Category: Events

How to Choose Your Wedding Photographer

After the hundreds of hours spent planning and preparing for your wedding, the actual day itself will likely go by in a total whirlwind. Once the I-do’s have been said and done, you’ll be swept away celebrating with friends and family, making speeches, cake cutting, and dancing like there’s no tomorrow!

With all the excitement of the big day, it’s hard to find a spare five minutes to stop and soak up every little detail. This is why your wedding photos are so important. While the day might fly by quickly, your photos are going to be the lasting memories of an amazing day that you’ll treasure forever.

With this in mind, choosing your wedding photographer is kind of a big deal. With hundreds of wedding photographers to choose from, how do you find the photographer whose style will capture your big day exactly as you’d hoped? Not to mention someone that you and your partner will be able to connect with and feel totally comfortable around?

Your wedding photographer should be one of the most carefully researched suppliers you book for your big day. Making sure you have an amazing wedding photographer to capture every carefully planned detail and intimate moment is one of the best investments you’ll make.

If this is starting to sound like an overwhelming task, don’t stress. We’ve compiled some helpful tips to make sure you choose the perfect wedding photographer like a pro!

Define your photography style

First things first – you need to decide exactly what you’re looking for in a photographer before you go any further! In today’s modern world, it’s not just as simple as clicking the shutter button. There are many different styles of photography, with certain photographers that specialise in each one.

Some of the most popular wedding photography styles to choose from include:

• Fine art: this photography style is soft, romantic and filled with light. Many fine art photographers will shoot using film, or a mix of film and digital.
• Traditional: usually heavily posed, portrait style shots. Most traditional photographers will also airbrush and edit your images to give a very polished end result. Think about the imagery you see in glossy, high-end wedding magazines.
• Documentary: a strong focus on capturing spontaneous, candid moments and emotions and telling the story of your day, as opposed to staged shots. There will be little interference from the photographer, in fact, you might not even notice them for the whole day!

When it comes to the style of photography, stop and think about what is important to you both. Do you want beautiful, slightly glamorous and posed shots of you as a couple? Or would you prefer candid, behind-the-scenes snaps? Do you want the end result to be flawlessly airbrushed, or totally raw and natural?

If you have already defined your wedding vision, you should have a general idea of the kind of look and feel you’d like your wedding photos to represent, so this is usually a good place to start.

Define your photography requirements

Once you’ve decided on your ideal photography style, you’ll also want to figure out exactly which aspects of your day you want to be captured professionally. Most photographers will offer different packages based on the hours required, so try to identify exactly what you need (and what you don’t!).

Visualise your day from start to finish and try to identify which areas you definitely want to be covered. This could include:

• Bride and bridal party getting ready
• Groom and groomsmen getting ready
• Venue location shots
• Detailed decor shots – like your table settings, floral arrangements, seating chart.
• Bridal party transport to the venue
• First look
• Wedding ceremony
• Bride and groom portraits
• Bridal party portraits
• Family portraits
• Pre-dinner drinks
• Dinner
• Dancing

Keep in mind too that if you have a long list of detailed shots you want to be captured, your photographer may need to organise a second shooter. For example, if you want a shot of you walking down the aisle, along with a photo of your partner’s face when he sees you for the first time – you can see how that would be a little tricky for one person to be capturing both of these moments simultaneously! It goes without saying that the more coverage you need and and the more detail you request, the more hours you will need to pay for your photographer.

 

Do the research

Now that you know exactly what you want in your wedding photographer, it’s time to do the research!

Referrals are a great place to start. If you have friends or family whose wedding photos you absolutely adored, ask for their recommendations! It can also be helpful to gather referrals from any vendors who you have already booked, like your venue or your wedding planner. It’s likely they have worked alongside many different photographers in the past and can help you narrow down your search.

Alternatively, hop onto social media or a search engine and start hunting for photographers in your local area. All good photographers will have an easily accessible online portfolio that you can browse through to get a sense of their work. If they have a blog, this is a great indication to see how they capture a wedding from beginning to end.

Meet in person

Your wedding photographer is going to be an integral part of your big day, so make sure you meet them face to face where possible! You’ll want to see how well you get along and if you and your partner can form a genuine connection with them.

Keep in mind that your wedding photographer is going to be present for some pretty intimate moments, so it goes without saying that you want to feel relaxed and comfortable. If you feel awkward or uncomfortable around your photographer, this will definitely come across in your photos.

When you meet with your wedding photographer for the first time, it’s a good idea to ask some important questions upfront so that you have a clear understanding of how they work and the expectations of both parties.

 

These Ten Things You Should Know Before You Photograph Any Wedding

To Keep Those Lines Of Communication Open.

1. Family Details & Dynamics

In this day and age, it’s more than likely your clients will have step parents, and step siblings, and with that will come estranged family members. On the first page of my pre-wedding client questionnaire, I have them list out their immediate family members as well as a space that asks them if there is anything I should know in terms of family members that would prefer not to be photographed together, family issues that might affect portraits, etc. I’d rather walk in and know what’s happening instead of assuming everyone gets along and is one big happy family.

