Here are some examples:
Friday, December 23, 2011
Special Effects in Your Wedding Album, Part II
Since digital photography took over wedding photography around 2005, the black and white image with touches of color has become very popular. The standard version is putting the flowers in color and everything else in black and white. Flowers lend themselves to this, of course, but this effect should not be overused, or else it will outshine the bride! I've found other ways to use it that avoid predictability: on the dance floor, for example, only the bride and groom are in color (and they're usually wearing very monochromatic clothing—a tux and a gown); or in a Jewish ceremony, put only the highly decorative Katuba, or marriage contract, in color. Sometimes during a unity candle lighting, I'll put only the flame in color.
Here are some examples:
Here are some examples:
Projecting Images at a Wedding Reception or Party
So you think you've planned everything so your wedding reception (or party) will go perfectly and everyone will have great fun. But wait—there's one more thing that will make it even better than you anticipated: projecting the images from the first half of the wedding day (preparations, ceremony, family portraits, romance photos) or the first 2/3 of the party AT the reception/party itself.
At weddings, the guests can now see parts of the day they weren't around for, and closeups of the ceremony they didn't have access to. At both weddings and parties they see themselves in portraits and in candids, frozen in the act of having fun—in ways they've never seen themselves before. It's always a heart-warming revelation, always exceeds expectations. And it's a regular feature of coverage by Joel Simpson Photography.
Here are some examples:
Here the Bat Mitzvah guests watch themselves on the screen.
At weddings, the guests can now see parts of the day they weren't around for, and closeups of the ceremony they didn't have access to. At both weddings and parties they see themselves in portraits and in candids, frozen in the act of having fun—in ways they've never seen themselves before. It's always a heart-warming revelation, always exceeds expectations. And it's a regular feature of coverage by Joel Simpson Photography.
Here are some examples:
Here the Bat Mitzvah guests watch themselves on the screen.
Wednesday, December 21, 2011
Special Effects in Your Wedding Album
Although everyone has at least a camera in their cell phone nowadays, and even simple image editing software (e.g. iPhoto) contains special effects options, the special effects available to a skilled user of Photoshop are considerably more subtle and expressive, and it would be good for brides shopping around to know what's available.
First of all, what is the purpose of special effects or f/x? Sometimes it's merely to provide variations on a theme, or, in the case of graying out a background photo, less visual confusion on the page. But why render a color photo in black and white? Why render it in sepia, or any of the nearly infinite variations in between, such as subtle sepia, or "soft" black and white? Why use another tone, such as rust (slight reddish brown) or moss (a slight green), or "platinum" (subtle silver-brown-purple).
First of all, it's important to understand the basic distinction between full color and any monochromatic variation.
The eye loves color; it is drawn to color. Color is like sugar or salt: it gives immediate gratification. This means that when something rather subtle is going on in a photo—like an emotion or the suggestion of an emotion, the eye may be distracted by the color and not immediately see the emotion. But almost magically, when you remove the color, any monochromatic variant will reveal the emotion much more clearly. Sometimes it even jumps out at you, whereas in the color version, it was just a feature, or maybe even not noticed.
So then why add toning—sepia, soft black, rust, moss or whatever? Well, once you've enabled the emotion to jump out, you can then condition the viewer's reaction to the emotion, to bring out the particular character of the emotion—it comes out to the same thing. So if you're showing warmth, love, tenderness, or dedication, you would use a warmer "black," namely a brownish or reddish black, which should be very subtle. When you go all the way over to sepia, the photo takes on a vintage or old-timey quality, since sepia toning was very popular 100 years ago.
On the other hand, if the emotion is humor or anger, you might favor a cold black, even one that's ever-so-slightly tinged with blue. Again, if you go too far with a blue tone, you arrive at cyan, which references the period of the 1880s and 1890s, when the cyanotype was in vogue.
Here is a color photograph taken during the bride's preparations:
Soft focus is another special effect than can be very effective, especially combined with toning. It produces a dreamy quality. When I apply it to photos of the bride getting prepared, surrounded by her bridesmaids, first putting on her gown etc., I'm trying to convey a sense of dreams about to come true. This can also be very effective with moss toning, which the viewer doesn't see as green, normally an unfavorable color for skin, but rather as "past," a flavor of dreamy.
Here is the same photograph in "soft" (that is, slightly brownish) black and white, and with soft focus:
Now, you'll have to try to ignore the color version, which automatically gratifies the eye with the bridesmaid's blue dress and other color details. But without that color the bride's feeling of excitement and anticipation is actually clearer in the image.
