Ici Restaurant wedding: Ayelet and Keston

The best way to drive home the importance of every aspect of a wedding is to plan one yourself. Next to that, photograph a wedding for a family you are connected to. With Ayelet and Keston’s wedding, I found both of these worlds colliding. Not only did I get to photograph this wedding with Tatiana Breslow, the talented photographer and extraordinary person I am planning to spend the rest of my life with, but Ayelet is the sister of one of Tatiana’s best friends, Inbal Sivan, another extremely talented wedding photographer (and also our neighbor).

In some ways the pressure was on — again we were working to the standards of wedding photographer clients, and we wanted to do the best we can for these wonderful people and a family that was so kind to us … but that sort of pressure is always on. Instead, by being such an integrated part of this wedding day, and with the wedding itself being so intimate, we felt like guests happily documenting the story before us. After all, not only were we the wedding photographers, but our apartment was the getting ready space, and we even stepped in for a bit as impromptu DJs at the end of the night. Being able to see weddings from the inside-out is a refreshing experience, and reminds us again how lucky we are to tell stories of emotion and lasting importance, and to fill our days with people like these. Congratulations Ayelet and Keston.

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Sticks Warehouse Wedding (Des Moines, Iowa): Sarah and Tanner

In this industry, there is only one great, more intimidating honor than shooting the wedding of another wedding photographer: shooting the wedding of two wedding photographers. After all, not only do we know all of the ins and outs of the industry, but before even beginning our search we’re already familiar with the work of hundreds of photographers. So I was already excited to head to Des Moines to shoot Sarah and Tanner’s wedding, but it got even better, because wedding photographers really know how to throw a wedding. It can be a tough balance to plan something incredibly soulful and personal and wild and crazy all at once, but all of the notes were perfect. As someone who has lost his father, the love and honor given to the memory of Tanner’s father made me really happy that cameras can autofocus even when you’re tearing up. The details of the wedding were so well-thought-out, personal, and numerous that I even included some of them here, violating my general “details are for the wedding planning blogs” rule. I, of course, am a sucker for photography-related centerpieces. And the party pulsed with energy and vitality, a release for a couple for whom it was finally their time, a celebration to take part in, not record. Thank you so much, Tanner and Sarah, and thank you to Stephanie Marie Photography for doing a great job as 2nd shooter.

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She said “Fine”!

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She said yes!

OK, technically she said “fine,” a private joke given that Tatiana says “fine” way too much, but you get the idea. We are going to go down the same crazy roller coaster as our clients, and we are already understanding this wedding business in different lights. Like sure, diamond rings are a massive industry scam perpetuated by devious corporations … but oh my god we love ours — it’s like a constant dance party on Tatiana’s hand — and when Tiffany & Co. asked if we wanted to trade it in for a properly sized ring we said “No, resize THIS one!” And we realize how important photos are in a different way. As soon as I knew I was going to propose to Tatiana in Montreal it was obvious that I would hire the incredible davina + daniel | wedding photography to capture the moment. Daniel sent me this last night and even with everything we paid I almost don’t even care if there are other photos or amazing portraits — this is a perfect moment from the THIRD time I got down on my knee showing how happy we were once the reality of the situation started to sink in.

The proposal: I had a lot of grand ideas, but honestly I just couldn’t wait. I wanted to do this the very second after we shot our last wedding for the year. Tatiana knew that months ago, I booked the travel for a trip that would take us through 3.5 days of vacation in Montreal before spending Thanksgiving with our families. She didn’t know that I’d booked our hotel at the Ritz-Carlton, Montréal, or dinner the first night at the incredible Maison Boulud Montreal. I’m not generally a flashy, free-spending person, so she would have known something was up … so I had a plan. I ALSO booked us rooms at the Best Western down the street for last night. That way we could come off the plane and get all dressed up “for dinner” at a restaurant at the top of Parc du Mont-Royal — a restaurant that does not, in fact, exist.

I have never been to the spot, which Daniel picked, and Tatiana has never been to Montreal at all, so Google Maps led us astray and we had to not only climb up a dark muddy mountain trail in our fancy clothes, we had to crawl over four different chained off pathways to get there. All the while I’m sending and receiving secret texts from Daniel to make sure he knew where we are — and of course me, photographer that I am, makes us wander to a spot without people in the background, a beautiful reflective rainy ground, and at least a bit of ambient light, which was in short supply.

