Gig Bag, Updated!

I'm thrilled to announce that I'll be adding at least one of the new Nikon D200 bodies to my gear for 2006 weddings! I've got a new wide-angle zoom lens as well, and am eyeballing a couple macro lenses for good measure.

I finally sold the 600mm lens. Let's face it, I haven't used that monster lens in any professional capacity for years, and I gave a photographer out in Louisiana a sweet deal on it. He's happy, I'm happy, and I get to buy "toys" that I'll use more frequently.

When I love what I do, the tools of my trade are always toys. Of course, I never drag them out when I'm at non-work events, much to the dismay of my friends. Oh well, the cobbler's kids wear no shoes, as they say...

All Day Coverage vs. A La Carte

I think I might ditch--or, at the least, further restrict--my hourly-rate packages. As of now, they're only available for weekdays and off-peak weekends, or to brides who book me last minute when (and if) I have a mid-summer Saturday or Sunday open up.

It's a tough call, because a huge segment of the market is convinced that they're saving a bundle by hiring their photographer on an hourly rate. I've found that this isn't typically the case.

My 2005 Streamline package begins (this year) at $750.00, and includes 3 hours' photography, off-the-clock setup, online previews and ordering, screen-resolution previews on CD and, in most cases, up to 60 miles of travel. Additional hours are available at $175.

My full-coverage Signature packages include all the above, plus a 48-page album, print previews and greater latitude in travel allowances. Clients are guaranteed 8 hours' photography plus initial setup, but if the party's still rocking, I'll stick around for another hour or two before I even need to consider charging extra.

Here's what I've found happens when a client books a Streamline package for full-day weddings:

• Clients book me, and then worry that they have to rush along their day according to MY timeframe to avoid having to pay for additional hours.
  

• Clients realize that when it's time for me to pack up my gear, the party's just starting. And if they decide to keep me longer, the flow of the day is interrupted to sign extensions. If a client wants to haggle my hourly rates, it's uncomfortable for everyone. I HATE doing business on the wedding day, and even more, I hate to leave a party when it's just getting started.

• I love wedding photography because I like to shoot the entire story of the day. Unless it's a short wedding and I can cover it all in the limited time, I feel everybody's being cheated.

• The clients begin to focus on the value of time, and things get rushed. It's a quantity versus quality thing.

• When I work any job, on some level I'm selling myself to everybody who is there. Of course, I want them to buy my unlimited photography package. So when I have to bail two hours into the reception (after comping them an extra 45 minutes) I'm leaving an impression among the other guests that is contrary to my typical approach: Shoot until my feet fall off or the reception hall boots the party.

• If a client only reserves three to five hours, but decides at the last minute to keep me on until the wee hours of the morning, I hate to say "no" when I've made other plans for the evening.

• Most folks who inquire about the minimum package are the type who want most of that time spent on group formals. Group formals aren't my specialty--while I always do them (unless specifically asked not to) they detract from my ability to capture things as they happen.

• Clients are reluctant to budget for preparation shots or creative bridal portraits.
  

If a client kicks off her photographer search with the mindset that she'll be saving money by paying for services and products as she needs them, she might be surprised to discover that in the end, she's going to want all the features included in my full-coverage package anyway. She won't have saved much money--other than, perhaps, the equivalent of a couple hours' shooting time--and will have spent her day worrying about whether or not she should tell the DJ to get the lead out and race through the program. I do throw in extras with the Signature package that aren't available with a la carte purchases, and because my Streamline packages are priced with a small profit margin, I'm less able to be flexible with bonus time or products. I'm a huge softie with most of my clients, but this is a business--and every hour I spend translates into a day of postproduction. If I overextend myself, I risk cutting into the time I'd spend working on my other clients' projects...and yardwork. And let me tell you, the weeds are getting pretty tall around here.

I price all my packages to cover the time I spend on-site, in preparation and in postproduction. I offer the Signature packages primarily to cater to the growing number of couples who have small, intimate ceremonies and dinner parties rather than full-day events.

In summary, hourly packages are a great deal for clients who are planning semi-formal or informal events with small (fewer than 50) guest lists, who are limiting their day to a brief ceremony and short reception at the same site, or who are simply renewing their vows. I've attended several weddings this year--as both a guest and as a photographer--where all-day packages would have been overkill. And more and more couples are planning these smaller events on weekdays and Fridays, when photographers are more willing to be flexible with their rates.

We'll see what happens. I think this is one of those situations when reader feedback might help me out.

Contact me and let me know!

What is "Wedding Photojournalism?"

(Updated 8.10.05) There has been a lot of debate over the proper use of the term "wedding photojournalism." The term became popular about a decade ago, when brides began to show a preference for photographers whose style broke from the "traditional" posed, soft-focus portrait-laden approach we identify with the '70s and '80s.

The Wedding Photojournalist Association (WPJA) is a highly-regarded organization whose member portfolios are weighted toward the skillfully-anticipated candid rather the posed or otherwise directed portraits and action shots. Many WPJA members are working news photographers, often with decades of experience (and instinct-building opportunities) under their belts. This organization is an excellent resource for couples who want their images to convey their event as it really happened, from the perspective of somebody on the outside looking in. A client seeking a true wedding photojournalist knows that requesting more than a very few posed "formal" portraits is keeping her photographer from doing what she does best: capturing the natural progress of the day. Nor is it the true photojournalist's mission to make the bride and her guests look glamourous with the lens and with Photoshop, or to coax the entire wedding party into a tree for that exceptional shot. Your day should be, by default, exceptional--it's your wedding day--you don't have to climb trees to make it better.

On the far end of the spectrum, you'll find photographers whose specialty is elaborately-lit, grandly arranged portraits. While any wedding photographer may bring remote or studio lighting, the traditional wedding photographer typically outgears the rest of the pack. I've worked with talented pros from this genre who often bring more assistants than the bride has attendants. While many of the "modern traditional" photographers have backed off the soft-focus, you'll still find plenty of special effects in your final album--which, according to tradition, is likely to be the type containing high-quality retouched photographic prints mounted in window mats, and bound in luxurious leather covers.

The traditional photographer--or even your advertised "wedding photojournalist" may offer a second "candid" photographer, but be aware that this second shooter may simply be photographing your guests reacting to the camera.

