Salmon Arm Photographer

Equipment

2010-08-29T14:48:00.000-07:00

At a wedding shoot last week I was asked one of the most common questions put to photographers on the job. " What kind of lens are you going to use to shoot this?" The other most common one , of course is , "What kind of camera are you using?"Both these are more or less the same question usually asked by someone who believes that the equipment , not the photographer, makes the shot. If this were so I should buy a Gibson Les Paul. Then I could be the next Jimmy Page!

Here is my answer. If I had the choice of only one lens to work with it would be a 50mm. Canon, Nikon, Pentax , Minolta. They are all the same. They are literally the best lens each manufacturer produces. The standard lens is a simple design that is cheap to make. Therefore a very affordable top end piece of equipment.

A quote from Ansel Adams :""Any good modern lens is corrected for maximum definition at the larger stops. Using a small stop only increases depth..." Ansel Adams, June 3, 1937, in a reply to Edward Weston asking for lens suggestions, page 244 of Ansel's autobiography.

Photographers more than ever are so hung up on equipment that they forget what this profession is. Painting with light. Whether you are using film or using a digital capture, the most important element is light and how you use it. A 50mm lens is fully capable of being part of the image capture in a 100% professional manner, as long as the photographer uses it in a professional manner. 75% of what I shoot is done with a 50mm 1.8 . I can achieve wonderful bokeh in portraits , razor sharp landscapes, amazing low light stage shots and great candids all with a single focal length lens! Not to mention I feed my family doing it, which I would say is the definition of professional. I make 100% of my living doing this. Of course I have a fast 2.8 wide to medium zoom , a super wide 17 , a 105 and a 200 that I use in specific situations. The 50mm, though, is used more than anything else.

If you look at any photo mag, photo site or many other photographers web sites you would think that no matter what, the bigger the lens the better the photographer. Posing with huge tele lenses and ultra range zooms seems to be THE fashion statement for many photographers these days. I wonder if these shooters are afraid to get too close to their subjects! One of the most famous photojournalists of all time, Larry Burrows, recorded the Vietnam War frontline using a 20mm wide angle lens more than anything else!

My point here? Don't worry so much what anyone thinks of your gear. Be concerned about what they think of your work. That's what they will pay you for, as long as it is professional!

Our Wedding Photography Promise

2010-03-12T15:34:00.000-08:00

I am not one to promise anything without fully backing it up. If I promise a client something, I follow through. That includes meeting deadlines, providing professional , finished images and even showing up not only on time, but generously in advance.

What do we promise you in your Wedding Photography service?

We will be on time. Your day is important. Waiting for the hired photographer to arrive should not be part of the day. We will arrive early to ensure we do not have to rush anything.

We will not become the main event. This is your wedding day. Most of our job is to capture the candid moments quietly in the background. We must also create formal portraits of you and your friends and family. We have done this hundreds of times. We use our time efficiently to get the best shots in the least amount of time. Most formal photography can be done in an hour. That's it. The rest is candid. We follow you, you do not follow us.

We will be prepared. Would you go on a long road trip with no spare tire? Of course not!You would be surprised how many photographers do. The road trip is your wedding day, the spare tire is back-up gear. What do we have as back-up? We bring extra camera bodies , both digital and film. We bring duplicate lenses , duplicate flashes, batteries, cables. We have two and three of everything we require to shoot your wedding. In case of rain we carry a portable studio complete with backgrounds, just in case. We even bring a spare photographer! Well, actually we always work as a team of two so we can provide a wide variety of images.

We will provide variety. Did I mention we always work as a team of two? We are two professionally trained photographers. We did not stumble upon this vocation after a friend said we take pretty pictures. We actually went to school for this. We have the skill to provide true professional portraits and relaxed candid informal shots. On demand. That's what you pay us for.

We will be consistent. When you view our samples, you can be assured that you will receive the same quality. See the above note on going to school to learn our vocation. It's not hit and miss with us. We know in advance what the result will be. That means you always get our very best work!

We will not take photos of just your feet. Unless, of course, you ask us to. Then we will do so professionally. We listen to you. This promise also means we will not take photos looking up your nose, with trees or fountains coming out of your head, no hydro tower crossbeams sticking out your ears, and absolutely no ring shots with three hands in them! Seriously. I have seen these types of images in some "pros" portfolios . We go to great lengths to properly compose and light your photos, both candid and formal. Just because a photo is not posed does not mean it should not be thought through. Those recklessly taken photos are called snap shots. That is not what you are paying us for.

