How to Make Brilliant Photos With a Short Telephoto Lens

By: Andrew S. Gibson  

Short telephoto lenses are one of the most versatile and useful types of lens you can buy. But before we get into why that is, let’s define the term short telephoto lens. It is a lens which is slightly longer than “normal”, which depends on the camera format you are using, see below.
On a full-frame camera, lenses with a focal length between 85mm and 135mm are considered short telephoto lenses. For APS-C cameras, lenses with focal lengths between 50mm are 100mm are short telephotos. On a Micro Four-thirds camera, lenses with focal lengths of 40mm to 70mm are short telephotos.

Prime versus zoom lenses

Of all the lenses that cover these focal lengths, primes are the most exciting. They tend to be smaller than zoom lenses and have the additional benefit of a wide maximum aperture, allowing you to experiment with bokeh and shoot in low light conditions. They are also less expensive than common telephotos like a 70-200mm zoom.
If you have a full-frame camera, you can’t go wrong with an 85mm prime lens – one of my favorite focal lengths for full-frame. If you have an APS-C camera, a 50mm prime lens, or the 55mm end of an 18-55mm kit lens, is a short telephoto. 50mm primes are great value for money and go well with APS-C cameras.
If you have a Micro Four-thirds camera there is a choice of prime lenses with focal lengths of 42.5mm and 45mm you can buy.

How to use a short telephoto lens

Now you know what a short telephoto lens is, let’s take a look at how you can use one to make good photos.

Short telephoto lenses and portrait photography

Short telephoto lenses are ideal for portraiture. I’m quite happy to take one camera and one lens – a short telephoto – on a portrait shoot. This simple approach helps me concentrate on communicating with the model and building rapport, essential for creating good portraits.
I’ve used two short telephotos for portraits – an 85mm f/1.8 lens on a full-frame camera and a 56mm f/1.2 lens on an APS-C camera. Both are great lenses, super-versatile for portraiture. You can get close to your model and fill the frame with her face, or stand further back and fit her entire body within the frame.
Even at the distance required for this, you are still close enough to talk to your model and direct her. Try doing that with a 200mm lens from a distance – it’s much harder.
Short telephotos help bring a sense of intimacy to your portraits that is harder to obtain with longer focal lengths. I made both these portraits with a 56mm f/1.2 short telephoto lens on an APS-C Fuji camera.

I made this one using a 50mm lens on an APS-C camera. The aperture was set to its widest setting of f/1.8 to make the background go out of focus.

A technique you can try when making portraits with short telephoto lenses is to find something to shoot through, such as grass, flowers or the leaves of a tree, while using a wide aperture to throw it out of focus.

Short telephoto lenses and close-up photography

If you don’t have a macro lens, short telephotos are also ideal for close-up photography. Use them either with extension tubes, or a close-up lens that screws onto the front of the lens like a filter. Both tools reduce the minimum focusing distance of your lens and let you take interesting close-up photos of subjects like flowers.

Short telephoto lenses and landscape photography

Short telephotos also have their place in landscape photography. They come in useful for isolating part of the landscape and creating compositions that are flatter and more minimal than what you can create with a wide-angle lens.
I used a 56mm short telephoto to create the following landscape photo, with a neutral density filter to obtain a shutter speed (exposure time) of 180 seconds. As a result, the sea and clouds are transformed into a smooth blur. The figures on the distant pier are also blurred.

Short telephoto lenses for street and travel photography

Short telephoto lenses are also good for street and travel photography. They let you keep a little distance from the subject, and help you create simpler compositions by including more of the background.
If you ask somebody you see on the street whether you can take their photo, then a short telephoto lens lets you do so without getting too close and intruding on their personal space.

Vintage lenses

Finally, there is another type of short telephoto prime lens for you to consider. Vintage manual focus lenses are available on Ebay and can be used on your camera with an adapter. These lenses are easiest to use on cameras with electronic viewfinders which have tools like focus peaking to help you focus accurately.
I made this portrait with a Helios 58mm f/2 lens. This lens is known for the swirly bokeh effect you can see in the background.

Conclusion

Short telephoto lenses are versatile and relatively inexpensive. They help you create beautiful photos, especially portraits.
What lenses do you prefer to use for portraits and other subjects? Let us know in the comments!

