The Pro Photo Business Forum

The following tip, and many others, can be found in the free eBook listed on the right column of this site. I hope you find it useful.

In your area there is more than likely a magazine that caters to couples getting married. If there is more than one magazine catering to couples getting married, then select the one that you feel that caters to couples with a larger budget for their wedding.

As you go through the magazine you’ll find it is sectioned off by the different categories of vendors available to the couples. Locate the section that contains the different invitation and stationary designers and pick out your favorite one as you are going to have them make you special a card that can easily fit in your shirt pocket.

When I’m photographing a wedding, I concentrate on maintaining a smile on my face. Inevitably, at some point during the event, I’ll be approached by an individual who will compliment me on my service. When this happens, I hand them a beautifully designed card offering them one free family portrait session. When I offer this card, I will very quickly thank them for their compliment, hand them the card, and then move on.

If you decide try this marketing technique, you must understand that you are not at your customer’s event to advertise your services to their guests. You are there to serve. Because of this, make it a point only to hand out this card out to individuals that approach you and give you a compliment. Quickly give them something nice in return, and then continue with the job at hand.

Aric C. Hoek BFA, CPP, Author
PPBF Administrator
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Houston Wedding Photographer, Aric Hoek

The following tip, and many others, can be found in the free eBook listed on the right column of this site. I hope you find it useful.

As a wedding or event photographer, make sure to take very flattering images of every reception facility that you find yourself in. Make prints of these images, making sure to tastefully include your company name and contact information on the image itself, and then send the images to the facility free of charge. Include an invoice with the images. Show the value of the images on the invoice, and then show a 100% discount. List the reason as “professional courtesy”.

If the images are of good enough quality, then possibly the facility manager will use your images as a sales tool to reserve couples for their facility. The facility manager in essence becomes your agent. When you have made your vendor images, make sure to deliver them in person. Use the opportunity to build a professional relationship and contact. Let them meet you face to face.

Now that you have this general idea of vendor prints, put it to good use. Send images to the florist. Who made the cake? Who made the dress? Who sold the wedding bands? I’ll bet they would love to show your images.

One last thing to keep in mind with vendor prints is the pecking order in which a wedding is planned. A couple will almost always book their ceremony and reception facility first as this solidifies the wedding date. After their facilities have been reserved, the bride and groom will begin to look at vendors that can only be in one place at one time. These include the band, the officiant, and, of course, the photographer.

What does this tell us? It tells us that the most beneficial people to give vendor prints to are the facility managers and the facility catering directors. For me, referrals from cake makers are few and far between.

While photographing an event, make it a point to find the facility manager and introduce yourself. Ask for their business card. When you make an appointment to drop off the images to the facility, try to schedule your meeting with the manager you met. During your meeting, ask if the facility has a preferred vendors list that they hand out to their perspective clients. When you return to the studio, send a thank you card to the manager, thanking them for their time. Direct them to your website so they can see the quality of your work. This will make them more willing to add your company to their preferred vendors list.

Aric C. Hoek BFA, CPP, Author
PPBF Administrator
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Houston Wedding Photographer, Aric Hoek

Every professional photographer knows the importance of backup gear.  At least two cameras, two flashes, two lenses, etc.  And I submit that most professionals have way more gear than that.   However, the other night as we were preparing for a Wedding a thought came to me.

Let’s set a scenario right quick:  It’s Friday night, 5PM.  You’re getting your equipment together for tomorrow’s Wedding in which you need to arrive at 9AM.   You’ve cleaned your lenses, formatted your CF cards, verified time and location, and are working on charging batteries.   You take the batteries out of your cameras and insert one of them into its charger….. and nothing happens.  You chuckle to yourself as you remember you need to turn on the power-strip that the charger is connected to… except.. it’s already on.   Perplexed, you switch batteries on the charger with no avail. You come to the realization that your battery charger is no longer working.  You do have a back-up, right?

Now.. if you’ve purchased two similar cameras at retail, then you most likely have two identical chargers… regardless of the brand.   I chose not to sell my extra chargers because it made my task of charging all the batteries that much simpler.  But as I was looking at the charging table we have set up at the studio – I thought about how problematic it could be to not be able to charge batteries the night before a wedding or big event.

Fortunately, many cameras that accept battery grips have AA battery attachments that can be used to power the cameras.  But, that assumes that you know where that attachment is.  However, full body professional cameras rely on their brand specific batteries for power with no other (easy) alternatives.

I’ve attached an iPhone photo of my charging station that I’ve temporarily made for our studio.  Since we’re still settling in after a big move – this will be a little more permanent as soon as I find the appropriate place for it.  Until then – you can see the redundancy we have in battery charging, which allows us to recover from a problem should one ever occur.