We will provide you with a contract. Now this really should be a no brainer to professional photographers. However, I have known many who do not use contracts. That is dangerous for both the client and the photographer. Our contract specifically outlines what is being provided in both goods and services. All liabilities and restrictions are explained. We leave nothing to be mis-understood by ourselves, or you.

We will keep it light. After all, it is your wedding day.It is a day of joy and celebration. We stay in that spirit. We do this because it is fun. What better job is there than photographing happy joyful people? We get paid for doing what we like to do. That makes us happy.

We will not emblazen each and every final print 2" high in the bottom corner with our name. You know who you hired to take your photos. You do not need to be reminded of it every time you look at them. Studio information is restricted to the back of the prints, where it belongs.

You will be pleased with the results. We know you will be. We always go the extra mile. There is always more in the final results than expected. All our final print images are fully retouched to remove imperfections and blemishes. We produce our own work paying close attention to detail and finishing. We want you to be satisfied. That's what you are paying us for!

We deliver. That's a real promise. Both in images and final product. We will personally deliver or ship the final product to you. Your Wedding Photography should be effortless. We strive to make it so.

Call 1.250.275.4846 , or email info@shuswapphoto.ca today for more information on how we can make certain you have the best of your Wedding Day in photos!

Digital and Film Photos – The Lowdown

2010-01-05T16:07:00.000-08:00

Well at least my take on the lowdown.

Digital cameras are everywhere now. Cameras that once cost tens of thousands of dollars can now be purchased for fewer than one hundred dollars. Phones have cameras in them. Even key chains can be purchased with a camera in it for those occasions when ones front bumper kisses another’s rear bumper. Almost everything is recorded now.

The cries of “film is dead” ring out everywhere. Is it really so? Actually, no. Film is not dead, and will not be for a long time yet. Film may not be as convenient as digital devices but it is still King.

Film has higher resolution than digital SLRs.

Yes sir, it is true. A 1962 35mm camera bought at a flea market for 5 bucks can out perform that $6,000 Nikon D3. For a very technical example of this, click on this link:

http://www.imx.nl/photo/technique/page153/page153.html . For a more entertaining and straightforward example click on this link:

http://www.kenrockwell.com/tech/real-raw.htm .

Film has been, and remains usable for over 100 years. I have negatives from when I was a kid that I can still make prints from. Not only can I make prints from them, I can scan them in my film scanner and produce a higher resolution, sharper image than the top of the line Canon, Nikon, Sony or any other brand DSLR. As technology marches on my old slides and negatives will march with it since there is so much detail and information jammed in those films. Sadly, the digital images we produce using DSLRs will remain the same. You will never get more information out of them, RAW file or not.

Hard drives, CD/DVDs, solid-state memory and other storage devices fail or become obsolete. This means we have to make back up after back up. I have backed up my first digital images shot that were stored on floppy discs at least five times now. They are only 15 years old1 I have never had to back up my film images. I can pull one out and print, scan or view it at any time now or in the future. I can even do that with 100-year-old negatives.

These are significant factors to take into account as a photographer. Film is a more stable, archival media as well as being a higher resolution media. So does that mean digital is not the way to go? NO.

Both digital media and film can exist, and should exist side by side if you shoot professionally. It is a sad statement to make, but many professional photographers have no idea how load a roll of medium format film in a magazine or camera let alone use a light meter to determine the exposure. Does this make them bad photographers? No not at all. It just limits their scope and possibilities. It has also limited , in many cases , their understanding of light ratios, and the ability to have full control over the final image. So many simply shoot hundreds, if not thousands of images to get what could be done in one or two hundred images. Even then it’s a gamble for some.

A friend of mine in the industry once described what he believes will be the ultimate digital camera. It will have a location mode on it. No matter where you are in the world, you will be able to point the camera at your scene , say the Eiffel Tower, and the camera will produce a perfect image by retrieving it from the millions of images stored in it's built in memory. The ultimate would be wifi retrieving the images from a central storage facility via satellite. Sound ridiculous? Take a look at where we are with cameras now. Full automation complete with anti vibration. Consumer cameras, which I see more and more pros using, have vast scene modes that do everything but tell the subject to smile. When you use film in a manual camera, you have to make the settings . You have full creative control.

