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.

Christopher Bowen - Mr Brenizer, I am in awe…. Nobody, but NOBODY does party/reception photographs like you!

Sara Kelly Johns - GREAT blog post about a Central Park Boathouse wedding! Lovely and FUN!

A Matter of Perspective

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One from today’s sunrise engagement shoot with the D810. Sometimes the most handy tool is clothes you don’t mind getting dirty.

Camera: Nikon D810
Lens: Sigma 12-24mm f/4.5-5.6 II

Matthew David Sanger - Hey Ryan! What do you think of the D810? I think it’s Nikon’s best all-around camera ever! The resolution of the D800/E, an ergonomic grip like the D700, and the autofocus of the D4S!

Harbour Island, Bahamas wedding: Ann and Bill

This is Harbour Island:


You see that tiny, glowing beacon in a place so quiet and dark and peaceful that stars New Yorkers have never dreamed of come out to shine? That is a place to get away, where a plane to a different plane to a boat to a golf cart will take you to beaches of pink sand, perpetually pleasant afternoons, and a simple feeling of “This is it. This is what it’s been all about. This is what you were waiting for.” Sort of like marriage.

I love when I get to shoot for the same family again. I’ve shot for sisters, brothers, and cousins of previous clients, but Ann and Bill’s wedding was the first time I got to photograph the wedding of the father of a previous client, Jessica. When you come out to a remote island and spend the day as two photographers among only 40 guests, you really have to integrate well, and Ann and Bill made it so easy. They were warm, as happy as you could imagine in such a perfect setting, and so deeply connected to their friends that the bridesmaids, daughters of one of Ann’s friends, felt like members of the family.

The wedding was perfect against all odds — the weather holding strong even though the eight weather apps my paranoia requires told me that it rained on every other Bahaman island at ceremony time. A raucous young brass band led the guests from an intimate dinner to a beach reception, which was more wild than 40 people should have been capable of. (This is another advantage to the highly-walkable, virtually car-free island: No reason to stop partying.)

It was an honor just to be here, a pleasure to spend the day with these people (some for the second time), and one of the highlights of my entire year that I got to do it all with the amazing Tatiana.

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Julianne Markow - I love everything about this, Ryan, this is so beautiful!

Chanté D. Thompson - Beautiful!!!!!! So proud these gorgeous shots were taken on my beautiful island!

Camille Gabriela - Outstanding use of the light, as always! Loved this!!!!

Dmitriy Mirochnik - Amazing as always

Navdeep Soni - Loving the new colors from last few posts :)

M Faizul Mubin - Awesome :D

Arol Horkavy - Great shots!

Bahamas Destination Wedding - congratulation Ann+Bill and thanks for choosing to get married in the Bahamas

Married To My Camera - What an amazing set of pictures Ryan, tears and laughter, you’ve captured it all.

Brillpix Photography - Outstanding location and stunning photography. I’m a big fan of your work as it is so inspirational.

Ritz Carlton Naples Wedding: Joanna and Tony

You don’t know how many times Tatiana and I have sat around our office saying “I wish our clients were here, right now.” We have so many clients who are not just pleasures to work with, but people who would brighten any of our days, and it’s one of the things we’re most thankful for. Joanna and Tony exemplify this … almost literally, as I believe Joanna’s multi-watt smile could be examined as a new alternative energy source. It was such an honor to have them fly us to forida for their Ritz Carlton Naples wedding. It is such an intensely beautiful place — the literal moment we pulled up the evening before, I had to jump out of the car to photograph the sunset on my iPhone, because our bags were still packed, and it was one that I couldn’t bear missing. People show up each night on the show to stand there and applaud the sunset the moment the sun crosses the horizon.

Yes, location isn’t everything — I’ve photographed weddings I’ve loved in gymnasiums — but this sort of scene really didn’t hurt. More important, though, was what an uplifting, hilarious day it was. To see Joanna and Tony’s love for each other and their family, and to be able to share it with Tatiana* … thank you. Thank you all.

