According to Nikkei, Nikon plans to release a mirrorless camera before the 2019 fiscal year is out.
And it’ll likely be a budget option, one that comes in at about half the price of the Nikon Z6.
Here’s the direct (translated) quote from Nikkei:
Nikon
will introduce a new mid-price mirrorless camera product in fiscal
2019. The same interchangeable lens can be used in the product that
corresponds to a sister model such as the high-end model “Z7” launched
by the company in the autumn of [2018]. It is expected that the price
will be in the 100,000 yen range, which is easier for the general
consumer to pick up than the leading 200,000 to 400,000 yen model. The
aim is to develop the demand of users other than existing enthusiasts.
Regarding price: 100,000 yen falls around 900 dollars, which would be a dramatic reduction in price compared to the Z7 and even the Z6, Nikon’s two current full-frame mirrorless models.
A 900 dollar full-frame mirrorless option would likely be welcomed by those DSLR shooters who just can’t afford the current Nikon mirrorless prices, but are looking for something lighter than their current DSLR setup.
But we also have to ask:
What Z-level features will Nikon leave behind in order to cut costs?
First of all, we can’t be sure the new mirrorless option is full frame. The original report doesn’t say this outright. But the claim that the new product “corresponds to a sister model such as the high-end model ‘Z7′” suggests the new camera won’t be fundamentally different. And an APS-C Z mirrorless body would be fundamentally different.
But even if the camera is full frame, other important features might be dropped.
For instance, might we see the loss of an EVF? Personally, I would see this as deeply frustrating. Mirrorless EVFs are one of the strengths of mirrorless systems. I wouldn’t like to see it go.
What do you think? What will this new mirrorless camera be like?
And would you be interested in purchasing it?
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Monday, June 17, 2019
Tips for Taking Better Pictures from a Moving Vehicle
Have you ever been stuck in a car or a bus and seen all this great photographic potential passing you by? Fantastic landscapes, funny signs, unusual animals, and stunning compositions seem to always appear when I’m stuck in the passenger seat of a car. It’s frustrating, especially if the car can’t stop to let you capture the view.
A fantastically colorful landscape by the highway in the Atlas mountains of Morocco.
The Challenge
For someone who actually doesn’t like the idea of just driving through an area and taking photos of it through the window (maybe because it feels so impersonal), I’ve done a surprising amount of it. Often because it’s a now-or-never situation; the view won’t be there later, or I won’t be returning in the near future.
Sometimes I’m on a highway and can’t stop, or there are so many photos I’d like to take that I feel bad asking the driver to stop over and over again. Also, taking photos from a car or bus can be great for people who have a hard time walking.
I couldn’t resist this view seen through a bus window in Iceland.
In a car, bus, or train, there are many contexts in which it’s inappropriate, difficult or impossible to take a photo. Fortunately, there are also many situations in which you don’t have to leave completely empty-handed. It is possible to take photos from a moving vehicle, but it takes a bit of knowledge and planning.
It’s a suboptimal situation but sometimes you just have to find a way to make the best of it. Most likely it’s better than not trying at all! In this article, I hope to give some tips to help make your trips more enjoyable and creative. Let’s begin!
The amazing houses and views in the mountains of northern Morocco were difficult to
resist, even though it was a bit tricky to compose well.
When to try and when not to shoot
Safety is paramount
Even though trying is almost always better than not, there definitely are situations where you shouldn’t be taking photos from a moving vehicle. Remember that you’re sitting in a metal box moving through space at high speeds!
It goes without saying that you shouldn’t be doing any photography if you’re the driver. But as a passenger, you also need to be aware of how your photography may pose a danger to you or others. In short: think about safety.
Make sure you don’t block the driver’s line of sight or disturb them in some other way. Communicate with the driver and the other passengers. If you’re on a tour bus, don’t block other the passengers’ view through the window.
A very old photo I took through a car window. There are clearly some issues in terms of
sharpness and composition, but it’s still a lovely memory.