2. Names of all in the Wedding Party

As I’ve gotten older, I’ve lost my ability to remember anything…names particularly. If I meet a group of people, I won’t remember anyone’s names, but if I have a list of all the people in the wedding party, it helps. I will, at least, memorize the names of the Best Man and Maid of Honor and then as many of the bridesmaids and groomsmen as possible. Plus, I’ll already have seen some of the names which, in theory, should help them stick in my memory.

3. Phone Numbers of Day Of Contact People

Aside from the wedding planner (if they have one), who are the main contact people the day of the wedding? Usually, it’s the Maid of Honor, Best Man, the bride’s mother or a sibling. A bride and groom may not have their phones handy throughout the day, and there may be a need to get a hold of someone besides the planner. Keep these numbers handy; you never know when you might need them.

4. A List of All The Vendors

On the last page of the questionnaire, I ask for a list of vendors from the florist to the DJ to the person who made the invitations. I’ll send the people I’ll be working with directly an email introduction and I’ll also include the wedding photography timeline. It’s always nice to work with friendly vendors, and I find that just a quick introduction paves the way for a great wedding day working relationship.

 

QUESTIONS FOR YOUR WEDDING PHOTOGRAPHER

General – What You Need to Know

Wedding Photography is no easy subject and interviewing potential wedding photographers can be a daunting task. Regardless of if you are hiring the Lin and Jirsa Wedding Photography Team or another studio, we have created a list of 15 questions to help you find the perfect photographer for your wedding day.

While this list consists the exact reference of what questions to ask, you still need to pay attention to the soft-skills that are mentioned in “How Do I Choose a Wedding Photographer” during the meeting and conversation.

What is your primary style?

This should be your first and foremost question as this is the style of photography that interests you. Lin and Jirsa Wedding Photography are primarily photojournalists with hints of fashion and fine-art influenced wedding photography techniques. For more about our wedding photography style and philosophy, check out our About Us page.

If you are seeking photojournalism, make sure you read our section titled “What are Wedding Photojournalists” to ensure you are actually getting a photographer that specializes in this area.

How many weddings have you shot, and have you shot ones similar to mine?

This is a great question to get an idea of how much experience your photographer has in general. Years are not a good gauge of experience since some wedding photographers may work part time, and only shoot five weddings a year on weekends. Thus, maybe they have five years of experience, but they have only shot 25 weddings. Again, look at our experience gauge in the “How Do I Choose a Wedding Photographer.” section for a gauge on what we consider experienced.

 

How Many Times Have You Worked Specifically As A Wedding Photographer?

This question is designed to find out if the photographers are specialized in wedding photography or they are “one-stop-shop-photographers.” More specifically, you would be better off looking for a photographer that specializes, not only in wedding photography but the style of wedding photography.

How many other events will you photograph that weekend?

Larger studios with multiple master photographers (such as Lin and Jirsa Wedding Photography) will often double and even triple book dates since we have the resources. However, smaller studios may plan multiple weddings on a weekend without having the resources. Imagine a studio with a single wedding photographer shooting 2-3 weddings on a weekend, the attention to the detail, and to the client, the service could suffer in these circumstances.

Will a contract of the services be provided? If so, can I get a copy?

There are a lot of studios that don’t create contracts for their wedding photography clients. You should require a contract from your photographer that details what services they will be providing, pricing, termination resolution terms, etc. A contract is created for your protection, and for the wedding photographer’s protection. It is best to hire a photographer that will build a contract with you, and be wary of photographers that “don’t typically create contracts for clients.”

How to become a wildlife cameraperson

This highly glamorised job offers incredible opportunities to travel the world and document the marvels of natural world and wild places. It is however, a highly challenging and demanding job that is often not quite as glamorous as is made out. However, for adventurers and explorers who want to embrace the ups and downs of this career and want to become a wildlife cameraperson, I humbly offer some guidance

What is the job? – the good and the bad

The initial consideration is that it is only one of many jobs within the wildlife filmmaking industry. More importantly, the wildlife cameraperson only works during one section of producing a wildlife documentary (thereby only having earning potential during that phase).

A wildlife documentary production involves (a) pre-production, (b) production and (c) post production. Now, strictly speaking the role of the camera operator is limited to the production phase of project. This is the phase where the crew travel to a (usually) exotic location and collect the media content for a wildlife documentary. During the planning phase, a camera operator may be asked to supply stock footage for the pitch or be asked advice on where and when to capture content; but has no formal revenue earning role in this part of the production. Similarly when the producers, editors, sound engineers, narrators and director are pouring over the footage during post production, the camera operator has no definitive revenue earning role.

In my opinion it is vital a specialist camera operator should accept that their revenue earning potential is directly related to the number of days away from home they are willing to sacrifice. Whilst this is wonderful for single, young students, when you have a family and children, this can put many additional pressures on you. As a result many camera operators  ‘moonlight’  in the corporate and commercial fields. This enables them to work around their family commitments and the desire to be at home more often. Alternatively, they develop diverse skills that allow them to contribute to the pre-production and post-production phases of a documentary (e.g. researcher, director, editor, producer etc.). With this in mind, here is an outline of the ‘good the bad, and the ugly’ (with apologies to Sergio Leone) of a wildlife camera operator’s job.