To make big prints you need big media. You can buy a $25,000 Hasselblad H-3D and shoot images that rival medium format film, or, you can use medium format film and get professional scans done and produce images that will blow the digital files out of the water. Step up to 4x5 sheet film and there simply is still no comparison. You can buy cameras for under $1,000; even under $500 that will out perform the $25,000 medium format digital camera backs.

Okay, that said digital has one huge advantage. Immediate gratification. The McDonalds syndrome. You have your image right away. A pretty darned good one at that. Even low cost point and shoot digital cameras can produce images as good as their higher priced DSLR kin. There is also the cost factor. Film, processing and pro scans all cost money. You buy memory cards usually once and re-use it over and over. You even keep them when you sell your gear and upgrade, which you will have to do. At least that’s what the TV tells me.

I have a medium format system that I have had for about 20 years. I have not had to upgrade it once. I have 35mm Nikon gear that spans 25 years. Nikon has been kind enough to allow use of their old lenses on the new pro and pro-sumer bodies. The Nikon film bodies I have range from 12 to 20 years old. I will continue to use them with no upgrade either. The film gear was made to work a human lifetime and more, not advertisers proclaimed lifetime like digital. My oldest digital body is one and a half years old. I will need to upgrade soon in the digital department so say the Internet chat room “experts”.

What’s that? An advertisers projected lifetime? The advertisers for the manufacturers of digital cameras have done an incredible job of convincing the consumer world that digital cameras become obsolete in a very short time. About a year seems to be maximum. Check it out yourself on eBay. Perfectly good, 4 and 5 year old pro level digital cameras sell for half to one third their original price. I can sell my medium format gear for what I paid for it 20 years ago!

Every year the manufacturers add more megapixels to their camera lines. Even low cost point and shoot cameras come with 10+ megapixels. So you run out and buy the newest latest greatest. Oh oh, now you need bigger memory cards because of all those megapixels. Megaexpensive is what this is, and megaprofitable for memory and camera manufacturers alike. The fact is you don’t need all those megapixels. In small cameras 6 megapixels is more than enough. It is sad that camera gear has now become a sort of “bling” for many people. Save your money for a trip where you can actually use your gear! If you really feel the need to upgrade a 3-year-old camera and lose 2/3s the value, please call me first. I will likely buy your old one and use it to make beautiful photos,

Film and digital need to live side by side. When shooting a wedding it makes sense to photograph the ceremony, reception, dance and other candid shots in digital. More photos for less money. Most of these are going to be viewed electronically, or at best in 8x10 size print. By the way, any image looks better on a computer monitor. Print is where the difference is seen. If there are going to be prints done for display that will be 11x14 or larger film, and more specifically, medium format film WILL give a sharper, clearer image hands down. It will also last longer and be usable in it’s native state longer. Period.

One should note that I have not even mentioned B&W film, the true archival media. You cannot duplicate the image sharpness, clarity or resolution of properly exposed and processed B&W film. You can come close, but not match. Again, check out this link:

http://www.imx.nl/photo/technique/page153/page153.html

That man is far more knowledgeable than I. He has likely forgotten more about film and photography than I know!

Don’t be surprised when we offer a film alternative, or supplement to our photo services if you book us for an event! We strive to deliver the whole package, not just part.

The Price is Right...or is It?

2009-12-13T12:28:00.000-08:00

Sometimes the lure of a good deal on eBay is just too irresistible.

In my search to simplify my location lighting gear I constantly watch eBay for unique tools. Well, I have to say I found a few very unique ones this past month.

If you search “flash” on eBay you will get tens of thousands of matches. Narrow it down to Camera and Photo, then Lighting and Studio Equipment, and you are in my search area.
You will find everything from top end lighting gear to things that look like milk jugs carved up to fit on flash head. I am not kidding. Some guy (actually a very wealthy photographer) named Gary Fong makes a killing selling exactly that on eBay.

Well one day a few months ago I was snooping around this area and noticed a company in China auctioning off light modifiers for my flash. Naturally, since they were coming from China, I knew these had to be of the finest build and quality in the industry.

I placed my bid on both items. To ensure the best possible odds I even used my Gixen account. This is an eBay sniper tool. Check it out at http://www.gixen.com/ . A couple days later I get notice that I had won. I eagerly sent off my payment. Five dollars for both items, shipping included. No kidding.

