HARD DRIVE CRASH

This was meant to happen. I was few weeks away from buying a second external hard drive. I was waiting to reach the 50% of its storage in order to purchase a new 500GB as a back up. I haven't had this LaCie d2 Quadra examined yet. It could be the cable transfer supply only, but from the few reviews I read online I doubt it. The engine doesn't seem to kick in. It is stuck. It doesn't appear on my screen either. I haven't moved this hard drive from its original place on my desk. I haven't done anything damaging to it. It has just been sitting for 2 years by my computer. No radiators nearby, well...I don't get it. As most specialists would say forget about it and get on with life.

So I would like to inform all my clients that fortunately I backed-up every single wedding on a separate medium ( DVD) to avoid this sort of major trouble. If copies are needed they are still available. I did the same with all my personal works. Unfortunately, they are few folders which are destined to books or layouts that might have disappeared. I still have the originals on a digital format, but it is just time consuming. It is unbelievable how digital makes life so complicated !

All this takes me back to what I have been warning people in my book and on this blog.
DIGITAL IS CONVENIENT BUT IT IS NOT RELIABLE AND IT DOESN'T LAST IN TIME,
it is simply not designed for that purpose.

29th January - News

I went to Micro Anvika where I bought this Hard Drive from. Their customer service has been very kind and spotted the problem in seconds. The power supply was faulty. Which makes sense. The technician showed me that once plugged in the power supply emitted a strange sound. He tried with a spare one and it worked. The sound was more stable and the drive worked. Hourrah !!! My hard drive is back to life and all my folders are safe. In the mean time I bought a small portable USB connection Petit LaCie 320 GB to copy all my my folders once back home. The USB port is obviously slower than my previous Firewire but I think it is wiser to diversify the connection mode. And this new one is easy to carry even though it will be full very soon already.
The trouble with my original 500GB is that it comes with a power supply, which is logical, but there is no switch on it. It is therefore always switched on even if the hard drive is not. And it has been this way for 2 years. No surprise then that it collapsed. The best way from now on is to unplug it after every single use to avoid this kind of trouble.
I have been reading different blogs about possible crashes and if I follow the diagnostics described I should have then gone to a specialist who would have charged me a lot of money to retrieve my datas. The wisest procedure is to try as many alternatives with different computers and to check every single lead. Even if the hard drive is stock and doesn't seem to start, it doesn't mean that it is faulty.
But in any case as I had backed up almost everything on DVDs I was not going mental and tried to use my common sense like if I had to deal with a car engine. There are many online shop where you can get very good deals and nowadays with capacities are really affordable. But I wonder what happens if you get this kind of technical problem. Will they take it back ? Who does the warranty apply to ? The supplier or the maker ? How long does it take for being fixed ? etc...
In the end I was quite glad I purchased my 500GB from a shop with a customer service. It saved me a lot of time, money and stress. In total 3 days and I didn't pay anything. Quite good I think !

PHOTOGRAPHY IN BIG TROUBLES

From Oeil Public's Newsletter

OEIL PUBLIC, END OF A STORY

Dear friends, Oeil Public photographers have made a decision to end the 15 years old agency's story. We thank you all for your faithful support. Oeil Public was a team of independant photographers, united through their involvment. And a tool adapting to its members' practices to fight for their independance, their points of view, their freedom. From its very first stories, Oeil Public photographers asserted their involvment to understand the world after a strong editorial line. They investigated for the press, giving priority to an in-depth approach over simple illustration. Its photographers have permanently explored the ways of story-telling in documentary journalism. They such made Oeil Public a research lab and a united undertaking. The press economic crisis has now made production of photo-stories impossible. Photojournalism practices have to be thought hard today. Oeil Public is no longer fitted. Oeil Public closes eyes today, to allow its members to keep theirs wide open. See you soon... Oeil Public

Very sad story for such a great collective agency. This is what has been happening for the last 10 years gradually and more dramatically in the last 5 years. I managed to meet them in Paris a year ago at their headquarters. They liked my work but they were already very concerned. One photographer member I met was very honest and told me that their future was very bleak. More or less 10 years ago the Press stopped commissioning freelancers. The new policy was to bring stories on a silver plate at your own expenses. In the last few years they stopped paying photographers or would pay very little. I had the same experience with Editing agency as they went bankrupt 5 years ago. That what happens to Opale agency too, with whom I am apparently still part of despite not having any order for the last 3 years. Even the most prestigious Magnum is suffering. Most agencies disappear one after the other. Most people don't know about those things.