Somewhere in the middle of the spectrum, you'll find the thousands of photographers who borrow a little from each school--including me. (I'd be thrilled to shoot a bride in a tree, but I'm not going to create Rembrant-style portrait sets in the reception hall) Ultimately, it's up to you to ask the right questions to find out what style your chosen photographer adopts.

I created The Wedding Photojournalistto educate brides and grooms about the business of wedding photography so they have a better understanding of pricing, album selection, photography styles and making the most of their photographer's talents. And oh, yeah...to give a little more insight into what life is like this side of the lens.

What's in my "gig bag?"

One of the most intelligent questions I get from potential clients, event guests and fellow shutterbugs (pro or amateur) is, "What kind of photo gear do you take to a wedding?"

My answer is, nothing. That's what my assistant is for.

Okay, that's just mean. But I pack a Subaru full of everything I might possibly need that day, and since I need to move quickly and be prepared for a variety of lighting situations, my assistant is invaluable. He's also very, very strong, and he needs to be--all this equipment weighs close to two hundred pounds.

I'm no slouch, either; at any given time I'll have on my person about 20lbs of equipment, slung over shoulders or attached to a photo waistbelt. It's a workout during those extra-long, 12-hour days that find me climbing on and under tables, crawling after toddlers, climbing trees and chasing limousines or carriages.

Here's a breakdown of my general packing list. All lenses, by the way, are wide-aperture and autofocus.

(1+) Nikon D70
Nikon D100
Nikon D2x (on occasion, but it is overkill)
4+ gigabytes of Compact Flash/Microdrives
Fujitsu Lifebook with card readers, CD burner
Nikon 14mm wide angle
Nikon 20mm wide angle
Nikon 24mm wide angle
Nikon 18-70 zoom
Nikon 180 telephoto
Nikon 80-200 telephoto zoom
Nikon 600mm f4 (in case a football game breaks out during the ceremony...no really, this one stays at home, but it is for sale!)
(1+) SB-800 Digital Strobe
(1+) SB-25 Old-School Strobe (for remote lighting applications)
(1-4) Quantum Flash Head (for remote lighting applications)
(1-4) Quantum Turbo (or--coming soon! My new Black Box) portable battery packs
(2) Travelite by Bowens 750w/s Monolights (for formal group portraits, remote lighting/camera applications)
(1) Pocket Wizard Transmitter (for wireless synchronization of remote strobes)
(1-4) Pocket Wizard Receivers
(3+) Infrared strobe slaves
(2) Stroboframes (though I tend not to use them)
(3) Miscellaneous aftermarket speedlight modifiers
(2+) Studio Umbrellas
(1) Softbox (rarely use for weddings anymore)
(2+) Collapsible light modifiers
(3-6) Light Stands
(1+) Bogen/Manfrotto or Gitzo (carbon fiber) tripods with ball heads, for formals only
(1) Sekonic light meter, which, due to camera histograms, I rarely use
(1) Viper's nest of synch cords, flash cords, Quantum battery cords
(2) Singh-Ray ND Grad Gels
(2+) FRS Radios (and no, you won't hear them! I use them for setup, or for communicating with second photographers or assistants if we're at a large venue or for specific logistical planning)
Tons of AA batteries, battery packs and chargers
Extension cords
(2+) 15-lb Sandbags full of #6 shot for anchoring light stands, (or reloading?)
Misc. lens cleaning/gear repair supplies and tools
Spare contact lenses or eyeglasses
Water
Energy Bars
Folding handtruck
Clamps, Doo-Dads and Gaffer Tape
Breath mints
Micro Maglight or Headlamp
Cell Phone
Leatherman Wave (AWOL)
Whatever the bride and groom ask me to stash in my bag: Cigarettes, gum, cell phones, flasks--though I think I need to put my foot down here.

Most of this gear fits in two large, element-proof Pelican rolling cases for transport, or one Pelican and a couple softsided Tamrac bags for on-site portability. You can bet that air travel with all this stuff's a blast, especially since, for many weddings, I work with assistants local to the event and have to schlep it through security and customs on my own. But I know the drill. When I can, I plan ahead and rent location lighting in the destination city, or pare down my gear to what I know I'll absolutely need.

In most cases, I hardly use more than what I can carry on my body or stash under a small table--and since I don't want to look like a suicide bomber at your wedding, I make the most of a minimal amount of gear. The more I blend in, the better candids I can capture.

I get a lot of questions about my cameras.

"Why the D70 and not the D2x?"
For one, Nikon's D70 is a fabulous camera that does everything I require of it for events. I shoot RAW for everything but most candids, and the resulting images are fabulous--especially since I work on each image individually in postproduction to bring out the best in each frame. The D70 is lightweight, fits my hands perfectly, and provides image resolution well above the requirements for wedding albums and custom prints up to 11x14 (or larger).

"Why is the D70 your primary camera? Isn't the D100 a newer model?"
I have no idea why Nikon started numbering their digital cameras in reverse. But the D70 is an improvement upon, and was released after, the D100. The only thing I don't like about the D100 are color-balance issues, which are easily corrected when I shoot NEF RAW files, exclusively. Many of the portfolio images on my website were captured with this camera.

"Won't you shoot film?"
Rarely. I never advertise or offer film photography as part of a wedding package. I sold my F5 bodies, and keep around a battered N90 for sentimental value; I also have a Contax 645 AF system that is gathering dust in my studio. On occasion, for variety, I may drag out that medium format platform for a short portrait session, but digital suits the workflow, flexibility, quality and high-volumes required of wedding photography.

"Will you take a photo of me with my camera?"
That's good fodder for another topic. But I'm constantly getting busted for not knowing how to operate your average pocket point-and-shoot. Sigh.

---
Michelle Burke Photography

Demystifying the Cost of Wedding Photography

"Wow! You get paid (insert seemingly exhorbitant sum here) for one day's work and get to take the rest of the week off!"--from the occasional friend, relative or potential client.

"I could buy a camera and let my sister/friend/uncle take the photos for that price." --heard more than once from people bemoaning the general cost of professional wedding and portrait photography


"That's it? That's all you charge? I know I'm shooting myself in the foot here, but I've seen far worse work from photographers who charge far more." --a graphic designer who was pre-screening wedding photographers for her best friend, upon hearing my fees for 2004. And yes, I raised my rates for 2005.