(To Be Continued)
Remember that you're welcome to respond, or feel free to call or email me at 908-686-9539 or jssphoto@verizon.net
First of all, what is the purpose of special effects or f/x? Sometimes it's merely to provide variations on a theme, or, in the case of graying out a background photo, less visual confusion on the page. But why render a color photo in black and white? Why render it in sepia, or any of the nearly infinite variations in between, such as subtle sepia, or "soft" black and white? Why use another tone, such as rust (slight reddish brown) or moss (a slight green), or "platinum" (subtle silver-brown-purple).
First of all, it's important to understand the basic distinction between full color and any monochromatic variation.
The eye loves color; it is drawn to color. Color is like sugar or salt: it gives immediate gratification. This means that when something rather subtle is going on in a photo—like an emotion or the suggestion of an emotion, the eye may be distracted by the color and not immediately see the emotion. But almost magically, when you remove the color, any monochromatic variant will reveal the emotion much more clearly. Sometimes it even jumps out at you, whereas in the color version, it was just a feature, or maybe even not noticed.
So then why add toning—sepia, soft black, rust, moss or whatever? Well, once you've enabled the emotion to jump out, you can then condition the viewer's reaction to the emotion, to bring out the particular character of the emotion—it comes out to the same thing. So if you're showing warmth, love, tenderness, or dedication, you would use a warmer "black," namely a brownish or reddish black, which should be very subtle. When you go all the way over to sepia, the photo takes on a vintage or old-timey quality, since sepia toning was very popular 100 years ago.
On the other hand, if the emotion is humor or anger, you might favor a cold black, even one that's ever-so-slightly tinged with blue. Again, if you go too far with a blue tone, you arrive at cyan, which references the period of the 1880s and 1890s, when the cyanotype was in vogue.
Here is a color photograph taken during the bride's preparations:
Here is the same photograph in "soft" (that is, slightly brownish) black and white, and with soft focus:
Now, you'll have to try to ignore the color version, which automatically gratifies the eye with the bridesmaid's blue dress and other color details. But without that color the bride's feeling of excitement and anticipation is actually clearer in the image.
(To Be Continued)
Remember that you're welcome to respond, or feel free to call or email me at 908-686-9539 or jssphoto@verizon.net
Monday, November 28, 2011
Digital Negatives, Hi-Res Images, Printable Images
Many brides have heard about digital negatives or high-resolution images and would like to have them. These are the version of your wedding photographs that you can print yourself. You don't have to pay the photographer for each print, if you have the hi-res images, so there you should be able to save a lot of money, especially since Aunt Harriet wants pictures of your cousins from the wedding, etc. etc.
The reality is, however, that this is not just a straightforward subject.
First of all, we photographers have been told by our high-end gurus and advisers never to sell the digital negatives or hi-res images, even though unlike real negatives, we always have copies.
On the other hand, many photographers plying the low-end side of the business, will offer coverage with digital negatives in a relatively inexpensive package, known pejoratively in the industry as the "shoot-and-burn" photographers.
What should you as a bride want? What can you ask for? What can you expect to get?
The first thing that you should know is that unlike film-based photography, the digital image almost always benefits from some sort of editing. Well, so did film negatives, and this was done laboriously in the chemical darkroom, mostly by dodging and burning in, that is, intensifying or diminishing the light from the enlarger hitting the paper. I did it for years.
With digital photography, though, we have many more controls than this. We can take a mediocre image, or even a bad one, and turn it into an acceptable or even outstanding image. This is the final edit of the image. After putting so much work into a small number of images from a wedding, will your photographer just give you this final version for you to make unlimited prints from?
So the digital negatives you receive may not be the final edits. They will probably have some preliminary editing done, just so that they are reasonable images, and you might not know the difference if you don't see a final edit alongside. So they will still probably look better than your uncle's point-and-shot photos. You may not be able to make really big (wall portrait size) enlargements from them, however, and this might not be a bad thing.
So if the photographer is willing to give you the digital negatives for you to print, they will probably be decent but not outstanding images (no skin softening, no teeth whitening, no bringing up the dark background, etc.) If there are any you end up wanting as wall portraits, you will want a second, more intensive edit, to make the photograph the very best it can be, since you'll be looking at it for a long time—and your perceptions may change. So it is probably worth it to have your photographer handle the really big enlargements. You can still use the digital negatives you receive for "snapshot" distribution, and you really can save money this way.
Another thing to consider is when you receive your digital negatives. If the photographer will give them to you only after you order an album, this, too might be to your benefit. After all, any image that goes into an album will receive a second, more detailed editing, and you will get this re-edited image among your digital negatives. If you don't purchase an album from your photographer, be ready to receive "snapshot" level images in your digital negatives.