I turned to Tatiana: “It’s been a wonderful year and I’m so happy to celebrate it. But I have a few surprises for you! First of all, we’re not staying at the Best Western tonight, we’re staying at the Ritz!”

“What???”

“And we’re staying there every night!”

“Wow, wait, what?!?!”

“And there’s actually no food here, that restaurant behind us is actually a closed-off government building. Our dinner is back at the hotel.”

“Wait, what? What??”

“Also,” (and here I began to cry, as I knelt down to my bag to pull out a white-wrapped turquoise Tiffany’s box), “You are the best thing that has ever happened to me, the best person I have ever met, and I want to spend as much time of every day for the rest of my life with you that I possibly can.”

“WHAT!?!?!?! WHAT?????? WHAT????”

Daniel’s video light turns on, and man, those things are bright when they are aimed at you, and we hear cheering and the sounds of hundreds of shutters, but it a ll seems to fade into the background. I wanted her to be surprised before the ring was out, and boy did that happen. She was still in shock probably an hour later while we were doing portraits, but so thrilled. We haven’t stopped smiling for the past 18 hours, and our cheeks are starting to hurt.

We are so happy to begin our forever, to let each other and the world know that we are totally, one hundred percent committed to each other in every way, and can’t wait to spend the last half of this week celebrating with our family.

Thank you to Davina and Daniel (and associate Chris) for the amazing photo, thank you to my mom for coming with me to pick out the ring and being the best all-around, and thank you to Kyle Hepp for being my on-the-ground recon, finding out Tatiana’s thoughts on proposals in general. (Her thoughts on having a photographer there? “Absolutely not.” Public proposal? “No, just on the couch.” Sometimes you have to be a bit rebellious.)

We are just going to bask in our engagement right now and no wedding planning — the only thing we know is that there will be a good dance party. No other details.

Wedding at the Pleasantdale Chateau: Antoinette and Jonathan

Allow me to enter the Wayback Machine to when the weather was warm, flowers were blooming, and we were beginning to buckle down for our crazy season. If you can set your clock by one thing, it’s that when the weather is nice, full-time wedding photographers’ lives are crazy. Now that the cold winds blow, we are slowly crawling out of our holes and I can start blogging some more of the amazing weddings we’ve been able to document in the past year.

Antoinette and Jonathan’s wedding will show you that the weddings we weren’t able to post the first time around were just as awesome as the ones we were able to sneak out. This day was filled with so much fun and joy and love and dancing … oh yes, the dancing. I was so glad to be able to document it with the fantastic Tatiana Breslow at my side, and am glad to (finally) be able to share it with you.

Midtown Loft and Terrace Wedding: Patrick and Lisa

How do you know a couple is really serious about this whole “together forever” thing? Three words: wedding ring tattoos.

If nothing else about Lisa and Patrick’s wedding was extraordinary, it would still have been one of my favorite quick stops in 450 or so weddings. Their gorgeous style presented an incredible juxtaposition against the calculatedly rough interior of the tattoo shop, but it was their sweet expressions during the process that got me. This is more than ink, this is the mark of a new life.

Then you add the hundreds of other touches that they put in to make sure that this wedding stood out: A 007 theme complete with ice luge and baccarat table (along with someone to explain to uncultured louts like myself how to play baccarat); wedding vows delivered by drone (which amazingly did not end in disaster, despite the rooftop ceremony); cake cut with a samurai sword, complete with lessons about how to draw a katana while wearing a tuxedo, and on and on. Tatiana Breslow and I had an absolute ball with this day and are so happy we can share it with you.

A very non-destination wedding

This one is just for fun. People always ask me about the amazing and exotic places we’ve shot weddings, and we loved our experiences in place like Singapore, Hong Kong, Chile, Aruba and more. But we also had fun setting a different sort of world record: The closest possible start to the wedding day. And to that end Tatiana Breslow and I present our photography from the getting ready stage of a wedding in our apartment.

What is going on here? Is this a new part of our full-service package? We’ll tell the whole story soon with the full post from this amazing day, but we had fun with this, and it also gives you a peek at our studio. PS: Check out Tatiana’s new site!

Review: Nikon D750 and D810

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For more info and purchase of the Nikon D750
For more info and purchase of the Nikon D810

If you’re like me, you read camera reviews by skipping to the conclusions first, so I’m going to start with the spoilers: The Nikon D750 and D810 are both great cameras. How good? Well, I’ve used them constantly since purchase, with first one and then both Nikon D4‘s sitting to the side.

