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All responses Most smiled responses
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We just charge our regular fee plus travel expenses and accommodation.
For overseas weddings we also charge £150 per extra day to cover living expenses. -
I've done some amazing workshops with some of my favourite photographers. And I have some coming up (Jeff Newsom & Jonathan Canlas) that I'm super-excited about. But one that stands out is Fer Juaristi's workshop which changed the way I shoot most dramatically.
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Our contract states that we are responsible for the wedding images for one year from the wedding date.
Having said that, we've never yet deleted any wedding. -
I only ever use spot metering. I can't imagine trying to shoot a gig in any other way now.
And Happy New Year :) -
We have only used Loxley Colour and Blurb, which both have their good and bad points. Loxley is better quality but Blurb are great value for money. I'll be trying Bob Books soon as I've heard great things.
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Engagement sessions are included in our wedding prices as we think they're an important part of developing a great relationship with our clients. They also bring in extra income from books, frames, prints etc.
I quite often do engagement shoots for Asian couples who are marrying in places like China, Singapore, Hong Kong. I charge £250 for 4 hours or £450 for 8 hours and they then have the option of buying a disc, prints, books or albums, etc. -
It all depends on HOW you want to shoot weddings and what kind of relationship you'd like to have with your clients.
You could shoot a wedding, download the jpegs and give them the best, unprocessed images on disc. If you did that, you could shoot 100+ weddings a year, no problem.
If you care about your art and want to give clients a great experience too, I'd say up to 35 weddings a year is more realistic.
Last year we did 48 weddings and were overwhelmed with the amount of work that involved (meetings, engagement shoots, shooting the wedding, viewings, post-processing, album design, etc). This year we aimed for 35 and it's been much more manageable. And enjoyable! And profitable because we changed our pricing.
And I get days off with my kids far more often, so everyone's happy. -
Thanks. I almost forgot it was still online but it is a good reminder of where I've been before and how things have changed.
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It varies drastically from gig to gig. Some big gigs still have very low lighting or a lot of backlight which can be tricky. Some bands prefer very little light. Arctic Monkeys were hard work. Sigur Ros hardly had any light at all but that suits their music. I've gone up to 3200 ISO before if I really can't use flash.
And I hardly ever use TRA these days. -
I haven't noticed it making much difference.
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I used to be. I can't think of any real benefits. My clients couldn't care less.
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I use actions at VERY low opacities so any change is subtle. If the action colours something in a way I don't like, I won't use it or I'll adjust the colour afterwards to compensate. I have a ton of actions in PS but only use about 12-15 of them regularly.
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Backdrops?!
My supplies come from wherever I can get them cheapest but still get good customer service. -
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I'm still just playing with film shooting again. I'm not shooting film professionally, just pictures of my kids etc, so the film I've shot so far has just been developed at a local Birmingham lab, but I have to say I was more than happy with the results. I'm sure as I take film shooting to a better level I'll try other labs. RPL will undoubtedly be one I'll try.
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asked by andrewvokes
I want a 2nd shooter who I can trust to do their own thing and add to the coverage rather than me having to babysit them all day long. All of the 2nd shooters I've used have already proven they can make great images on their own. I usually like them to do more of the documentary side of the shooting.
I do give some guidance as to what will compliment what I'm doing, but that's about it.
I also hope to have someone along that I'll enjoy spending the day with. -
It's very tricky. In smaller venues you're more likely to get away with a little flash. If you can, put it on a very low power just to throw a little light in to the scene. If not, you'll have to make the most of the red light and maybe consider converting to black & white in post. Watch out for burned out highlights with red lights too!
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It all depends on the gig. I've shot from the middle of the pit and from the back, sides and somewhere in between. I try to get close to the stage if I can and protect my gear by keeping it close to my chest when I'm not shooting, as well as being aware of what's going on around me.
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asked by librarabbit
I used the 24-70 for years and it served me well but I admit I rarely use it now. It's a very flexible lens though. I much prefer my primes. I'd suggest considering one of the 85mm lenses (I love the 1.2) or even the 135mm.
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Loading...Steve Gerrard’s Bio
Photographer, Husband, Dad, Music Junkie.