My own policy is to include the digital negatives in my middle and high-end packages, after my bride and groom have ordered their album. This means they get high-quality edits, well above the usual "snapshot" grade. Any wall portraits they order will receive a third edit and look really superior blown up, including details that might not be visible in a 4x6 or even in an 8x10.
If you have any other questions about this or any other topic, just give me a call at 908-686-9539.
Joel Simpson
www.joelsimpsonphoto.com
jssphoto@verizon.net
The reality is, however, that this is not just a straightforward subject.
First of all, we photographers have been told by our high-end gurus and advisers never to sell the digital negatives or hi-res images, even though unlike real negatives, we always have copies.
On the other hand, many photographers plying the low-end side of the business, will offer coverage with digital negatives in a relatively inexpensive package, known pejoratively in the industry as the "shoot-and-burn" photographers.
What should you as a bride want? What can you ask for? What can you expect to get?
The first thing that you should know is that unlike film-based photography, the digital image almost always benefits from some sort of editing. Well, so did film negatives, and this was done laboriously in the chemical darkroom, mostly by dodging and burning in, that is, intensifying or diminishing the light from the enlarger hitting the paper. I did it for years.
With digital photography, though, we have many more controls than this. We can take a mediocre image, or even a bad one, and turn it into an acceptable or even outstanding image. This is the final edit of the image. After putting so much work into a small number of images from a wedding, will your photographer just give you this final version for you to make unlimited prints from?
So the digital negatives you receive may not be the final edits. They will probably have some preliminary editing done, just so that they are reasonable images, and you might not know the difference if you don't see a final edit alongside. So they will still probably look better than your uncle's point-and-shot photos. You may not be able to make really big (wall portrait size) enlargements from them, however, and this might not be a bad thing.
So if the photographer is willing to give you the digital negatives for you to print, they will probably be decent but not outstanding images (no skin softening, no teeth whitening, no bringing up the dark background, etc.) If there are any you end up wanting as wall portraits, you will want a second, more intensive edit, to make the photograph the very best it can be, since you'll be looking at it for a long time—and your perceptions may change. So it is probably worth it to have your photographer handle the really big enlargements. You can still use the digital negatives you receive for "snapshot" distribution, and you really can save money this way.
Another thing to consider is when you receive your digital negatives. If the photographer will give them to you only after you order an album, this, too might be to your benefit. After all, any image that goes into an album will receive a second, more detailed editing, and you will get this re-edited image among your digital negatives. If you don't purchase an album from your photographer, be ready to receive "snapshot" level images in your digital negatives.
My own policy is to include the digital negatives in my middle and high-end packages, after my bride and groom have ordered their album. This means they get high-quality edits, well above the usual "snapshot" grade. Any wall portraits they order will receive a third edit and look really superior blown up, including details that might not be visible in a 4x6 or even in an 8x10.
If you have any other questions about this or any other topic, just give me a call at 908-686-9539.
Joel Simpson
www.joelsimpsonphoto.com
jssphoto@verizon.net
Wednesday, December 17, 2008
Choosing a Wedding Photographer
Every bride (and groom) knows how important your photographs are and will be. And every bride today knows how confusing it is to try to choose among the hundreds of photographers out there. Here are a few point that may help.
First, full disclosure: I am a wedding photographer (www.joelsimpsonphoto.com). Of course, I welcome new clients, but I also believe that a better informed bride will be a happier bride, more satisfied with her photographs, and more able to avoid the heartbreaking disappointments caused by the recent scandal of a wedding photography company disappearing with all the images of many couples, leaving them with nothing and taking their money.
So first you want to avoid being victimized; second, you want to be happy with your photographs; third, you want to be thrilled and overjoyed by them—while staying within your budget. How do you do it with the least toil and pain?
1. Find someone reliable, someone you can work with.
So ask your friend, or your sister, or whoever just got married in the last year or so and got good results from her photographer. Still, you’ll want to see if you like working with her/him, and if you could be happy with the work she/he does. When you contact the studio, you still need to ask for referrals, people you can call and speak to one-on-one (over the phone is fine). You want to have more than one testimonial for anyone you’re considering plunking down your (or your parents’) hard-earned cash for.
2. Find someone you really, really like.
But you want to be overjoyed with your photographs, not just satisfied. And there might be techniques, approaches, items out there that you would really love if you just knew about them! You might want your album to be better than your sister’s or your friend’s—a lot better. So where do you go, and how do you minimize the risk of working with a completely new studio?
First look through the bridal magazines. They are the quickest way to find out about new ideas and techniques in the field. Check out the websites of studios profiled in the articles and the ones in the ads. See if their quality holds up; see what strikes you, what’s innovative, if you’re open to that.