-----

I've heard the whole spectrum of responses to my quotes for wedding photography. While I know very well how I come up with my fees, I have to remind myself that it can be easy for the layperson to be confounded when trying to reconcile how we can charge what we do and still drive dented station wagons, drink sub-par malt beverages and clip toilet paper coupons from the Sunday paper.

Wedding photography is not the "posh life." Granted, most of us work for ourselves and set our own schedules, but any small business owner knows that this doesn't mean we work when we feel like it. But what a client pays is not immediately deposited into the photographer's personal checking account.

For the sake of this article, let's take a look at a fictional $3200.00 wedding package. This package includes unlimited photography (up to 10 hours), a 14-page flush-mount album, online previews, 400 printed 4x6 proofs, a digital slideshow on DVD, and an assistant. (This package isn't offered "out of the box" by my studio, but it's an example I've seen out there among my fellow wedding photogs).

Event Specific Investments:

Client Planning: 5+ hours

• Shot lists, schedule framework, questions, referrals, site recon and travel, any requested in-person follow-up consultations and factoring in the 25-30% of clients the photographer meets, but who book elsewhere)
  

Wedding Day: 13+ hours

• 10 hours' photography
• 3 hours' setup, breakdown, packing, unpacking, light checks, local travel

Postproduction: 50 hours

• Initial Downloads, Edit, Burning: 2 hours
• Postproduction (minor cosmetic, color/density, file conversion) 45 hours
  
• Average 75 images/hour capture, 10-hour wedding = 750 images
• Web Optimization/Burning or Upload for 750 Online Previews: 2 hours

Albums, DVD + Prints: 25 hours + expenses

• Album Consultation: 2 hours
• Album Design: 1 hour per page (often outsourced)
  
• Album/Manufacturer Quibbling & Consultations: 1 hour
• Client Layout Proofing, first revision 3+ hours
• Print Selection & Delivery to Printer: 2 hours, plus expense of 400 unique 4x6 machine proofs
• DVD Slideshow: 2+ hours for 100 images, formatted and burned. Custom screen/label graphics, printing, materials, music synchronization.

Assistants (Wedding Day):

• $100-$250/day, depending upon experience and complexity/length of event.

General Overhead:

Professional Equipment Maintenance
My gear is professionally maintained as needed, which can be a frequent thing. Digital gear requires that sensors and optical elements be cleaned professionally at least once a season, and in-house before every event.

Wedding photography is a full-contact sport. Equipment gets dropped, bumped, toppled, doused, and in one case, I had a dog come up and pee in my camera bag during a portrait session in the park. All wedding photographers are accustomed to sending gear in for repair at manufacturer-certified pro shops, and budget accordingly. And if Fido fried the microprocessors in my camera...

New Gear
They don't make equipment like they used to, and in any case, wedding photographers use the heck out of their primary equipment. Whether I'm upgrading, augmenting or replacing equipment, each year I purchase at least $5000 in photo gear alone. I purchase from reputable dealers, and do not buy "gray-market" equipment. Rarely do I buy used, since I want to know maintenance history of any piece of gear upon which my clients and I will depend.

Rented Equipment
Sometimes it just makes sense to rent certain items. I depend upon rental shops such as Pro Photo Supply or Calumet when I need a few extra strobes, that specialty lens or an item that's out of my current budget. While gear rentals are an expense, it keeps my general overhead low...but does make me get up at 7am on my day off to make sure it's all returned by the rental shop deadline.

Computers! Software! Peripherals!
While we digital photographers are saving a bundle on film, we're spending twice that on computer components, upgrades, storage and software. This is something the average Joe can relate to, but also note that computers that are rated to handle, process and store thousands of 50mb files don't come cheap. I have a notebook for on-site downloads and client presentations, and am about to upgrade my studio desktop...though ideally, I'd have two. Our monitors must be top-quality, and they require pricey calibrators and color profiling. And I'm not even going to go into printers, other than to say that I'm currently outsourcing all but proof index sheets to save time and expenses.

I use three or four photo-specific software programs to edit, convert and retouch my images. Each of these programs is upgraded at least every 18 months.

Photographic memory is another biggie. Microdrives are expensive, cranky and delicate. I use both Compact Flash and Microdrives for image capture, and at about $150/pop per gig of reliable memory, well...

Education & Experience
Sure, I studied photojournalism in college, and spent a lot of time and money on books, seminars, workshops and one-on-one training. I put in my hours as a wedding assistant, sometimes compensated, often times not. My first few weddings were more an investment for me than a source of income, as I hadn't refined my technique and workflow for maximum efficiency. And like any good professional, I'm always learning how to improve my photography and postproduction skills. I spend several hours each month researching and testing new techniques, and several hundred dollars each year--at least--on technical instruction. Of course, there's also the learning curve involved with new technology and equipment, since I never use a client's wedding day to try out a new camera or strobe.

Promotion
Many brides find their photographers in event directories, local wedding guides and glossy magazines. Others visit online wedding websites. All of these charge quite a bit for advertising, and are useless unless the photographer has a professional website and gallery. Most photographers get the most business from client referrals, but as a general rule, a wedding photographer has to have a presence in online and print marketing avenues to gain name recognition.

What else? Oh, yes. Postcards, business cards, brochures, letterhead...all these are part of a professional's expenses.

I also belong to several professional organizations for many reasons--networking, learning, contests that challenge me to improve my work, and...let's be honest here...directory listings and peer referrals. Membership, though worthwhile, is spendy.

Outsourced Work
In addition to my assistants, a professional will factor in any outsourced work. Album manufacturers, proof printers, website designers, online preview/shopping cart hosts, postproduction assistants, CPAs, legal consultants...all of them take a bite.

General Business Expenses
Utilities, office supplies, vehicle maintenance, fuel, bookkeeping software, merchant account fees, light bulbs, insurance...you get the idea. And those sensible shoes I wear to keep my dogs from barking in the 11th hour of your wedding...and dry cleaning...and coffee, coffee, coffee, coffee...

Other Factors to Consider
Ever see the Discovery channel series on crab fishermen? If you have, you know why they make thousands of dollars in a few days' time. While most wedding photographers aren't subjected to the risks of drowning in arctic seas, our work is quite seasonal. There's the boom between April and November, and the relative hang-time the rest of the year (when we busy ourselves with album consultations, new client consultations, training and non-wedding projects). There are only so many weekends in the year (though weekday weddings are becoming more common) and many of us limit the number of events we book due to time constraints and concern for both quality of service and personal sanity. I'm shooting for 30 weddings for 2006--and several of those will be half-day events that, because they are less work-intensive, generate less income.