If you’re in a car and planning to open a window, make sure nothing can fly out and be aware that there might be branches or objects by the side of the road that can hit you or your camera. Also be aware of oncoming traffic, and don’t lean out! Only slow down if it won’t disrupt the flow of traffic and if you convince the driver to stop the car for a photo break, make sure it’s in a safe place.
Is it worth it?
Even if everything’s okay in terms of safety, there are a few other things to consider before you start photographing.
Can the car stop for a little while instead of you attempting to take pictures through the window? If not, can the window be opened? Is there enough light for photography? Will doing so mean that you’ll miss out on seeing and enjoying the view?
There may also be places where I wouldn’t recommend photographing through a window. Driving through a city or village pointing a telephoto lens at people could be considered a bit creepy.
This is how you do it
Enough of the don’ts and the warnings. It’s time to learn how to take great photos in this challenging situation.
Expose right
Not surprisingly, the most challenging part of this kind of photography is dealing with movement. In a moving car, your subject matter might swoop by at very high speeds.
In practical terms, this means using a shutter speed that can freeze that movement, finding an aperture that allows for enough depth of field, and choosing the ISO that makes all of that possible.
Here, the car was moving quite slowly so I got quite a sharp photo with a relatively wide
angle. The dark and rainy weather made exposure a bit challenging, but it also made the sky
much more dramatic.
The desired exposure depends a lot on what kind of a photograph you want. To get a sharp
landscape photo from a moving vehicle, it’s important to have a fast enough shutter speed.
How fast depends on how fast you’re moving, but faster is generally better. I would suggest using at least 1/400th, but preferably faster. Be aware that the foreground is more likely to reveal signs of movement, whereas photographing something that’s further from the road is more likely to be successful.
A photo with a lot of depth, taken from a moving car.
If we continue with the example of a landscape photo, it’s also important to have a large enough depth of field to get a sharp capture of the whole view. This means you’ll need to use a small aperture, preferably around f/8.0, also depending on the sweet spot of your lens.
If you have the chance, try different settings, but if you can only take one or two photos, aim for a small aperture. Again, this depends a lot on what kind of photograph you’re aiming for and light levels.
I was aiming for a sharp photo of these beautiful geological features rushing past the
car in the Moroccan Atlas mountains.
The last element of exposure, ISO, doesn’t make as much of a difference to this kind of
photography as shutter speed and aperture do. ISO has the effect it always has, so the lower it is, the better.
Still, with modern DSLRs, using a higher ISO might be the key to allowing you to use the shutter speed and aperture you need while not adding a lot of noise.
It was cloudy and rainy, but by aiming for silhouettes and a dark atmosphere, this
industrial view turned out sharp enough.
Plan well
It might seem difficult to plan in these situations, but there are usually some things that can help you create as good a photograph as possible. Even before you take your photo you can observe the light levels outside, which can help you with exposure.
You may also be able to get a good composition by observing the landscape outside and imagine what it might look like behind that curve or beyond that next hill. You can also see when there will be power lines appearing in your photo. I find that one of the most annoying parts of this kind of photography is power lines. They always get in the way!
Also, remember that this is one of those situations where taking a lot of photos is not a bad thing.
Really annoying power lines! Still, I decided that I wanted to document the aftermath of a
pretty bad storm outside Rabat, Morocco.
Optimise
To get as good a photo as possible, you should open the window to avoid unfortunate reflections or dirt in your photo. A closed window will also limit your movement and your options when it comes to composing.
There are many situations in which opening the window isn’t really a great idea, though. Remember that the most important thing is safety. If you can’t open the window, use the viewfinder and possibly a polarizing filter to try to avoid getting reflections and dirt in your photo.
I didn’t have time to open the window so I photographed this view of houses seemingly
pressed between mountains and clouds through the window.
Have you taken photos out of a car, bus, or train? I find the hardest part to be composing the photo.
What do you think? What benefits and challenges have you noticed? Do you have any tips for better photography on the road?
