weddings, as in life can leave one with many feelings.  It is not a visual thing, however it is something that  triggers things in the hearer’s mind that evokes emotion or feeling.  Well chosen music played at a wedding does exactly the same thing. It helps to support the days emotions.

Music can be loud, sharp, soft, sexy, sweet, sultry, romantic, brassy, sensuous…  You name it, and it can say it.

How music is delivered can also add to its impact.  As a wedding  photographer, I’ve witnessed weddings were music was delivered via an iPod,  from a DJ, to music performed real time by a band.  All of the mentioned ways of delivery can be done very well,  and all of them can have a significant impact on a wedding day.

One of the things that separates really good photography from OK photography, is that the former leaves you with the thought “this is what it felt like to be there,” vs. “this is what it looked like to be there.”

A responsibility of a good wedding photographer is to communicate to the viewer not just what the day looked like, but what the wedding day felt like.   You want to be taken back to the feelings of your wedding day when you look at your images.

When photographing a wedding, I’m sure to include something that speaks of the music presented that day, as it plays such a large part in the day.  I have to admit that I’ve never photographed an iPod at a wedding reception.  However  I take great, great delight in photographing a band!

Here are some favorites which when I revisit them, I feel as if they take me back to that day.

Working  the crowd at a wedding reception at the Fresh Meadows Country Club.

Sounding brassy at the Fresh Meadows Country Club.

A very hot wedding band vocalist at the Fresh Meadows Country Club.

Letting it loose at a wedding reception at the Ridgewood Country Club.

A sassy bass at the Chart House Restaurant.                                                            Enda playing for his wife at their reception, the Molly Pictcher Inn.

My hat is off to those that have come before, those that currently do, and to those that will provide the music which makes our lives so much richer.  Our world would not be the same with out you!

Steve Burns

David’s earlier post about “how come you don’t call yourself a photojournalist”  is great!  I am similar in I don’t consider myself a pure photojournalist photographer,  but I find it amusing that some photographers I have met over time DO call them photojournalists yet they do more posing then me.   So getting ready, ceremony and reception – I have a Photojournalist attitude.. shooting as it happens

However I love playing with light..   capturing moments and having a good time at weddings.  Is that so wrong?

The following images were all taken at the Grand Colonial in Hampton NJ.

Josh

www.joshlynn.com

“Wedding Photojournalist – what does that really mean?” asked one of my clients during a recent consultation “I see that on many wedding photographers’ websites but not on yours, why?”. I answered “because I am not a PURE photojournalist. My style has a few different elements in it, I wouldn’t be very accurate if I said I am strictly a wedding photojournalist”. “Well…” said the bride “I don’t really care what it’s called, I love your photos but when browsing other photographers I noticed that I am drawn very much to all the websites that said the photographer IS a wedding photojournalist, so…what does it mean?”. It means that you are not altering anything at all during a wedding shoot. It means that you are trying to be as invisible as you possibly can while shooting so that no one really pays attention to you (because you want your subjects to be camera unaware). It means that creating your photographs involves anticipating the moment, knowing your equipment and its limitations inside out, relying on your instincts to be at the right spot at the right time. It means keeping your eyes and ears open and your reflexes fast. It means capturing things as they happen, freezing real moments in time, without re-enactment, repetition and second chances. If you fail for any reason – the moment is gone. There will be a hundred more, true – but the one you lost is probably not coming back. It’s hard work when you take into consideration everything that you have to pay attention to at any given second (let’s see how many I can come up with, somewhat in order of importance: am I shooting in good light (if not what light modifiers should/can I be using right now to make it better), do I have the right lens for the shot, are my settings correct (ISO/aperture/shutter speed), should I turn around and change my position, maybe the scene will look better from a different angle, am I in the correct focusing mode, is there enough space left on the card to fire off a fast sequence and another one right after that, am I in somebody’s way, the batteries are still good right? haven’t changed them in a while…

…so…yes, the satisfaction is huge when you get it right! It’s a feeling uncomparable to anything else. When you know you got THE shot you are the king of the hill, the master of the universe, the winner of the race, the monkey with the biggest banana in the cage!

“Could you show me a few that you think are your best photojournalistic shots ever?” asked the bride again. “Here’s a few I really like…” I replied.

By Steve Burns

The phone rings and the words you hear are, “Help me, please.”

The Group of 10 was founded in part as a support group of friends, for friends.  All of the members are friends whom happen to be independent photographers, and all of whom are very active in the wedding photography industry.

We’ve been a support to each other so as to bounce creative ideas off of each other, act as a sounding board for each other,  and get honest feed back from each other.  We support each other in our marketing and creative endeavors.

Most importantly though, we are there for each other in times of need.

There have been times, and I’m sure there will be others, when we have loaned each other significant equipment in emergencies. We have taken on the role of “highly qualified responsible” second photographers for the other’s wedding coverage’s.  And most significantly we are willing, if available, to step in for one another as the principal photographer doing the other’s wedding coverage should an emergency arise.

As a bride, you invest heavily in your wedding day, and you should be aware that we are there to support not only each other,  but to support you as well.

So in times of need, who are you going to call?  ( Hint: Call your friends, they are your best back up. )

Bellow are some images I’ve created for others, and I thank you all for the oppertunity to work with you!