Like crab fishing, wedding photojournalism is physical. Carpal tunnel, tennis elbow, bad backs, bum knees, sore feet--all of these are casualties of 14-hour event days and the subsequent hours in postproduction. Whether or not we have assistants to help, we still have to carry several pounds of gear on our bodies for hours at a time, ignoring our chiropractor's demands for weight distribution in favor of accessibility. Am I whining? Perhaps, but few people realize just how much we dedicated shooters invest in each wedding.

Summary
At least half of every wedding package is earmarked for tangible products that are delivered to clients as well as the costs of doing--and improving--our businesses. The rest trickles into our personal banking accounts, to pay the bills that keep us happy, fed and eager to continue doing what we love. Whenever somebody tells me, "You're so lucky to work for yourself," I remind them that the opposite is true: A wedding photographer with a similar workflow will have as many as 40 bosses every year, not including the client's intended spouse and wedding planner. Of course, the only person keeping me on task on a day-to-day basis is me...and Me is one heck of a slave driver.

The "Lucky" part is dead-on. I love what I do, or else I'd be doing something else. I miss a lot of my friends' and family's social gatherings, but I meet the most interesting people all the time, and have found new friends among my clients. I get to travel. I get to eat a lot of cake. I get to observe and document a lot of joy (and a little hilarity). I get to hang out and talk shop with some of the most talented and creative photographers in the profession. Every job is different from the last, and the opportunities for learning never end. I'm rarely ever bored. I've avoided the prairie-dog colonies that we call office cubicles, and my home office looks out on six urban-dwelling chickens and a determined tomato plant rather than a parking lot. And later this afternoon, I get to meet with two really cool people whose wedding just might become my next favorite.

Rarely will a photographer accumulate great wealth from wedding photography. Not without writing books, conducting seminars and inventing new gadgets, and even then, well. But every full-time professional wedding photographer, in order to continue to do what she loves, must be realistic in her pricing so that she can remain competetive in skill, customer service and workflow. Her prices should reflect the level of service and quality of products she offers, with a great emphasis in experience and self-confidence. When I come across photographers who charge far less than they should--judging from their portfolios and sample weddings--I wonder how much confidence they have in their own abilities, or how committed they are to continuing their career. I wonder if they've got a reputation of poor customer service, forcing them to keep their rates low. Perhaps they have a day job to pay their bills, or photography is simply a weekend hobby. In any case, I wonder if they'll burn out and be gone by the following season, or if they'll realize the value of their work and time, and change their prices accordingly.

On the other hand, I have no problem announcing my standard rates on my website. Most clients who know what's up will bookmark my gallery and give me a call, while those who don't have the same perspective I've tried to give you here will quickly move along until they find something that fits their idea of a reasonable rate. While I'll customize a package for a client, I simply won't haggle over component fees. I don't overinflate my products and services, and any client who doesn't see the value in what I (or my contemporaries) offer is best off looking elsewhere. Sacrifices we wedding pros make to cater to such clients comprimise the clients who are eager to book us at our established rates, and simply forces us to either work below minimum wage or eliminate the crucial improvements to our businesses. That just won't fly.

Anybody who might have any specific questions about points mentioned above, or neglected entirely, is encouraged to contact me at 503.892.2944, or online. Copyright Michelle Burke Photography 2005.

Selecting Your Photographer

There is a ton of resources out there for selecting your wedding vendors. Once you start planning, you'll find yourself bombarded by recommendations by friends, other vendors, advertisements in magazines, event directory listings, Google searches and the annoying friend-of-a-friend who is the self-proclaimed Goddess of Party Planning...

Following are a few considerations to keep in mind as you conduct your search.

1. Your Recently Married Friend/Cousin/Former Roommate.
What your friend/cousin/former roommate paid for the exact same service by the same exact vendor may not be what you'll be quoted. What scale of event did your friend/cousin/former roommate throw? And what was his/her budget? Your friend/cousin/former roommate's tastes and specific needs may not come close to your own. However, if you take all this into consideration and weight your friend's opinions accordingly, there is nothing like a personal recommendation. I, for one, base the growth of my own business upon satisfied customers for this very reason.

2. All The Magazines & Bridal Guides Stacked On Your Coffee Table Right Now.
Local planning directories and bridal magazines often have endless waiting lists for vendor advertisements and listings, and charge high prices. This benefits you in that featured vendors are often--but not always--well established, and can afford the advertising. But consider the flipside: There are a lot of talented vendors out there who are still on that waiting list, or who are putting all their funds into equipment, products and services rather than advertising. And in some cases, it's a good idea to remember that these vendors are there because they paid to be, not because they are recommended. As for me? I'm #54 on the waiting list for the Portland Bravo Guide. I'd love to advertise in the gorgeous, local annual wedding magazine published by another company, but it's not in my current budget since I'm reinvesting most of my profits in equipment. Maybe next year.

3. Craigslist.
And yeah, we're getting more photography-specific here. I regularly post to the Craigslist event services list, and have booked some fantastic clients as a result. At the same time, I see a LOT of amateur photographers posting their services, offering dirt-cheap rates.

Now, I'm a big supporter of emerging artists, and I have no problem saying that you could very well luck out hiring a talented photographer who is learning the ropes for less than a grand. Craigslist is an excellent resource for wrangling the rookies and getting a decent comparison. Just remember, you do get what you pay for. Your photographer should charge what he or she is worth, and should be honest with you about his or her capabilities so that you can decide for yourself if it's worth the tradeoff between price and experience.

No matter what, you are taking a risk when you choose a photographer of any caliber or price. Believe you me, I have more to say on this topic, but I'll save it for another day.

4. Professional Organizations.
There are many professional photography organizations with online member directories. Wedding Photojournalist Association and PPA are two that are most wedding-specific, or you can Google your local ASMP or NPPA chapter to find out if other working news/commercial/editorial photographers would be willing to book a wedding. Remember, though, that photographers specialize. A top-notch, Pulitzer-winning photojournalist may not have a clue about providing wedding photography products and services, just as an award-winning wedding photographer might faint dead away if thrust into a war zone or assigned to go undercover as a drug mule in Colombia.