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How to Photograph Against the Sun for Stunning Images
As a beginner in photography, you’ll likely be taught to keep the sun behind you. That’s because you’ll have several problems when you photograph against the sun. These problems are related. They’re an overblown sky, and a poorly lit main subject. That’s a recipe for a poor quality photo. As you learn how to better use the light, you’ll learn there are plenty of times you want the sun in front of you. In this article, you’ll learn all about the techniques needed to make stunning images when you photograph against the sun.
This photo is taken towards the sun not long after sunrise. The sun is lighting up
the muhly grass through flare.
Flare
One of the effects you may well see when photographing against the sun is flare. This is sometimes described as the effect seen when a plant such as a reed is lit up by the sun shining on the plant. In the case of a reed, they have a delicate head in the summer which picks up the sunlight. As the head is delicate, it won’t block the sun completely, but is instead brighter and also not silhouetted. In photography, there are a couple of other effects caused by flare that can be used by photographers.
Flare effect on a camera
Unless your photographing a sunset or sunrise, directly pointing your camera at the sun is something you’ll want to avoid. Instead, aim to use an object within the frame to obscure the sun. Alternatively, you can aim towards the sun, but keep the sun just out of frame.
Doing this will result in two effects: You’ll see that your whole frame has a sunlight “glow,” or it’s highly likely you’ll also see a rainbow-like line that consists of arcs of light progressing across your frame. Both of these effects can be used to your advantage to create a more artistic-looking photo. Should you wish to avoid this altogether, using a lens hood helps. You might also try holding your hand above the lens to block sunlight shining onto the lens.
There is a glow to this image caused by flare. You can see this coming into the frame from
the top left.
Starburst
The starburst effect is technically another aspect of lens flare. It’s a more desirable effect though, and you have more control over how this effect occurs.
To achieve a starburst effect:
Compose your photo, and aim towards the sun. The time of day isn’t that important, but it’s easier to control this effect during golden hour and into sunset or from sunrise.
You’ll want to obscure the majority of the sun, but allow just the edge of the sun to be shining through. Too little and the starburst won’t be noteworthy. Too much of the sun, and it will overpower your frame. Placing the sun behind the leaves of a tree is an ideal solution here.
This effect is caused by your lens diaphragm. The number of sunburst spikes is determined by the number of arms your lens diaphragm has. You get one spike per diaphragm. If your lens has an odd number, the number of spikes will be doubled. That means you’ll want to choose your lens accordingly.
This effect occurs when you close down the aperture of your lens. Apertures of f/11 and smaller should produce this effect.
Photographing into the sun is likely to mean your photo produces silhouettes. If you wish to see details in the foreground, you will need to overexpose. The overexposure could be +2 or +3 exposure value.
With a small aperture, and a high exposure value your shutter speed is likely to be low. Either use a tripod or compensate for this slow shutter speed by using a high ISO. The high ISO will increase the shutter speed. Choose a setting that allows you to take the photo handheld.
Closing down the aperture allowed the sun to appear as a starburst in this photo.
Silhouettes
When you photograph against the sun you’ve always got a good chance of producing silhouettes. Getting the best silhouettes takes a little more nuance though. You need to plan your photo and choose the best angle to take that photo from.
The first step is to decide which object you’ll silhouette. Is this a person, or an architectural structure? Perhaps it’s a lone tree in the field.
Which direction will you photograph this object from? Will you need to arrive in the morning or the evening so that the sun is behind this object when you photograph it?
Is there a clear line of sight to the horizon? Or is there a reflective surface behind the silhouette which can be used to photograph the silhouette against it? You’re looking for a bright background that you can silhouette the entire object against.
If you’re silhouetting the object against the sky only, you’ll often need to kneel down to an angle. Getting close to the ground and photographing up towards your silhouette, will mean more of the silhouette is visible. Where the horizon line intersects the silhouette, it will often make the lower half of the object not visible as a silhouette.
