XMAS & NEW YEAR

Happy Christmas to all of you and fun New Year with a lot of love surrounding you.
We hope you have been nice and will receive presents accordingly. We would like to take this opportunity to inform all our generous couples from 2009 and before, that the best time to work on their coffee table book will be in January. Be in touch with us in order to obtain an estimate. We wish you all the best, and would like to thank you once more for your custom and trust. Many many thanks. You are keeping 2exposures alive despite the recent troubled waters.

ANSWERS TO A STUDENT part 2

Early student years Rayogram.
copyright David Boulogne


Here continues a discussion I am having with a student from Leeds University (see article 1 December 2009). He said he wanted to become a wedding photographer. So I asked him few more questions, ...


Hi sorry for the late reply hope this is some use to you and I feel as though I might get slaughtered by you. Been busy with my dissertation I completely forgot about the questions at the end. Hope they are of some use to you and I would like to keep contact. As for my answers I can see some things which might not go down with you quite so nicely but then I ask you to remember that I am still looking for the right job and with time that might change. Thank you for your replies it was great help for me and probably saved me from a fail.


Hi Milot, I am glad you took some time to answer my questions. That is really appreciated.
I think you did the right thing by focusing on your dissertation first - that is your priority. I won’t “slaughter” you. There is no reason why I would do it. The aim of this exchange is to produce a dialogue that can be instructive to other people in the same situation. To give advice is not about showing off your superiority to younger generations, but to help you to raise the adequate questions to your concerns. In the end I will not give you any answer, it is up to you to find them. It’s like going to the therapist. But what I would like to say before commenting your replies is that you already did the right thing by asking for help and not being shy about it. That is a great strength that most people will see as a weakness. I personally see your attitude as something genuine and honest that can only be profitable to your knowledge and decisions in life. So, I would suggest you keep on doing it. There is nothing wrong with not knowing and asking for advice.

1) Why do you like Photography? I can’t really explain why, I just feel good when I take the money shot (the one image which makes the whole effort to getting it worthwhile). I also think that I am more of a visual person as I am horrible with names but I never forget a face it’s like I am taking images with my head all the time and when I pass locations I seem to have the story in my mind as a good play for a photograph.


Most people who chose to express themselves with creative medias have dyslexia, like I use to have. Not being able to communicate with words or figures you find your own way, and Photography is your way. It has been proven that almost 2/3 of art students are dyslexic. There is nothing wrong with that. We are just different and are able to transmit or deliver things differently, and societies need artists otherwise we would fall into conformism. Not knowing why you like it is not really an issue, but accepting yourself as different is vital. What bothers me in your comment is the notion of money. You haven’t started yet that you are already thinking money. If you really like Photography or arts in general, money comes secondary at your stage. To be genuinely an artist has nothing to do with money, fame or success. Today most aspiring artists should realise that Art is not a profession. Therefore they shouldn’t expect any financial reward from it. What we experience today is the antithesis of what I just said, unfortunately.
Being a professional photographer is something else than being just a photographer. It means you have to specialise and compromise. You will obviously be chosen for your style, but you will have to produce quality AND quantity combined, including formal needs required by the customers whether you like it or not. A lot of freelances make the mistake to think selfishly as artists do. To be a professional photographer is to deliver a service in an artistic way, nevertheless it is a service being paid by a customer who expects some standards, quality and surprises. Creativity usually comes across in the last part.
If you take fashion photography for example, the real time spent shooting with models represents 10% of the overall time spent on a commission. And if you are lucky you can estimate at 5% the creativity delivered. It is the same in all the industries I am afraid. If you expect to be paid you have to compromise. Any sort of job will teach you that fundamental. We call those medias creative but there are not really on the level you would expect I guess . To do real art works is something personal and solitary you have to cope with.

2) Why do you want to do Wedding Photography? I think that it would be the best job for me because people employ a photographer for the style of photography he or she do. Also not having someone telling you what they want from you through the whole process is nice because to me it’s all about the creativity of the photographer (when a person is doing something he or she likes in their own way they are bound to get the images they want, this probably satisfying the employer two as they will get exactly what they hired them to do).


I agree with you on that point, but before reaching that level of visibility and trust you need to gain skills. Too many young people want to be photographers and they do not really know why, maybe a sort of fame or fantasy world. It is not like that at all I am afraid. Don’t get me wrong, a lot of freelancers like to play that card, and people fancy that image too. To be a freelance photographer is a long lonely road where there is only you to be trusted. There is a lot of competition, lot of confusion and selfishness. First, if you want to become one I would advice you to take any kind of job on board. You will learn from everything and every commission will nourish the next one. The main problem when you are a student is the lack of experience, so run for it. Do food, interiors, baby, nudes, documentaries, anything and everything. After a while you will be able to decide what you don’t like. And therefore you interest is going to narrow, and then you will be able to specialize as we call it. Here again, do not take my words in a literal way. I do not really agree with the world of specialization we live in. I personally promote myself here as a wedding specialist but I do a very wide range of Photography, either paid or non-paid, because I am interested in a lot of things, and because I love experimenting and learning endlessly. So being specialized is finding a niche where you feel comfortable, good at delivering, and that’s your regular jog somehow. Then you can concentrate on various other photographic interests. Keep yourself alert constantly. My clients like my style because I am not traditional and because I put something else into my wedding photography. But still most of my clients expect me to deliver such and such formal pictures, that is the way it is. In the end you are being paid and commissioned to work for your clients, and it is a huge task especially with weddings. So it is a challenge but it is very exciting at the same time. The notion of “artistic” is very variable to be frank. A lot of people think my work is very artistic whereas I find it classic and stylistic. I am not doing Art with weddings, I try to get the right emotions with the right conditions in a reportage way. That is simply reportage I would say. Anyway to me working on a wedding or a demonstration is the same – it is a story. A lot of photographers are daydreaming and also see wedding photography as an office job where they can make a great deal of money. They have it completely wrong and you can tell when looking at their pictures. I am personally extremely happy to do the job I am doing whether it is doing weddings or something else. As long as I am doing photography the way I like it that’s what matters. But to reach that stage you have to respect your clients, to remain open to all the possibilities and to trust yourself that you can make it. It is a daily battle against the odds. And if you are ready for it you are welcomed on board! I have met and trained so many people who aspire to do photography and who gave up. To succeed is a natural selection like survival instinct. When I decided to enter the CFT Gobelins school I knew it was the right place for me. But the selection was very tight. It is not about paying the fee but about motivation and knowledge. There are only 15 positions allocated for students from around the world. If you manage to get in you obtain the best professional training in 2 years for free –which is very unusual and rewarding. So you expect that the 15 students are fully dedicated to become freelancers or working in the industry. 15 years later I can count on three fingers the people still evolving in the industry including myself. You have to ask yourself the following question: Is Photography a hobby or something you cannot live without?