5. Ask a Friend with a Bitchen Camera.
Having a top-of-the-line digital or film camera does not make one a wedding photographer. I have a really nice, expensive bike, and can ride it reasonably fast at reasonable distances, but I'm not exactly ready for the Tour de France, if you know what I mean. Want more analogies? I'm on a roll. Having a Wolf range does not make one a professional chef. Having a thong does not make one a supermodel. Having a tub of margarine in the refrigerator does not make one Fabio. Having...okay, I'm losing it.

My point is, one can have really nice equipment, and even be quite good at utilizing it, but there's a lot more to being a good wedding photographer than being able to take decent photographs. First, if you want albums, most reputable album companies won't work with amateurs. Second, optimizing your images after the fact requires quite a bit of time and skill, and your friend may be in for a whole lot more than he bargained for to meet the quality of shots a pro can provide. Third, a professional wedding photographer is not going to consider the job a "favor", shooting when she wants to and drinking when she doesn't. And if a pro doesn't deliver, you have an agreement that gives you leverage. If your friend mucks up the job, you just may lose a friend as well as your images. Believe me, I've seen it happen. And oh, yeah...an experienced wedding photographer will know the routine, be able to predict those key candid moments, will not be as nervous as his clients, and will be able to help you plan your day to get the most bang for your photography dollar. And she won't have just ONE bitchen camera; she'll have at least two, and backups for everything else in her gear bag.

By the way, I refuse to photograph friends' weddings as a pro, for a favor or gift, or for the heck of it. My feeling is, if I'm a guest, I'm a guest. I'll put down my camera before I put down my champagne. Plus, this releases those friends from any obligation they might feel to throw me the business when their required photo style doesn't match mine.

6. Vendor Referrals.
Guess who works with photographers every weekend? That's right! Event caterers, venue managers, florists...they all have a good standard by which to judge the local photography scene. Since photographers often sell or give prints to vendors for their portfolios, they often have insight into the quality of the final images, too. Your photographer and venue are the two things you should book first, but if you start researching the rest early, and ask for their recommendations, you're killing two birds with one stone.

I'm going to go out on a limb here, though. Take an officiant's recommendation with a grain of salt. In my experience, any photographer who is highly recommended by clergy is a photographer who is quite happy to be told to wait across the street while you're saying your vows inside the church. If your officiant says, "Well, he was okay--I didn't notice him TOO much," you have a good lead. Of course, if Reverend Bob tells you that the photographer was swinging by his ankles from the track lights and flashing strobes with enough frequency to send your Maid of Honor into a grand mal seizure, you need to heed your shepherd, my dear lamb.

7. Wedding Consultants.
Wedding consultants are highly underrated. Booking a good consultant is like installing Nitrous under the hood of your Honda. You'll get a lot more out of your wedding. Whether your consultant provides bare-bones, day-of coordinating services, or she plans the whole event, they make your day go smoother. I love it because, when my clients abdicate control to a consultant, my clients are more at ease, and have more time and energy for creative portraits.

Wedding consultants see more portfolios than anyone. They're at the wedding from beginning to end--few vendors are--and have seen lots of photographers in action.

Some consultants have arrangements with their favorite photographers, and this can work for or against you--they may only work with vendors who pay them a huge kickback, and therefore have to raise their rates to compensate. My favorite planners refer clients to me because they know their ideal clients are a lot like mine, we cooperate well in helping plan our clients' events, they like my work and my professionalism, and while I avoid formal commission arrangements, I do provide them with prints or albums from weddings at which we've collaborated, to better promote both our businesses.

And so on...
No matter who you select to shoot your day, make sure you have a chance to see complete weddings--preferably shot in settings similar to yours. Meet the photographer in person to see if you actually LIKE her. She's going to be hanging around your most important day, after all.

Your prospective photographer should also be able to provide you with an agreement that outlines what you pay, when you pay it, what you get, when you get it, and what happens if he's hit by a truck the week before your Big Day.

Speaking of disasters, your photographer should also have backup gear. This means at least one camera body, at least three or four "normal" lenses (in addition to fisheyes and telephotos), multiple on-camera lighting instruments (and this does not mean the built-in flash) and all the necessary bells, whistles and doo-dads we pros cram into our gear bags. And then there are battery packs, internal batteries, spare bulbs, extra memory cards...oh my.

You also have to be realistic about what style of photography you want. Look at a photographer's sample wedding. Are they mostly posed? Are they mostly candid? What ratio of color to B&W?

What kind of albums are available to you? Do you have a choice, or are you stuck with one particular style?

What do you want built into your package? Will the photographer build a custom package for you?

When clients contact me only to find that I'm booked, or a bit out of their range, they often ask me for a referral. "Do you know somebody who could do it for less?" or "Who would you use?"
The only photographers I'm ever comfortable recommending are those I'd seriously consider for my own wedding. Who are they? Contact me, and I'll tell you. What do they charge? Well, enough to compel me to start saving my money now, because by the time Hell freezes over and I'm ready to walk down the aisle, I'll be able to afford it. And it will be worth every dime.

---
Michelle Burke Photography

Professional vs. Amateur Photographer

There are a lot of pro photographers out there who are up in arms about the affordability and quality of "prosumer" cameras. Some are quite bent out of shape because, upon calling a potential client for a follow-up to a pricing quote, they are told, "We've decided to have Uncle Bob shoot the wedding. He's got the new Canon 20D, and he's offered to do our wedding as a gift."

Other photographers screech about all the serious amateurs who advertise rock-bottom prices, either because they're "building their portfolio" or just don't know what's involved in the wedding business.

And then there are a few old-school wedding photographers who blame the current trend of "wedding photojournalism" (an often-abused term), combined with the affordability of quality cameras, for causing the market to be inundated with dilettante photographers.

What do I think?

I'll never berate a client for trying to save a buck, and as for the second scenario, everybody needs to start somewhere. As for "wedding photojournalism" being to blame, pshaw. Read on.

It can be annoying to field comments from people who think Uncle Bob with his 20D can produce images on par with an experienced pro. However, a true professional does not boo-hoo those who undercut the market with amateur photography and inexperienced business practices. Nor does she berate other professional wedding photographers with equal skill but different influences. True professionals let their quality and customer service sell their work. It's about skill, vision and professionalism.

There is candid photography, and then there is wedding photojournalism. If you would like a definition of the latter, please visit the Wedding Photojournalist Association website.