Look at the position of the sun in the sky. Is it too intense? Can you hide the sun behind an object? Is it possible to create a starburst effect from the sun?
Silhouettes are black, so of course, the silhouetted portion of your image will be underexposed. Typically, you’ll expose to get the sky correctly exposed within your photo. As the sky is very bright, the rest of your image will be dark and silhouetted.
This was an ideal place to take a silhouette. The person is silhouetted against the sky,
and the reflective surface of the water.
Sunsets and sunrises
Of all the things photographers photograph, sunsets, and sunrises are surely the most popular. This time of day fascinates photographers of all levels, and you certainly don’t need to be a photographer to appreciate those colors in the sky. This time of day is also the best time to photograph against the sun. Especially while the sun is close to the horizon, as it won’t overpower your photo with too much light.
So what are you looking for to get the best result?
Know the angle – The sun changes position in the sky from winter to summer. Uses resources like suncalc to find out how a change of angle through the course of the year will affect your photo.
Check the weather – Overcast days won’t produce a sunset or sunrise! Always check the forecast and try and head out for optimum conditions. You’re not looking for a totally clear day either, 30-50% cloud coverage is nice.
Scout the location – Knowing a great location to visit on the day a good sunrise arrives is good. Knowing exactly where the best angle to photograph from within this location is even better.
Focal point – Unless the sky is truly epic for your sunset or sunrise, you’ll need a focal point to give your photo interest. A lone tree or building structure is often a great subject. Likewise, a river that gives a reflective surface, and perhaps a leading line will also work well.
Filters – Landscape photography where you photograph against the sun often need graduated neutral density filters. Be careful that the sun doe not produce unattractive and unwanted flare when you use these.
Post-processing – Post-processing can enhance your images. The use of techniques like digital blending, and graduated filters are important tools.
Sunset and sunrise are always captivating times to take photos against the sun.
Equipment
There are some useful pieces of equipment you can have when photographing against the sun. Depending on the type of photograph you take, you’ll need some or all of this:
Lens hood – This is needed to minimize or eliminate the effect of lens flare on your photo.
Filters – Using a circular polarizing filter is a good idea for photography in general. Photographing towards the sun means using graduated neutral density filters is also a good idea.
Strobes – Should you wish to light up a person or object, when you’re photographing against the sun, using strobes is necessary. Without these, you’ll have silhouetted people or objects. Should you wish to avoid this, additional light will be required.
Reflecting disc – This can be used to reflect and direct sunlight onto the person or object you’re photographing. They’re more often used for portraits, and can be used on their own or in conjunction with strobes.
In this photo, an external flash was used to light up the couple.
Digital blending
Digital blending is a post-processing technique that uses luminosity masks to control the light across your photo. This has led to an improvement in the quality of images produced by landscape photographers who photograph against the sun. This is a large topic, so to learn more you should read this article.
In order to get the best results from this technique, you’ll need a tripod and to bracket your images when you take a photo. You’ll then need to spend time learning how to blend so you can produce natural looking and professional results. Learning how to do this will significantly improve the final results of your photos. Keep in mind that there are occasions you won’t need to use this style, and using filters, or producing silhouettes is an alternative to this.
This image used digital blending. The rocks in the foreground were lightened, and the sky
darkened.
Show some flare, photograph against the sun!
The sun provides photographers with their main source of light. Knowing how best to use it is vital for the best photos. In this article, you’ve learned how to photograph into the sunlight – a trickier proposition than photographing with the sun behind you.
Do you enjoy photographing towards the sun? Which techniques and ideas do you apply in your photography? Do you have example photos you can share with the community? At digital photography school we’d love to see your images both from the past, and perhaps your future images having read this article.
So now it’s time to get out into the sun, and photograph against the sun!
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Sunday, June 16, 2019
12 Tips for Overcoming Common Wedding Day Setbacks
Weddings are filled with love, laughter, and a lot of pressure. Brides and grooms put a lot of thought into every detail of their day and even the most perfectly planned wedding can encounter problems that can affect you, the photographer. There are no two weddings alike, however, there are common setbacks that can happen at any wedding or event that you may be photographing.