So are these cameras better than the much more expensive Nikon D4? It’s more complicated than that, and that’s why this review will be deeply seated in my personal experience as a photographer. I nearly always shoot 13-hour weddings 65+ times a year with two cameras. While the D4 is ergonomically perfect when it’s in my hands, it’s way too big and clunky when it’s a 2nd camera hanging on my side. Using two D4s feels like dual-wielding howitzers. After two wedding seasons marked by lower back ache, it’s time to look for something lighter, something that makes me feel I can dart to whatever position I need to get the perfect angle without bashing a six-pound camera into chairs, floors, tables, or small children (all of which have happened).

Fortunately Nikon has been listening to the demands for “smaller, lighter, and professionally capable” equipment for the past few years, releasing a slew of light, small f/1.8 primes from 20mm to 85mm. (I beg them to continue that to 135mm, that would not be very light or small.) They also put out cameras like the D610 and Nikon Df, which produced beautiful images even in low light but had several caveats in their use, most notably a mediocre AF system. The D800 was astounding in its image quality and had pro AF but also felt sluggish to me in its buffer and Live View.

This year, Nikon said “no more caveats.” The D800 line has always had a bit of schizophrenia – the super-high resolution sensor and fantastic dynamic range at low ISO are aimed squarely at the medium format market – studio portraits, landscapes, product and still-life – but Nikon also markets it as the replacement to the beloved D700, a low-resolution camera aimed at photojournalism and documentary work. The D810 seeks to improve both uses – for the medium format crowd, it takes away the AA filter, which should allow for sharper images when every other part of shooting technique is perfect, and it changes the base ISO from 100 to 64. For the documentarians, it increases the buffer speed and significantly shortened the annoying delay in using Live View.

And now comes the D750. There are a number of ways to see this camera in the lineup – the name suggests it’s a D700 replacement, but really it seems to be a toughening up and professionalization of the D610. It is nearly exactly the same size and weight as the D610 but adds the professional 51-point AF system. Better still, it’s been tweaked enough that Nikon’s own rating suggest it is the best low-light autofocus across the entire camera lineup, better than even the D4s. And about that D4s? The D750 only weighs 63 percent as much, and it only takes up 54 percent as much cubic space. That’s a big deal, and a lot easier to have hanging at your side. For example, it’s about the size difference between a Smart Car and a regular sedan:

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Of course, shooting with a mirrorless system or even just my iPhone would be even smaller and lighter, so here are the real questions I want to answer: How good are these cameras anyway? What kind of trade-offs are there compared to the much more expensive D4s? Which of these cameras might be better for you? And finally, what are the benefits and trade-offs of owning and using both? To answer all of these, first we’ll discuss the common denominators of both cameras, then we’ll drill down on each one separately, and finally talk about how I use them together for my own work.

The D750 and the D810

These cameras have a lot more commonalities and differences. I’ll leave aside the obvious ones (yes, they both take the same lenses and flashes), since the important part is they sit right in the middle of Nikon’s “prosumer” line and thus are Nikon’s newest cameras with any professional aspirations. Thankfully, Nikon has corrected some of their previous prosumer mis-steps with these cameras, including my personal pet peeve – not having an exposure preview in the Live View of the D600, D610, or Df. When used right, Live View is one of those transformative technologies that says “Digital cameras can feel like more than just an instantly scanned film camera.” Being able to instantly see the correct exposure before you shoot is a leap ahead in functionality, and kudos to Nikon for enabling it in both the D750 and D810. The D800 had this functionality but it also felt like it took forever for the Live View to even turn on.

Although the D810 and the D750 take different battery grips (which I haven’t yet used), they take the same En-EL15 battery. Nikon rates them at about the same battery life, but I’ve found the D750 to burn through them much faster (this may be individual model variance, or simply that with the flip screen I use battery-killing Live View even more on the D750).

Both cameras have nice, deep grips, and I found even the smaller D750 to be a pleasure to hold, significantly better than the Nikon Df. But there is a huge ergonomic caveat here – like all smaller cameras without vertical grips, they’re only ergonomic wonders as long as they’re paired with lighter lenses and flashes. Put something like a 24-70 and a Nikon D810 on and any time I use the setup one-handed, I feel painful pressure on my wrist. It’s made me more likely to move my flash off-camera onto stands when possible, and even lenses like the Sigma 50mm f/1.4 Art feel unbalanced on these cameras, particularly the D750, leading me back to the old, cheap Nikon 50mm f/1.8.