Three months later the packages arrived. The customs label was marked “Studio Lighting” which must have confused the customs agents a bit. The package was a 5x7-padded envelope. Studio lighting in an envelope? I tore into the envelope revealing my new lighting tools.
Well…..the old saying you get what you pay for comes to mind here. The first one was advertised as:

Flash straight on if without our diffuser causes the light to go forward only and creates a harsh shadow behind the subject. The flash with our diffuser installed and tilted at 45 degrees gives a nice soft wrap around of light with a soft shadow behind the subject. This fits cleanly over the head of your existing flash, no need for cumbersome attachments, hooks. Try us and see the difference. It disperses the light over a wider area for a softer, more balanced and natural effect than you didn't use before.The Flash Diffuser helps to reduce hard background shadows and eliminates the annoying red eye effect.

Well I understood MOST of that.

This is what the item looked like in the ad.

Looked good. So I open up the package and inflate (yes inflate!) the light modifier. Here is what I now had.

Couple of problems here. One, it is so “pumped up” that the is no way it can fit on my flash head without the actual “diffuser” material (plastic” resting right on the flash lens. Not a good thing. Think 150 watts and kaboom! The other is that it took me almost five minutes to inflate!

So now I have a beach ball for my flash. The upside is if I ever drop my flash in the lake with this on it, it will float! I am not going to go into detail about the other “ Light Modifier”. Let’s just say it resembles a golf driver head protector made out of heavy vinyl. Non-inflatable though. A good thing given the spent energy on the first one.

The lesson here , of course, is that if it seems to good to be true, it likely is. The same is true with pricing in Professional Photography. If a photographer quotes a ridiculously low price, question it. The lowest price is not the best value in most cases. Corners have to be cut for the photographer to make profit. Yes, Professional Photographers do want to make a profit and live off those earning.

I have no issues with discussing my expected earnings from my work. I have children and a home to support. It should be obvious that a livable wage is expected. Along with that, the client should expect true Professionalism from me as well. This is not only in the final product, but also in how I equip myself and, how I conduct myself on the day of the event.

Plastic inflatable flash diffusers are not professional. Honestly, I don’t even think they are amateur. Cheap is cheap. Period.

What Kind of Camera Do You Use?

2009-11-30T12:41:00.000-08:00

I get this question at least once per shoot. It is usually a sure indicator that the person asking is not a professional photographer. My answer is always the same, one with a lens. Okay, that may sound a bit crass, but let me explain.

In the immortal words of Rod Serling, I offer for your consideration………

A young waiter serves an attractive couple their elegantly presented meal at a fine city restaurant. The plates are meticulously arranged with beautiful filet mignon, twice baked potatoes, candied carrots and a drizzle of dark sauce encompassing the display. The aroma of the spices fills the air.

The gentleman at the table carefully slices into his fillet mignon and savours a mouthful of delicious meat. The couple continues their meal, enjoying the delicious meal and wonderful atmosphere of the restaurant. Midway through their dining the young waiter returns.

“How is your meal tonight?” he asks.

“Simply wonderful.” the gentleman replies.

“Excellent.” the waiter responds. “Is there anything else that I may get for you?”

“Why yes”, says the gentleman, “ Could you possibly tell me what kind of frying pan the Chef uses? The fillet mignon is incredible, I want to be able to prepare one at home just like it!”

What would follow next could very well be the Chef demonstrating a non-culinary use of his fry pan over the gentleman’s head. The obvious fact is, it is not the fry pan that creates the well-prepared meal, it is the Chef. Combine that with professional support staff and a properly decorated restaurant, the customer receives the ultimate in a dining experience.

You can purchase the most expensive, top of the line camera with the finest optics available and still produce garbage images. On the other hand, a good photographer can produce stunning images with a box camera. Check out this site:
http://www.holgablog.com/2009/11/18/the-best-holga-photos-from-flickr-october-2009/

The photos at that website were taken with a Diana, or “Holga’ camera. It is fully constructed from plastic. Here is another fine example:

Edward Steichen, Isadora Duncan at the Portal of the Parthenon, Athens, 1920, photogravure, collection Museum of Photographic Arts

Steichan used a Kodak box camera borrowed from the headwaiter at his hotel. If you are not familiar with Edward Steichan then go here:http://www.thecityreview.com/steichen.html

While attending a business seminar last year the inevitable “What kind of camera do you use” question, and its brother “Have you lost a lot of business due to all the digital cameras around” came up. One of the participants, a professional photographer himself, stated he no longer could understand why anyone would buy an Ansel Adams print anymore, since anyone can go to those locations now. They could simply take digital photo after digital photo and sooner or later produce exactly what Ansel did. Really? If that were the case, then you too can create a replica of Jackson Pollock’s (read about him here http://en.wikipedia.org/wiki/Jackson_Pollock ) works by randomly throwing paint at a canvas. Sooner or later you will end up with a masterpiece. Not.