3) Which works, artists or photographers do you like and why? Jerry Uelsmann is my favourite photographer. I love his work and creativity, his images are so well thought out and stunningly beautiful. His multiple negative images are not only visually challenging at times but the finish is stunning. I do create some of my own multiple negative images, some which are very similar to Uelsmanns work. I find that the dark room process is the way for me I like to feel the print instead of doing it on Photoshop which most of my peers at the college asked me. This brings me to the wedding photography aspect again as it would help me to travel to different locations, which would help improve my personal archive of images.

Thank you for passing the name of this “artist” I didn’t know. My first look at the website tells me that he has the skills, meaning the technical skills whether manual in the darkroom, or computer based with more recent works. Second thing is that the artist is very influenced by various sources from the late 19th Century and 20th Century, which makes sense looking at his date of birth. My third point is that he is more drawn towards illustration than Photography. On reading briefly his biography we learn his first job was being a teacher early stage. That sounds very strange to me. I believe you cannot be a teacher in your early twenties. So you have to learn how it is possible. Nevertheless he presents his Art in one unique way, his vision as a creative photomontage artist going from Surrealism to trendy Gothic / Spleen Baudelairian. I find the work nicely done but it is not my cup of tea, but that’s personal. I could suggest you look at Alexander Rodtchenko you may know, such as Man Ray, painter Rene Magritte of course and more recently multidisciplinary artist illustrator Dave McKean.
But what I would like to point out is that Jerry Uelsmann surely didn’t make a living out of his artworks until late. He must have had regular jobs, more concrete jobs such as teacher to have the freedom and the assets to produce his works. He may have been recognized not so long ago as his vision matched the illustrative art world we experience today and which really appeared in the 70’s with the rise of the sci-fi phenomenon. The work you like is more about photomontage which used to be done in a darkroom and which is produced more efficiently nowadays everywhere on a computer. It is a creation of fantasies which is completely different from real life photography. There is no problem with that but you might reconsider your aspirations for making a living. I personally would invest myself in learning all sorts of technical skills applied to the effects you intend to produce with your pictures by working as a graphic designer, and do alternatively photography for personal projects. I personally started by learning the darkroom and gained a lot of experience from it for then becoming freelance.
To be a graphic designer, a darkroom technician, a wedding photographer is to be an artisan. That means using your technical skills within the Art domain and to transfer them into a private or public commission for use or interest.
To be an artist is to be free from those contingencies(in theory)

I hope I answered your questions.
I wish you a Happy Xmas and am looking forward to hearing from you in 2010, with resolutions maybe?!

HIRE A PRO FOR YOUR WEDDING

I received this email few days ago which made me upset and sad for the couple who got married.
I want to take this opportunity to share it with you to let you aware of the latest trend which has been going on for the last two years. In ten years of doing wedding I have heard the craziest stories from bad experiences with bad photographers. Nowadays people tend to ask more often for amateurs to capture their weddings because they have a digital camera. The truth is that we all have a digital camera nowadays, and that doesn't make you a better photographer.

Subject: Photo Help!

Hi David,

I am hoping that you can give me some expert help! My sister got married in May but her wedding photos are not as good as they should have been... I was looking for a photographer or design person who would work with the photos and select the best sections and enlarge/make B+W/sepia etc...

What we would like is for a wedding book to be created by selecting bits and being creative. There is in fact not even 1 photo where they both look lovely. Do you do this or do you know anyone that would do it for Xmas?

You come very highly recommended from all of my friends!

Suni

Few years ago couples to be were looking for the best pro who could photograph the essence of their big day including the usual formal shots. On few occasions I would lose the job because they felt an other freelance was more appropriate to their style, and/or budget. This is a fair competition. People are then trying to find the best compromise and they compare the possibilities. In the end they would receive not only a product they really were expecting, but also a professional experience that makes the day runs smoothly ( I mean this is the way it should be as it is not always the case). Today two major factors are changing the way we are thinking Photography.

1 / The digital era
The photographic market has completely changed. Not only for the professional but mostly for the amateur. Back in the film days you had to have knowledge about your camera to take decent pictures and it did cost money. But it was dedication for a passion, and by spending time and money you would consider it as something valuable. Nowadays big file size cameras are affordable for most of us, and that is what companies want to achieve. It is becoming difficult to purchase films and others. The digital has killed the choice in fact. Therefore the job of photographer is disappearing as the email is showing us. And this is not only in the wedding industry.

2/ Recession
Somehow the digital came at the right moment. Decent cameras are appearing on the market in the last 2 years, just before the start of the recession. This season I experienced at last 10 potential customers turning me down not for an other pro but for their friend, brother or cousin who had a digital camera ! People think they will save money by skipping the photographic duty. I can affirm that they are completely wrong. But doing so they will have 1) bad pictures 2) lose their friendship 3) no recollection 4) waste money in trying to recover the damage
If there is one supplier you need to spend money into is definitely Photography. You can have a very little wedding in a pub and still photography will be essential to testify from your special day. To do such a job requires experience and impeccable performance - it requires a pro !

Don't waste your money and your energy, invest in a wedding photographer. That is my advice and my experience, as a pro but also as a potential customer.

ANSWERS TO A STUDENT

Self-portrait 1996
ID photograph studio exercise at CFT Gobelins

Recently a student from Leeds University contacted me regarding wedding photography.
He obtained my details from an online wedding listing. He left me a message and sounds young.
He emailed me his questions. I hope putting them online will help to understand people's vision or approach to wedding photography. I wish it could lead to many other questions.

1) What do you think is the best format to show your work to clients or employers ?

I do not believe in one standard way of showing your work across the trade. What I am looking for, as a photographer or as a client, is "personality" and "dedication". My work is about telling stories. Therefore I will try to find the best way to show with style this particular approach. People who use my service contact me because I am different, and most of the time the people I work for have similar taste to mines.
You should think about priorities first. If you want to do wedding photography, you have to see what is on the market. You have to meet professional wedding photographers, and position yourself either as one or as a customer. Think. If you were getting married, what sort of photographic service would you like to be delivered. I am not only talking obviously about the presentation, but mostly about the contents. How do you want the photographer to capture your wedding ?
If you are a freelance who only does weddings and cares about making money, you will provide cheap photography and cheap presentations. You can be a genius at retouching but still you style will remain poor and disengaged. On the contrary, if you care and and work hard, you will invest yourself in providing something unique people will recognize as your signature.