*who did just a phenomenal job, once again maintaining her status as wedding photography’s biggest weapon.


Víctor Aláez - love it, ryan!

Rudy Conrad - You bounce flash technique is off the chart Ryan….excellent photos…wish I was there…

Souloulou M - Reportage Magnifique

James Moro - such a gorgeous bride ! lucky photographer you!

Lureen Calcara - Absolutely stunning….

Review: Nikon Df

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45mm f/2.8 PC-E, ISO 100, 1/1000th

The Nikon Df is sort of a strange camera to review … or at least a strange Nikon. In the DLSR era, Nikon has succeeded by trying to make their cameras as functional and simple as possible … but no simpler. Leave it to weirdoes like Fuji to make quirky cameras with non-standard sensor arrays, or let fresh-and-hungry Sony take huge chances like releasing a $3K camera with no viewfinder and a fixed lens — Nikon would keep making solid, efficient cameras. And, in the words of Henry Ford, pros you can have any color they want, as long as it’s black.

But 2014 is a very different world for camera makers than 2004 or even 2009, and Nikon is waking up to that. Few people need decent point-and-shoot cameras any more than they need to walk around with a compass, map and pocket calculator — our phones have them all. The only way forward to profit for camera makers is to do the things that phones cannot do. The most obvious is to harness the power of a big sensor. But from a marketing perspective, there’s something else: we want to stand out. Thanks in large part to cell phones, more photos are now taken each year than in the entire history of photography before 2010, a DSLR is a conscious choice to say “There’s more to me than selfies.”

No wonder, then, that cameras have turned to a brand that these disruptive, futuristic devices cannot do at all: Retro. The Fuji X100 blew the doors off, shocking any executive that just thought about specs. Cameras like the OM-D and X-Pro1 followed, and their popularity showed that photographers wanted more than just good pictures, they wanted the act of photography to be an experience.

The Df is Nikon’s entry into this space, and everything about the release materials shows how much they are emphasizing the experience of photography over simple, numerical specs. For instance, here is the environmental picture from the Nikon press room for the Df next to the environmental shot for the similar-specced D610:


The D610 photo shows the same sleek, modern image that Nikon tries to impart with all of its cameras, while the gorgeously styled image of the Df implies that this is a camera Indiana Jones would pack right next to his bullwhip. The Df is about how it looks and feels as much as the images that it takes.

All of this makes it something of a strange camera to review. You can look at the image above and already know if it speaks to you or not. If the retro styling and dials grafted onto a modern dSLR makes your soul sing, if it would revive your love of photography, if it would make you get out there and take pictures you weren’t taking, then this is a valuable camera for you.

But as a constantly working professional, I’m entirely unsentimental. I’ve owned two gorgeous Noct-Nikkors … and promptly sold them because they made me nervous. I need gear that does its job well, gets out of the way, and can be bashed against a rock or two and keep going. But because I carry two cameras for thousands of hours each year, I join many pros in aching (literally) for something smaller and lighter, a D700 for the new decade. And so the idea of having a sensor like the D4’s — with beautiful color, low noise, and high dynamic range even at high ISOs — in a smaller body is deeply appealing.

So, for the market, the Df is caught between two worlds: Is it a camera just for the nostalgic manual-focus users or is it something that could be a pro’s main camera? As a modern Nikon dSLR with a fantastic sensor and perfectly good specs it can serve both roles well, but it also falls a bit short in either direction.