For George Weir…

For Neil van Niekerk…

For David Mielcarek…

For Berit Bizjak…

Steve Burns

If you’ve heard me speak at a seminar or meeting you may have heard me use the expression “own the image”.  I use it when I stress to photographers that in order to excell at their craft they must learn and practice until they truly do “own the image”.

I first heard it used in the context of piping, better known over here as bag-piping. Several years ago on a dark and stormy night (sorry couldn’t resist that) as I was quietly sitting in the background half listening to my youngest son’s solo tutor preparing him for his first competition. Mark, the tutor explained that it was not simply enough to have  learned to play a piece of music exceedingly well but that the piper must “own the music”.  Meaning that he, or she, must be in absolute control of himself and his pipes, reeds, drones, bag and all the other elements that make up a set of bagpipes. Not only that but also he, or she, must be oblivious to anything else, the weather, the judges or a parent in the audience.

I dropped the book I had been reading, listened, wrote down what the tutor had said and thought long and hard about his words. I believe it is the same for photographers. I believe that in order to produce excellent images on a consistent basis the photographer must “Own the image”. He, or she, must know not only all the ins and outs of the equipment but must also be completely focused, pun intended, on the subject matter. The professional wedding photographer must also have an acute awareness of the space, events and others around himself/herself  and work quickly and quietly without becoming a distraction.  One arrives at this point only after many, and by many I mean thousands, hours of practice.

Last month I practiced some more myself

Ulster Scottish, the pipe band my son plays with, recorded some of their music. I was given permission to photograph the event. I have to say that I was absolutely flabbergasted and struck by their level of competency and by their dedication. These folks do “Own their Music”.

Pipes

Practice

Practice makes perfect

Ulster-Scottish Pipe Band

"This isn't their first rodeo!"

As I watched I whispered to the pipe-major, Dave Hall, “This isn’t their first rodeo, is it?” Dave quietly chuckled and shared with me just how long and hard they practice. I could see and hear how they “Own their music”, some of which you may enjoy in this short show.

By Steve Burns

“Little White Rose”

Little white rose that I loved, that I loved,
Roisin ban, Roisin ban!
Fair my bud as the moring’s dawn.
I kissed my beautiful flower to bloom,
My heart grew glad for its rich perfume-
Little white rose that I loved.

Little white rose that I loved grew red,
Roisin rua, Roisin rua!
Passionate tears I wept for you.
Love is more sweet than the world’s fame-
I dream you back in my heart the same,
Little white rose that I loved!

Little white rose that I loved grew black,
Roisin duv, Roisin duv!
So I knew not the heart of you,
Lost in the world’s alluring fire,
I cry in the night for my heart’s desire,
Little white rose that I loved!

Dora Sigerson, (1866-1918).  A poet from, “The land of happy wars and sad love songs”, Ireland.

A short while ago I had the honor to photograph the wedding of Anne and Paul at the Fordham University Church on the Rose Hill Campus in the Bronx, N.Y.   And I will tell you that their wedding celebration was most definately not a sad love song!

The wedding mass was co-celebrated by Father Bill O’Malley, and Anne’s friend, Father Chuks Afiawari.  Their day was witnessed by the rounding up of the usual supects of close family and friends from around the golobe.  Their wedding reception was held at the New Leaf Cafe in Fort Tryon Park.  The New Leaf Cafe, a wonderful intimate venue, is one of Bette Midler’s New York Restoration projects, were private events are planned by Tiffany Hogan.

Anne and Paul:  “May the road rise up to meet you, may the wind be ever at your back. May the sun shine warm upon your face and the rain fall softly on your fields. And until we meet again, May God hold you in the hollow of his hand.”

These are just a few of the many images captured during their day…

Steve Burns

Where have the days gone where it was a real struggle to get a low light shot ? In film days photographers who used ISO3200 film would be called crazy by some… because the final prints would be so grainy. You either loved that grain or you didn’t. Even in “early” digital years (2001/2002 when every major wedding photographer was either switching to digital or was about to switch) using the equivalent of ISO3200 was only for the really brave ones. “Safe” sensitivity cut-off was around ISO800. So whenever you did get a really low light shot and you nailed the exposure and the sharpness was perfect… there was something sexy about that grainy look…

Nowadays the latest digital cameras became so darn good that you can comfortably work with the levels of light your eyes can barely see anymore. Yes, of course that is a good thing. It expands possibilities and gives us wonderful tools that can be used in ways never dreamt of before. On the other hand though… something is lost in those incredibly clean looking images shot in alomst complete darkness.

As much as I love technology… I think you get my point. The below images were shot on Kodak T-Max ISO3200 film during the wedding season of 2008. Just for fun, for myself and… for the clients of course:

Film… there’s something magical about that very word.

Inevitably, there will be a last dance at every wedding reception. I will be there for this last dance at every wedding I photograph. For me, it is a perfect ending for how I cover weddings, to tell a story of your wedding day from beginning to end. Now, how the last dance is done varies from wedding to wedding.

Sometimes it gives the couple one last chance for a quiet moment alone.

Other times, it is a chance for one group hug!

Or the couple can be surrounded by their closest family and friends.

Or in a popular New Jersey/New York fashion, Sinatra’s ‘New York, New York’ would be accompanied by some high leg kicks!

No matter how you end your wedding reception, it is a perfect chance for me as a wedding photographer to capture the last moment of the beginning of your life together.