So "format" doesn't really mean anything. You have online format presentation, or website, which I do not trust personally, but you have to be out there. Until few years ago the main portfolios were in hardback and you had to commute a lot to show your work. Nowadays the main portfolio is your website, so do one with style at low cost. A lot of people visit websites but it doesn't mean they will contact you, very few in fact. But what matters is to have your visuals out there and to generate interest. Second phase is to motivate people to meet you and see your work in real. That's where you show your portfolios. Big, medium, small doesn't matter. What is important is to present something which will look like the final result first, then you can show different formats highlighting some details of your style.

2) What skills do you think would be expected of me as a graduating student; technically and socially and what level of experience would be expected ?

Basic skills of photography indeed and most especially without having trained with digital, which seems to be almost impossible nowadays. Why ? If you train with analogue cameras you have to understand the whole philosophy behind photography from the lab to shooting. It is endless to be honest but it is terribly exciting. You will later find this very same logic with the way engineers designed computers, softwares, digital cameras and online publishing. One major mistake nowadays is that most people think they are good photographers. To be honest to be one has nothing to do with a camera or device, it is about your eye and what you have to say. If you rely on technology to save you, you will be an average freelance; if you think outside the box and look with your eyes first there are more chances to succeed.
But what matters first at your stage, is to get the experience in as many areas as possible to make yourself an idea of what and how you want to do it.
When I was 16 I knew I would become a photographer in a split second. The grand plan was already laid down instantly. I went to Art University to make sure I loved photography. Once confirmed I passed the CFT Gobelins exam and got in to be a lab technician. I wanted to know as much as possible what was going behind the scene before being on stage. I knew already that too many photographers have actually no idea of what they are doing and even more after they have done it, they just rely on others, and I am talking about top professionals. After the school I worked in the best labs in Paris for the best photographers in the world working at all the possible positions. Once I knew I had knew enough for the time being, I moved to London to become freelance without any help, money and contacts, and I made it. You just need to be patient, impatient and dedicated.
But I would say that the most important is the motivation. If you don't have it young, you will never have it. If you feel like photography is your passion, you shouldn't sleep. You should photograph everything and learn as much as possible. If you are not really "sure", like it happens very often with young assistants, you should forget about it and come back in 10 years time when you feel like it !
I would say that you have to be generous with people, thirsty of photography and learn as much as possible from everyone and make your own opinion. School, studies, grades, that's important, it really shows your determination. But later, this is simply the school of Life, we adapt.
I personally never envisaged younger to do wedding photography, but it was the first real job I got as a freelance in London, and I realized that I was good at it. I was able to make a living out of photography and taking photos the way I wanted, and people would pay for that.

3) What sorts of equipment would be expected if I was to photograph weddings on my own ?

What do think ?
Would you use a 120 Rolleiflex with Metz torch ?
Would you use a 35mm reflex camera ?
Would you use a digital SLR ?
Would you use a disposable camera ?

It is up to you and to your customers.
What do you think your parents would want for example ?
What is the most convenient for you and for them ?
What is the most affordable for you ?
First at you stage, you have to compromise, and that will help you a lot later.
As I keep on saying, there is no perfect ideal camera, there is a perfect one for each of us.
Do not forget that you have to invest in flashgun and learn how to use it properly.

Now I would like to conclude with 3 of my questions, hoping that will engage a productive dialogue between two generations.

1) Why do you like Photography ?

2) Why do you want to do Wedding Photography ?

3) Which works, artists or photographers do you like and why ?

I am looking forward to continuing this question/answer possibility format.

HOW TO DESIGN AN ALBUM

Louisa & Jono

By 2exposures

Book Preview

The new digital medias enable us to design today products of our own imagination and to make them real. Few years ago, software developments and slow broadband made the online publishing world only available to professionals. The choice for quality was therefore limited and the cost high. Fast broadband is delivered almost everywhere now and offers flourish on the net.
Therefore you can produce your own albums for whatever purpose needed and it is made fast.
In this new chapter I am going to explain how I do it. I would like to point out that I am not a designer by trade, I am a photographer. And I LOVE books. I read a lot and buy a lot of them, especially when I find something beautiful and clever in form and contents. It helps me to find aspirations and inspirations in my photographic approach and the way I want to present it.

I am delighted to offer you a preview of our first official public Blurb coffee table book. Like many people recently Louisa and Jono were excited about what Blurb offers, and to share it with us all. I have programmed the book presentation in a way that the first 15 pages can be watched or read by all. If you want to see more, you unfortunately have to buy it - sorry ! But I could have actually allowed the system to show it all through. But I do not personally feel like it is appropriate to show and share it fully with a whole world out there. For some sort of privacy reason and ethics I will carry on doing it this way unless I am being asked to.

I am always encouraging my clients to do their own online wedding album if they are actually excited, capable and available. Needless to say that the new programs available sound like easy to handle, and obviously it is not. I mean it can be easy if you have an eye or an idea, and skills.
Too many people rush into the project using templates, without working the images and without any narrative structure. They produce therefore an object which effectively looks like a book, but the content remains dull, inert. That is the reason why I do not wish to include any album with my options as everybody is different and has a different taste. To make one of those online album takes time and dedication if you wish to tell a beautiful story.

- First, you need to have good materials, good pictures. Not only few striking creative shots but many good ones and eventually some amazing ones. If only few pictures are good you will feel like the whole project is uneven. That takes us back to previous chapters where I explain the way I photograph a wedding. Consistency, story telling aptitudes, creative mind and invisible proximity are some key factors to produce quality. You have to know your subject, you have to be able to read body language, you have to know about the couple and their families, etc...All those elements will make you feel more secure, rounder while photographing and it will show in the result. You can apply this philosophy to cooking, same idea. You can only create something really great if your ingredients are good. You can still cook something decent with lower quality but you will have to fake it with spices. Same principle here. I love food, I love great food, my clients too and that's why we get on well together. Beware of effects and tricks while working on your book. The more effects you will find in a publication the weaker it is. If your pictures are good they do not need effects either from Photoshop or the layout tricks. Effects = bad materials trying to hide.

- I always make my albums personal, tailor made. I never use templates. We are all different, my clients are unique. I get to know their private life for a brief moment and they pay good money to trust an experienced professional freelance like me. I have to respect them. I have to get involved with them and perform and produce the best I can. I use different fonts, different chronologies. I always advise them what would be the right amount of pages needed. I have no interest in forcing them to have more in order to make more profit. If I have to fill up endless amount of pages and have to compromise quality for quantity, that would affect my reputation and reduce their pleasure.