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28mm f/1.8G, ISO 3600, 1/125th

The Good:

The Nikon Df really is nice and light and (compared to my D4’s,) quiet and small. It is very well-balanced with smaller, lighter lenses (like manual focus lenses), and I really liked pairing it with the light, awesome-for-the-price 28mm f/1.8G. Its less obtrusive profile and shutter made it just a bit easier to get closer, to capture moments of people as they really are, not how they react to having a camera around. And the fantastic sensor made it easy to freeze action in all sorts of light. The room above was not nearly as bright as the photo makes it look, and the Df is shooting at ISO 3600 with nary a spec of noise and lots of fine detail. I could have left my 28mm glued onto it and been happy, but it also works well with large lenses that don’t truly balance with any camera, like the 70-200. It’s the mid-range lenses like the 24-70, heavy but tempting for one-hand use, where the small grip causes ergonomic trouble.

Despite the styling, this has everything you expect from a modern Nikon … other than video capabilities, which were deliberately left off. It has reasonably fast operation, feeling less sluggish in basic operation and buffering than the D800 but not as effortlessly speedy as the D4. I was able to shoot large “Brenizer method” panoramas without getting into the sort of annoying buffering problems that the D800 would bring:

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105mm f/2, ISO 100, 1/2000th, 65 images

The relatively small size made it a fun camera for personal use, although the bag you’d need for this wouldn’t be much smaller than for a D4 set-up, especially once you pack the same lenses and flashes. Still, Tatiana and I had fun just messing around with it:


Again, the sensor is as good as anything with dynamic range, color, and low-light performance. The photo on the left was taken in light you could barely see in, while the one on the right mixes full sun with shadow, and the Df can handle them both admirably:


The Almost (For the retro-friendly user)

The image on the right above is from the manual-focus 50mm f/1.2, another lens that not only balances well with the camera, but looks darn good. Clearly one of the perceived user bases for this camera are older photographers pining for the feeling of a Nikon F, and with a closet full of manual-focus glass collecting dust. The Df exposure dials are clearly designed to work best with cameras that have aperture rings, just like the ones in the promotional image. Nikon has an long history of incredible lenses, and the Df pays homage to them, including some retooling to allow older, pre-AI Nikkors. But there are two problems, one that I don’t care about and one that I do:

1) The market base that cares most about the way cameras and lenses look and feel are the ones most offended by the existence of plastic. They remember the days when plastic in a lens or camera meant “Danger, Will Robinson!” This doesn’t bother me much, but it is noticeable when paired with older lenses.

2) More importantly, the Df makes no special effort to be the manual-focus lens user’s friend. There is no focus peaking in live view, no easily swappable viewfinder screen, just the same iffy green focus dot we’ve had for more than a decade. This is something that is conceivably improvable in firmware, though I imagine these days a firmware tweak that in-depth would just mean releasing a “Dfs.”

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The Almost (For the modern-minded photographer)

This one will be a bit nit-picky, and I apologize. For a better explanation, let us also call this section: “Hey Nikon! What we really need is a new D700 with current tech!”

First, Tatiana pointed out something ironic — with modern, aperture ring-less lenses, the control make it harder to work in old-school, complete manual mode. If I’m shooting ambient, I’m a heavy auto-ISO user, allowing me to follow the moment into whatever light it takes me, but she had more trouble with the camera simply because she embodies the sort of purism the marketing campaign plays to.

The camera only goes up to 1/4000th, but this doesn’t bother me much — I shot just fine for five years with the D3 and D3s, which may have done 1/8000th but only went down to ISO 200, amounting to pretty much the same thing. A bit worse is that it shares the AF system of the cheaper D610, instead of the high-end AF of the D800 and the D4 lines. I never had too much trouble with the AF, but it didn’t wow me either — the AF points are so tightly packed that you end up focusing and recomposing quite a bit.

But for me, all it took was one thing to rule it out for me as a backbone of a pro system in 2014: The Df only has one memory card slot.

“No problem,” you say. “I’ve shot many times and never had a memory card problem,” you say.

