The Digital Wedding Forum has featured my work as a photographer! This is a huge honor for me, as previous subjects have included world-renowned photographers such as Cliff Mautner and Susan Stripling. Very cool! The DWF is a great forum for photographers, and I’m really looking forward to the Nashville convention in January.
I suppose my style is to hold as light a touch as possible on post-processing … but if I do, do it like I mean it, which is to set up shots with the post-processing already in mind. The “Brenizer Method,” of course, relies on Photoshop. I actually am coming up with ideas now to use specific compositions and techniques to breathe some new life into a Photoshop technique that photographers tend to revile, but more on that later. In this case, I shot this as a composite of four frames, using just one little speedlight to light the couple.
I like to travel light, especially on engagement shoots. In New York, there are plenty of places where if you set up a light stand and a tripod, you will be swarmed by police, park officials, and in one case a National Guardsman with a machine gun. Yikes. But I love the light-canceling effects of big lights. The way to get there with a small light is to get in really close. The way to do that with freedom while not getting in the frame? Composite.
Of course, composites require tripods, and you remembered what I said about the guys with machine guns, right? In this case, I stood the camera on my rolling camera bag and propped up the lens with a lens hood. Wedding photographers are McGuyver at heart.
FYI: Not HDR. All of the frames were at the same exposure settings.
Last night, I had a Grand Opening of my new studio on the Upper East Side of Manhattan. It’s so convenient to be closer to the action, right down the street from many of my clients. I was really proud of how we put the night together, mostly due to the efforts of food writer and culinary student Rochelle Bilow (who has a great new blog, by the way). I mean, let’s face it, left up to my own devices I probably would have served chips and dip. Instead we had a home-made spread of curry, za’atar and lavendar-brown sugar puff pastry straws, foie gras mousse and jam sandwiches on white bread, and honey-baked figs stuffed with pancetta! Now that’s a party.
It was such a great feeling to see everyone who came, including a number of couples whose weddings I’ve shot! I’ve always felt that my couples, being awesome people, would get along well together, and that proved to be true. I figured people would come, mill around a bit, enjoy the food and leave, since it was a Sunday night, but we all stayed around talking and laughing until almost midnight!
One really fun revelation that came up in conversation: I am apparently so unobtrusive on the wedding day that people get worried. A few of my clients have had people come up to them and say “I think your photographer is missing shots! His flash isn’t going off!” (I was either using ambient or bouncing it so it wasn’t in their eyes.) And one couple said “We knew to trust you, especially after the engagement shoot, but talked afterward that we really hadn’t noticed you around much. But then our friends posted photos of the wedding on facebook, and you were like three feet from us in each one!” There is a reason that ninjas and wedding photographers both wear black.
I’ve been so blessed to get to spend important days with so many wonderful people. It’s crazy to think how fast things have taken off. I wasn’t someone who picked up a camera for the first time and said “OK, how do I turn this thing on? Found it! Now … let’s shoot some weddings!” It was only two and a half years ago, after having already covered two U.S. presidents and a few Nobel prize-winners, that I said to myself, “You know, I think I could photograph a wedding and not ruin the most important day of someone’s life.” Careers in this business usually start slowly because of the long booking cycle and importance of word-of-mouth, so it astounds me to think that in the time since, I have photographed more than 100 weddings.
And now, finally, I am dipping my toes into some new areas. After shooting hundreds of thousands of wedding photos a year, after inventing and popularizing a new photography techique, I think maybe … maybe … I could teach some photographers some new tricks, ideas, or even just help them maintain that sense of fun and passion that is so important to me. I’ve already done one casual workshop in New Orleans, with a second get-together in Chicago next month, but watch this space for more systematic workshops come January. Shooting weddings is my greatest passion, and I’m not going to slow down my booking cycle to teach but, as they say … winter happens.
I was spending my time as a host, but I took a few quick snapshots:
View from the entrance
The viewing wall
Rochelle tastes her creations
Thomas opens the wine
Thomas with Kindiya and … Thomas
Jasmine with Emilie and Noel
Brendan, Thomas, and John
Brendan likes to get his Halloween on early
I’d been looking forward to Emilie and Noel’s wedding the moment they said the words “former professional dancer,” and “I have a bridal dress made for spinning.” Nothing brings energy to a wedding like centripetal force, and this one had it in spades.