1. Running short on time
The photography timeline is set out so that everyone involved can stick to a schedule. That allows all of the important details and people to be photographed. Unfortunately, running late or short on time because of any reason can be a cause of stress to everyone involved.
If you are caught with less time, the first thing you should do is to assure your client that everything is okay and these setbacks are really common on the wedding day. Make sure that you mention you can make up time later and offer suggestions to the problem.
For example, if the bride has taken a little longer than was originally planned to get ready and now you only have 10 minutes for family photos, suggest to the bride that you can snap a few in that 10-minute window and also after the ceremony.
If you are waiting for someone to arrive for photos, make use of the time and photograph details, other people with the bride and groom, individual photos, or more photojournalistic photos. It’s important to keep taking photos no matter the setback, this will keep the bride and groom calm knowing that you aren’t missing any detail and it can distract from the problem.
Usually, you can make up the time later and get the photos you need either during cocktail hour or during the reception. You can photograph details, portraits, and even get some interesting lighting using flash during the reception.
Photos of the bridal party during the reception because we ran out of time beforehand. You
can always try and take photos later in the day if the time runs short.
2. Having too much downtime
It is rare to have downtime when photographing a wedding but it can happen. Having downtime usually occurs during the getting ready phase, waiting for the bridal party, or reception parts of the day. It’s okay to have downtime, however, there is nothing worse than seeing vendors, especially photographers, sitting down and waiting it out during these times.
Sure, it’s perfectly fine to use this time to go to the bathroom or take a snack break. Your break just shouldn’t be more than 10 minutes.
Make sure to use the downtime wisely. Prep for the next round of photos, check batteries or set up off-camera lighting. You can also do test shot in the next location where you’ll be photographing.
Even though you’re waiting for the next event to come, never stop photographing any and all of the little details. In short: there is always something to photograph and do while you’re waiting.
3. The bride is full of emotions
I will not use the term “bridezilla” because I don’t believe it’s fair to the bride. Wedding days are high pressured days and brides are usually nervous and full of emotions before walking down the aisle.
It doesn’t matter if the couple is doing a first look or are getting ready in the same room, some brides are more nervous than others.
If this is the case, don’t mention anything! Even if the bride is nervous, anxious, or even angry, just redirect the focus on something else like her dress or that she looks beautiful. Reassure her that everything will be okay and tell her to just enjoy the moment now.
As the photographer, it’s your responsibility to help the bride relax and feel very natural as the day unfolds. Always keep a positive attitude and try to transmit that same vibe to the bride and groom. If they feel like you are there for them, it will make all the difference in the photos. If you’re excited about the wedding, then they’ll be excited.
4. Family telling you how to do your job
Unfortunately, it doesn’t matter how long you’ve been photographing weddings, you will encounter a family member or friend who wants to tell you how to do your job at least once.
When you encounter this type of setback, don’t make any negative or sarcastic remarks. Thank them for the idea they offered and move on. You can also comment that you’ve been photographing weddings for X number of years and are experienced in taking photos. Better yet, just go along with what they are saying and don’t say anything in return.
If they are asking for a particular photo, take the photo. If you already have, kindly let them know that you got the shot earlier in the day. This will keep them at bay knowing that you are taking all of the most meaningful photos.
At the end of the day, the guests will remember you more than you realize and if you make snarky or sarcastic remarks it may result in a negative view of your professionalism. You are there to photograph your bride’s day and that also means tending to the requests of her guests (they’re well-meaning).
5. When there is no planner or coordinator
If the couple has opted to not have a planner or coordinator, it is up to you to make sure to assist the couple during the wedding day.
Technically it isn’t your responsibility, however, helping with putting on boutonnieres, adjusting centerpieces, and placing the veil will always help you to capture the best photos possible.