- I usually make my own selection (2/3) and ask the couple to provide me theirs (1/3) and we compromise. The reality is that if you let people do their own whole selection, you might have to wait for a year before having the order, if they do. Proposing the album as a separate order from the wedding duty is for me the best way to produced an album with my clients as it is a completely different job than shooting. To make it work requires the two parts to be involved at the same time, at the same pace. Together we are stronger as we say, and it is definitely true. I really enjoy this togetherness with my clients. I offer them my time and experience, and they always come with new ideas and interests I have to respond creatively.

- Once we have agreed on a final selection, I gather all the materials and work all the pictures one by one. Whether you are dealing with scans from film or digital materials, you HAVE TO work on your pictures to create an harmony. Unfortunately today too many people think it only requires to drag the materials straight from your hard drive onto the template. I say good luck to those people who will waste their time and money in producing very poor albums. Basically, you need to have a certain "lab"(for me) or designer's experience to understand the computer interface at its best. One simple problem occurs with the screen of your computer. With all computers the light comes from within towards us, it is a diffused light. When you make a print or produce a book the light is direct (natural) on hard surface. That's the opposite. Therefore you have to calibrate your images thinking the other way around.
You have to calibrate the lightning, the contrast, the colour balance and simply retouch your pictures. Retouching didn't come with Photoshop, it has long existed...Even 10 years ago when still bromide prints would be still available, profesionnal labs would retouch or "spot" the prints with inks and very thin brushes. To make it brief, to correct all the images takes quite some time. And for better quality it is recommended to work with high resolution files.

- I always try to keep the text as minimal as possible. Remember that it is a photo album you are working on, not a novel. Too much text kills the image. Also, if you are the photographer, you choose to express yourself with pictures, that is your job, your passion, your talent. With good images no words are needed, just the emotion perspires. I personally only mention the first names, the locations and the date in the introduction page. Then, pictures speak for themselves.

- While working on my images I am also thinking mentally the narrative, that is something organic. Then let it rest for few days... I am about to start the layout now and I pay special attention to my clients' selection in connection with mine and try to put all of theirs. I can also advise them on few ones which I think are better to express their wish. It will take me a good day to finalize the layout. And I let it rest once more. Before coming back to it I will question myself a lot and think better possible narrative ways. The last review of my layout will be focused on correcting the text, proportions, front and back cover and the general narrative with possible changes on the size of few pictures. After having checked it all at least 3 times I send the order.

- To use Blurb requires to be a member and it is free. Their program is very clever and easy to use. The quality of the product is perfect. Their technology is ingenious. The delivery and production turnover more than satisfactory. The online ordering is friendly. Profile pages are very instructive and helpful. Well, it all sounds great, you should all sign in then. But remember all I said before.

Time spent on Louisa and Jono's album (considering my knowledge and experience)
. my selection / 1h
. awaiting for your clients' selection / variable
. retouching, calibrating of the final selection / 8h to 10h( 150 pictures high resolution)
. working the layout online / 8h to 10h
. Profiles, downloading order, delivery / 3h

Total labour / 20h to 24h
From client's order to delivery / 3 weeks

I am as excited as them to see the result !

THE DIGITAL QUESTION

In addition to the book I published this year I would like to present my view towards the digital medium we all committed to in the recent years. I am going to explain the technical side of it rather than the ideology.

Digital like Analogue is a signal.
As we all know it is composed of 0 and 1 mixed and organized endlessly to generate forms of information. An image is composed of pixels which are generated by this 0 and 1 coding system.
There is therefore a complex structure which enables the the coding system to create pixels, which then combined together make an image. So, in order to generate a digital image the information has to pass through different mediums which use a common language. But this flow can only exist if we transform the original transmission into something else.

When we take pictures, we are facing a real situation. What I mean by "real" is the three dimensional aspect of matters. We as human, live in a 3D world. What we experience usually remains 3D. Obviously, we can mention many other ways of experiencing which would involve other type of dimensions, but let's make it simple. If you want to really experience a car for instance, you will buy a car to obtain the real sensation because it relates to your 3D experience of being. The car and yourself stand in the same dimension and you can enjoy what the car is designed fully for. This product exists and you can touch it, it is material.

When you take pictures with film, you capture a scene from the 3D real world and transpose it onto a bi-dimensional surface we call a film. The information is transformed into a 2D surface but the film itself exists as a 3D reality. You have then condensed the 3D into a 2D because you need to print it, that is what still photographs are for. Therefore the transformation is direct.
And this 2D data will remain intact to print - it is fixed in time and matter (we could say frozen) The information remains 2D but exists as a 3D reality. In fact, the transformation is very limited even though we are changing dimension, but the aim of the film is to find a concrete way to produce a solution to display a 3D reality into an other form of 3D reality by using the 2D.
A becomes B which becomes A.

When you work with digital the logic is totally different. The 3D real is transformed into an other language which we call digital or virtual. The 3D is alien somehow to the result. The 3D becomes a data which we import into a virtual dimension, which is somehow not a dimension. It is a concept, a method, a processor in fact. Obviously, you can print from your digital files and create a 3D finish to the data by printing in multiple ways. Nevertheless, the original form of information, your picture is alien and doesn't exist. The digital is not a reality, it's a transformer of data for fast delivery. In fact, it has been designed to cut the costs ( film, developing, printing, etc..) and it is very satisfactory for the amateur who can see immediately if the picture is correct.
Digital is in fact brilliant to send information, to diffuse. That is why we are all turning towards this new medium in most industries as it costs almost nothing. Because in fact we managed to create something which is almost nothing but from which we became very dependent rapidly.
A becomes 0011001000010001111110 which becomes A

One of my main concern with digital photography is that most people are very excited about it but do not really understand its concept and limits. But here let's just concentrate on wedding photography as I guess we all want to share images of our special day with future generations.
The reality with digital is simple. First, as a object/support as a disc or DVD doesn't last more or less, more than 5 years. Softwares keep on changing and it is sometimes impossible to read the materials after few years. Computers are not meant to last more than five years and crash(we have to keep on feeding the economy and progress). The most sensible and secure way to protect your images is to purchase a separate hard drive. But still after all those protections and concerns, the original informations as a real form doesn't exist - it is virtual, it is digital.

Whereas a film exists and last for more than a century. And you can always back-up your images on a digital format by scanning your films. By using that method you obtain film quality straight from the camera without having to interfere with the digital world which actually make life more difficult than helping. The film quality has a better contrast and harmony than most digital cameras. It's a lens, a hole and a film - simple! The lens for the subject, the hole to pass the information, the film to receive the information. There is no purer way to do. And if you are a real professional you should be able to work this way with ease.