But for my use, the biggest change in these cameras is metering. Nikon changed the recipe in sometimes fantastic, sometimes frustrating ways. The most obvious change is a new metering mode: highlight-weighted spot metering. The closest way to explain how this works is that your camera says “whatever you’re focusing on, I’m going to pretend that you put the spot-meter right at the brightest point in the frame.” So in any backlit scene, this mode is basically “instant silhouette maker.”

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I don’t think it’s a coincidence that this metering mode is rolling out now. All of the others – matrix, center-weighted, and spot – are also on Nikon’s film cameras like the F6. Highlight weighted metering would be almost useless on film cameras, unless you really, really liked silhouettes. But recent Nikon pro cameras, especially from the D3s on, have had a hidden trick: there’s a lot of information in those shadows. With film and cameras like the Canon 5D or Fuji S5, it was always a good idea to err on the side of overexposure, but with Nikon’s it’s the opposite. You don’t have to go too far for a blown highlight to be unrecoverable, but you can raise shadows as much as five stops on some models while still getting a fairly clean image. So the other way of looking at this mode is “cram as much of the tonal range of the scene as possible into the file and let the photographer process it later,” which can allow us progress toward the holy grail of cameras that see scenes with the same sort of dynamic range as the human eye. For example, here’s different processing of the same shot above:

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I wouldn’t recommend this metering as a default mode, the way I used normal spot metering on the Nikon D4, since there will be plenty of scenes where a light bulb or bright backlight make the scene way darker than you want, and there are plenty of times where it’s A-OK to let some highlights blow out to white. But it’s a great option to have when you’re trying to focus on a groom wearing a tux and you don’t want to turn the wedding-dress-clad bride into a luminescent spirit.

The only problem is that they also seem to have changed the recipe on the normal spot mode a bit. My only evidence is taking hundreds of thousands of photos with the D3, D3s, D4 and D4s and saying that these cameras seem to meter differently. Because of the existence of highlight metering mode perhaps, spot mode seems even more calibrated to say “who needs highlights?” Even metering on skim-milk-colored Irish skin like my own will tend to blow out the rest of the scene unless you use exposure compensation. Worse, they seem widely variable. Five to ten percent of the time with normal spot metering, a shot come out about five stops overexposed out of nowhere, even the darkest shadows pushed into the upper highlights. It’s not that the D4’s metering is perfect, but it’s repeatable – if it’s going to mess up a scene I can anticipate exactly how it will mess it up before I shoot it, and use EV compensation or manual mode to get it right. I’ve seen this happen on both cameras, but it seems to happen a bit more with the D810.

The D810:

Like the D800 before it, the D810 is defined by its 36 megapixel sensor. And yes, it’s sharp, sharp-sharpity sharp. In fact, this is the wrong place to look for a review of this aspect of it, because it’s much sharper than I need. In fact, I was fine with the 12MP of the D3s until this morning, when an iMac showed up at my doorstep with a 14.7 MP screen (and it’s still not bad). Henri Cartier-Bresson said “sharpness is a bourgeois concept” and to some extent he’s right. Not all bourgeois concepts are bad, and whether an image is in focus or not is different than whether it’s critically sharp pixel-for-pixel, but when I’m looking at a documentary image, critical sharpness is nice but way, WAY down the list of factors that make it a good photo to me or not. Every once in a while I take a huge group photo or landscape where the sensor is nice, but generally the 24MP of the D750 is already more than enough, and the D810 just likes to clog up my hard drives and increase my upload times. But it’s not terrible – in 12-bit compressed mode the RAWs come out to about 33MB, which is just 15 percent more than the file size of the 6-megapixel Fuji S5 I shot in 2007.

D810 at ISO 4000:
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The D810 sensor has other benefits too. ISO 64 plus 1/8000th of a second makes this the best light-killing camera in Nikon’s lineup, with almost two stops more power over the sun than the D750’s ISO 100 and 1/4000th max shutter. If you like shooting in the middle of the day at f/1.4 – say if you’re a fan of a certain panoramic portrait method – then this is the camera for you.