One final note, we keep our chargers unplugged when not in use.  This saves on the minuscule bits of power they use when not actively charging – and also helps to prevent any stray power surges from wiping out our entire collection of chargers.

It may not seem important at first and I’m sure it doesn’t happen often – but small bits of preventative action can save you loads of stress down the road.

Atlanta Wedding Photographer, Matthew Lovell

Today’s tip is right out of my eBook “Actions You Can Take To Promote and Protect Your Studio“.

Format all of your compact flash cards before you leave your studio for a wedding.

Imagine you are photographing a wedding and it is late in the evening. You realize that the card you are shooting on is now full and needs to be switched out with another card. So you reach into your camera bag and pull out another Compact Flash card. You check to see if there are any images on the card, only to find the card is filled with images that you shot yesterday during a family portrait session. You know you have downloaded the family portraits already, and it is safe to erase them. You erase the card to make room for the images you are about to shoot.

It turns out, that you actually used that card for both the family portrait session AND earlier in the evening during the ceremony. Because you didn’t look through all the images on the card, you didn’t see the images you took earlier that evening. You just erased hundreds of images from your client’s wedding!

Make sure all of the memory cards you take to a wedding have been formatted before you leave for your wedding.

Add it to your checklist. Never erase a memory card at a wedding.

By Aric C. Hoek, owner and creator of Ten Houston Wedding Photographers

Aric C. Hoek BFA, CPP, Author
PPBF Administrator
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Houston Wedding Photographer, Aric Hoek

I’ve been using ShootQ now for about two months, and I am absolutely hooked.

ShootQ is a tool made especially for photographers to manage their studio. It was created by photographers that know the difficulty of managing a studio while trying to concentrate on their core business of photography. It’s a web based system that works like a software program on a business computer. This system organizes work flow from the first client interest phone call all the way through until the customer receives the ordered photography and completes payment. It’s a great tool to have for any professional photographer and works very well for wedding events.

This studio management tool will be able to follow a client from their first phone call through their whole process of working with a particular photography studio. It allows the photographer to enter in information in one area instead of having interest books, appointment books, billing lists, and calendars to keep up with. ShootQ even sends reminders of when a customer needs to be billed which is an advantage from trying to remember or keep organized records on paper. A professional photographer can spend more of their time on what they do best, taking portraits of people.

The system gives reminders of what a photographer needs to do next, which is very helpful when trying to keep up with the wedding production and to keep the important client, the bride, content and feeling secure and informed.

With ShootQ, less time is spent on the administrative side.  Foe me, the studio management system acts as an extra employe. Furthermore, some photographers lose money by not billing on time or following up to receive earned payments. Cash flow is the name of the game, and ShootQ keeps me on track and allows me to see  a projected cash flow for the entire year.  My photography studio runs so smoothly using this tool that the photographer’s life will have more quality and their clients will feel as though they are working with a well managed business. Many photographers get work by way of word of mouth and having clients happy will prompt them to distribute a studio’s name.

Multiple members of The Pro Photo Business Forum are now using ShootQ, and we have begun a forum which will allow the sharing of custom workflows.  Come and join us!

Aric C. Hoek BFA, CPP, Author
PPBF Administrator
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Houston Wedding Photographer, Aric Hoek

The Business of Marketing your Business

Written By: Houston Wedding Photographer Scott Villalobos

It’s a short yet not so simple statement, infact it’s probably the most complicated aspect of any business and it is especially true of photography. Fact of the matter is it’s probably the first thing that came to mind after I decided to become a professional photographer. How in the world would I make any money with my photography and who would buy it? There is no shortage of information on this topic, to be sure, but with good reason.  If you’ve found yourself struggling in the current economic climate or worse are just starting out in the current economic climate you will benefit by reading the rest of this article.

Identifying the problem – this is easy. You either need to bring in clientele or you need to bring in MORE clientele. Simple right? Not so much. You need to make sales to those clients. Before I go any further I need to give credit where credit is due, many of the ideas I’m about to expound upon are merely the arthritic echoes of those who have come before me.

There is an old proverb which holds true for every aspect of life, and for the sake of this article I’m going to apply it to the business of wedding photography. “There is salvation in the multitude of counselors.“ – Proverbs 11:14. That being said, in my meanderings across the information super highway I have encountered some profoundly interesting personages with much to say on the subject of marketing and success. Rick Brewer is one and his website, getmorebrides.com, is dedicated to the marketing aspects of wedding photography. Another would be Keith Lee of American Retail Supply, Denis Reggie of, well, Denis Reggie, and finally Mark Victor Hansen – coauthor of Chicken Soup for the Soul.