You’re lucky. Shoot some more. Anything that has a non-zero chance of happening WILL happen if you shoot enough, and in weddings I do everything I can to reduce to chance of image loss to as close to zero as possible. Because it does happen. Just last year I had a memory card failure so total that if I hadn’t been shooting to two cards more than a third of a wedding would have been lost to the ether. Any one-card camera I’ve used on weddings, like the Canon 6D, Olympus EM-5, or the Df, has to merely be one of many cameras on the job or my well-earned paranoia kicks in. To add insult to injury, the cheaper D610 has two card slots.

Sadly, one feature the Df does share with the D610 is the crippled live view exposure mode. Again, it is ALMOST there — the back LCD is clear and sharp, and it has far less lag than the D800, but you cannot preview exposure like you can with the D4, D800, D3s, and others. Live View exposure preview is a godsend in many situations, allowing you to work more quickly, focus in the sorts of insane low-light that the Df sensor is capable of shooting in, and in particular when using the manual-focus lenses that this camera is styled for.

This camera was a huge risk for Nikon, and I admire their willingness to make the move. But risks don’t always pay off perfectly. I imagine we’ll get a Dfs some day, but I’d be shocked if it had top-of-the-line AF. Maybe, hopefully, it will have multiple card slots. But I could easily see them making the manual focus experience even better, putting it in line with the best-in-class. Ironically, though, along the way they may realize that the people most crazy about acquiring and shooting with old lenses these days are the video shooters, so we’ll see if they give them a nod as well.

I had a great time shooting with this camera, and it is the right camera for some people out there, just not quite for me. It’s not a D700 update with modern sensor and dual-cards, but sadly nothing is.

More Photos with the Df

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Isaac Alonzo - Love the flesh tones, do you leave it in AWB, custom WB or just tune it later in post?

BTW this camera looks like a great idea just not towards the pros that won’t use anything with just one card slot, the D4 sensor alone won me over before I knew was a single slot camera.

Nathan Mitchell - Great review. I’ve been shooting with this thing since day one and it is an amazing camera in many ways. But like, where were the focus groups when they were developing this camera? Dual card slots are a necessity, period. And the live view exposure mode is usable but cumbersome (I have to hit aperture preview and focus lock–that’s three fingers including the shutter, wrapped around a tiny chassis–to do the same thing that the D4 just DOES, and there’s no awesome auto-zoom like the Leica M to speed up manual focus either). Where was I when this thing was in development? Where were you?? I’m annoyed at Nikon right now. But all of its quirks aside…I love the Df.

osynlig fog - Time for a rant: To me the Df is the only DSLR I would consider buying for the reason of having real manual controls. So I bought it and it works great with my manual Nikkors. The reviewer admits that he wants a D700 so I’m kind of confused why a Df is even considered? It’s a very different camera. I really hate the big grips of conventional DSLRs. The F3 style grip on the Df is barely what I would consider okay. It seems to me as if many contemporary photographers are so brainwashed into the one handed big grip style of cameras that they don’t know that a camera without a grip is held with the left hand, not the right.
The dual slot thing is another thing the modern DSLR crowd wants (soon we’ll have three slots, then four slots and in the end we’ll hear that no less then seven slots is sufficient!). Again, this is not your camera so stop applying your D700 wish lists in a Df review. Another slot would do nothing but take up more space and make the camera bigger.

The reviewer also misses that the Df viewfinder clearly has higher contrast than either the D600 or D800. It is evident if you make side by side comparisons.

Used in M with a manual Nikkor the Df is a fantastic camera. I’m a manual photographer and very happy with the Df. Unfortunately the Df is under siege from the conventional DSLR crowd who refuses to understand that the Df is not for them. I’m quite happy I have the opportunity to use AF should I ever want to for some reason. Yet the reviewer does not mention how incredibly flexible the Df is – it really is a camera that can adapt to the photographer, much more so than something like the D700 which gives photographers like me the finger. So when I see the conventional crowd ask for conventional features I get pissed off. You have your cameras! Tons of models! There’s nothing wrong with the D700 or markIII! Go use them! and leave us manual folk alone. Stop lobbying for your speed features of insecurity. You are like black goo, wanting to gobble up the whole world of cameras with your need for automation!