The D810 has one more advantage that is a big deal to photographers: in the words of Bjork, “it’s oh so quiet.” Even in normal mode the shutter is soft, and in quiet mode its barely there at all. I feel comfortable using this camera to take pictures close to the head of a priest, which would have made my skin crawl to try with the clacking D4.

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The D750

The D750 is an incredible camera burdened by its own name. As the camera that took the D610 to the next level, it probably should have been called the D700. But wait, there already is a D700, and its users love it. The D700 was such a good camera for the price that it almost didn’t make sense – especially with the battery grip, it did nearly everything the D3 did at a lower price. So a lot of people can only see the areas where the D700 is slightly better – 1/8000th of a second shutter speed! 8 fps with battery grip! The viewfinder is not my preferred shape! These are a fanatical lot, so I want to make sure everyone knows I say the following as someone who used and loved the D700 for many years: For wedding work, the D750 slaps the D700 silly. First, here’s the D750 at ISO 12,800:

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I’ve used the D700 many times at 12,800, and it doesn’t look like that.

Also, the D700 only uses one CF card. You might say “Well, I’ve never had a card fail!” All I can say is “Shoot more.” It doesn’t happen often, but it happens. I have had clients memories saved only because every image was being shot to two cards. In the D750 and D810, I just keep a large SD card in the 2nd slot and write JPEGs to it. That card does not get formatted until all the weddings on it are delivered, so that even in the worst-case scenarios where my other six backups somehow fail I can still deliver and edit JPEGs (which is just fine for 95 percent of images, but takes a little more processing time). You can never be paranoid enough.

And yes, the D750 only has 1/4000th of a second, but it also goes to ISO 100 whereas the D700 starts at ISO 200. Unless for some reason you’re trying to stop bullets in your wedding photographs, this comes out to the same thing. The D810 does win handily in this regard, but you still can shoot at f/1.4 outside in the sun with the D750, as long as you’re careful, like so:

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Also, the D750 is Nikon’s first full-frame camera with a tiltable review screen. As someone who has lied down in goose poop and broken glass at the same time to get a shot, this is really exciting for me. I don’t use it very often in photojournalism, because the AF speed during Live View just still isn’t where it needs to be, but it is fantastic when getting the right angle for portraits. One of my favorite adages in photography is this: “When you look at the portfolio of a good photographer, you should have no idea how tall they are.” MAYBE the best height to take a given photo is in the six-inch zone around where your eyes are, but usually there’s a better vantage, and a tilting screen will help you find it without nearly as many dry cleaning bills.

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Then there is the sensor. It’s hard to be definitive about the sensor because Adobe still hasn’t released an update for Lightroom that will work with it, but even with what we can tell now the sensor looks like a winner. It looks better at high ISO than the D810 (which is also pretty darned good, especially when the giant files are resized to print), it produces all the file size you need while gumming up your hard drives a bit less – everything just feels balanced for the kinds of variety you need in wedding work.

The only disappointment for me is the shutter sound – and I was only disappointed because I’d been using the D810. It’s quieter than the D4 or D3s, but definitely louder than the D810 or D610, and the quiet mode seems to even make it slightly louder, sounding like you’ve stepped on a small twig every time you take a picture. It’s not bad, but the D810 had set my hopes high.

USING THEM TOGETHER

This is my setup right now. I stumbled into it, because I bought the D810 before the D750 was announced, but for now it works well for me. You can infer from the rest of this review that if you took the best things about the D810 and the best things about the D750 you’d have a near-perfect wedding camera, and this is the simplest way to get the advantages of both. The D810 is used as my main camera for ceremonies is quiet churches, for example, and also leads the way for most of the portraits, while I pick up the D750 when I need the tilting screen or for fast, constant action on the dance floor.

I am loving these smaller cameras; in fact I love them enough that they’re making me rethink my lens system. I’ve recently bought an old 180mm f/2.8 as a sometimes-replacement for the Nikon 70-200mm VR II and a Nikon 50mm f/1.8 as a sometimes-replacement for the amazing-but-heavy Sigma 50mm f/1.4. I’d already preferred the Nikon 28mm f/1.8 to either company’s 35mm f/1.4’s, and it balances like a dream on the D750. Yes, this is all giving me Gear Acquisition Syndrome for cheaper equipment, but all of these are sharp and fast-focusing.