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Mastering Lenses
If you’d like to learn more about buying and using lenses then please check out my popular ebook Mastering Lenses: A Photographer’s Guide to Creating Beautiful Photos With Any Lens.

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My Most Common Portrait Mistake

By: Rick Berk 

Here, I managed to avoid making the mistake, even though I shot the lens wide open at f/1.2,  by having my subject keep both eyes on the same plane. The look is striking, in that the depth of field drops off immediately and the image softens dramatically after the area of sharp focus around the eyes.  Exposure was 1/6400, f/1.2, ISO 200. Camera was EOS-1Ds Mark III, with EF 85mm f/1.2.

We all make mistakes.  Even the best photographers I know make a mistake now and then. And usually, we all have one we can’t get seem to stop making. For me, it’s a different mistake for each type of photography, whether it’s a portrait, a landscape, or some other type of photography.  The secret to getting better as a photographer is overcoming these mistakes and to stop making them.
When shooting portraits, my biggest problem isn’t lighting, or posing.  My problem is with my own settings, especially when using my favorite portrait lens. That would be the Canon EF 85mm f1.2L II.  This is a lens with incredibly smooth bokeh, and a unique look, especially when shot wide open. And I do love to shoot it wide open.  But it does require some extra care when doing so, which leads to my most common mistake.

Camera settings my downfall

When shooting the 85mm f/1.2 wide open (or even close to wide open), and close up, your depth of field is paper thin. If you were to focus on an eyelash, the eye itself would be out of focus. It’s that unforgiving. When done right, it creates a beautiful image, where the eyes are the sole focus. When done wrong, it ruins the image beyond repair.  The mistake is easily fixed; it just requires that you pay attention as the pose shifts, adjusting the aperture to give you the proper depth of field. In addition, if that paper-thin depth of field is what you want, simply adjust the pose so that it works for the shot.
This is probably my least favorite mistake, in that it’s not something that can be fixed in post.  Sometimes things happen quickly and it’s not possible to turn the dial that quickly. But sometimes taking a deep breath, and mentally running through the settings, is a good way to ensure you get the shot you want.  Is my shutter speed fast enough? Or slow enough? Do I have enough depth of field? Or too much? Is my ISO too high for the lighting conditions?  Or not high enough? It’s a mental checklist that can take only a second, but can ensure that you get the image you want.

In this image, also shot at f/1.2, because the model’s eyes are not on the plane, the right eye drops out of focus. The effect is disconcerting, and a mistake I make more than I’d like. It would be so easy to turn the aperture dial and stop down enough to give me the proper depth of field. I just need to remember to do that.  Exposure was 1/4000, f/1.2, ISO 100. Camera was the EOS-1D X, with EF 85mm f/1.2L II lens.

For this image, I stopped the lens down to f/5.6. This game me enough depth of field to keep both eyes sharp, while the background remained out of focus. Exposure for this one is 1/100, f/5.6, ISO 100. EOs-1D X with EF 85mm f/1.2L II.

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How To Survive a Down Economy As A Photographer

By: Annie Tao 

Image by kwerfeldein

You can ask 10 photographers what they think is their key to success in a bad economy – okay, flat out terrible economy – and you may get 10 different responses. Recently, a fellow photographer who had been following my blog commented that he wished he was busier, “but not Annie-busy!” He was stating this because I post client photoshoot sneak peeks on my blog every few days. Being a successful photographer is more than having a lot of business, it’s also about being profitable and, more importantly, being happy. That last point may sound hokey, but if having one photoshoot every few weeks makes you happy or making just enough to send your family on vacation is what you strive for, then that’s success.
Hearing this new term, Annie-busy, made me think about how I’d explain to other photographers what I’ve done in this economic recession that has kept my business flourishing. Though there are certainly other things that can be added to this list, here is what has been working for me.
There are three main points:

1. Have The Right Attitude

Even if you are a leader in your field, you need to keep learning new things – whether they are new gadgets and equipment or new techniques. You can take classes, attend seminars, and read industry publications. You can connect with other photographers to brainstorm ideas and learn tips.
Once you feel complacent and have an attitude that you don’t need to learn anything further, you will fall behind the pack.

