Category: Shooting Speed
Tips on How to Choose the Right Professional Wedding Photographer
Getting married is something that people do (or at least hope to do) only once in their lives. No room for mistakes because there’s no Take Two. If you’re gearing up towards this monumental day, you’re probably shopping around for someone who’ll capture moments of the actual day (and maybe some before shots).
You want to be able to go back to that day years later and still feel like you’re right there in the church saying “I do” or sharing a heartwarmingly awkward dance with your dad.
With the increasing affordability of professional cameras and the prevalence of “how to” tutorials online, more and more people are calling themselves “photographers”. Here’s how to distinguish real ones from pretenders, and how to get one that’ll give you wedding photos you’ll cherish forever.
DON’T: Automatically go for the cheapest
Like how a $2,000 designer bag is perceived to be of better quality than a $20 one, photographers are pretty much the same. Professionals price according to their skill and service quality, so you should stay wary of ones who offer dirt-cheap prices. Of course, like any other vendor, there are times when elite photographers give discounts, so do your research well to know if the low price is a result of a sale or not.
DON’T: Be swayed by photography lingo and equipment
Some shutterbugs will try to delude you into thinking they’re highly skilled by bombarding you with camera specs (“35mm, macro, mirrorless, 120fps”) or specialized photography equipment (“stabilizer, crane, rail, filter”) or even fancy photography terms (“tracking, panning, underexpose, desaturate, long exposure”).
Unless you’re an expert yourself, you don’t really need to know these things. All you’re after are gorgeous photos in the style that you want. So be careful of those who spout these phrases without showing solid proof of their works.
DON’T: Assume that business is a sign of great work
One of the signs that people equate with quality is the demand for the photographer. Of course, there’s a reason that he or she is sought after – a strong portfolio and good service feedback would be some of them. However, with that much work on the photographer’s plate, would he or she have enough time for you?
It’s a common practice for photo groups that are scaling up to take in more work to get their name out there, and just hire associates to shoot if they personally can’t. But in that case, you can’t be sure if the hired replacement does work as good as the original, or if it’s just a random hobbyist available for that day. Ask about this during the interview if you really want to hire that famous photographer.
DON’T: Think that any photographer will do
Just because someone can operate a camera doesn’t mean he’s a photographer. It also follows that just because someone creates marvelous photos of mountains and seas doesn’t mean he knows how to photograph people well. You’re having a wedding, not a children’s party nor a football game. So hire a wedding photographer and not any other sort.
DO: Figure out what you need and want from them
First, you have to know what you need. Do you want a short prenup or engagement shoot? Where are you holding the ceremony and reception? Will it be in the morning or at night or will it span the whole day? What look and feel do you want the photos to exude?
A large part of photography is playing with lighting, so it’s important to know if your venue has enough of it or not. There are photographers who produce great artwork in bright daylight, but struggle in low light.
DO: Have a face-to-face with photographers
In order to determine the point above, as well as assess the photographer’s other strengths and weaknesses, set up a personal interview, or at least a video call. It’s better to connect while seeing each other and not just a bunch of letters or voices.
Take this chance to also get a feel of the photographer’s personality and character. He or she will be with you each step of the way on your wedding day, so it’s important to make sure you’re comfortable with him or her. Some photographers are friendly and outgoing while others simply blend with the guests.
Some do their work almost mechanically or are a bit more bossy when they ask you to pose. Some don’t ask you to pose at all. You need to know which ones you’re comfortable with, and which ones you’d rather not deal with on that high-pressure day.
DO: Ask to see a full sample work
Online portfolios and sample albums all contain their best works, but that could only be a dozen or less good pictures out of the hundreds they take that day. Get a better idea of their skill level by asking to see even reception photos because these are usually the ones that turn out mundane. You’ll at least know if they can handle low light or not.
This is also the opportunity to gauge their overall style. Some like bright happy photos; others like shaded, more dramatic shots. Know how you want your wedding to be told through photos, and pick the photographer that best matches your idea.
DO: Check package inclusions well
Some wedding packages include pre-wedding shoots and a back-up shooter. Some do not give you access to high resolution digital files. Some require you to have photos copied from the photographer themselves, which will cost you extra in the future. So instead of just looking at the price, determine if the number is worth what you’re getting instead.
When the Confetti Have Settled
At the end of the day, when all the champagne are gone and your wedding dress or suit is safely stored in the box, all you have left of your wedding day are the photos and videos of it. So make sure to pick a photographer that you match well with, both in personality and style. That’s the most basic thing to know that that’s the right photographer for you.…
Opening Of The Diaphragm
As we have already explained, the aperture of the diaphragm refers to how much the diaphragm is opened, a piece of the lens composed of several fins that open and close to let light pass. This is reflected on your camera’s screen as the F-number, an indicator that says F / XX. But beware, contrary to what intuition can tell you, the smaller the number, the higher the opening. That is, F / 1,2 is a huge opening, while F / 22 is a tiny one.
We must bear in mind that the opening not only affects the light that arrives at our photo but also at a depth of field, subject to which we dedicate a whole post. The higher the aperture, the less the depth of field will be (the space that will appear focused in the photograph). Thus, with an f / 2.8, you will have a thickness of just one meter; with an f / 22 you can reach up to 5 meters. It also affects the sharpness of the image. Each objective has a “sweetspot ” or sweet spot, where the image is sharper. Usually, this point is not in any of the openings ends but in one of the intermediate steps.
If the aperture refers to space we leave light to reach the objective; the firing rate obviously relates to time. The slower the shot, the lighter it will enter, but it can also be photos moved, and at a certain speed it is necessary to use a tripod. But beware; slow pace makes the images are blurry is not necessarily bad, as it can help us achieve some tremendously magical effects.
Light effect in motion. You can see the flash of light due to the cars in action. To achieve this effect, a slow tripping speed (prolonged exposure) and a tripod on a stable surface are necessary.
The importance of depth of field in product photography
We continue with the review we are giving to the product photography in these last entries. We have talked about many very different aspects, from the equipment we may need to lighting tricks, from photography with mobile phones to the different types of objectives we may need for product photography. But I had the feeling that I was leaving out something significant, and that’s what I want to talk about today: the depth of field in the product photography.
If you have ever seen one of those striking photos in which an object stands out against the background because it is out of focus and you have tried to imitate it, but you do not know how you need to learn more about the depth of field. The same thing happens to you if you want to photograph two objects that are at a certain distance from each other and you do not manage to get the two correctly focused.…