At first I was a little disappointed that the Nikon Df was not more basic. They should have left out autofocus. That would have shut up the F5-style crowd and maybe then we wouldn’t have all these confused articles.

The reviewer doesn’t get that the Df does not compete with the conventional DSLR’s. It competes with something like a Leica. Why even make the references to the D800? or the D610? They have nothing to do with the Df! I have waited for something like the Df since the advent of digital cameras and now I get to read rubbish where writers suggest that this camera is comparable to something like a D800?! Ok mate, where is the shutter dial on a D800? Where is the ISO control on a D610? I would rather chew glass than work with those kinds of cameras.
Nikon Df – the most misunderstood camera in history. It’s a unique camera who come straight from using manual Hasselblads, Pentax 6x7s or 4×5″ or FM2’s love the camera. Finally a camera we can intuitively work with! A great viewfinder and REAL CONTROLS.

chad - glad you said it. make a real 700 replacement, I hope Nikon is listening.

Alex - You’re missing the point. Nikon is lacking a true D700 replacement, and with the D4 sensor in a smaller body, the Df was close. The D800 has great ergonomics, but the high mpx sensor make it cumbersome, and the D610 lacks a lot of features. The Df comes so close,

SEAN SHIMMEL - Fitting panache: “a DSLR is a conscious choice to say “There’s more to me than selfies.””

RobK - “Stop lobbying for your speed features of insecurity” – Wow. How’s the view on that high horse?

p.s. After rereading your post I’m beginning to think you’re joking. There are just too many crazy things that you wrote. So, if it was a joke than disregard the above statement and good job on your part. Cheers.

Crazy Eddie - If I ruled Nikon I would make three D800s (yes, just like sony’s a7), 16, 24, 36 mpx. Keep the DF and D610 – the DF is a niche product with a lot of potential and the 610 is a good entry full frame.
I may also institute a buy one get one free policy. That’s right ladies and gentlemen buy any Nikon product get another Nikon product, equal or lesser value, for FREE. Buy a 24mm f/1.4 get a 35mm f/1.4 for FREE!!! Hurray this is a limited time offer (I give it six months until I destroy the company or they toss me out).

Rajiv Samaroo - hey there @osynlig fog.. i must say i understand exactly what you mean in your comment. there is another system that does what you want perfectly.. and you’ll see alot of old school photographers gobbling it up.. Sony’s A7 line. you should definitely check it out.

Layers of a Lovely Day

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Sometimes the problems solve themselves, at least when you have brides like Jennifer, awesome enough to brave a forest trail in a gorgeous couture gown. We’ve had this strange but beautiful thing where all the rain and nasty weather has fallen on weekdays. The New York Times even had to point out that there is no reason for special seven-day cycle in the weather. Me? I credit karma.

Apparently the reason that sometimes you come to my site and there is no site here is that someone out there has been attacking for a long time. We’re working on fixing it, but in the meantime, please hold back for a bit, Mr. Cyber-Jerk. I have so much great stuff coming to the blog this week, from gorgeous weddings to camera reviews, that we’ll probably bring the site down all by ourselves.

Camera: Nikon D4
Lens: Nikon 28mm f/1.8G

anda - Hi, I’m wondering how many pictures do you take -and especially -how many of them ,after sorting, you provide/ per one wedding ? I’m very curious, beacause I heard various opinions on this matter-and your photos are amazing , among best wedding photos I’ve seen , so your view is definetly credible.

Good luck with the fixing !

Rain in the Rockleigh

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The first time I shot at the Rockleigh Country Club, it was just 36 hours after Hurricane Sandy destroyed the region. This time, I was second-shooting for the fabulous Tatiana Breslow, and during the reception everyone’s phones started clanging with flash flood warnings. So our reaction? Let’s go out in it! Thanks to the Michelle and Michael’s willingness, an intrepid Tatiana lighting, a helpful wedding guest, and four umbrellas, we made this shot work in the driving rain.