2. Don’t Wait For Business

Whether you are busy with multiple photoshoots every week and a positive cash flow or your camera is collecting dust, there are many things you can do that can help your business.
Take action.
Here are some ideas to get you started: Can you update your portfolio? Are there vendors you wanted to try? Is there anything you can improve on your website? Are there things your competition is doing that you are interested in doing/having (ie, cool paper products, a blog)? Is there a way to expedite your workflow? Did you want to try out a new technique?

3. Think Outside The Box

I come from a Marketing background, so in my opinion, the three biggest reasons for one product’s success over another is Marketing, Marketing, Marketing. In this case, your “product” is you.
With that said, think about what else you can do to market your business.
You first have to have good online presence. So make sure you are happy with your website, and happy with how you and your business are presented to the public.
In addition to the traditional marketing methods, like advertising where your target audience will see the ad, there are also marketing avenues that are more effective… and often free! A good example is Relationship Marketing. It starts with creating a relationship with your clients. If your client refers you to someone else, that is 100 times more effective than having 100 people see your ad. Also, you can talk to business owners who share the same clients. You may be able to find common interests and run a co-promotion or find a way to help each other out. In this kind of economy, many businesses have to cut their advertising and marketing budget, so you may want to consider a product/services trade.
In the last few years, social networking has been growing in popularity, but it has also proven to be the new way to advertise. And it’s free! Networking sites, like Facebook and Twitter, are places millions of people frequent every day. I have gotten clients within minutes of an existing client posting their photos on their Facebook page. It is like getting an instant referral because that person knows my client, and referrals go a long way in this industry!
Another consideration is expanding your business in the form of your product line or even type of photography. I started out as a lifestyle photographer specializing in children, maternity and families, then tried out commercial photography and event photography this year – and really liked it! The commercial and event photography balances out the fast-paced, running-and-jumping-with-the-kids-til-I’m-sweating kind of photography! Expanding what you do to other types of photography will also expand your client base.
If you do this, don’t forget to stay true to yourself. Know what makes you happy and don’t change what you love only to grow your business. Clients will be able to detect your passion, or lack thereof, for the business. Plus, your artwork will reflect how you feel, so stick to doing what you love.
So test the waters, think outside the box, don’t wait for business to come to you, and have the right attitude regardless of the state of the economy.

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10 of the Biggest Business and Marketing Mistakes Photographers Make

By: James Maher 

Photographers can be some of the best business people around or some of the worst. But realistically, if you’re building a photography business, you probably didn’t get into it because you enjoyed business and marketing. This is why some photographers struggle at being successful. They got into it for the passion, and then wake up one day to the reality that it is a business like any other.

Dancer Portrait

However, fear not. The business and marketing aspect of photography can actually be rewarding and interesting. It’s necessary to learn it to be able to succeed, but once you start to see it work, it becomes empowering. It’s a way to guarantee your success as a photographer so you can continue to do what you love.
But you can’t do that if you make too many mistakes. Here are the biggest mistakes that I see photographers make (and which I have also made myself).

Mistake #1 – Not charging enough

Business portrait photography

How much you charge is going to be the backbone of your entire business. You cannot let clients lowball you over and over again. By doing that you are lowering the perceived value of the work for the entire industry, and you are not even giving yourself a chance to succeed. By not charging enough, you will inevitably go out of business. Even if you feel desperate for a job, know that it will take up time that would be better spent on marketing yourself to get jobs that pay what you need to survive and thrive.
Many young photographers are afraid of losing jobs, but that’s a regular part of the business. You should not feel bad about it if the client cannot afford you. If they can’t afford you, then it was never a real job in the first place. How can you do good work or create a portfolio worthy piece if you’re not being paid enough to have your heart in it? In addition, these cheap jobs always end up to be the biggest headaches anyway. Every photographer has a story from when they were starting out about that client who just wouldn’t go away.

Commercial Photography

Even worse than a client lowballing you, are situations when you do not charge enough! Sometimes you will have no idea that a client has budgeted much more than you quoted them. A simple and fantastic question to ask to help you handle confusing pricing situations is, “What is your budget?” This question is sometimes not appropriate, but there are many ways to say it, such as telling them that you offer multiple levels of service based on the cost and asking what their budget is for the project. Or if they say they are tight on budget, you can offer to help them and simultaneously ask what they can pay. When introduced in the right way, this can get your client to lay all their cards on the table.