Work with your couple before the wedding to make a schedule of the most important parts of the day that you’ll be covering. This way, everyone knows what time the family photos are happening, what time the dance starts, and what time you’ll be photographing the dress. Knowing when and where all the events will take place will give your couples peace of mind.
Having a schedule, or itinerary, will also help to move things around. For example, if the bride is late for her bridal party photos, you can take photos of the people who are there so switch to the groom’s family photos.
Photography is service based and as such, you should always strive to give your clients the best service possible. If that means acting as coordinator for the day to capture the best photographs possible, by all means, do it.
You can also have a family member or member of the bridal party to help to coordinate and fix any problems that may come up during the day.
6. Vendor Meals
There is nothing worse than working a wedding and having to eat a vendor meal during dinner. Everyone works differently, yet vendor meals can be a huge setback, especially if it consists of a sandwich and an apple.
You can prepare for this by taking snacks or even a full meal. Pack an icebox or lunch bag with your favorite snacks and perhaps a little something more just in case you will be having a vendor meal.
Try asking the couple if they are okay with you taking an empty seat during the reception or getting in line for the buffet at their event. Most guests won’t mind because, by that time, they will have seen how hard you’ve been working all day. Luckily, most couples now invite their vendors to eat dinner or make sure that they’ve had something substantial.
In any case, take your snacks and water because you’ll need them throughout the day, whether you get a vendor meal or real dinner.
7. Little time with bride and groom
Sometimes, wedding day timelines can get a little compressed leaving less time for the most important photos (next to the ceremony). However, you can create stunning photos of the bride and groom all in one spot without having to move them to different locations.
To achieve this, download 10 of your favorite poses for couples onto your phone and photograph each one from different angles. Take individual photos of the bride and groom, including details of their wardrobe.
Without moving the couple very much, you can get many different poses and photos in a
short amount of time.
When you take advantage of posing in one spot, you can get lots of different photos from different angles in less time. Subtle changes to posing like facing the bride toward the groom and then facing the bride away from the groom can offer more variety.
Using one location can maximize the time you have for photos because moving from one location to another can often waste time. This way you can focus on them and getting great expressions.
For example, pose the couple in front of a plain wall, facing each other, hands around the bouquet. Take one photo of them in this pose full length. Take another mid-shot asking the groom to kiss the bride on the cheek while the bride smiles and looks down at her bouquet; that’s two photos.
In this same pose, get close and take a photo of the kiss. Next, go behind the couple and photograph mid-shot. Still in the same pose, get a close-up of the groom’s hand around the bride’s waist from behind the couple; the makes five photos without moving the couple.
After you have worked through one pose, choose another and work through it until you have all possible photos. This technique will ensure you get the most photos out of each pose in little time, without moving the couple.
8. Rain
Depending on where you live, what time of the year you’re photographing, and weather conditions, it could be that you get hit with rain on the day of the event. If this does happen, maintain a positive outlook and always try to help find solutions to work around the rain.
When rain strikes, switch to an indoor location or a location with covered walkways.
Change locations for photos. If you were going to do the family photos outside of the church, try moving the family inside the church or better yet, to the reception location. Look for options where you have awnings, covered walkways/breezeways, and inside a home or venue.
Sometimes, the weather clears and you’re able to go outside for the remaining portraits.
You can also take advantage and get creative with the wedding photos. Ask the couple if they are willing to pose in the rain under an umbrella. You might be surprised how many are willing to get something a little different!
9. Drunken guests
It’s not uncommon for wedding guests to want to start the party early. Work with the coordinator or the bride and assign a family member to take care of the drunken guest. If they are part of the family, try and keep them away until it’s time for them to be in photos.
Try as best as you can to be nice and not comment on their state of being. Drawing attention to their behavior can upset the couple more and ruin the time you have for photos. Be really direct in posing and communication and always stay positive.
10.Clashing with the wedding coordinator/planner
Although it is rare when vendors don’t see eye-to-eye during an event, it is really important to stay close to the couple. If you need something particular make sure to run it by the couple first. They have the final say on everything that goes on during the day.