The Good – The wildlife cameraperson’s job is to collect the media content on a documentary using one or more cameras. This means they are constantly near the action and using the various functions of the camera to collect sharp, stable, focused video images of the entire show. This further means that the camera operator will travel to where the action is, and will be the highest priority crew member (in addition to the talent) to view and observe the wildlife during shooting.

 

Camera operator tip

I’m out filming today and I have some time before the next interview starts. So I thought I’d write a little two-part tip for people who are new to filmmaking. This tip is about working as a camera operator when you have a client, director or journalist acting as the interviewer.

The first photo above is today’s setup. This is what the interviewee sees when they’re being filmed (minus the interviewer of course). It feels scary having that kit pointing at you. So the first part of my tip is – I try to keep the amount of kit I use to a minimum so as not to be too intimidating.  For example, if one light is enough for a good shot, I won’t set up three more to get a slightly better shot and terrify the interviewee.

The second part of the tip, is that one of the most intimidating things pointing at the interviewee can be.. well… me – the camera operator :D. So to help with this, ahead of filming I always chat with the interviewer to see how much experience they have with interviewing for camera. If they’re new to it, I give them a few tips about interviewing and explain that I feel my job for the day is to help people feel as relaxed as possible, and keep things running smoothly. I’m not there as a second interviewer or director, stepping on toes and confusing the interviewee about who to talk to.

Later, when the interviewee arrives, I introduce myself in a friendly way, but also make it clear that the interviewer is in charge of the filming – it’s their room and they know what they’re doing. They are the person who is going to look after the interviewee and get them through the shoot – and hopefully even help them enjoy

This is helpful in a number of ways. Firstly, it lets your interviewer know that you trust them. This helps your interviewer feel more confident and that helps your interviewee relax. It also helps the interviewee know who to focus on during the interview, where to look and who to be talking to and asking for direction during the filming. It also gives the interviewer space to connect with the interviewee and build rapport.

 

Understanding the Different Types of Camera Operator Jobs

Television is a visual medium created by many, but we so often give the majority of credit to the people on the screen, namely the reporters, on-air talent and analysts, without truly appreciating the storytellers holding the camera.

Let’s get the lingo straight first

No one in the industry calls anyone a camera operator. It’s too long and by nature television people talk fast and react even faster.

How to use Shooter in a sentence:

Reporter: “I’m headed to Town Hall and I need a shooter in the van with me in 5 minutes!” Screaming for a Shooter does not mean they want someone to pack heat for the drive; that would be bad. Nope, their request is for a camera operator to get their gear ready and get in the van.

How to use Photog in a sentence:

Assignment desk editor trying to organize the stories for the day: “I’ve only got two photogs on today and I have three major stories happening at the same time!” (Yes, this sort of panic is also common, whenever you have two photogs three stories break in different parts of town.)

And Now…The Actual Roles

You may think that all camera operator are created the same but that is not the case. There are different specialties. Let’s start with the most entry level of positions that hold or operate a TV camera: studio camera operator.

 

Hire a Solid Camera Operator

Solid Camera Operators are paramount when it comes to capturing an event. Even if the set and event look spectacular, you still need a skilled camera operator, with steady camera operation, to really catch the beauty

Live multi-camera shoots are are a fun and exciting way to live stream or broadcast your event to a much larger audience. Simply cutting between camera angles is an exciting and creative method of building engaging content on video. Most modern television audiences are used to seeing a different camera angle every 3 seconds.

The three most important things for making a nice multi-camera video are

1) Good equipment (cameras, sensors, lenses, scalers, switchers, encoders),

2) Professional lighting

3) A nice looking set. Remember, the video will only look as good as the backdrop and lighting, no matter how nice the video equipment is.

Nice equipment is fun, but you’ll want a Camera Operator who knows what they’re doing!

The technology behind multi-camera video production has improved a great deal over the last decade especially. regularly harnessing equipment that didn’t exist 5 years ago to launch a new video game to 4M viewers, or live stream a TEDx talk, or host a team building all-hands meeting to select employees and stakeholders.

Combined, the technology we have is perfect for a live sports broadcast, TED talk, news studio, and live gaming e-sports. Using crystal clear audio in com headsets, the entire production crew can collaborate on genlocked and synced signal sources, while show callers manage the show flow, technical directors are leading the charge in the crew, and you, the client, are basking in the glory of an excellent production

 

A Day In The Life: Behind The Scenes With TV Camera Operator

“If you had told me in college that I was going to be a cameraperson, I would have told you you were out of your mind,”

“It’s the first big bowl game for my crew, it’s exciting,” says. “I’m proud for our crew because we work really hard, and we try to nail everything.”

There are not a lot of women who do what I do at this level. There are runners, graphic operators and stage managers. But not many camera operators. One of my first jobs, I walked into the truck and one of the guys tosses me his keys. “Can you go move my car?” I said, “Sure. You might not get it back, but I’ll move it for you.” He’s like, “Are you the runner?” I said, “No, I’m a camera operator.” We are on the same crew this year.