We have to understand this crisis from different angles. The reasons are multiple but they all converge towards the same goal and the effects are visible in various ways.

Main reason is Digital. In the past photographers would use films. Meaning they had to learn a great deal about all the aspects of Photography. The bulk of knowledge involved meant you had to be really passionate about it and spend not only a lot of time but also a lot of your money. You had therefore a natural selection which would gratify the most persistent and talented. Because of the time, knowledge and assets provided the common people could identify someone's work as valuable. Because of digital it has all disappeared within few years.
People do not regard Photography as a skill because nowadays everybody can take a picture. You don't even need a camera. A mobile phone is enough apparently. People accumulate materials on their desktop but do not really judge or compare, they only consume. I am really astounded when I hear people's comments on their own pictures taken from their mobile. This phenomenon has been experienced every single time I do a wedding in the last couple of years. I even get pushed away by guests as they see themselves more photographers than me. The quality is going down and the expectations follow accordingly.

We have reached that bottom where Photography doesn't really mean anything anymore to the masses. Before, prints, presentation, skills were a sign of experience and people would spend more time reading the images. Consequently they would interact and understand more the value that represents a picture. To be honest a photograph ( print) has never cost much unless you are using traditional methods. But nowadays prints seem not to be needed too.
What really makes a photograph valuable is not the product really but what is behind. The photographer's skills, the emotion captured, the story telling, the honesty and quantity make a photographic assignment valuable. A photograph is to generate emotion and is produced to last for future generations. We all want to understand and see where we are from. Our parents' wedding, the face of an unknown uncle, memories of grand-parents. That is what photography is about. Well today it looks like it is not relevant anymore. We produce, accumulate, consume masses of datas which will disappear quickly. Our generation will be erased from collective memory.

Slow growing expected recession is an other reason for this drama. It works alongside digital. People overspent or spent with no assets. 5 years ago people would find an average price tag of £1500 for a quality photographer. Today I hear people expecting me to cover a wedding for £500. How can you financially do a wedding for so little ? It is simply impossible.
Photography is a very vast field where specialization is often required. I trained a lot of assistants in the last 10 years. I also proposed a lot of others to sponsor them. And most of them would refuse because doing weddings "isn't cool". I said to myself there is not point in trying to convince them that they have to start somewhere. Most networks are almost impossible to get in as the economies slowly shrank. Most of them do something completely different now or are just surviving. The wedding photography network was still professional then.
Because of the recession most areas have been shut down. Therefore one of the few left is wedding photography. So all the young photographers jump on the opportunity without any experience, skills, understanding and they charge very low. What is then the consequence ? Obviously very poor results. Couples get upset and see all wedding photographers as amateurs who do not deserved to be assigned. We have reached this bottom where people follow the Press' policy - we do not need photographers anymore !

I regularly check websites from various sources and lately I came across a directory of American newspapers where each would present a selection of the best pictures of 2009. Bare in mind that this selection is done by the picture editor. I was appalled by most of them. How can you then blame people for not being able to judge quality if papers have lost it !

Photography is the most democratic media and especially today, but to produce quality and understanding requires professional skills. This evidence is found everywhere, in all trades and will remain this way. This one human fundamental.
Do we want quality or do we aspire to vast amounts of nothingness ? This is the delicate dilemna we did put ourselves in. It's up to you, it's up to us to decide which way we are going.

CHURCH PHOTOGRAPHY

Church Photography is the most important part of the day for many reasons. This is the core of the day in spite of our modern societies being less religious and less keen on documenting this formality.They are a lot of creative shots available online but the truth is that most of the time you have to stick to a rigorous agenda if you want to capture all the elements that make a church ceremony complete. The diptychs shown are a compilation of old weddings assembled in a sort of chronology. This presentation does not cover fully, but it gives you a certain narrative of the exercise.