Mistake #2 – Not responding to inquiries quickly enough

Musician photography

Every ounce of business development and every second of time spend on the tedious aspects of building a business serves the specific purpose of getting someone to contact you with a job. Well then answer them! I get nervous if it takes me 24 hours to respond to an inquiry, and the clients usually come back thanking me for responding so quickly. If you answer your emails and calls efficiently, then you immediately put yourself ahead of the majority of photographers. I can’t tell you how many times I’ve been told that we were able to have a whole back and forth and book a job before a competitor even replied.
In addition, responding regularly and efficiently will add to their comfort in working with you. Showing that you are responsible enough to do this also shows them that you are probably responsible in all aspects of your business. It is a great way to set the tone for what working with you will be like and can be excellent for gaining referrals in the future.

Mistake #3 – Not having a focused business plan

Business or corporate photography

You need to know how you are going to make money. Having a focused plan with an income target, price per job needed to reach that target, and a strategy to reach clients will become the basis for your entire business. The more focused that plan is, the more focused you will be. Figure out the strategy with the most potential to help you make a living and start with that. Focus on that before you waist your time on anything else. You do not want to fragment yourself too early in the building process.

Mistake #4 – Not setting aside enough time for personal work

Fine art photography

Personal work is what you do to renew your passion for photography. Without that, it will be very difficult to succeed in the photography business. However, it is also the way that you get jobs and build your portfolio. It’s where you test out new strategies and ways of photographing, and it is a way to improve overall at your craft. If there is a type of job that you want to start booking, then build a portfolio of work that will help sell you as a photographer to those clients. They don’t have to know that this portfolio wasn’t made of paid jobs, and in many cases they will enjoy knowing how passionate you are in pursuing your personal work.

Mistake #5 – Not researching colleagues/competitors

As a business owner, you need to know what’s out there. Learning from your competition and even your friends is incredibly important. Go through their work and figure out what you like and what you dislike. Try to figure out the different ways that they market themselves and where their jobs come from. See how they use social media and where they get press from. Learn their pricing and test out their website.
All of this information is so important to helping you find your way. Take the best aspects of everyone you research, and put them together into your own plan. All of the information is out there for you to be successful, it’s just up to you to find it.

Family photography

Mistake #6 – Not having a plan for editing and delivering

One of the biggest problems that I see newer photographers have is that they take way too much time editing. They end up missing deadlines, wasting their time, and worrying too much. This is not a good situation for anybody and is one of the quickest ways to hold your entire business back. Learn to cull your images from a job quickly. Right away, knock 800 images into the top 200 or 150 as fast as possible and work from there. Organizing and attacking a job’s editing in an efficient matter will make your life so much better, and it will make your clients very happy.
Always tell a client that you will deliver a job to them a couple days after you plan to (under promise over deliver). That way you will look very good when you deliver the work early, and if you have some unfortunate setback or issue in your life, you will still have extra time to complete the job.

Mistake #7 –  Not doing enough local networking

Writer environment portrait

Friends, family, and colleagues are your first line of people who can help you gain work. The second line is your local area. Figure out the businesses and people in your community that might need your services, and figure about the best way to reach them. Find business meet-up groups, local meet-ups, and trade shows that occur in your community and become a part of them. And this tip doesn’t mean that you should only show up once and never again. Become a regular part of them. Spend more time socializing within your community and that will come back to you business-wise.

Mistake #8 – Not using a mailing list

Business portrait photography

Social networks come and go. They all change constantly and hold you at their whim. While they are necessary to be a part of, social networks are in it for themselves, not for you. Diversify your marketing and build up a mailing list of all your contacts, clients, and friends. This way there is nothing between you and reaching them with important news. Mailing lists have a significantly higher open and click-through rate than social networks, and won’t charge you (per email) to reach your list.

Mistake #9 – Trying to do too much all at once

Event photography

There are so many strategies to market yourself in photography. Every situation is unique, and every marketing plan should be different. It is important to learn as much as you can about marketing, but at the same time you need to prioritize. Five strategies done with a small amount of your attention on each will be much less effective than one strategy with all of your attention focused on it. Spend some time to figure out which strategies will have the most potential for your situation and rank them. Then start with the first one and over time move down the list.