There is room in the market for everyone who offers quality wedding photography products and services. Quite frankly, clients who settle for less or who can not be convinced to trust a professional aren't a concern to me at all. Clients who are attracted to my particular style, and who value the products, services, skills and assurances a professional can offer, but who simply can't afford my Signature packages, have been known to plan their weddings on dates when my Streamline packages are available. There is no greater compliment than that.

Inexperienced professionals or moonlighting amateurs fill that segment of the market that is willing to balance the risk of a newcomer with price. While I encourage all prospective wedding photographers to tag along as assistant or second-camera to an experienced pro for the purposes of learning the ropes and building a portfolio, I started out charging a pittance for my first two weddings. And though I had years' experience as a pro photographer, I quickly learned that weddings were a whole new ballgame when it comes to workflow, technique and client relations.

The first few weddings will make or break a photographer's career, as the new wedding photographer (or amateur) learns just how much work is involved, and just how much she needs to charge to stay in business. I'm working on an in-depth look at the costs of running a wedding photography business for those out there who really want to know how a pro can justify pricing a full-day wedding at $3000 or more. No secrets here!

For more information about the pros and cons of allowing a friend or relative to photograph your wedding, read "Selecting your Photographer."

Ambient factors that affect your images

Any skilled and experienced photographer should be able to face most environmental challenges with little difficulty, but with prior planning and foresight, the worst problems can be eliminated.

Bridal Dressing Room:
When selecting your photographer, ask yourself how comfortable you'll feel having him/her in the dressing room with you. When I work the dressing room, I assure everybody there that my previews are editable by the bride prior to announcing them to the general guest list. A professional wedding photographer is like a doctor--he or she's seen lots of half-naked brides, but is only interested in is the job at hand--in this case, documenting the often humourous production involved in installing 10 yards of silk on a delicately-coiffed and stunningly M.A.C.'d out bride.


Wherever possible, select a room that gets plenty of natural light. If you're worried about the groom or guests seeing you and your attendants getting dressed, select a room away from general activity. I like to bring along thin white diffusing material to cover the brightest windows and help create a soft glow to the setting.

Try and remove as much clutter as possible, but the room doesn't have to be sterile.

Remove all the hangtags off the dresses, and have a few nice hangers available for displaying the dresses. Ditch the foam and cardboard monstrosities in enough time for your photographer to take some detail photos.

The Church:
Please, for the love of God and all that is holy, don't select one of those modern churches that is equipped like a sound stage. After my very first wedding, when I spent about 16 hours clone-stamping the electrical cords and outlets from around the feet of my clients, I said "enough." I, for one, now charge for excessive retouching in custom printing. Make sure the venue managers/santuary docents run the Hoover around once or twice as well; my cameras pick up details like lint, tattered Kleenex crumbs and errant flower petals.

Also, make sure that any distracting or unnecessary items such as folding chairs, kneeling pads, drum kits, mic/music stands and banners are properly stowed. This is the responsibility of the clients or their wedding planners. We photographers are already on thin ice with most churches, as some of those before us have greatly abused the use of flash or the notion of subtlety when covering church ceremonies. Please don't expect us to rearrange the ceremony location and risk insulting the officiant.


This is also a good time for me to mention that you should contact your officiant well in advance of your wedding to find out what restrictions will be placed on your photographer's technique. Many photographers will turn away a wedding if they are not allowed to photograph the ceremony, or if they will be banished to the rear balcony. Most of us respect the sanctity of any religious or otherwise traditional service, but we encourage you, the client, to advocate on behalf of your own wishes for ceremony coverage.

Tabletop Items:
Watch out for towering narrow, vertical items on your tables. These include tall, skinny floral designs such as potted orchids (which look gorgeous elsewhere) towering menu holders and table numbers. These items tend to limit your photographers available angles, often bisecting the frame.
Interestingly enough, tall but robust items aren't usually a problem. A good photographer can use appropriate depth of field to make these items add framing to the subject matter.

High Noon at the Hitching Post:
The worst time for outdoor wedding photography is between 10am and 2pm in the middle of summer, when there isn't a cloud in the sky. Your photographer will need to balance harsh shadows with direct fill-flash--not a problem at all for short-range photography, but definitely an issue for unobtrusive ceremony coverage or activities staged in the contrasty, dappled shade of the old oak tree. Try and plan your ceremony and any outdoor portraits for the few hours before sunset.

While you may be upset about cloudy skies above, your photographer is inwardly cheering. Forgive her if she seems a bit too smug.

Sunset Ceremonies:
Fabulous. Nothing like the glow of golden light on your faces as you try not to crack up while reading your vows. Just remember that if your backs are to the setting sun, your photographer will have to (once again) compensate with intrusive flash.

Candlelight Ceremonies:
Romantic in theory, often macabre in photographs. Your photographer will likely need to bring in tripods, and shoot at high speeds--usully resulting in grainy images. Prepare to make some compromises, such as allowing your photographer closer to the altar.

Outdoors At Night, or Indoors with Low Lights and High Ceilings:
Load up on the fairy lights, lanterns and candles! Your photographer doesn't want to have to blast everyone with full-power direct flash--especially when it's very warm, and when people are dancing. When perspiration meets harsh strobes, the result is less than appealing.

Your photographer will likely set up a few remote strobes on light stands. Make sure she tapes down any exposed cords, and uses sandbags to weight the topheavy light stands. Best yet, make sure she has liability insurance, in case the venue's insurance doesn't cover vendor-related equipment losses or--gasp--injury.

The Cake:
Give your photographer a chance to photograph the cake early in the reception, before people leave their drinks (and condensation rings) on the cake table, or--and I've heard of this kind of thing happening though have not personally had the luck of photographing it--somebody falls in it, or a child takes a hearty swipe from the top tier.

Position the cake table in a spot where it will be away from flailing dancers. Ask your photographer for suggestions on placement--even if only temporary --for the best natural light or bounced strobe capabilities. While some photographers will literally erect a studio set for your cake, most wedding photojournalists have been hired to focus on the more animated subjects of your day. We'll take a couple gorgeous still lifes, sure, and then we'll skulk about waiting hopefully for that mother of all shots when your niece executes an Olympic-qualifying swan-dive from your brother's shoulders directly into the sugar-sculpted likeness of you and your groom.

Michelle Burke Photography

Exporting your Photographer

I got an e-mail recently from a couple getting married in Thailand. They wanted to know if I'd be willing to fly out and shoot their beachside wedding, and stick around for the surrounding days when their friends and family from around the world would be joining them for a vacation wedding.