1/ BEING ORGANIZED / POLICIES

Most churches of England run a wedding ceremony for 45 minutes. Catholic churches usually run for 1 hour, and Protestant churches somewhere in between the two. There is no national or international rules regarding the wedding photographer. It is up to the vicar in charge.They all have their own policy. You should ask the couple to ask him about the policy. Keep in mind that most vicars will make it sound like very easy and open for the photographer. But in fact what they tell the couple is often different to what actually is permitted. So ask the couple to be informed themselves on that matter and have yourself a word with the vicar before the ceremony. Some of them want you to come to the rehearsal the day before the event. If you are local to the wedding why not, otherwise you have to gain experience and play it by ear very on the day. But that's what reportage once again is about, it's about being reading in all possible circumstances. After years of practice I do not feel like going to the rehearsal as I know exactly what is going to happen. Most churches are the same and I know the procedure. Ask the couple to give you an order of service or pick up one before the bride arrives.
It is very important to follow the rules of the place as some priests are very fussy. Trying to be sneaky in order to get better shots can be very damaging to the general atmosphere of the event. Some priests are very tight and can actually make a loud complaint while directing the ceremony. Most of them have had very unpleasant experiences with non respectful or amateur photographers and they will warn you from the start. You are usually not their friends and it is up to you to make them believe otherwise but being discreet and available.


2/ FIND YOUR MARKS

Depending on the contract that bounds you to the couple you might just turn up with or just before the bride, or you might be asked to go straight to the church where the groom, best man, ushers and guests are arriving. In both case I always try to visit the church quite in advance in order to understand the layout inside and outside. Some churches present a very peculiar design where entrance and exit are not the same. You also have to check the lights (natural and artificial). You have to check if there is a balcony where you can take a general shot from above, trying not to be in the way of the organist if he/she performs up there. Find the table where will be signed the registrar. Understand if there are side aisles to walk up and down easily. In a lot of churches you will be asked to stay at the back behind the last row for most of the service. You need therefore to have a long lens. If you work with film I would recommend strongly a tripod, if not, make sure your digital camera takes quality pictures a high ISO. The general policy with photography is NOT to use the flash during the service especially in UK. It can be used though as the bride walks in, at the signing and when the couple walks out. I personally like this policy which makes me unobtrusive. It is up to you to find the right way to cover all the angles and emotions despite the limited access to your subjects.


3/ GET INTO THE MOOD

The groom, best man and ushers are usually the first ones to turn up. That is their duty to check that all the flowers arrangements are displayed as planned. They have to put some signs to prevent the guests to sit on the front rows accredited to the close families. The ushers have to distribute the orders of service to the guests now arriving and leading them to the right side they should sit on, etc...The groom gets nervous and the best man has to calm him down. This part is quite interesting for me as there is a real sense of happiness and building tension combined. Try to get as many details of the flowers, orders of service, the church as a building to have a sense of environment and weather conditions, guests arriving, outfits, buttonholes, people chatting, ushers performing, groom tensing up (bride being late),...Make sure that you spoke to the vicar. Most importantly you have to be available anytime if the bride is to arrive as you have to capture her getting out of the car with her father, or sibling, and bridesmaids. The before of the ceremony is already a story on its own.


4 / THE CEREMONY STARTS

The brides arrives. If you work alongside a video person make sure you met introduce yourself to this person as you will have to work together without interfering. That bit is especially important as you will have to walk backwards as the bride walks in and if the priest permits you to do so. You have to be aware that you will be either in the field of the video, or will have to share the space while walking backwards. The photograph required then is very formal. Use the flash, make sure you have a couple of good shots of the bride with her father, try not to be too arty. This photograph is mostly important to the bride's parents and must remain quite traditional. Then the father gives away his daughter to the groom and the ceremony starts. No more flash ! Go back to your main base as quickly as possible and get ready. You suddenly realise than taking photographs in a church is not as easy or laid back as it seemed. They are a lot of tiny events happening and you have to find your way to tell a story with very limited access, with a solid crowd and a couple quite afar and tense or formal for most of it. Well I would advise you to read books on classical painter such as David.


5 / FIRST MOVES

First I focus on setting the scene. I stay at the back and get different shots ( horizontal, vertical, different lenses) in order to get the general feeling. Then you can move on the side aisles if permitted to understand what the space is like when filled with guests. Do not forget to remain extra quiet. But you also have to make most of it as the time spent in the church is quite short in fact. So try to get as many materials as possible from as many angles as possible before they start exchanging their vows. As they stand together, the ceremony usually start with a song and therefore it is the best time to photograph without being noticed as the voices will cover your movements. Then, they will have a first reading. If possible get a few shots in large and close ups. Then the vicar might have a word from the Bible applied to the couple. Some vicars are very close to the couple or one side of the family. I have done many weddings where a sibling was directing the service or where the priest was very close to the family especially in rural communities. In many occasions the vicar will be present either at the drink reception or even will stay for the wedding breakfast.