Camera: Nikon D4
Lens: Sigma 12-24mm f/4.5-5.6 II

Samantha Baldwin - Amazing save

Tanya Vorobiova - красота!!!!!!!!!

Vincent Dupin - Love your work. Always masterpieces!

Justin Wright - Can’t believe this is a shot from a second shooter. haha.

Lloyd Seal - I would like to purchase a copy of this for my house. How do I get one?

The Cove, Eleuthera: Wedding Photographers at Play

Tatiana and I are famous for the kinda-sorta-vacation. I spent my birthday in Barcelona … processing weddings. Tatiana spent Christmas in midtown Manhattan … processing weddings. We’ve done work in places we should be enjoying ourselves all around the world. But at least once we got to turn it around a bit.

One of the great things about weddings is that people tend to want them to happen in pleasant places and times, and sometimes it works out really well. Looking at my calendar, I realized I had a wedding one weekend in south Florida, and a wedding the next in the Bahamas. The stars were aligning, virtually forcing us to sit down, shut up, and just enjoy life for a few days. And there are few better places to do it than The Cove in Eleuthera, a place so magnificent in its celebration of relaxation that the only choices you can make are “Do I sit in this hammock or that one?” or “Which beautiful ocean cove should I swim in now?”

Of course, Irish people and the sun are natural enemies, and I learned after my first day paddleboating and exploring the island that sunscreen and even khaki pants can only do so much for my vampiric brethren. Still, it was a gorgeous time with a gorgeous woman … and we both took some pictures along the way. More about those weddings quite soon…

(Some of these are by me; some are by T. Some are by DSLR, and some are by iPhone.)


Elissa R - This is beautiful! I love that tilt-shift shot of T sipping out of a cup (and could you please let me know where to buy the dress she wore in photo #2?) :)

Cserkuti Tamás - great collection Ryan!

Ryan Brenizer - T says it is impossible to buy but she will send you hers.

Abigail Montes - I can’t get over how cute you are together :-)

Elissa R - If this is true I will kiss her on the mouth.

cory ryan - I love all of these photos for so many reasons. It seems as though you really have an eye for composition and taking advantage of what you had around you to emphasize the beauty of the moment! This makes me really want to go to the Bahamas…now!

-Cory Ryan and Team

Battery Gardens Wedding: Michelle and Michael

One of the things that makes being a wedding photographer feel special is that I so often get to go out and document the formation of a new family. Who knows the trials and strength and joy that lie ahead, but I get to capture the moment when it all coalesces in one giant celebration. This was doubly so with Michelle and Michael, who were not only celebrating their marriage, but their new role as soon-to-be parents. And it was a celebration — at the start of the day, neither of them new the sex their baby would be, but one person did know — the cake-baker. They sent the hospital notice unopened to the baker, who would make the frosting inside blue if it was a boy, and pink if it was a girl. I’ve seen more than 400 cake-cuttings in my time, but none were as meaningful as this one.

Which one was it? Look below and you’ll find out…

Thanks to the awesome Jashim Jalal for second-shooting!

Dreams of Shorelines

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I’m sitting here in the Bahamas, waiting for my puddle-jumping flight from Nassau to Eleuthera, but I’m still thinking about the beautiful sunsets at the Ritz-Carlton Naples and loving life more than a little.

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

Nick Benson - Hey Ryan, I saw that this was taken with a Df and It was curious about your experience with it. I am currently using a D600 as my primary camera for my portrait and wedding work. As funds increase, I’m making future plans on something that can handle high ISO while still producing usable images, like the D4. I would love a D4 or D4s, but unfortunately, they are a bit more than I can afford right now. Would a Df would be a good choice for low light use in ceremonies and getting ready shots, until I have the extra money for something like a D4s?