Mistake #10 – Not putting yourself out there

Artist / Writer Portrait Photography

Nobody is going to give you an opportunity if you don’t ask. The biggest difference between the people who make it and the people who fail is that the ones who succeed will wake up tomorrow and take these steps. None of this is rocket science – it just takes dedication, organization, and follow-through.
Many people won’t give you an opportunity the first time you ask. Learn to take rejection because rejection isn’t that bad. It means you’re pushing yourself and it’s inevitable along the way. Keep a thick skin and pride yourself on trying. Marketing is a grind at first. The photographers who can dive right in despite every frightened feeling their brain gives them will be the most successful.

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10 Fundamental Tips for Newbies in the Wedding Photography Business

By: Jasmine Monrouxe

So, you’ve decided you want to enter the wonderful world of wedding photography. Now it’s time to get prepared and arm yourself with as much know-how as possible. After all, you are going to be responsible for capturing the magic of this once-in-a-lifetime event – no pressure!
Here are the top 10 things I have learned on my journey, that are valuable to anybody breaking in to the wedding photography business.

1) Experience and second shooting

You’re new to the scene, and may not have any experience photographing a wedding, other than that time you used your point-and-shoot camera at your cousin’s wedding. So, how do you get experience photographing a wedding, in a professional setting? Offer your services as a second shooter!
There are a few reasons why this is a highly valuable experience if you’re thinking of becoming a wedding photographer. The most obvious being that you will gain on the job experience, as well as building a wedding photography portfolio. By becoming a second shooter, you will also meet established wedding photographers, and begin to network with other pros. A great way to begin second shooting is to research wedding photographers in your area, and contact three to five that you like the most. You can also use Facebook and search for photographer groups to advertise yourself. Offer your services for free to start, and you should hopefully land yourself a job pretty fast.
When you secure a gig with a photographer, be punctual and polite on the big day. Observe the photographer’s behaviour, and the way they have structured the big day. This will help you get a feel for how you will one day operate your own business. If there is anything you are unsure of, or want to know more about, asking the photographer once the rush of the wedding is over, is a great way to get a better insight.

2) Compare and prepare

You’ve assisted a few photographers at a number of weddings, and now you want to take the reins. Good job! At this stage, there is a lot to think about, and begin preparing. You need a presentable portfolio to show prospective clients, as well as prices, packages, and a solid contract. A great way to roll two of those things together is to create your own website.
This will allow you to have an online gallery of your images, along with a page outlining all pricing and further information. If you’re not a HTML whizz or web designer, don’t fret – you can sign up to a website that will offer you pre-made themes, designs, and layouts. Wix is a great place to start, you can select a yearly plan, which will give you a domain name, and eliminate all of their advertisements from your website. Plus – their website editing tool is super straight-forward and will allow you to customize your website easily. Another low cost option is Squarespace, starting at $8/month.

When you are designing your packages and conjuring up your pricing, comparison is key. Take some time to think about all the expenses involved in your business and compare this to the rate you wish to charge. Depending on your expenses, it might work in your favour to price yourself slightly higher or lower. Things to consider are: your overhead costs (rent, telephone, utilities, web fees, etc.), equipment, price of goods including wedding photography albums and/or prints, and you should also think about your own salary and how much business you hope to accumulate during the year. Remember, you are a novice – clients will not be choosing you because of your years of experience, but because of your passion and artistic flair!

You will also need to think about having a contract ready to go should a client ask to see a copy. There are loads of great wedding photography contract templates online, find one you like and do some adjusting. Important things to consider when writing a contract are: model release, image copyright, illness or injury, pricing and deposits/retainers, sizing/format of images, etc. Always have a lawyer take a look at your contract. Laws vary from place to place, and sometimes it is not my place legal guidance to others. Remember, we are photographers – not lawyers.

Read these related dPS articles for more on contracts:

• The Biggest Legal Mistake Photographers Make
• Wedding Photography Agreement (Contract) Tips

3) Sell yourself

You’ve compared, you’re prepared – now it’s time to don the marketing hat, and get your name out there. There are a few avenues you can explore, but something that always goes down well, is running a promotion or special offer. For example, you could offer a special bonus (such as 20 free 5×7 prints, or a free 16×20 wall print) on your wedding services for the first five people who make a booking. This will cost you a little to produce, but it will benefit you massively and almost guarantee you five weddings.
A great way to utilize social media (again) is to search Facebook for wedding groups in your area, and advertise yourself there. Be sure to read the rules of the group and make sure you’re allowed to advertise your services in the group, some don’t allow it and you will be blocked. Have your website ready to go, so that as soon as you get some interest, you can fire through a quick message with a link to your work and pricing.