Held at the luxurious Montauk Club, not only did Emilie and Noel have one of the best first dances I’ve ever seen, but threw a fantastic cultural affair paying homage to her Basque heritage. I really like the idea of starting out a meal with a table already laid out with bread, cheese and wine. The idea is that by getting people to break bread and pour wine, you are already starting conversations and breaking tension — which may be why the party was so much fun.
Like most of my weddings, the day began with a personal well-wishing from the president…
OK … not true (though I did take that picture.)
In fact, Meghan and Kyle’s wedding began on a gorgeous weekend in Boston. After a summer filled with rain, to come and see gorgeous sunsets, the swell of Boston Harbor, and this fantastic couple, well, that’s the sort of thing I’ll even drive down I-95 at rush hour for.
After a Catholic ceremony at a gorgeous church, the reception took place high up in The Boston College Club, letting the guests really soak in that sunset and great views of the city. The music was great — it was the first wedding band in a long time that had an electric guitar battle, and it was even more fun than it sounds — and the party was lively, as you shall see:
The bride and her father practice their dance.
I hope, at this resolution, you can still see Kyle’s eyes welling up.
A gendered twist on the oldest shot in the book, but Kyle wasn’t expecting it, so the surprised expression was real.
For Kyle and Meghan, a kiss before entering the reception. For my poor 85mm f/1.4, a last shot before getting stolen from the bench behind them.
OK, this is a "brenizer method" panorama, so it was the last 24 shots.
At least it was a pleasant way to go.
(You can always cheer me up by ordering prints. Just sayin’.)
For reference, since I know this still confuses a lot of people, here was one of the 24 images in the panorama. This is one uncropped shot with the D3 and the 85mm f/1.4:
I don’t generally enter contests, but the Wedding Photojournalist Association was one of the things that inspired me to get into wedding photography in the first place, so I’m thrilled to participate. The images the site regularly put forth in its contests showed me that the era of stilted poses was over, and that the storytelling coverage I had come to love as a newspaper and university photographer could be transposed to the wedding day. It is a highly prestigious contest filled with the best storytelling work of some great photographers.
So here are the latest results! You have to search for your wins and I’ve been known to have trophies arrive on my doorstep for images I didn’t know had placed, so tell me if I missed any:
3rd Place, Cake Cutting (From Eva and Lane’s wonderful New Orleans wedding)
4th place, Creative Portrait (From Jen and John’s great wedding in Chappaqua, NY)
and 5th place, Emotion, showing Kayla dancing during a wonderful little two-hour wedding at Lyndhurst Manor in Tarrytown, NY
Sarah and Jeff had a fantastic wedding at NYC’s Union Square Ballroom. I know that any couple who can keep a near-100-pound dog in their midtown apartment is up for the surprises, joys, and responsibilities of marriage.
What a whirlwind their wedding was! With proper priorities firmly in mind, we set out early in the day to meet and take portraits so Sarah could come back to the hotel, take off the dress, and have some AMAZING barbecue for lunch before heading off to the ballroom. As you’ll see in the slideshow, we got some of the local Union Square color in to the day, as a group of people with “Free Hugs” signs were ecstatic to be able to hug the bride on their wedding day. Also, this was a very strong contender for my favorite wedding cake ever. Icing astroturf? Awesome.
Corinn and Jeff had the sense to get married on a wonderful day (my mother’s birthday — Harry Potter’s too, if you’re interested). Sadly, the weather was not *quite* as wonderful. But that didn’t keep their spirits down for a second. After a beautiful Catholic ceremony led by a longtime friend of Jeff’s family, they had a great party at the Greentree Country Club in New Rochelle. As you can see from the photos, they never stopped making sure that they and their guests were having a great time.
Sometimes, I try to turn challenges into opportunities. One of the toughest times to shoot is peak mid-day. This is counter-intuitive to the layman: “Photographs need light! Let’s shoot when there’s as much as possible!” but the sun is a very harsh, extremely strong light source, and there are few less attractive places to put a hard light than directly over someone’s head. (Coming directly from below is worse, but for obvious reasons that doesn’t happen very much with the sun).
So we try to work against it or overpower it. But there’s the second problem — overpowering the sun is about as hard as it sounds. Wee little flashes only do well if they’re close, which limits the sorts of compositions you can do. That’s why I’ve taken to doing multi-frame composites recently, so I can get the flash close to my subject in a big frame and then quickly digitally erase it later.
But there are other ways — who says the light source can’t be in the frame? Who says you can’t have some fun with it? The rooftop garden at the Met is absolutely one of the brightest places I’ve been in New York, other than the waterfront. I used every trick to get “normal” frames well-exposed, and then dipped into the abnormal.