Always maintain a high level of professionalism and make sure that you aren’t seen being rude or speaking rudely to the other vendors. If the clash worsens, tell the bride that you and the coordinator/planner have differences and suggest options to help maintain order.
Communication is key and it’s always best to go to the couple if you experience backlash or trouble with another vendor.
11. Other photographers/weddings at the same portrait location
This is probably the most common setback in the wedding industry. Many couples tend to choose the same locations for the portrait session.
If there are other photographers at the location before you arrive, simply introduce yourself and let them know that you’ll also be photographing a wedding. Ask them if they plan on using another location for photos and if they’d be willing to switch it up after a certain amount of time.
This location in Pasadena, California is really popular for bridal portraits. There were at least
3 other photographers there at this time.
If there are a lot of photographers and events, simply choose a spot at the location that is free of people. Staying clear of other photographers’ background and watching out for people walking into your frame will keep the portraits clean.
12. Guests taking photos during the ceremony
Keep in mind that the wedding guests are an important detail in the couple’s day. Each was given an invitation to share and be a part of the wedding.
Having said that, some guests will take it upon themselves to take photos of the most important parts of the day, namely, the ceremony.
When this does happen, gently tap the guest on the shoulder, with a smile and motion to them that you need the spot in order to take a great photo of the couple. Most guests will move out of the way and not be bothered by this gesture.
This also asserts that you are the main photographer while staying positive and professional with guests. This non-verbal gesture also works with other vendors like videographers.
It’s also a good idea to let the guests take their photos first and then position yourself to take the profession photos afterward. This way, you’re letting guests take and share their own shots but also letting them know that you need to take these important photos as well.
The more photos the couple has of their day, be it from your camera or from their guests, the better. They’ll appreciate you for letting guests enjoy themselves by taking their own photographs.
Wedding photography is the most important take away from a couple’s wedding. However, it is not free from mishaps during the day of the event.
Each wedding can have one or more setback, it’s up to you the photographer to work around them and find solutions quickly. Maintain a positive attitude and always reassure the client that everything is photographing beautiful.
Have you experienced any of these or other setbacks at a wedding you photographed?
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Wedding Photography Tip – 3 Ways to Tame a Bridezilla
One of the most terrifying things in wedding photography is a bridezilla. You’ve likely read the stories of photographer’s careers being ruined by an impossible to please bride. Of course, this is a worst case scenario and fears become heightened by the bridezillas you see on TV.
“I think of photography like therapy.” – Harry Gruyaert
But it’s normal for photographers to encounter some level of bridezilla behavior. The question is how to deal with it.
I’ve learned from photographers like Joe McNally, Zack Arias, and Jasmine Star that it’s our job as photographers to make great photos – no matter what.
So if you’re faced with a bridezilla (or any overwhelming person) at any point in your career you simply need to know how to handle them. Here are 3 ways you can do that.
This was one of the most laid back and down to earth brides I’ve photographed.
Hard-working, yet easy going and ready to have fun every step of the way.
Unlike some brides, she learned to handle the stress of a wedding very well.
1. Understand
“You don’t make a photograph just with a camera. You
bring to the act of photography all the pictures you have seen, the
books you have read, the music you have heard, the people you have
loved.” – Ansel Adams
Even the most difficult situations become easier to deal with when you understand what’s going on.
The truth is, most bridezillas never actually wanted to become bridezillas. So why do some brides act like that? Major changes in your life come with stress. Marriage comes with one of the highest levels of stress. In addition to the stress, there is also decision fatigue, personal baggage, and pre-wedding depression.
Maybe the question should be why there aren’t more bridezillas!
This photo was taken at golden hour. The unique shape of the sun flare was caused by
moisture on the camera lens. There was a mist in the air that led to the surprising effect.
They don’t start out as Bridezillas. Not long ago she was living a normal life as somebody’s girlfriend. Then in the blink of an eye, her entire life changed as she became engaged.