4) Communicate

By now you should have a few people enquiring about your services and wanting to know more. At this stage, quick, friendly, and professional communication is your best friend. Have a script ready, so that as soon as you receive a message, email, or phone call you have a short and informative response ready to go. Remember, this is a script – NOT a sales pitch! Keep it short, sweet, and straight to the point.
My normal script goes along the line of, “Hello! Thanks for the message. Of course, I would be interested in photographing your wedding – please feel free to head on over to my website to see more of my work and pricing (insert website here). Do you mind me asking what is the date of your big day?” By asking for the date of the wedding, you are opening a conversation which is a hugely important part of the process. Once you have had a brief conversation regarding the details of their wedding, say to them that you will be in touch in a couple of days. This leaves the ball in their court so that they do not feel pressured, but also allows you to follow up with a friendly message and hopefully secure a consultation.

5) Meetings

You’ve secured a consultation with your first potential client – yay! Turn up 5-10 minutes before the scheduled time, this is your only chance to make a first impression, and being late is a BIG no-no. Once you have greeted your clients with a smile on your face, ask them a few things about themselves. This initial meeting is a chance for them to get to know you (and vice versa) and your process, so go in there with a clear mind and plan of action.
Spend five minutes briefly explaining a run-down of how their big day will work from your perspective, and also explain your pricing, packages, and deposit payments. Take a copy of the contract and give it to them to take home and look over, let them know if they have any questions to contact you.
After this initial meeting, follow up with them three days later, and ask if they want to secure a spot. Make it clear that in order for them to secure their date in your diary, the deposit needs to be paid. If the clients liked you, and books you as their photographer, well done! You should always have a follow up meeting at their wedding venue, so that you can explore the grounds together, talk about potential photographic opportunities, and let those creative idea juices flow.

6) The Essential List

You’ve got your first official booking, the deposit is paid, and the ball is well and truly rolling. Good on ya! Now you need to make a list of the absolute essentials that you need for the big day. These things include:

• Family and group shot list
• Bridal party shot list
• Full itinerary of the day
• Your own photographic equipment
• Any post-wedding preparations

Contact the bride and groom and ask them to send you a list of all the must-have group portraits that they want, and also ask them for a full itinerary of the day. Ask them to allow an hour for photos between the ceremony and reception, in order to ensure that they get all the photographs that they want. Make a list of the equipment you will be taking including SD cards, spare batteries and chargers. If you are including prints or albums as part of your package, take some time to do the research and find a reputable, quality printing agency.

7) Itinerary and planning

The big day is getting closer and you’re getting nervous – use the itinerary of the wedding day to start scheduling your own plan of action. Decide which shots you want, and when is the best time of day to take them. Be mindful of the time of day and position of the sun if you are shooting outdoors. You don’t want the subjects to appear silhouetted – but you also don’t want to blind your clients with the sun, as this will make for very squinty pictures.
Be sure to also schedule your own breaks – after all, this is a job and you will need a break. I find the best time to have a break is during the lunch or dinner, when everybody is busy with the food. Nobody likes being photographed with their mouth full of food, so this is a great time for you to sit down and enjoy a well deserved break and bite to eat as well. In most cases, the bride and groom will feed you (if this is really important, you can even put it in your contract).

8) Recruit the best man and maid of honour

This will make your life so much easier, and will also enhance the experience of shooting family portraits. The best man or maid of honour are usually familiar with the family members, and will help herd the groups to make sure that everyone is ready for their portrait with the bride and groom. Let the bride and groom know that you intend to do this at your second meeting, and ask for a contact phone number or email address for the maid of honour and the best man. You can then drop them a line and introduce yourself before the big day, and ask them ever so nicely if they would be willing to stick around for family portraits to help you organize the herds of family members. Hopefully, they will see you operating like a well-oiled machine and the whole experience will not be too stressful on anybody. No one likes a stressed out photographer. This will also help you get to know them a bit better before the bridal party photographs, which is a major advantage in getting more natural, down-to-earth photos of the group.