I tell people we’re like movers. We arrive, unpack the truck, set everything up and then pack the truck up again and move on to the next city. Football is a busier day, and a longer day, than other sports.

get in about six hours before the game starts, but for the Sugar Bowl, I’m actually here a day before most people. That’s because I set up the broadcast booth on Wednesday. For this game, I have about 30 boxes, cases of gear, monitors and lights. A robotic camera that shoots back at the announcer that the director can control. It’s a whole set. They put me in an empty room and we build the announce booth from scratch.

What your wedding photographer wants you to know.

Most wedding magazines and sites will give you a list of questions to ask a wedding photographer. Stuff like: “Can you describe your style? What equipment do you shoot with?” But let’s be real: Those questions are boring. And you probably don’t actually care about the answers anyway, So I surveyed some wedding couples and photographers, and put together a list of all those questions you really want to ask with all those things we really want you to know below –

How do I pick a good photographer when there are hundreds out there?

First, check online. Obviously, if you’ve checked trippix, you’re in the right place. The photographers listed are initial partners and are accustomed to online inquiries and bookings.

How many photos do I get after the wedding?

Each wedding photographers typically deliver 50–100 photos for every hour of coverage. So, a couple of hundred photos may seem like a lot, but your wedding photographer is preserving all those little details and the moments you missed while you were mingling.

 

I love those photos with the blurry backgrounds. How do you get that look?

You’re talking about shallow depth of field. Photographers get that look by using professional lenses that are able to focus tightly on the subject.

I found one photographer whose images look soft and pastel, one whose images look clean, and one whose images look like they were shot on old film. What’s the deal?

Every photographer has a different way of editing their images using computer software (the high-tech version of a darkroom). This is called “Post-Processing.” Most photographers do some basic lighting and color adjustments, but you can also use editing software to create a unique look. Three popular styles right now are:

• Clean: lightly processed to appear natural
• Matte: a low-contrast look with muted pastel colors, similar to vintage film
• High Contrast: a vibrant look with rich colors that pop

It doesn’t matter which style you go with, as long as you love it!

Why is wedding photography so freakin’ expensive?

This is the question I see most from brides on the interwebs. Wedding photography seems like easy money — work for one day and rake in the cash, right? But most full-time wedding photographers I know carry over $15,000 worth of wedding gear and often work 60-hour weeks. (Remember those 800 images from question #2? It takes several full days just to edit those.)

Add insurance, taxes, software, advertising, albums, repair, shipping, and studio expenses, and many photographers end up making less than minimum wage for the first few years of their career.

 

The more you trust me, the better your images will be (and yes, your dress will get dirty). 

Fact. My favorite words a couple can say to me, are “we’re up for anything!” Those are the couples who get crazy beautiful images. We try things that seem nuts to them at first, but they trust me anyway, and are blown away with the results! This includes the time of day you get married, and how much time you give me for photos of the two of you. Lighting is EVERYTHING for photos. Yes, your dress will likely get dirty and you might think I’m crazy, but I don’t think you’ll regret it once you see your photos! The more freedom you give me to be creative, the better your wedding photos will be. Truth.

I’m not God.
Nope! I hope you already knew this. But I’ll say it again, I’m not God. I don’t control the weather, or the lighting. That’s up to the man upstairs. If it rains, I’ll roll with it! Shooting in the rain is less scary than it seems and we can still get some beautiful photos. But don’t expect me to have a tent and umbrellas for 300 people in my camera bag. That’s just silly.

I don’t want you to look at me.
No seriously. During your engagement session and bride and groom portraits, I don’t want you to look at me! Unless I tell you to. The goal is to get you to interact with each other and share some beautiful moments together! I’m just there to capture it all. Of course, I’ll give you some cues and help you out along the way. But for the most part, just try to forget I’m there, and you’ll love your images!

 

We need to eat when you do.

Not only that, but we just plain need to eat. Sometimes we get forgotten, but by the time dinner rolls around we have most likely already been working for 6 or 7 hours. You and your posse are our #1 priority. Nobody wants their picture taken with a mouth full of food, so plan for us to eat while you eat so we can be finished when you are. Some reception venues and caterers will insist on serving vendors last, so be sure to address this with your venue or caterer prior to your wedding day.

Don’t forget about your photographer in the midst of a sea of iPhones.

Everyone wants a photo with the bride and groom on their wedding day – you are looking and feeling fabulous and it’s a once in a lifetime event. Don’t forget and most definitely don’t be shy when you are taking a group photo with someone’s iPhone. Call us over – we would love to capture a photo on our cameras so you have a copy. We’ll even take a photo with your friend’s iPhone so they can be in the picture too!

 

Instruct your DJ to communicate with the photographer during the reception.  

It’s best if they let me know BEFORE they start the cake cutting, bouquet toss, etc., so I can be prepared for these shots. Your aunt Margorie might have dragged me into another room and is having me take pictures of your second cousins twice removed while something important is happening on the dance floor. And then I’ll miss it. And you’ll be upset. And so will I!