Digital generate problems at all stages and you actually spend more time trying to find the right way it looked as you saw it. What you see on the back of your camera or on your computer screen is a projection, and interpretation - this is not real. Think about it !

Digital is in fact great for the amateur, and we all have to use it as professional, but this medium has nothing to do with quality, but it is very helpful and fun. Digital exists because it is convenient and cheap. It is therefore less elitist and generate a stronger economy in that area. And consequently, like for anything else, quality goes down dramatically. It doesn't mean that there are no more good photographers, but bad quality usually overshadows the bests because of its scale and non caring.

In the end here are the two questions you have to ask yourself before searching for a wedding photographer. Do I want a cheap photographer who delivers average materials which will not last more than few years, or do I want a professional dedicated photographer who can provide me with the best at a reasonable price ?

Memories are priceless and deal with our profound dimension, but there is nothing like a beautiful image on paper to generate laughs and tears. Especially when you look at them 20 years later.

SCULPTING WITH LIGHT part 2 / The Dress

Welcome back.
Today is dedicated to the dress. One of the most important and expensive item. A bride without a special dress simply doesn't exist and it wouldn't make sense. It is one of the most important thing or maybe the most important one for the bride to be.
You can buy a dress from second hand wedding shops, you can also create one somehow with added details, you can rent one (or buy one you will sell after the wedding day to the same shop), you can keep it, dye it and wear it again for special occasions, you can keep it in your wardrobe for other generations, and finally you can simply go to a wedding dress designer. What ever you do, we know that you dress is something special, highly valuable in price or/and feelings.
Because a wedding dress HAS TO BE THE ONE. It reflects your personality and your other side we do not particularly know. Your wedding day is the right moment to express this other part of you. The style has to suit your world or its limits. There is always the fairytale factor and there is no reason to deny it. The shape has to embrace your physic. You have to feel right wearing it. It is like a very special second skin. It has to look simply special, like you at your best.
That is why taking good photographs of it is essential as it tells an other story on its own. You did put your love, time and inspiration in your dress and the details you are wearing. Obviously if you want great pictures it involves the photographer being with you before the ceremony while you are getting ready, but not always...And there are so many things to capture then...but let's focus on today's topic which the dress. How to take good pictures then ?
In this latest edition I tried to marry two visuals of different weddings to show how versatile it can be. From a technical point of view it is not as easy as it seems. First, you are dealing with an object which has generally a bright colour (white, creme, etc...) and therefore reflects the light. Your built-in light meter will always give you the wrong aperture whether you work with traditional film or new digital. It is normal, the dress is usually the only bright element within your environment, it reflects. You have the same phenomenon when you are watching a fire in the dark. By focusing on the bright part your retina retracts to focus only on that very particular subject. With a camera, the more light your have the more your close your aperture. If you follow you light meter you will always be 1 or 2 stops overexposed. That is why I always bring a separate light meter when working with film, or close automatically my aperture when shooting digital.
Also quite often try to focus manually except if the dress reveal quite a few ornaments you can grip your focusing system on. If the dress is mostly plain bright your camera will not understand where to focus. That is the same problem experienced in dark situations
So, how to shape the light then. Well, I personally think that it is very related to fashion and ways we are looking at objects we love in general. An object fully lit on a white background without nuances doesn't inspire much whereas working with shadows generates mystery and therefore desire.
Nowadays brides tend to choose more simple, nicely shaped designer dress, and it usually looks great on them. To take a photograph of the dress on it own can be a real deception. Those dresses are made to be looked at when they are worn ( Figure 1 on top). The main work of the designer is based on the shape of the bride. Don't they look great !
Figure 2 shows that by adding details in the frame you can translate more than what the dress looks like. You can create layers of interpretations and really get into the bride's conception of the dress. It shows why they knew it would work on them.

Figure 3 is a classic back of the dress shot many enjoy. Classic but you have to get it a the right moment, neither too late or early. It has to be when the dress starts making body with the bride. A gentle tension which renders harmony can be sensed then.

Figure 4 is transparency. Usually linked to the veil but not always. Some dresses have embroidery at the back or front. Some dress use it to create the sleeves. It is always amazing to get closer to those fine patterns and to capture a detail which take you to an other dimension, hours of work and art.
Figure 5 shows a medium shot of the front and back of each dress. Those shots are not easy as they are medium range and can feel bulky. They involve various techniques of lightning and composition with the milieu that make them interesting. You really have to work the whole frame as if you were working with clay. They are almost standard but not really with a lot of details and mini stories.

Figure 6 is focusing on details only and ambiance. On the left most of the dress was plain and what made it so special was this middle part ruban. Very rich item and full of history I decided to play with a very short depth of field and very little light to create some kind of hidden treasure.
The one on the right is light comparatively and I am playing with the flower which could be glowing outside in the field through the widow.

Figure 7 is an overall look at the milieu where the bride is getting ready. Sometimes as the dress is not so easy to photograph because of its simple design. Use that difficulty by using a dark and rich room that will make the dress stand out.

That's all for today. Many thanks

DAVID IS AWAY FOR A WEEK

Dear all,
I will be off duty from Wednesday 23rd until 29th September 2009.
The office will be therefore closed and I will answer your enquiry as soon as I get back from Corfu.
I shall come back tanned and fresh - hopefully.
Have a nice week.

SCULPTING WITH LIGHT part 1

Today I am talking about the Light, natural light. The light which makes life possible. The light which shapes our vision and world. Photography literally means writing with light ! To take good pictures doesn't involve any camera, it's about your eye. It is about how you look at things. And I use the word sculpting in its literal meaning, like an artist is carving a stone in a endless dance until he finds the perfect harmony. Light is a spectrum of waves and therefore colours constantly changing. We will not mention the flash today, except with top 3 sample and I will explain why.

The first eight following pictures, except the one below in black and white of the dress are from Louise and Andrew's wedding at Chateau Ouvrard in France in 2005.

Top left
Detail of shoes. Most teachers will tell you not to shoot black and dark subjects with a BW film. Obviously, that was the first I did then! Those shoes are beautiful, shiny and have a strong shape. I decided to use a bright background to really reinforce the shape so that they stand out. But also I used a reflector to give a gentle touch of light on the front. When I say reflector it can be any sort of reflective surface. Most of the time I use a white pillow cover I find in the bedroom. It gives a harmonious balance that the shoes inspired me.
Top right
Straight forward back-light couple' shot composition. Meaning you make your exposure on the background, not the subject. You have all the details from the background and your subject become a silhouette. But it is important to integrate some details or a scenery. This type of shot without any details or mood could be quite poor in the end. It is important to work well the subject with its environment. I slightly opened my lens to gain a bit of details in the couple.