9) Have a perfectly balanced attitude on the big day

The big day is here – don’t panic! Refer to your equipment check list to double, triple, and quadruple check that you have not forgotten anything. When you turn up to the first location and start shooting, you need to be prepared to wear an infectious smile for the whole day. This will help all of your subjects relax and smile during their photos. Remember – it’s fine to direct people during the staged family portraits, but do it as kindly as you can. Find the perfect balance between friendly and assertive for this part of the day.
Self-check for professionalism, there are a few things that I think of which are absolutely unacceptable. This includes: showing signs of stress, smoking (even if the bride/groom are doing it), chewing gum, spitting, or excessive drinking. Sometimes photographing a wedding can seem a bit like a party, but this is a job and it needs to be treated as such. Be approachable, and just a generally delightful person to be around. People will remember this, and you may even find another engaged couple at that very wedding who like you so much that they decide to make a booking. Word of mouth is truly the best marketing tool ever!

10) Follow up

The big day is over, phew – you survived! Now it’s time to knuckle down and do some editing, you’ve got a whole bunch of beautiful photos that you need to begin post-processing. I use Photos on my MacBook to sort through the images, and add all my best shots to a different album – I then go through that album and spend time editing those images.
How you should follow up as communication is critical, even at this point of the process. Text or email your clients the next day, and let them know you had an awesome time photographing their big day, and that you’ve got some stunning photographs. Some people take a couple of days to edit and send their images, other people take weeks. I tend to give a timeframe of 14 days, although they are usually done within five to seven days. If the photographs are not done in seven days, drop them a line and keep them updated on your progress, something along the lines of, “Hey guys! Just to let you know I have edited around 500 of your images and only have 100 to go. As soon as these are done I will be in touch to schedule a viewing.”

Once your edits are done, schedule a viewing time so that they can choose their favourites, and any potential prints. The final step is simple – once all is said and done, ask the client to provide you with an honest testimonial. This will give you more content to add to your website, and is also a great way for future clients to read about someone else’s experience with you.
From start to finish, the process of starting a wedding photography business takes hard work and determination, but you got there with (hopefully) no hiccups. Nice work!
Want more on similar topics? Check out these dPS articles:

• 6 Things to Consider Before Becoming a Professional Photographer
• What Defines an Amateur versus a Professional Photographer?
• 4 Things You Must do BEFORE Becoming a Professional Photographer
• 3 Questions to Ask Yourself When Starting a Photography Business

Jasmine Monrouxe is a freelance photographer and animal enthusiast from England, currently based in Wellington, New Zealand. She loves travelling with her camera, and capturing the different cultures and lifestyle of the world. When she is not travelling, she is working freelance photographing pets and weddings. You can connect with Jasmine and see her work at Jasmine Monrouxe Photography or on her Facebook page.

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What to Bring to Photograph a Wedding Besides Your Photo Gear

By: Jamie Delaine Watson 

Our main job as wedding photographers is to create beautiful images for our clients. But our job is also to provide a phenomenal customer service experience from beginning to end. Throughout the last decade as a wedding photographer, I’ve developed this list of non-gear related items to bring along when you photograph a wedding.

Wedding Day Essentials

The Wedding Timeline

Six weeks before the wedding, send the bride and groom a questionnaire requesting details about the timeline, addresses, wedding party, their families and vendors. Not only will this help the bride and groom think through any details they may have overlooked in their busyness, but their answers will help you foresee any timeline delays or issues.
Some important questions to ask:

• At what address will the bride be getting ready?
• At what address is the groom getting ready?
• Ceremony start time and address.
• Reception start time and address.
• When would you like photo coverage to begin?
• Based on the number of hours purchased, what time would you like photography coverage to end?
• Will you be having a First Look?
• Please provide the timeline for your wedding day, so far.
• Are there any specific locations you have in mind for your wedding day portraits?
• Will you be exchanging gifts with your spouse or family members?
• What mailing address should I use for you after the wedding?
• How many bridesmaids do you have and what are their names?
• How many groomsmen do you have and what are their names?

Family Photo List

Under no circumstance should you show up to a wedding without a list of family photos, created and approved in advance by the bride and groom. Attempting to focus the bride and groom minutes after they’ve been pronounced husband and wife, in front of a room full of family and friends eager to talk to them, is a recipe for disaster!
Having a list you can work from, and check off each grouping with a pen, will save valuable time.