Ansel Adams did not rely on his camera to produce those amazing images. He relied on his ability to see proper composition and light, and his knowledge to use it correctly

The only time I have ever been asked, “What kind of light do you use?” is by other Pros. They understand that the quality of light, the shaping and control of it is far more important than the camera. If you pay attention to the light, whether artificial or natural, and watch your composition, you will get great photos.

So, what kind of cameras do I really use? Used ones. Some as old as 40 years, some as new as last summer. I buy nearly all my gear from the greatest camera store in the world, Henrys. You can find them here www.Henrys.com . They also have a large presence on eBay. They sell new cameras too. They offer the BEST extended warranty in the business. True peace of mind, but that is another story entirely. I will write about that in the future.

Please visit our website at www.shuswapphoto.ca .

What if it Does Not Rain?

2009-11-29T13:13:00.000-08:00

It was a scorcher here in the BC interior this past summer. Temperatures were 35-40 Celsius (over 100 F for our Southern friends). Forest fires blazed all around us. There was not much relief in sight.

So what do you do when your wedding is planned and it is so hot? Well take the same precautions you would anywhere in this kind of heat. Hydrate and seek shade. Make certain there is lots of water on hand for the wedding party , bride and groom, and yes the photographer as well,

Wedding photos can take an hour or two depending on the location and number of people. Plan to have them taken in an area where there is shade. Wedding gowns and tuxes are heat absorbers. Stay in the shade and be cool.

In BC the time of day can be critical. The heat builds throughout the day. The hottest time in summer is between 4 and 7 pm. If at all possible plan your event ahead of that time. You will be grateful!

If you can plan to have formal and family photos taken before the service. That way you can take advantage of the cooler time of day and again, keep cool.

When I shoot in these hot conditions I ditch the suit and tie. I wear dress shorts and a short sleeved dress shirt. An overheated photographer can not do the job to the best of ability. I also keep lots of cold water on hand. Hydration is extremely important in the heat.

A little planning can go a long way to making the day bearable when the mercury rises!

Please visit our website at http://www.shuswapphoto.ca .

What if it rains?

2009-11-29T12:17:00.000-08:00

Here is a scenario I have seen happen quite often.

All the plans are in place for a beautiful outdoor wedding. Chairs for guests are in place, the alter is decorated with beautiful flower arrangements, everything looks bright and colorful. Until….the thunderclouds roll in and the sky opens up!

Most professional wedding consultants will have “Plan B’ in place just in case this happens. Unfortunately, most Brides and Grooms do not hire professional consultants. I have seen everything from umbrellas being held over the couple’s heads, to services moved to the family garage when the monsoons set in. We live in British Columbia, mainly rain forest. It rains almost every weekend in May and June. In fact, I have seen years where it rained every weekend through the entire summer. If you are getting married outdoors, make sure you have “Plan B” in place! It can be a tent, a room in a nearby building, (hopefully not the garage!) or even a gazebo.

Now, you have taken care of “Plan B”. What about your photographer? Trust me on this one; if you have not hired a professional photographer, then “plan B” can end up looking more like “Plan 9 from Outer Space:”!

When I book with a couple to photograph their wedding one of the first things I do is discuss where photographs can be taken in case of bad weather. This can be the Church building, a hall, a home or a meeting room at the banquet hall. It is very important that this be a place that is not going to be accessible to all the guests. There is nothing worse than turning a relaxing photo shoot into a paparazzi filled spectacle with well intentioned, but distracting guests taking away from the intimate atmosphere required for great portraits!

Having a plan in place is just one part of the job at hand when it rains. Will your photographer be properly equipped to professionally produce quality images? On camera flashes, or a single separate flash do not cut it in these situations. Proper professional lighting is a must, and in some cases backgrounds may be needed to cover unsightly elements in a room. When I arrive at a shoot I have a full portable studio with me. This includes proper lighting and backdrops, and more importantly, the expertise to use them.

Ask your photographer what their “Plan B “ is in case of bad weather. If their answer is to “play it by ear” or “wing it” then they are all wet….just as you will be on your wedding day if they have no plan!

Hiring a qualified professional photographer will ensure that, no matter what the weather, you will get great photos.