When you put a person in a dramatic situation, you find out how much they can take before they crumble under the pressure. Planning a wedding provides more than enough stress and drama to make a person blow up.
Everybody reaches a threshold of how much stress they can handle. And for a variety of personal reasons some brides reach that threshold on or before their wedding day.
Bridezillas are people like you and me who have discovered what it takes to make them break.
This photo was taken from in the water. The couple was sitting on an abandoned train
bridge. I thought the tunnel would make a good frame for the photo, so into the water I went.
2. Anticipate
“When there are other limitations, I don’t let myself be a limitation.” – Fer Juaristi
There is more than enough time leading up to the wedding day to anticipate who might become a bridezilla.
You can almost guarantee that if a bride comes from a happy family and she handles stress well then she isn’t going to become a bridezilla. But if her life is filled with stress and chaos and she doesn’t handle it well, there is going to be trouble on her wedding day!
Engagement sessions are a perfect chance to get to know the bride and groom. Take time
to see how they are handling the stress and find out if there are ways you can help.
When I meet with a couple who is interested in having me as their wedding photographer, I ask questions that let me know what sort of temperament the couple has.
Ask about their vision for the wedding. Then ask what would ruin the wedding for them. I had great fun with a couple who insisted that even if a tornado came along and they had to move the wedding to a basement shelter, they still wouldn’t care because their family is what means everything to them. The dress, flowers, and the decor were all secondary.
Ask other questions like, “What simply must be perfect?” or “What is your biggest fear for the day?” and “What would totally ruin your wedding day?”
Ask how quickly her emotions change to the negative and what cheers her up most in life.
This photo was created using a slow shutter speed (about 2 seconds).
If a bride tells me that the most important thing to her is that she has a perfect Pinterest wedding, I know there could be trouble.
There are enough problems with the dress, flowers, and decor to drive anybody crazy. If the bride is anxious and disagreeable, to begin with, planing her perfect Pinterest wedding will drive her nuts. She’s a perfect candidate to become a bridezilla.
When the bride is wearing fun socks and cowboy boots, you know she’s not overly
stressed about the details.
Being a wedding photographer means knowing how to work with people. So if you can’t handle the stress of working with a bridezilla, you should politely decline weddings when you think there is a good chance she’ll become one. Let her know you don’t think you’re the best photographer to help her have a perfect wedding.
3. Encourage
“It is more important to click with people than to click the shutter.” – Alfred Eisenstaedt
If you understand the things that lead to bridezilla behavior, and you’re happy with the challenge of working with one then good for you! You could actually help her get through her wedding day without baring her teeth and lower her stress level.
The truth is, most bridezillas don’t enjoy being bridezillas. You can’t help the ones who enjoy it. But you can help the ones who are afraid of becoming a bridezilla.
Weddings can be an exhausting journey, not just for the photographer who works all day,
but for the family who has worked for months or years to get to this day.
If she’s open to having help, you can assist her in setting goals, seeing the big picture and
embracing what is truly important about her wedding day.
Find out what’s bugging her the most and share stories about other couples who have dealt successfully with these things. That way you’re not just pushing your opinion on her, but sharing stories of real people who found a way not to crumble under pressure. You can even publish these stories on your wedding photography blog.
Help her see her goal and what is truly important to her. Help her pivot around obstacles, and there will be less of a chance of her crumbling under the pressure of her wedding day.
No matter what you do, be the one who helps, not somebody who makes it worse.
When a wedding is done right, the bride and groom are still excited and energized at the
end of the day.
Happily Ever After
“If a photographer cares about the people before the
lens and is compassionate, much is given. It is the photographer, not
the camera, that is the instrument.” – Eve Arnold
No photographer wants to photograph a bridezilla. No bride wants to be a bridezilla.
You can surpass a bride’s expectations of you as a photographer by understanding her situation and being the most flexible, helpful, encouraging person on her wedding day.
All it takes is one good friend to be a calming presence amidst stress and anxiety to help a bride not turn into a bridezilla. This person could be you.