Gee, I don't know. Thailand. Hmmm. Um, YES?

Destination weddings, whether they be in Las Vegas, Costa Rica or the Caribbean, are subject to special pricing strategies for many photographers. I know a few wedding photographers who block out certain periods for a specific region. Those who cater to clients in their home state of Alaska in the summer may travel to Mexico in the winter, and since here in Portland, the prime wedding season is between mid-July and early October (rule #1: Never plan your outdoor wedding on or before Rose Festival!) I block out a couple weeks in November for weddings in the Palm Springs area, and am hoping to book some winter weddings in more wedding-friendly, tropical locales.

I quoted this client a package that essentially covers airfare for myself and my assistant, two nights' hotel and meals, the cost of the album that had caught her interest, and enough to cover basic overhead costs. I'd pretty much need to eat the costs of the time I'd spend in postproduction, pre-planning and the day of the wedding, but on the flipside, that's what I consider my salary.

If the event was scheduled for peak season, I'd likely charge my standard package fee plus all travel/hotel expenses. My reasoning is that a trip to Thailand requires a cushion of at least two days prior to the actual ceremony, in case the airline loses or destroys my gear. I want to make sure I'm able to make any backup arrangements in time for the event. This goes for the return trip as well--I'd need to come back to Oregon in enough time to make sure all my cameras had survived the journey, and to rent replacement gear in time for the following weekend's wedding.

If I'm able to take a week off before or after the client's wedding to kick around Thailand on my own, I consider subbing expenses for my salary a fair trade.

If I book that wedding well enough in advance I'm going to move heaven and earth to book another wedding in that region for open adjacent weekends. In this case, I might be able to offer both destination clients more latitude in pricing.

In the end, it's entirely possible to bring a photographer local to your home turf to your destination wedding for about the same price you'd pay if you were getting hitched in your own backyard.

What are the benefits of hiring a photographer from the States for a foreign destination wedding?

• You can meet your photographer before booking her, to get a feel for her personality.
• If your photographer breaks your contract, domestic laws give you avenues of compensation.
• You are still in her prime referral base, being from the same area, and while any good pro will give every client her all, there is something to be said for keeping your local clients happy.
  
• You don't have to scramble to find your photographer when you arrive at your wedding destination.
• Tourist boards or resorts may be able to refer you to a wedding photographer local to your wedding site, but you need to consider whether the referring party is a good judge of your personal tastes and standards.
• You can avoid issues with language barriers.
• Post-wedding follow up, including album and custom print ordering, is difficult at best when you're dealing with a photographer based outside the U.S.
  

So you've found a few photographers who say they'll travel, and their quotes are within your budget. What do you need to know to narrow down the field?

Here are some questions you should ask. Don't be shy--no photographer should be put off by a client who wants to make certain all the bases are covered.

• Does your photographer have a passport that will be current during the period of travel?
• Does your photographer have proper chargers or converters for foreign electrical systems?
  
• Are there any visas or special permits--or vaccinations--required? Does your photographer know how to get them?
• How does your photographer pack her equipment for foreign travel? Does she have experience getting suspicious-looking black plastic trunks through customs?
• Does her insurance cover the circumstances?
• Can your photographer present a special agreement that includes clauses appropriate to your event?
• Will your photographer bunk with his/her assistant, or will you be required to reserve multiple rooms?
  

Other words of advice:

• Try and book your destination photographer at least a year in advance. He'll have more flexibility in his schedule, and therefore more opportunities for creative pricing.
• Be aware of weather conditions in the region and season of your wedding, and make sure your photographer is prepared with proper equipment protection for monsoons, extreme temperatures, humidity, etc.
  
• Ask your photographer if final travel expenses will be invoiced after the wedding, or billed directly to the client. (Either is acceptable in the industry).
• The photographer may quote you a somewhat padded estimate for travel expenses and emergencies, so be sure to determine in advance if you will want expenses itemized. Any smart business person should make allowances for interest rates, especially if most of these expenses are going on the studio's gold card. Feel free to negotiate any finance charges for expenses not billed directly to you, but keep in mind that your photographer isn't a lending institution, and even the best of us usually work with a narrow margin of available funds.
  
• Have your photographer help you come up with a contingency plan and special agreement in case, for any reason, he or his gear doesn't make it to your wedding. (Weather delays, illness, etc.) Of course, this is fairly standard for any wedding.
  

If your dream photographer requires travel expenses AND travel day rates on top of his standard package fees, don't write him off as greedy. No matter the setting, your photographer and his staff--if any--is joining you to work, and nobody works harder than a photographer who travels. They're charging you for the time they would have spent working on other projects, time they would have spent with their families, and you're compensating them for giving you the confidence of knowing you'll have a continuing relationship with the person who is responsible for creating a lasting record of your unique wedding.

Michelle Burke Photography

So your best man is a Shih-Tsu?

Pets at weddings can be a photographer's dream...and a couple's nightmare. It all depends on how well you plan ahead.

Long before I was a wedding photographer, I attended a wedding on horseback. I'm not going to hijack my own article by going into that one, but I can tell you this: The first leg of the honeymoon was a trip to the ER.

That's the worst-case scenario, but I've shot several weddings where pets were more successfully integrated into the ceremony. In fact, I always keep a Milk Bone or two in my camera bag, as well as the squeaky that I salvaged from my own dog's disemboweled stuffed hedgehog toy. It's come in handy while photographing pets, small children and, dare I say, the occasional groomsman.

Remember that even if your ceremony is on your own property, the animals are going to react abnormally due to all the people, tables, tents, musicians and wedding activity. Animals really do pick up on "vibes," and even the most low-key weddings will have a certain exciting energy.

This goes triple if you bring your pets to a venue. Don't expect your normally mellow blue-tip Siamese to take to being on a leash as easily at the ceremony site as he does in your neighborhood. Ever see a freaked out cat on a leash? Ever see a horrified bride holding the other end, praying that her dress isn't shredded to ribbons? I have.

Well-adjusted pets make a photographer's job really easy. People can't help but interact with animals, and when children are around, the photo opportunities get better and better.

I don't advocate giving your animals a sedative for your wedding. Save those for your mother. But make sure you've got contingency plans (B through D) for caring for your animal if things don't work out as planned.