Top left
Classic dress shot at 4 or 2.8 aperture, but what matters here is the colour balance. The pink worked very well with the pale harmony of the room. Working with this blurry background helps to enhance the delicacy of the dress and the soft atmosphere. Here I wanted to capture the genuinely calm and adorable bride from a dress photograph. You can simply open 1/2 stop your aperture in order to give the bright colour a little extra kick.
Top right
An other back-light situation but this time my subject is a shadow. I therefore take the light on the highlight as previously described but I also need to include a geometrical shape that balance the curvy line of the back of the dress. That is why I decided to opt for this radical sharp angle which is also a shadow. People love the result but are always a bit worried when they see me taking a photograph of a wall basically !

Top
Group shot and the sun up behind the group, facing me. There is no way you can take a decent photograph of people with all the details from the scenery if you only concentrate on the people. The only way is to use some Feeling Flash as we call it. There are two ways to explain it.
1/ You make your exposure on your subject first. You check your mid tones, which is usually found in a medium colour such as green (or grass). Sometimes people think I am about to photograph their feet or the local flower, which is a great trick to make them laugh ! Finally you check the background light ! And you make a quick estimate of the extremes and what should be the medium light. You then adjust the flash according to the aperture you which to work with and close 1 stop from the chosen aperture. That is the way I am doing in order to get the right balance of all part of the composition. With experience it doesn't take more than 10 sec. but it can be mentally difficult to put all those figures together for the amateur.
2/ A quick way to do it is to set your flash as you intend to shoot your subject, but according to how strong is the main light source and your positioning to it, you bracket 1 or 2 stops down. The flash will be felt a bit stronger than in the first case, but it works too.

Bottom
In this shot I try to get as many details and depth of field as possible. But I also compose with the shadow produced by the roof of the castle in order to make my composition more exciting. As I am shooting at 16 or 22 I will not find any detail in the shade and that is exactly what I am looking for. Somehow this colorful shot becomes strangely a bit black and white.

Top left
I invited my couple to enjoy the Magic Hour. Most couple shots are being done during the drinks reception, but if you are well organized and they agree to spend an extra 10 min later, use that opportunity to compose with a different setting and natural light during or after the meal.
Top right
Picture taken in the morning before I start my day as the day is slightly warming up. You can feel and see a certain essence or gaze coming from the land. Those shots are also important.

Pictures from Sally and David's wedding at the Blakes Hotel, London in 2005.

Top left
I ask my couple to stand behind a glass door. At that time the weather was quite grey and the back garden where I stood was quite dark. I therefore decided to use that darkness to create a sort of abstract frame, and point out my camera on the highlights of the sky reflected on the glass. That is also where I ask my couple to stand by indoors. I used here a gentle and powerful natural light even thought it all felt like grey, and I work at 2.8 or 4 to enhance to focusing point mixed with two great smiles.
Top right
I am indoors and am using the artificial light. As I shoot with BW film colour balance is not an issue. I set up a shot in the restaurant area with 3 glasses under a light spot, like in a studio but an improvised one. I am using the glasses circular edges reflected as shadows on the table to mix perfectly with the circularity of the harp designed wedding rings. Here again as the light conditions are poor I work at maximim aperture but it is also a good thing as I want the setting to be quite abstract. The rings do stand out as the silver reflects perfectly with any lighting and especially in dark locations.

Top left
Mix of cold and warm colours are always interesting to capture.
Top right
Sally and Dave are standing in the corridors on the first floor to avoid traffic, but also it helps to make them feel relax and intimate. This part interested me as the two main colours were coordinated nicely and with originality - yellow and black. But let's not forget also that the incandescent bulbs are usually understood as quite polluting. BUT the white tuxedo, the colonial etiquette of the place, the lack of sun on that day and in this corridor I was inspired and the moment took photographically in south-east Asia. That is why I decided to use a natural light film indoor with then will turn quite yellow. The saturation was exactly the mood looked after. Note also that I placed my subjects next to an hidden mural lamp that helps to draw beautifully their profiles. I know that tungsten films exist but I never really found a way to use them as I like to transpose the light experienced then while shooting. Our life is not made of neutral colours, our life is much more fun than that !

THE CHIGWELL WEDDING SHOW 18/10/2009

2exposures will be exhibiting their portfolios at the Woolston Manor the 18th October 2009. The event is organized by the Wedding Event Co. This charming new venue is the perfect location to discuss in a more relaxed way with the suppliers than most fairs. davidB and his assistant will be there to receive you and answer all your questions.
The show will be officially open from 11am until 4pm.
Woolston Manor
Abridge Road Chigwell Essex IG7 6BX
0208 500 2549
Nearest tube station is Debden/Central line

Spread the word !

SHOOTING ON THE DANCE FLOOR

I had many opportunities to captures some great parties, and most especially at weddings. As the trend goes and technologies get better I had more occasions to use my digital camera recently. I am still analyzing the highs and lows of both mediums bearing in mind that the quality between the two exposes two separate realities and ways of conserving your materials. Nevertheless, the story telling approach remains the same with both. In this new chapter I want to explain how my way of photographing differs on the dance floor.
First, let's say that if I want to capture the real essence of the moment, I personally need to be part of the situation, meaning I need to translate my interaction of participation with the crowd. And that is something you cannot do by staying outside the pack of dancers. Obviously that doesn't mean dancing with the mother of the bride too! But your presence must be felt. In order to communicate properly the uniqueness of the dancing your senses must be on 200% alert. There is no rest for the photographer. That is the finale of the day, people are a bit tipsy, it is less formal, there is less reserve, they can fully enjoy and be themselves. Use it!

WITH FILM
You need to be spot on, always. You obviously need to know how to use a flashgun properly. You can bounce the flash in many different ways. You can also use subtle semi-direct flash. Eventually use direct flash if needed. But in the end you have to find the right mix between the speed people are dancing and the speed your flash will deliver the best the effect you are looking for. And most importantly you need to consider yourself as being in motion too. And you have 10 things happening at the same time. Therefore, you must be disciplined and take fast decisions. You must have a general observation and overall decision of useful moves. Finally, and that is where it can be quite exhausting, you must be fully focused on looking carefully into your viewfinder constantly. Allocate some breaks when the ambiance has cooled down.


