No, they're posted at 200dpi, but even that is probably too high. When they're resized to 800px wide, they really don't need to be crazy high dpi. ;)

To be completely honest, I just haven't found myself in this kind of scenario. If I've stayed overnight, it's usually a room the couple as booked for me at the same hotel their family and friends are staying. Basically, whenever I know I'll need a room overnight, I communicate with my couples well ahead of time and everything's taken care of when I arrive. I don't think this would ever really be an issue for me since all my travel arrangements are made well before the event date.

I charge $0.75 per mile after the first 25 miles, and that includes the miles to drive back home.

Jeff Marsh of Jeff Marsh Studios, most definitely. Also, Darren Field of Good Time Productions does amazing work. :)

Wow, such a good question because it's true. If you're shooting an 8 hour wedding and the last two or three are just the dance party, it's easy to end up with 1000 photos of just dancing. I will say this--I don't mind taking a lot of photos at the time (between 300-500 images) because with that many people moving very quickly, it's even tougher to land a really great shot that will end up in the final gallery. Still, it doesn't require three hours to accomplish this, so I'll sometimes take breaks between songs to see what other people are doing in the room to catch any last minute candids. If I know I'm going to be there for the B&G's send off, I'll go to where they'll make their exit and plan/practice what I want to do based on the lighting situation. There've been a few times now where I'll spot something cool nearby with some great ambient lighting and I'll invite the B&G for a few last portraits at the end of the night, which they've been grateful for to get away from everyone and take a breather. There are definitely ways to fill your time but I'd be lying if I said I didn't, every once in a while, find myself hiding in the restroom for 10 minutes (while my second shooter continues shooting, of course), to take a break from the crowd and to review images that I might post as teasers later... ;)

Thanks! I shoot 90% of a wedding day with the 35/f1.4. I switch it up for portraits with a 45ts once in a while and during the ceremony, I'll use the 85/f1.4 to get in close. But I could shoot an entire wedding with just the 35mm. It's such a workhorse. As for f-stop, I tend to rest right at f2.2 but it depends on the light situation. :)

I do everything on camera at most weddings. A few times, I've set up two or three strobes but I still prefer on camera stuff. I use SB800s in manual mode, shooting directly into the reception crowd. :)

I thank them and give them the lead photographer's info. :)

I know it doesn't feel good but their reasons could be very legitimate. I've had to change names of clients because they don't want to be found by exes who are potentially dangerous and I've been asked not to blog photos at all... If a client asks me to take photos off Facebook, I won't question it. If they offer up an explanation, that's fine. If not, it's not my place to question. I realize it's not a good feeling when clients make this kind of request (makes us wonder what WE did wrong as a photographer) but it's part of the business and we all need to respect it. Don't be offended and keep your chin up--most likely, it has nothing to do with the quality of your work. :)

I use two external hard drives, both of them WD brand. One is a 2TB and the second is a 3TB. The 3TB is a carbon copy of my 2TB, which is the one I work off of. This way, I keep everything off my computer's hard drive. I might eventually switch to a Raid/Drobo system but for now, this method has been working great. :)

If I've emailed them my info, I don't really consider them a "lead" until they've written me back to schedule a consult. If we've met in person, I give them one week from the date of their consultation to let me know if they'd like to move forward with their booking or if they've decided to go in a different direction. During that one week, their date is placed "on hold", so no one can take it away from them. After that week, their date becomes available again and whoever sends in a contract and retainer first is the one who gets it, including the couple who originally had it on hold. I never really delete leads, because sometimes, they've turned into something at a later date. But as far waiting to hear from people, I don't really put a time limit on it unless we've met in person. When a couple meets me in person, I'm going to assume it's because they're ready to book, so giving them a week to decide is a fair amount of time, I think. Putting an expiration date on how long their date will be unavailable to anyone else creates incentive for them to get in touch with me and ultimately, that's what I want--I just want to know if they've decided to book me or not. :)

I don't have any links to any (aside from password protected client galleries) but feel free to email me if you really want to see some. :) carly@carlybish.com

800px on the long side. :)

The key is dragging your shutter. To capture your subject and create light streaks, you need to set your flash unit manually. Generally, I'll set my speedlight to 1/8-1/16 power and aim the flash directly at my subject. I'll set my ISO to no more than 320, my f-stop will be between f4-f5.6, and my shutter speed will be around 1/2-1/5th of a second, depending on how long I want the streaks to be. The longer your shutter stays open, the more streaking you get. So when there are tons and tons of lights around, it can overwhelm the image when the shutter stays open for more than half a second. Play around with it--it can be a lot of fun experimenting. :)

First and foremost, I'd say "Comparison is the thief of joy", which is something my pastor says all the time. :)

Secondly, I'd say to invest in your brand before you invest in gear. It's something I'm still working on and slowly but surely, it's developing. But if my brand had been solid through and through a year ago, I'm sure my business would be a lot further along than it is now.

Haha! You're funny. And that's super flattering. I have no secrets, really. I use VSCO Film in Lightroom (that have been customized to my personal taste, of course) and I use Alien Skin Exposure 3 for my Black & Whites. If you'd like to know anything else, you need only ask. :)

If it's just an email exchange, I just congratulate them and leave it at that. No harm, no foul. If we've had an in person consultation and they still end up going with someone else, I'll ask them for any insight to why they chose someone else over me, emphasizing the fact that I appreciate the feedback and take it as constructive criticism. However, no one has ever written me back with an answer, so I can't be sure. But if I had to take a guess, I think it's probably budgetary.

It used to be the 24mm (a lens I still love) but now that I own one, it rarely comes off my camera... My new answer is the 35/f1.4.

All the time. When shooting indoors with artificial lighting, I usually fall somewhere in the 2700-3030 range. Outside, I typically stick with sunny mode. Sometimes, I'll go into cloudy, depending on how cool the tones are in sunny mode. But usually, when I'm outside, sunny is just about right. :)

Unfortunately, it comes out of my pocket. The pay varies on the total cost of the wedding package. Anywhere between $15-$30/hour. The bigger the package, the more I can pay. It can suck though because I still pay taxes on the full amount received by the client. I want to start invoicing with an itemized bill that clearly shows the price of the second shooter so I can deduct that cost from my yearly taxes.