Then go to the web, armed with better ideas of what you’re looking for. There are many more photographers on the web, since it’s much cheaper to advertise there. So your chances of getting more of what you want within your price range are often better.
Here are some websites to check out: TheKnot.com, OneWed.com, AllWedding.com, OurWeddingDay.com, and Respond.com. You’ll see a small selection of images (or only one) and a short description of services. Many will be very similar. Look for things that stand out: creativity, originality, sensitivity, stunning beauty, humor. Check out their websites, and call 5 to 10 of them in your price range.
3. How to choose one among many.
Then ask questions, and trust your gut. You’ll be working with the person very closely, relying on him/her. Is he supportive, understanding, flexible, competent, able to handle new situations that might come up? Can he give you the precise things you want? Does she have items, approaches or techniques that strike your fancy? Will he put together a custom package for you? Does she have any specials going on? Can you order other items at a later date without penalty? Can you spread out payments, if you need to?
Then get referrals. Check everyone out, preferably with three (or more) past clients. Of course, he is going to give you his best ones, but ask the bride what particularly delighted her, how she liked her album, how her parents liked working with the photographer, how quickly things were done, and thank them for their time.
If you do these things you will avoid heartbreak and get very good results. Remember that a few hundred dollars one way or another won’t make much difference in the long run, and you’ll be very glad you got something that dazzled and delighted you.
These are the main things to ask about when choosing a photographer (or any other service provider). There are other things to ask about (like backup cameras, number of assistants, etc.), and you’ll find them on my website under Wedding Photography Guide on the left side of the home page.
Let me know if this helps, and please share any of your tips for brides.
First, full disclosure: I am a wedding photographer (www.joelsimpsonphoto.com). Of course, I welcome new clients, but I also believe that a better informed bride will be a happier bride, more satisfied with her photographs, and more able to avoid the heartbreaking disappointments caused by the recent scandal of a wedding photography company disappearing with all the images of many couples, leaving them with nothing and taking their money.
So first you want to avoid being victimized; second, you want to be happy with your photographs; third, you want to be thrilled and overjoyed by them—while staying within your budget. How do you do it with the least toil and pain?
1. Find someone reliable, someone you can work with.
So ask your friend, or your sister, or whoever just got married in the last year or so and got good results from her photographer. Still, you’ll want to see if you like working with her/him, and if you could be happy with the work she/he does. When you contact the studio, you still need to ask for referrals, people you can call and speak to one-on-one (over the phone is fine). You want to have more than one testimonial for anyone you’re considering plunking down your (or your parents’) hard-earned cash for.
2. Find someone you really, really like.
But you want to be overjoyed with your photographs, not just satisfied. And there might be techniques, approaches, items out there that you would really love if you just knew about them! You might want your album to be better than your sister’s or your friend’s—a lot better. So where do you go, and how do you minimize the risk of working with a completely new studio?
First look through the bridal magazines. They are the quickest way to find out about new ideas and techniques in the field. Check out the websites of studios profiled in the articles and the ones in the ads. See if their quality holds up; see what strikes you, what’s innovative, if you’re open to that.
Then go to the web, armed with better ideas of what you’re looking for. There are many more photographers on the web, since it’s much cheaper to advertise there. So your chances of getting more of what you want within your price range are often better.
Here are some websites to check out: TheKnot.com, OneWed.com, AllWedding.com, OurWeddingDay.com, and Respond.com. You’ll see a small selection of images (or only one) and a short description of services. Many will be very similar. Look for things that stand out: creativity, originality, sensitivity, stunning beauty, humor. Check out their websites, and call 5 to 10 of them in your price range.
3. How to choose one among many.
Then ask questions, and trust your gut. You’ll be working with the person very closely, relying on him/her. Is he supportive, understanding, flexible, competent, able to handle new situations that might come up? Can he give you the precise things you want? Does she have items, approaches or techniques that strike your fancy? Will he put together a custom package for you? Does she have any specials going on? Can you order other items at a later date without penalty? Can you spread out payments, if you need to?
Then get referrals. Check everyone out, preferably with three (or more) past clients. Of course, he is going to give you his best ones, but ask the bride what particularly delighted her, how she liked her album, how her parents liked working with the photographer, how quickly things were done, and thank them for their time.
If you do these things you will avoid heartbreak and get very good results. Remember that a few hundred dollars one way or another won’t make much difference in the long run, and you’ll be very glad you got something that dazzled and delighted you.
These are the main things to ask about when choosing a photographer (or any other service provider). There are other things to ask about (like backup cameras, number of assistants, etc.), and you’ll find them on my website under Wedding Photography Guide on the left side of the home page.
Let me know if this helps, and please share any of your tips for brides.
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