WITH DIGITAL
Same as with film except that you don't really care about wasting film. But there is a great, fun and relaxing way to use your camera if your lens is fast enough, which is to extend your harm and guess your pictures. That mean that your whole body doesn't need to be so close to the action. You can just extend your arm very quickly into a situation and make it disappear as quick. If you have a wide angle enough and some intuition your arm should become somehow an extension of your eye. I find it very helpful and refreshing. But that can only be achieved if the environment offers a minimal general lighting necessary for your auto-focus lens to function properly. If the lens cannot grasps details and focus quickly you are then back to working in a manual lens way.

GENERAL PROBLEMS
When shooting with film I am always using fixed lenses. Some people might find it old fashioned or odd, but it is a great discipline and bonus in fact. When working with only one angle you are more focused on the composition and don't need to zoom in or out and eventually miss the emotion or get something average. Having less is sometimes better. But related to the dancing photography is it a real bonus as the subjects keep on moving constantly. Remember that in most cases it is getting dark at this time of the day, and most auto-focus systems will simply not work properly, and that is a real nightmare. With a fixed lens you can concentrate on your subject and do your best knowing also that the way you are flashing will reduce the blur. But you can also play with the controlled blur, but that requires quite a few experiments and a full knowledge of your equipment.


CONCLUSION
When doing reportage you must be scanning situations constantly and act as quickly as possible without disrupting the scene offered to you. In order to do it well you must have a good knowledge of your equipment and forget about it. Shoot fast in a glimpse of an eye. That is what I call the "snake bite" technique. Within a second you must capture what you just anticipated.
But what matters in the end is to capture the emotion. The dancing part is less formal and fun. Consequently get more involved than few hours before in order to get real expressions.
I can't remember who from Magnum agency said that if you didn't get the picture right, it is because you are not close enough. Great pictures aren't part of the past, a great picture remains alive and expresses joy and mystery each time you look at it.

WEDDING PHOTOJOURNALIST ASSOCIATION

I was wandering lately looking at other photographers websites. I discovered some interesting works a couple of time. I realized that both photographers were associated with of a worldwide network promoting wedding reportage. As you know me by now I am quite dubious with what people call themselves. Most people go with the latest trend whenever it is convenient. So, I decided to visit this body called WPJA in order to know a bit more about their policies and portfolios. I was genuinely surprised and happy to find out that they were promoting ethics I have been believing in for years. I was not alone eventually...I applied and within a day they accepted me. It is terribly exciting to join this commission which promotes excellence and dedication to the reportage approach. Their guidelines are tight and professional, and that's what we need. It is also a positive way to compete creatively with the other members as they held quaterly contests. Well, have a look on their website to discover great wedding photographers, visit previous contests galleries and find some inspiration from around the globe. Visit www.wpja.com

JAY & CHARLOTTE NATIONAL PUBLICATION

Latest publication of wedding reportage from davidB with
You & Your Wedding September/October issue.
Three full pages mixing colour and black and white
pictures from Jay and Charlotte's big day in June 2008.

TO CAPTURE THE EMOTION AND THE GLASS OF WATER

Q: How do we get the best photos of people ?
A: When the are simply themselves.
Q: How do you achieve that simplicity and honesty ?
A: It is mostly about observation, details and compassion.


I did gather very quickly few shots of few different weddings by chronology and organized them as diptychs. There is a very large range of human emotions and I didn't feel like showing hundreds of them to be honest. I just want to show that we are all the same and that we diffuse a myriad of waves and more especially during a wedding day, as it is our subject of interest. But it could be of any other day like a Monday morning on the platform waiting for you train, having lunch with friends, doing some exercises, brushing your teeth, watching TV, etc...As a photographer the human nature as always been my favorite subject. We are the most complex living form physically and intellectually and the topics of discussions are endless. To photograph with sensitivity involves careful observation first. Forget the camera at this stage. A camera is just a device which will help you to share and prove your instinct and research to the world. A camera is simply an extension, and it has obviously to be used with intelligence and respect to the moment. The most difficult to master comes from your ability to make yourself invisible and to transmit the moment and its emotion in the most respectful form. Without a lack or emphasis, to make it just right (like cooking), and little personal touch. The art of doing the reportage form lies in your aptitude to transcend this time while you are shooting to an other future dimension where the viewer will be fully able to immerse himself in the past event described. To photograph well is to stop the time, or to freeze it as we say. And when it is not properly frozen it turns smelly ! That is why so many people call themselves simply photographers but have nothing to say, or don't have the skills or policy of respectability, and they only produce emptiness. To photograph an event and people really requires 200% of your physical and mental concentration. To take a picture is one thing, to photograph is an other. It literally means " to write with light". I will take you through it soon in a new chapter.


You can learn many tricks from books. I read a lot of memoirs,biographies and essais from photographers or artists. What interests me is the space, or state of mind they enter in order to reach the creative process. It is always a complex, hazardous and marginal journey that takes the the character to a certain edge. An artist is the one who dares confronting the unknown.
Doing reportage photography is the same, you don't really know where you are going, but you are going there, you have to be there. Henri Cartier-Bresson said " there is only luck. I don't believe in chance. You just need to be available" I completely agree with that comment. And the more time you spend, the more you start seeing. And then you reach a point when you take mental pictures at every breath.
To capture an emotion is TO FEEL that emotion at the same time as your subject.
And your most profound aim is to share that emotion with the audience throughout the image.
That is a skill that requires years of practice in order to feel at ease and propose a large panel of
variations in your personal technique. It is a visual language with its own punctuation.
You can express an emotion in a glimpse of an eye, in a pencil for make-up, when two lips are about to touch, when two hands are holding, when two friends are having fun, when a couple get surprised, when a bride is content and when guests are a bit tipsy, etc.................

An emotion can be found in a glass of water as I explained and proved some friends few years ago. It is all about you as a photographer ( for once ! ) if you dare joining the unknown, you may then find some success. You eye and your brain are the most important assets. Use them fully !
You cannot aim to do reportage just for a niche, to do reportage involves spreading, sharing and discussion. It is a mirror of who we are. If you want to capture an emotion you need to understand what your subject is going through. By harmony you will try to communicate the best you can from a situation. A photo reporter is the medium between the real and the audience, and he/she only uses his/her personal talent to express what happened. It is almost nothing, but it is everything !

NEW ONLINE MAGAZINE 2EXPOSURES

Dear all,
you can find more now about 2exposures agency following www.2exposures.blogspot.com
This new blog is dedicated to recent customers and I will display 10 images of each wedding
starting from 2009 season. I will focus mainly on the couple, trying to avoid as much as possible guests and families for security or right reasons. I will mention at the bottom the different venues used. I will also indicate if it has been shot with film or digital. I hope you will enjoy this new magazine which is more about images than words.