On the wedding questionnaire, request the following information about family:

• Please list immediate family of the bride
• Please list immediate family of the groom
• Please provide a list of family photos you’d like and please note the names of each person in the grouping.
• Are there any divorces/deaths I should be aware of so as to not embarrass anyone on either side of the family?

Review and take charge of the list

Review the information received about each immediate family before the wedding. Throughout the hours you’re photographing, you’ll meet at least 40 people by name! Don’t rely on your own memory. By having everything written down, you can check your timeline and remember the bride has two brothers named Matt and Joseph. Now, all you need to do is figure out which brother you met was Matt and which was Joseph. Magic!
Usually, the family photo list that the couple returns is perfect. I may re-arrange groupings for ease of the photo time (starting with the largest groupings first and peeling people away as needed) but very minimal change is usually required.

However, sometimes the list may include large group after large group of extended family. When this situation happens, send the couple a warm and polite email confirming the list. Review the timeline and see how much time is needed capture the family photos requested.
Let the couple know you are happy to capture whatever images they would like, but you may have to steal 30 minutes from another portion of the day. When you present the options this way, many couples will choose to forego large groupings for family photos and enjoy their cocktail hour instead.

Verify Addresses and Phone Numbers

You can never be too careful when it comes to details, so leave no stone unturned. Even if the couple provided the name of the venue, request the specific address to eliminate all room for error. It’s important to have addresses for the bride’s house, groom’s house, photo locations and the reception.
Basically, anywhere you need to visit on the wedding day, have an exact location and meeting spot if the location is a park, for example.

Phone numbers are a key piece of wedding day communication. Have the bride and groom’s phone numbers on file, but also request the phone numbers of the Maid of Honour and the Best Man and confirm they will have their phones with them. It’s quite common for a bride and a groom to not have their personal phones on them, and rightly so.
Have the wedding coordinator’s name and phone number printed on your timeline for easy access. It is also not a bad idea to have phone numbers of a few other key vendors. Always be more prepared than necessary.

Step up Your Experience with These Items

If you only remember half of this article, stop reading now and remember the first part. But if you want to step up your “photography game” and look like a wedding day hero, keep reading. Make gathering the following items a goal for your next wedding season.

Parking Payment

Depending on your city’s parking meter structure, a credit card may be all you need — but some cities require coins. Stock your wallet with five dollars worth of coins for parking in a time crunch. Additionally, research if your city has an iPhone app for easy parking with your credit card.

Set of Umbrellas

Purchase a set of matching umbrellas in either a solid black or a clear color so they match any wedding party — your brides will be thankful. Keep the umbrellas in the trunk of your car at all times so you’re never left out in the rain.

Extra Clothing

Wedding days can be long and weather can be inconsistent. Prepare for everything with a rain jacket or parka (depending on the season), sweater or cardigan for the reception (if the AC starts up) and my favorite – a change of shoes for tired feet halfway through the day.

Business Cards

Don’t be caught repeating your name to a potential customer over and over again so they can memorize it and find you on Instagram. Have business cards in your bag at all times.

Laptop and Card Reader

For slower receptions, you could download your memory cards to a laptop for immediate back-up. Also handy for downloading your second shooter’s images before driving separate ways at the end of the workday.

Water, Snacks, and Gum

Working on an empty stomach isn’t fun. Pack more snacks than you think you’ll need — you can keep some in your camera bag and the rest in the car for an emergency. Having gum or breath mints nearby is a bonus while talking with guests and, of course, a water bottle and staying hydrated is a must.

Wooden Hanger for Dress

I have yet to add a wooden hanger to my wedding day list, but it’s a good idea. You’ll save 3-5 minutes at the bride’s house looking for a wooden hanger to replace the flimsy clear plastic one.

Emergency Kit

Photographer to the rescue! Pack a small bag with bobby pins, band-aids, tide-to-go, Tylenol, a sewing kit, a lint brush packs of Kleenex and anything else you think a bride or bridesmaid or family member may want at some point in the day. You’ll be the hero when the bride stains her dress and you whip out the tide-to-go or hand the mother of the bride some Tylenol.
If you photograph weddings, what else do you take along besides your photo gear? Please share in the comments below...

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