6 / FIRST MIDDLE PART

He/she will then proceed to the vows and the exchange of rings. At this stage you need to be extra focused and must be riveted to your eyepiece as the changes of expression will be tiny. Hopefully you might have the couple facing each other, and you can therefore see their profiles. Sometimes they are not and they keep facing the priest. you have then to find a way to capture that bit without being intrusive. Here again, that is something you should know before being in trouble. Sometimes in such situations an extra corridor alongside the nave in the shade if available for you and the video person. They hold each other hands and pronounce their vows one after the other. Then comes the moment when they exchange rings. The best man or a pageboy brings the rings either on a cushion or simply taking them out from their jacket. That bit can only be focused on the people as the ring will be almost invisible in your shot. They kneel and get protection from God. They might straight after that kiss - be ready ! Or they might not, but be ready it will be quick.


7 / SECOND MIDDLE PART

Now there is less pressure and the couple is more relax. They might be asked to walk more into the church to a further altar. You then need a very long lens depending on the size of the church. They might get their protection from then. Or the vicar might orate the prayers. Some guests might be invited to orate the prayers to, followed by the congregation. Every church is different. The best is to obtain an order of service. At this stage make sure you are ready for the signing and have your flashgun set up. The priest will announce that bit and the close families and sometimes the bridal party is invited to join. If a second hymn is being sang before the signing, use that time to pack your tripod back into a bag while they sing. Here again your movements will be covered by the hymn.


8 / SIGNING

Make sure you know beforehand where you are going. Also think how you have to get there, meaning if the signing takes place in a separate tiny room you might have to be there right after the priest and couple and before the families. It's all about maximizing your space and timing. The first bit of signing is usually quite formal and many priests will ask you not to photograph them signing for legal reasons. Use that time to photograph the other people in the room or space and the general ambiance. Sometimes you are given the opportunity to take pictures as they sign the actual document- every church is different. Get images of the witnesses too. Then the couple will leave the table and get an embrace with their parents - try to get those pictures ! At the end of the signing the priest will have to sign too all the documents and will give either the groom or the bride the legal document. Many priests want you to capture this formal act. Find your own way to make it look interesting.


9 / READY FOR DEPARTURE

While we were busy signing some kind of entertainment has been performed for the congregation. You will be the first one to leave the signing bit to be ready for the exit of the newly weds. Make sure your equipment is packed beforehand and that your flash is adjusted. The ushers should have the duty to open the doors of the church( but they never do). The families rejoin their seats. The vicar announces the couple, and there they stand facing all of us. The organ starts its finale and they walk towards you. Here again you must walk backwards. Try to get 2/3 formal shots with the couple right in the middle, then use your personal flair. It is really important to have them smiling, interacting with guest or with each other. As they exit the church most couple will stand and kiss in a very formal way. Take a couple of snaps. It is very formal. They might not be the most exciting shots but they are vital.


10 / FINAL NOTE

To take photograph in a church, or temple, or other is about capturing correctly the standards.
If you feel that you are doing well you can then use few minutes to be a bit more artistic. But the creative mustn't take over the formal at this stage. In the end being a wedding photographer is about capturing the wedding ceremony, it is not about the getting ready or kids pictures. To take pictures in any kind of religious places is like joggling with fire. You never really know what's around the corner. So get as many of the standards as you can in a perfect way, and then have fun. Also try to see the church bit as a devised performance, it's like theater really.
Important last note: believe me or not but some thieves operate in churches during ceremonies and especially in London. Always keep an eye on your belongings. I had a camera and flash stolen few years ago in Sloane square area and fortunately there were no shots taken on that roll. I noticed a month later a couple of strange individuals ready to act again in Fleet Street. If materials or equipments are lost or stolen, this is your responsibility. To cover those misfortunes you HAVE to have an insurance.

Do not hesitate to contact me if you have questions.

Make your own stories / book

dialogue 1

Make your own stories

By david boulogne

Book Preview

This is not wedding photography but that might interest you.
This my first personal book and there are many more to come.