Brides should go first (or close to it) for hair and make-up.  

Too many times bridesmaids make lots and lots of changes and that takes up the make-up artists’ time, which makes the bride late to start – which means late first look, rushed bridal party portraits, and all together… less photos. Bridesmaids can really sabotage a day. And sometimes on purpose!

Random Tips from a Professional Camera Operator

My childhood dream was to be a camera operator. I wanted to be the person looking through the camera and framing a shot. While I would have enjoyed having a long career as an operator, I entered the business at a time when operators were a dying breed, and the only people guaranteed careers as operators were Steadicam operators. I wasn’t particularly interested in doing that, so I moved towards being a director of photography faster than I had expected. Most of the shoots I do don’t require, or won’t hire, an operator, so in a way I’m still a career operator. I just get to light the shots as well as operate them

No one taught me how to be an operator. At a young age I found myself drawn to strong compositions in certain TV shows and movies, and I sought to emulate those compositions with my Regular 8mm film camera. Over time I learned, through trial and error and the occasional tip from those more experienced than I, how to move the camera predictably and repeatedly

LEARN THE GEARED HEAD

I really enjoy working with geared heads, although I rarely get to use them anymore. Most of my projects can’t afford to rent one for me. Hopefully this will change with the advent of the Gearnex geared head, which I’ve now used on several shoots

Buy, rent or borrow a geared head and strap a laser pointer to it: learn to write your name in light on a wall.

Although this is the most commonly recommend way of learning the wheels, I’m skeptical of this method as it teaches you to write your name in light on a wall–which is something you’ll never do. In my career–approaching 23 years in the film industry–I’ve only once had to follow text with a geared head, while operating second camera on a feature called “No Way Back.” A gang member spray painted words onto the side of a tunnel, and I had to follow his writing in third gear, with no rehearsal, on an 85mm lens. I nailed it, and I’d never done anything like that before.

Buy, rent or borrow a geared head and strap camera to it: follow people around.

Learning to read, and react to, body language is a huge part of operating a camera. You’ll get a lot farther faster if you learn to follow people around and interpret body movement and language through the wheels than you will simply learning the craft of moving the wheels, which is what the laser pointer technique teaches

 

Tips for being an Outstanding Camera Assistant

Being a professional Camera Assistant can be the hardest job on the crew. It carries more responsibility than most people think and even worse… while everyone else is on a tea break, the Camera Assistant is usually working, loading magazines, filling out Camera Report Sheets or organizing the camera equipment for the next set-up.

The stuff I’ve written here is based on film camera assistants but the rules apply for video assistants too. So, without further ado… let us begin! All experienced camera crews working at the top end of the film and TV industry such as   Cinematographers, Lighting Camera men/women, Camera Operators and Focus Pullers, have all done their time as Camera Assistants.

Always be a good time keeper and turn up at least 15 minutes before you are expected to start work. General rule of thumb: “If you’re on time… you’re late!”

Strive to be efficient and organized – Your aim is to be an outstanding Assistant. (Never aim for mediocrity, it won’t get you anywhere.)

When the camera is not in use keep it low on the tripod or preferably keep it in a safe place on the ground. Always place it on a groundsheet and protect it from moisture or dust with the rain cover.  Remember: “If it’s on the ground, it can’t fall any further!”

 

How To Be a Better Camera Operator

Welcome back to part 3 of my “How To Be A Better Camera Operator” series (if you haven’t read part 1 and part 2… what are you waiting for?! Haha). In this post we’ll be looking at Camera Equipment – there’s lots of information flying around all over the place about gear, so sometimes it can be very tough to see what’s really important about the kit you use. In this post I’ll try to cover what you need, why you need it and how to make sure it keeps doing what you want it to do!

Cameras

As there are so many different cameras out there I’m not going to discuss the ‘right’ camera to choose or use, as this largely depends on the type of work you do and anyway, as I’m sure you’ve already discovered there’s so much stuff online now about all the various cameras that are available, their pros and cons, special features and …well the internet groans under the strain of it all!

One thing I will say though is that having the latest, all singing all dancing camera with the brand new bells and whistles doesn’t make you a better camera operator. Similarly just because you have Microsoft Word on your computer doesn’t make you a better writer than William Shakespeare. I think you’ll all agree that even though good old Will had nothing but an unpretentious sharpened goose feather to work with… he kind of managed ok!!!

Camera Care

Looking after your camera is number one. It’s simple…Look after your equipment and your equipment will look after you.

DO: Always have a rain cover handy if you are filming outdoors. Also use a lens cap ready for the lens. Pretty obvious really, water and electrics don’t mix! To protect the lens from rain a great tip used by loads of camera assistants is to use disposable shower caps (the sort you sometimes find in hotels) because they are elasticated it only takes a second to snap one over the lens: it’ll protect it between Takes from those potentially damaging and annoying rain droplets.