1. Have somebody be in charge of your dog/cat/rooster/sugar glider/wallaby during the day.

2. Make sure you bring a water dish, plenty of water, food, clean-up bags, treats and a spare leash and collar. All of these are important. Water from home tends to be best, since some animals are put off by differences in chlorination. (I think you're going to find that I'm a hydration fanatic.)

3. Arrange for transport of the animal back to your home at any point if it gets too stressed or tired.

4. Be sensitive to the fact that some guests are not pet-friendly, or have severe allergies.

5. Make sure your venues will allow your pet(s) on premises.

6. Give your photographer a list of words that will get your pet's attention. My dog, Mabelline, will cock her head at the following:

• Gopher (As in gopher a ride, a walk, a swim)
• Squirrel!
• Here Kitty!
• Tweeker At The Door! (also incites riotous barking)
• Cookie

7. Don't overdo your dog's formal attire, but do consider decorating his or her collar by covering it with a sleeve of material that matches your theme.

8. Arrange for photo opportunities including your pet as early in the day as possible.

My fingers are twitching to write that tale about the horseback wedding, but the purpose of this blog is to be informative, not come off like When Animals Attack. But if I get enough encouragement from my readers, I might be persuaded.

Photographer's Liaisons: Not Quite What It Sounds Like.

Your photographer isn't going to be able to remember everyone's name, or even know who key family and friends are. I strongly suggest that you assign at least one liaison for the groom's family, and one for the bride's.

The liaison will wrangle subjects for group portraits, point out special alliances, identify long-lost friends or cousins, and in doing so, help your photographer capture the types of shots you want.

In addition, the photographer has a go-to person in inquiring wether or not the Ham of the Evening is your favorite cousin from Ohio, or the unknown last-minute date of the groom's CPA.

I think it should be said--based on experience--that your liaisons should be able to assert themselves firmly, politely and appropriately when gathering up their charges. They should not abuse their power by sneaking in a portrait of their own family or friends, claiming them to be the bride's relatives from Wisconsin. Nor--also based upon experience--should they be prone to 11am drunk-ons.

Make sure your liaisons are aware of their assigned duties, and encourage them to introduce themselves to your photographer. You and your photographer can decide who will give the liaisons copies of the shot lists and portrait schedule; I typically keep spare copies in my lighting kit just in case.

In addition to portrait time, I've found that liaisons are terrific resources for pointing out "special guests."

You can appoint as many liaisons as you need, but don't go overboard. When I'm working, I like to have maybe two or three "official" liaisons, but it only takes me a little while to make nice with your family and attendants to get the scoop on other key circles at your wedding.

An old friend who didn't make the bridesmaid/groomsman cut (or who, like me, has officially retired from a long career in taffeta) makes a great liaison. So does your favorite Aunt Penny, or perhaps your sister. You can assure them that I won't be bothering them often, but that their job is crucial to facilitating more personalized service.

Michelle Burke Photography

Portrait Sessions: Cat Wrangling + Art Direction

As a wedding photojournalist, I go light on formal portraits. I don't do too many informal portraits either, relying mostly upon opportunities for me to photograph groupings during the natural course of interaction at an event.

However, I end up encouraging all my clients to consider, at the very least, a few of the standard "line 'em up and shoot 'em" family portraits. It's usually a rare occasion when you've got your relatives rounded up from all corners of the universe, and since everybody's dressed up, you might as well have a record of it.

Whether or not these photos are a huge priority for you, there are some guidelines that your photographer may insist upon. I can tell you from personal--and recent--experience that when these guidelines are ignored, your portrait session will rapidly deteriorate into a reinactment of the good old days at Ellis Island.

1. Jot down and give to your photographer a shot list at least a week before your wedding.
This list should contain a modest number of formal groupings, as well as the names of each person in the group. Give each group an identifying title such as "Brad's Family" or "Amy's Peace Corps Buddies". If there are any sensitive relationship dynamics, i.e. both the groom's mother and his 20-year-old stepmother are in attendance, it might be a good idea to make a note to the photographer if issues may arise. And they can.

Your photographer can review this list with you, make any suggestions for expanding or whittling it down, and give you a good timeline for organizing all the groups.

2. Assign a Liaison for each family or grouping.
This person will take the responsibility of wrangling his or her assigned group. Don't just shrug it off and say you'll do it; your photographer wants you to stay put. Your liaison will make sure each group is ready for their portrait, preventing us from having to wait while you run around the venue kicking in bathroom stalls in your satin slippers.

3. Art direct your own portrait shoot.
Do you have a creative idea for photographing your bridesmaids? Let me know! I always tell my guests that I'd rather they come up with ideas than me run scenarios past them that inspire "What's up with that?" expressions. One of my grooms had an elaborate idea for a bridal portrait, and though I wouldn't have thought of it, it's one of my favorites only because he was so excited about the concept. The morning of the wedding, he drove out to the reception site with a bag of rose petals, filled the tub and dropped in a few candles. The bride was hesitant, but when they saw the images, the were both really happy that they'd made the effort.

Out of respect for my contemporaries (and possible copyright violation, a real issue), I won't blatantly rip off another photographer's photograph if it's completely original, unless I can contact him and ask for permission. I encourage my clients to show me clips from magazines or explain their concepts when they meet with me for a planning session.

I love clients who want to invest some time in creative portraits. I'm not pushy about pulling clients aside for a particular set up shot, since the last thing I want to be is Julie the Cruise Director, so I tend to default to my client's wishes and direction. But I'll always tell them before their wedding that the extra 20 minutes can make an enormous difference in their portfolio of images.

Michelle Burke Photography

Welcome!

When you're selecting a wedding photographer, you already know you need to consider your budget and your preferred style. Don't overlook the fact that your photographer is going to be a part of your event, no matter how unobtrusive he or she may be.

It's important to me that my clients are comfortable with who I am. A good rapport makes a big difference in the results. If you're comfortable with me, you'll be more comfortable in front of the camera.

Blogging as we know it has become a means of interacting and sharing anything from personal journals to political perspectives. For me, I see it as an opportunity for potential clients to have a better understanding of the girl behind the lens. It's also a means for me to share what I learn from each and every event, because no matter how long I've been in the profession, each wedding better enables me to improve upon the next, from planning tips to my own technical savvy.

I hope to hear from you. As always, I can be reached at 503.892.2944, or online.

Cheers,

Michelle