The one major annoyance to using both cameras is that the D810 uses the “Pro” control layout, and the D750 uses the “Prosumer” layout. Buttons in the same place on each camera do entirely different things. For maximum speed as a photographer, it’s important to build muscle memory with your camera system, and it’s a major stumbling block to say “Ok, which camera is this? Do I change ISO on the top or on the back?” If I do end up selling one to start using two of the same camera, that will be the reason why.

And if that happens, which camera will I keep? Drumroll please… the D750. I will just have to live with the snapping twigs.

MORE PHOTOS FROM THE D810

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MORE PHOTOS FROM THE D750

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For more info and purchase of the Nikon D750
For more info and purchase of the Nikon D810

iPhone 6 Plus Engagement Photo and Quick Review

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You may not have heard since it’s been on the down low, but little company called Apple released some new phones yesterday. I was excited because I had finally allowed myself to skip an upgrade last year, and I was eager to see the new improvements since the iPhone 5, especially with the camera, so when I got the iPhone 6 Plus I wanted to put it to the test.

Now, there are all caveats here: 1) I did not “do a shoot” with the new iPhone. Over the course of 90 minutes, I used the phone for about 15 seconds to produce this photo, after we had already nailed the scene with the Nikon D810. I don’t put anything, especially tech geekery, before clients’ needs. And of course there are other hardships in a 15-second-long photoshoot. But it gave me some insights into the camera and its use.

The Good:

  • This isn’t just a cell phone shot in tricky mixed lighting, and it came out great! This isn’t out-of-camera, of course — it’s processed to the same level as everything else I do, otherwise it would be at a distinctive advantage. But you can’t — or at least I can’t — take an image that is noisy, muddy garbage and make it great later, so it’s nice that this is turning out some good pixels.

  • I am loving the exposure control in iOS 8. It allows me to quickly focus where I want to without worrying whether that spot is too dark or light for the overall exposure.
  • Speaking of focus, the new phase-detect focus is speedy enough that I never had to think about it, which is all I want in this kind of camera.

The Bad:

The exposure control in iOS 8 is basically a + or – EV control, which just means “render this scene brighter or darker than you normally would. That is very different from having actual exposure control. Because we were adding enough light to the scene, the phone chose to shoot this at 1/30th of a second, where I would have preferred around 1/10th to make the train pulling into the station show a lot more blurred motion — especially because the iPhone 6 plus has optical image stabilization. We could have lowered the lights and tried again, but that’s a lot more annoying than a button click (and remember, we only took 15 seconds for this). I’m eager to see how third party apps take advantage of the new software development options to give us more and more control in weeks to come.

The Ugly

To make this camera so good and the phone so thin, the camera has to protrude a bit, making it wobbly when you set it down. I don’t mind much, but it’s one reason that I can’t wait to put a case on this thing.

One more thing:

The LED flash on this thing is really strong. I expect I’ll be using it a lot in ring shots, or when I have to sneak a quick night shot in and don’t have time to get my video light. That is probably the only way this will have a direct effect on my professional images. It’s good, but it’s nothing like a D810.

This is For Keeps

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Patrick looks back at Lisa one last time before getting a wedding ring tattoo right before their wedding at Midtown Loft and Terrace on Saturday.

I just finished the busiest weekend of my career — so far and likely ever — and through a great deal of careful planning we showed up each day much better rested than the bride and groom. Now I look back on so many wonderful moments from 57 hours of shooting and it overwhelms me. Where to begin? So I will begin simply sharing images that make me happy, and this image made both Tatiana and I tear up a bit.

I feel so lucky to be a part of moments like this.

Lens: 45mm f/2.8 PC-E
Camera: Nikon D4

Central Park Boathouse wedding: Jennifer and Marc

Sometimes love is stately, refined and intimate, romantic and quiet. Sometimes it is messy, raucous and public. The vast majority of wedding-related media focuses on the first aspects, but my favorite weddings are the ones that show both: Two people deeply, obviously in love, showing it through countless intimate, gorgeous moments together … and then, as they say, it all comes out on the dance floor. Weddings are public celebrations, so let’s set aside decorum and show how deeply, broadly, and loudly we care about our guests. Let’s get crazy.

Jennifer and Marc’s Central Park Boathouse wedding perfectly exemplified all of this. It was hilarious and heartwarming, wonderful and wild, and made full use of this strange but fantastic record string of nice-weather weekends we’ve been having. (I can’t tell you how much wood I knock on every time I talk about this.)

And I got to share it all with Tatiana, once again proving herself to be the biggest secret weapon in the world of wedding photography.