 

qualities to look for when hiring a cameraman or crew

Great attention is given to actors, directors and producers, but what about the guy (or gal) you never see – the one on the other side of the lens? The one who holds a 25 lb. piece of equipment on their shoulder, while walking along a bumpy road with their vision tunneled into a small 1 inch rectangle, trying to get “the shot”….the cameraman

Easy to work with/Flexible

Finding someone who is flexible and easy to work with is always nice to have, but it is especially true when selecting a camera operator. You want someone who can: put those being filmed at ease; be patient when working on set during unavoidable delays; and be understanding about reshooting if you’re not getting what you had envisioned. You may be able to step in and do an “okay job” at other tasks, but shooting with a $50,000 camera and lens takes technical skills learned through school and years of practice

Honed technical skills/Tech savvy

Operating a camera, maintaining composition and adjusting camera angles is no easy feat. Learning, understanding and honing the technical skills required to become an operator takes many years – and then several more to hone a specialty. For instance, to be good at news requires a cameraman who is quick thinking and fast on their feet.  Others may be good at sports production and following the ball, or an expert in EFP (Electronic Field Production) which requires precise lighting and composition.  Still others specialize in multi-cam for meetings and the like, and then some can do it all.  Camera operators also need to stay up-to-date on shooting techniques, lighting, new equipment, and a plethora of formats, frame rates and resolutions

Physical stamina and strength

While keeping abreast of the latest news through industry associations, forums and journals is important for honing technical skills, the camera operator must also possess physical stamina, strength and manual dexterity. Shooting, although lots of fun, can also be very demanding – with long hours, challenging conditions, and the need to be on your feet all day

Creativity: they have a “good eye”

Creativity is something that cannot be taught. A good camera operator will be able to spot a good opportunity and have an artistic eye for framing shots. Having the ability to look through the lens and picture how all of the elements come together – visual composition, perspective, lighting and movement – is crucial so that the images captured will reinforce your message and tell your story in the way you want it to and one that is consistent with your brand image

 

A GUIDE TO BECOMING A CAMERA OPERATOR

Director of Photography Etienne Sauret’s Viewpoint

Experienced camera operators possess unique combinations of skills. They all seem to have artistic sensibilities – facile perception, a keen eye and the ability to compose balance and beauty in a frame; they also have impressive technical skills – a solid understanding of lighting, audio equipment, electrical requirements and even the physics required to produce the right shot with efficient timing. Due to the rigorous demands of the job, and the un-repetitious nature of the work, most camera operators build a career with a blend of education and on-the-job training. They also tend to be confident, lifelong learners willing to take on new challenges and learn new technologies to develop their craft.

The Camera Operator Job

A camera operator is someone who sets up a camera and records images that will later be edited for an audience. Camera operators are employed to film TV shows, motion pictures, music videos, documentaries, news segments, corporate meetings and sports events. In the US, most operators work in the motion picture industry or in television broadcasting, but the number of operators working in corporate video production is increasing. Some camera operators are employed by production houses, corporations and institutions such as churches with in-house studios; and others work as freelancers or owner operators. The median annual Camera Operator salary in the US is $38,938, as of November 07, 2016, with a range usually between $31,958-$47,334, however this can vary based on geography and industry. For example, the mean income for the motion picture industry is $64,810 and the mean income for Broadcast and Radio is $51,970.

Assess Your Physical, Technical and People Skills

Your path to becoming an operator starts with taking a self-assessment. Since a camera operator does indeed operate camera equipment and its related accessories (which can add up to over 100 lbs with the most sophisticated camera packages), there is a level of comfort with the physical and technical nature of the work that you must be able and willing to develop. Learning about the highly technical specifications and capabilities of cameras, audio equipment and lighting is the foundation of becoming an operator. If you are fascinated with gadgets and new technology and you can’t keep yourself from experimenting with your camera settings and the video editing software on your computer, you might have what it takes for the multi-year process to learn the craft.

Commit to Lifelong Learning

After you develop a basic understanding of the concepts and equipment camera operators use, you must put them into practice with an internship or camera assistant position with a film or video production crew. In such positions, you will be shadowing, moving equipment around, running errands, performing administrative tasks and occasionally adjusting a camera. Eventually after a year or two, you will work your way to running a camera or jib. It is important that you volunteer to do everything you have permission to do as an assistant to understand how a crew works and how each person impacts the production process. It is important to take these tasks seriously as they are all essential for a production to be successful. You will also establish your reputation as hard worker who is eager to learn, shows up on time and gets the job done.

A Very Rewarding Career

A camera operator’s career is one that truly gives back. If you put the work into it, you will get amazing rewards. These rewards start with the aesthetics and social impact of the films and video you help create but they don’t end there. As you build your reputation in this industry, you will stand out and be appreciated among a select group of people that chose this work. The sky is the limit if you stay focused and seize every opportunity

TOP TIPS FOR CHOOSING A WEDDING PHOTOGRAPHER

Image quality/style

The quality of a photographer’s portfolio should be the first thing that captures your attention. A good photographer should be able to offer clients a variety of styles, capturing the personalities of the bride and groom and showcasing the happiness and fun of the day. Be clear on what style you would like and make sure the photographer can provide this in their portfolio.