WHY MEETING THE PHOTOGRAPHER IS SO IMPORTANT

I haven't been writing for a couple of weeks, but it has been a very busy time, and it was important to focus on the three weddings in a row I just done rather than doing other things like what I am doing now. The live part is more important to me than the seating in front of the computer. I also used this opportunity to chat with suppliers to understand how the new technologies do affect, improve, change their relationship to the customer and also how they are approached. I first met a Dj on Saturday, a videographer on Sunday, an other one and a wedding planner on Monday. It obviously seems that the digital medium is taking over all across the spectrum whether you advertise or show your work. But there is one thing I have problem with is the new way people choose their photographer. By the way, for once I accepted to show my face up in action. I thought it was the right time to do it related to today's article.

So, as I am being told from wedding planner Siobhan Craven-Robins, that she always recommends her clients to meet up with the photographer prior to the wedding day, but never really does it with the video. Why is that ? To me, it does make a lot of sense, but not necessarily to you. I think the photographer has a lot to capture and transcend with one shot at the time. It is important to get into the mood of the day by liaising beforehand with your subject. This approach is true is most photographic assignments across its widest spectrum. Ask photojournalists how they approach their subject and they will always insist it is vital to spend some time knowing your subject before even thinking of taking your camera out of your bag. That is the same with weddings, people are still very camera aware whereas video is seems as something less judgmental. The moving image blurs the information with the flow of images whereas photography freezes the moment and leaves the viewer free to dissect the composition. It is therefore more critical.
The latest trend is to look for a photographer on the internet - it all makes sense so far. You look at the materials, the style, the versatility, the creativity, the reliability. You also look at details, meaning how the freelance or agency present themselves. A website is something personal, and you can already discern who you are dealing with. You fill up the enquiry form or email directly to obtain a price list or estimate. So far, this approach is the most common one I would say or suggest.
If I get I referral I would understand why people do not need to meet up as they got comments from former clients or friends, and they may also have seen the final product like presentation, prints, albums and simply materials. Still, personally, I would always suggest my clients to meet up beforehand in order to symphatise and feel like I know who I am dealing with. We are humans after all and need to feel comfortable for such occasions. Do people meeting on the internet go out together straight after few nice chats on the web ? That would be odd I guess.

The recent concern I have comes with the latest trend to booking someone that you have never met. How can you trust the person will turn up on the day ? What insurance do you get he/she will do a good job ? What is fake and what is reality on the net ? What is a decent price to pay to feel you are dealing with a real professional ? Does the website really represent what the freelance is able to deliver ?......I could write down so many questions and I could tell so many stories.
I am quite concerned. The person in charge of capturing your special should be special, as simple as that. Photographs will be the only real memories left. If there is someone to choose with special attention it has to be the photographer. And I am going to explain the best way I can why.


First, let me tell you that what you see on the internet is to be taken with precaution. Nowadays most "photographers" are graphic designers and they know very well their weakness and learn fast from the digital technologies in order to polish or exagerate their presentation. That also mean that you can fully fake it all thanks to Photoshop. Well, I am not so sure that the software is really helping in improving the quality in general. It helps in fact to correct poor or mediocre materials to take them to a better standard, but still usually the pictures don't have any life, no interest ( people from a film background will be the best to use the digital medium as they don't rely or overuse it) Besides you can do a wedding photographic website without owning or knowing anything about photography. You can buy materials from picture libraries, or you can also steal them directly from your deskstop. Who knows, who can really control ? No one, except by chance if you come across your own pictures. You can also ask someone else who has little knowledge to sell you materials. You can also pretend being a freelance and borrowing materials from people who will be working on your behalf, etc... There are so many ways that you wouldn't believe it !
Well, from a website point of view, if you pay attention to the ensemble of the work and from the philosophy you can make yourself an idea if you are dealing with someone respectful and professional. You email that person, ask details, price list, etc... it is a dialogue to engage, and it is your responsibility as a customer. So many people nowadays go for cheap digital photography and don't expect to spend more than £500. Let me tell you than you can't make a living for such a low fee unless you (excuse my french) rip off people.
Important detail: if it looks cheap at first, it will cost you much more later, and you will cry your eyes out. You will definitely pay the price for cheap ! Whether with the extras afterward or with the poor quality of the materials. DO NOT TRUST OFFERS AND WEBSITES. TO BE A WEDDING PHOTOGRAPHER IS A REAL JOB THAT FEW ONLY CAN HANDLE WITH STYLE, RIGOUR AND CONSISTENCY. DON'T TAKE IT LIGHTLY, MEET THE PHOTOGRAPHER.


So, why should you meet your wedding photographer before hiring one ?

As I said previously, it is first a human instinct and contact. You may like the work but you do not get on with the freelance. You have the feeling that he/she will be very bossy on the day. You do not like the behaviour. Throughout the discussion you may also find out that the person in front off you is not the one who is going to perform on the day. Sometimes representatives turn up on behalf of someone else and the clients will only meet the real photographer on the wedding day. Ask as many questions about his/her background, what do they know about photography, old and new technologies. Talk about the wedding proposal, the organization, the running order, ask how the freelance usually coordinates or devises the formal requests and also the creative ones, well...you have to trust and sense that the freelance is fully on top of his game, and that he/she is also a good listener, ready to improvise on the day. Because this is what wedding reportage is about, going with the flow and get the best of it. It is exhausting to be honest, and that is why I love it ! In the end, you as a couple are the stars of the day, not the photographer.

Ask for albums and as many materials as possible in big format. No dvds only, prints are the real thing. See how good they look A4 format. Ask about the price list and all the extra expenses which are never mentioned at first. Ask the freelance what exactly you get for which price - that is crucial !
You have to feel that the person you are about to choose is the right one. You are fully confident that you are choosing him/her for the good reasons, which should be in the end reliability and quality. If you do not really care about photography I would suggests not even to bother with an official photographer as most wedding nowadays are covered by 50% of guests with their mobile phones or digital compacts. Do not be surprised if most materials are lost by your one year anniversary !

So, please DO MEET YOUR WEDDING PHOTOGRAPHER BEFOREHAND. NOT DOING IT ENCOURAGES BAD PEOPLE DOING BAD PHOTOGRAPHY AND THEREFORE KILLS THE PROFESSION. Because in the end it's you as a couple who will pay the price.

Any comment or support from any public are welcomed.