If you are drawn to a particular photographer, make sure you ask to view all of their images (not just the favourites they pick for their websites!) so that you can check the image quality is consistent throughout.

Be aware that photographers have different editing techniques. If an image is heavily edited then chances are this will be a common theme within their photography portfolio and is usually an attempt to try to cover up poor quality.

Above all, the style of the images should say something about you both as a couple. Whether you are looking for relaxed and informal photography or you would like to go for a more adventurous and contemporary style, be sure to do your homework and shop around.

Personality

As a bride and groom, you put a lot of trust and faith in your wedding photographer. In order to get the best images and a true account of the most important day of your life, it is imperative that you feel comfortable and relaxed in their presence.

You can usually tell within the first 5 minutes of meeting someone, whether you feel a rapport or connection. First impressions are key and if you instantly strike a bond then you are on to a good thing. If you feel uncomfortable around your photographer for whatever reason then this will become very apparent in your wedding photos.

Also, think of your guests. If your wedding photographer is approachable, friendly and down to earth, your guests will be at ease allowing the photographer to blend in and capture the day as it naturally unfolds rather than a forced and posed account.

Remember, a true smile is impossible to fake so choose wisely and ensure you meet with your photographer a couple of times before confirming your booking.

Value for money/cost

This can often be a deciding factor for a lot of brides and grooms and although it is a vital element, it should not be the basis for your decision. High-end prices do not always guarantee the highest quality but likewise, reasonable pricing does not always depict low quality.

A photographer should be open about their pricing structures and in turn, you should be clear on your budget. Neither one of you wants to waste any time so a clear dialogue right from the beginning will resolve this.

Your photographer should offer a variety of packages to suit all and should always be flexible with pricing and what is included within each package. Your photographer is providing a service and each couple will have different expectations and requirements so do make sure that your photographer can tailor make a package to suit your needs.

Always remember to ask about any hidden extras. Some photographers charge an additional fee for editing, VAT, creating artwork for an album or even travel and food expenses. You should always ensure that all costs are detailed in a quote before entering in to any contractual agreement.

 

Steps to Finding a Great Wedding Photographer

Settle on a Style

Before you begin researching photographers, you’ll need to first decide what type of photography style you prefer, as that will help determine which kind of photographer you’ll want shooting your wedding. Get inspired! Spend time pouring over any kind of imagery you love, from décor shots to a fashion blogger’s Instagram feed. Once you have a good collection of inspiring photographs, try to narrow in on what draws you to them specifically and dissect what feels most authentic to you and your partner. Maybe that’s formal-posed portraits, a classic photography style or a lifestyle, photojournalistic feel. If you love sharp and contrast-y shots, perhaps a photographer with a flair for the dramatic is the right choice for you. Remember that you don’t necessarily need to narrow in on one style in particular, since many wedding photographers can do a blend of portraiture and documentary-style shots, a mix of black-and-white and color images and so on. But if there’s a special style you love, make sure to focus on photographers who specialize in it.

Do Your Homework

Start your search by reading reviews from recent newlyweds and browsing local listings. Carefully review potential photographers’ websites and blogs to check out photos of other weddings they’ve shot, which will give you an idea of their style. How do they capture the moments important to you, like a mother bustling her daughter’s gown or an emotional first look? The design of the website may also have clues about the photographer’s personality and sensibility. Check out their Facebook, Instagram and Twitter pages too, if possible. Is the feedback from clients positive? How does the photographer respond? How do they interact with their Instagram followers, do they seem friendly and personable? You get the idea.

Set Up Interviews

This is not a decision that can be made on looks alone—you must meet your potential photographers in person. If you like what you see on their site—and their fees are in your ballpark range—call to see if they’re available for your wedding date. If available, go ahead and send an introductory email with a bit about you and your soon-to-be spouse, you event and the vision for your day, and feel free to attach five or so of your very favorite photos from your research so they know what you love. If the photographer is already booked on your date, you may want to see if they have an associate or can recommend another shooter with a similar style. Set up in-person meetings with three to five potential photographers who are available on your wedding date to look at more of their work and assess whether your personalities mesh. Be prepared to talk about your venue, wedding style and what you envision for your photos.

See a Few Full Wedding Albums

Don’t base your decision solely on what you see in a photographer’s highlights gallery or album. For good reason, photographers show prospective clients a portfolio of their best pictures, all from different weddings, so you’re seeing the best of the best. The problem with that is you won’t get a well-rounded idea of their work. Ask to see two or three full galleries from real weddings they’ve shot (not someone else at their company) so you can get a better idea of what your complete collection of photos might look like after the wedding. If you see that the full gallery photos are just about as good as the ones chosen in the highlight gallery (that is, they’re all so good it’s impossible to choose!), you’re on the right track. And ask to see at least one or two complete albums of weddings that are in similar settings to yours. For example, if you’re planning an indoor affair with dark lighting, don’t just look at weddings shot outdoors in natural sunlight. And if you’re planning to say “I do” on a beach at sunset, you’ll want to see examples of that.

 

HOW TO CHOOSE A WEDDING PHOTOGRAPHER

Classic

The classic style is the most well-known and timeless photography style, which was most likely used for your parents’ or even grandparents’ wedding album. A classic wedding album usually has clean, carefully composed photos with perfect lighting. If you just love those classic wedding moments—like the first look, wedding kiss, and bouquet toss—and would like yours captured in the same way, then you should look for photographers with this style.

The downside of this style is that it can make your wedding album look “too similar” to other wedding albums. To tackle this, you can ask your photographer to add a certain twist to the pictures, so the photos can look more modern and less predictable. Another thing you can do is to let loose and have fun. Let your positive radiance shine through every frame.

Photojournalistic or documentary

These types of photographers are inspired by photojournalism and capture moments as they happen. They usually shoot pictures from a slightly different perspective than traditional wedding photographers, focusing on candid and spontaneous moments instead of posed portraits. If you don’t enjoy posing in front of a camera, this style might be a good fit for you. The photos also give you documentary coverage, which will make you relive them easily in the future. However, this style might not be suitable if you want to take perfectly posed portraits.

Fine art or artistic

Fine art wedding photography is actually a bit hard to define, as the definition of art lies in the eyes of the beholder. The easiest way to tell a fine art wedding photograph is to take it out of the wedding context. Would the photo still be beautiful as a stand-alone piece of art? A fine art photographer usually has an artistic background and applies elements such as blurring or silhouettes into the pictures. With this kind of style, your wedding photos will surely be beautiful and won’t look like anyone else’s. The downside of this style is how it can get too artsy and abstract that it doesn’t tell a wedding story like a wedding album normally would. One way to tackle this is to hire another, more conventional wedding photographer as backup.

Lifestyle

Lifestyle photography is more or less a mixture between documentary and classic wedding photography. Candid moments are mixed with of direction and styling. As a result, you can get relaxed and relatable photos. This style is increasingly popular these days, as a lot of couples wants to have candid pictures but also want the assurance that their photos will look good. Another important thing to consider is the format. Film photography is having a comeback in the wedding world thanks to its beautiful tone and colors, but it’s not for everyone as it can be costly and more time-consuming to edit. Carefully research the perks of both digital and film photography before you make a decision.

 

STEPS TO CHOOSING THE RIGHT WEDDING PHOTOGRAPHER

It pays to have the best

While you can get a good deal with a photographer who’s new to the industry, you do need to find someone you trust to get it right. Perfection comes with experience.

“It sounds obvious but nail down your photography budget before reaching out to wedding photographers.” Says Jay Rowden.

“Be prepared to break the bank if you find a photographer whose work you really love”.

Browse your photographer’s portfolio

Look through the portfolio of any photographer you’re considering. You won’t just be looking for examples of the weddings they’ve captured. You’ll also be looking at their different styles and approaches. When you find the photos that resonate with you, you’ve found your style and photographer.

“Before you meet your favourite photographer, ask them to bring along a few sample albums of their work,” Says Jay Rowden.

Decide on the right style

A professional photographer distinguishes all the subtleties of shooting a wedding. They’ll know exactly when to photograph your groom as he first sees you walking down the aisle, how to achieve the perfect confetti shot, and what to do in the event of rain. A creative and flexible approach often results in the most breathtaking and brilliant wedding photographs.

 

TIPS FOR PICKING THE PERFECT WEDDING PHOTOGRAPHER

Book early

Top wedding photographers in the UK can be booked not just months in advance, but years. Many will be taking bookings for one to two years in advance – popular summer weekends in peak season will be quickly booked up. If you are planning your wedding and have your date set, then now is the time to find your wedding photographer and get them booked as quickly as possible. Don’t be left disappointed by finding a photographer who you love, but are already booked up on your wedding day. Once your venue and wedding date is confirmed, get straight onto your wedding photographer and get them booked.

You would recommend them

A great way to know if you have found your perfect wedding photographer is to ask yourself ‘would I recommend them to a friend?’ If the answer is yes, then get them booked. If you have any doubts then consider the reasons you wouldn’t – if you wouldn’t recommend them to a friend then why would you hire them yourself?

Ensure you pick a wedding photographer that you love, someone you trust and someone you know will capture the day how you want it captured and will present it beautifully.

You trust them

Knowing you can trust your photographer and leave them to do what they do best is so important. After meeting them, make sure you leave feeling confident and happy, ensuring they answer any questions no matter how silly they may be. Go with your gut – if something doesn’t feel right then perhaps go and meet another photographer you like too.

You don’t want to be worrying about them on your day, or making sure they capture certain shots or directing them around. Speak to them about formal family shots you may want before hand, then just let them get on. They have had years of experiencing doing this, let them do what they do best. When it comes to creative fun shots with you and your partner, go with the flow, have fun and trust your photographer.

Ask to see a complete wedding

When looking at different photographers they will show a range of different photos that represent their best work. If you love their work and meet up with them then make sure you ask to see two or three completed wedding albums that were given to the couple. You are looking for consistency –  you want a whole album that’s amazing and tells a beautiful story, rather than just four or five impressive photos.