Now that I’ve mentioned the above I can say the following with unobstructed clarity – FOCUS PEOPLE! Over the top, maybe, but keep reading you’ll get the point in a minute. Focus is essential to becoming successful. I like this statement because we are, after all, photographers and we understand how important focus is to our images. However we’re not talking about taking pictures here, we’re talking about bringing business through our doors. So lets focus our imaginary cameras on the inevitable fact that you must become your biggest cheerleader, the star quarterback, the great American hero within.

If you were asked what business you’re in how would you answer? Your first response might be something wild like; oh I don’t know – wedding photography… And this is where you’d be wrong. The correct answer if you want your business to be successful would be the business of “marketing” your photography business”. This is why you must be you’re your biggest cheerleader. Who else cares as much about your business as you do? Who else is going to put in the blood sweat and tears that you do? Who else besides you is willing to sink all that cold hard cash into your baby while its still in diapers? Nada…

So this is where focus really comes into play. All the talent in the world doesn’t mean squat if you can’t make a sale, and you can’t make a sale unless you can attract customers. It’s a lot like fishing; you won’t ever catch fish in a lake where there are no fish. So move to a lake that not only has fish, but also the type of fish you want to attract.

One way to attract the right clientele is by getting people to advertise for you. I recently shot a wedding at an amazing venue, a venue that attracts the type of clientele that I wish to work for. I was invited to send them an album from the shoot and they in turn would show that album to their potential clients. Two great things are happening here. 1.) I’m getting great referrals from an amazing venue to people that can afford me. And 2.) I’m not competing with the 509 other wedding photographers that show up in the Google search for Houston Wedding Photographers. These are qualified leads that are interested not just in wedding photography, but in me personally.

Here’s a well-kept secret that you should already know but that bears saying for those of you who are unaware of it. If you’re not on page one in the web search engine you might as well not exist. Potential customers rarely go past page one when searching for a product or service.  (This is a whole other topic so let’s not go there for now.)

Save yourself allot of frustration and money and make sure that you market to a targeted, qualified audience. Set clearly defined, realistic, short and long term goals for yourself and have them written down somewhere you will see them every day. Think about those goals every day and figure out how to achieve them progressively. You might even write them down on the back of a business card and put them in your wallet to look at during the day. Meet with and befriend people who can help you achieve your goals, weather they be with venues or organizations that cater to the clientele you wish to attract.

Remember Newton’s third law of physics. “For every action there is an equal and opposite reaction.” This law applies to the business of marketing your business. If you’re not exerting force or action there can be no reaction. Force yourself into action. However resistant you are to the idea of marketing, learn to embrace it and it will embrace you. But remember marketing is a process not an event, it doesn’t happen overnight, it may be months before you see results. Think of it as planting seeds, sooner or later something’s bound to grow. Plan now to succeed in the future.

Avoid negative people and negative thinking at all cost. There are no positive side effects to negativity. Instead direct that thinking into creativity. Seek out positive, creative, successful people and allow your thinking to imitate there’s. Be like Thomas Edison when a young reporter who boldly asked if he felt like a failure interviewed him and if he thought he should just give up. Perplexed, Edison replied, “Young man, why would I feel like a failure? And why would I ever give up? I now know definitively over 9,000 ways that an electric light bulb will not work. Success is almost in my grasp.” And shortly after that Edison invented the light bulb. He did not allow negative people to prevent him from attaining his goal and neither should we.

You are 100% responsible for your results. Evaluate yourself from a third person standpoint. Imagine that you’re evaluating a paid employee. Would you be happy with your results? Do you show up for work on time? Do you go the extra mile and are you creative and innovative? Are you bringing in sales or are you unknowingly pushing them away. Take a good hard look in the mirror and be honest with yourself. If you were working for someone else would your job be in jeopardy?

Brides are a lot like Gazelle. If you’ve ever watched animal planet you’ve seen Cheetah stalking Gazelle. Oh occasionally you will see a Gazelle wondering about the tall grass paying no attention to the Cheetah hiding in the tall grass only a few feet away, that never works out well for the Gazelle, but for the most part Gazelle are somewhat paranoid because they know that there are Cheetah near by and they know that Cheetah eat Gazelle. So they tip toe around looking for grass to eat, but they never take their eyes off the tall grass and they are always ready to bolt at the first sign of danger.

Brides are much the same, they are ready to bolt at the first sign of danger, but what are the signs of danger to a bride? There are many, but one of the biggest is when a photographer won’t let them speak. It may be totally unintentional, the photographer may just be really excited to be selling to a bride and telling her all about his new gear or his – dare I say it – photojournalistic approach.  And really there’s nothing wrong with that, nothing that is unless the bride wants to say something and you don’t give her the chance. This is like spots moving among the tall grass to the potential bride. She could care less about your dual digic IV processor or the difference between L series and consumer grade glass. All she’s hearing is that you don’t care about what she has to say. You may not even notice it, but her eye’s have glassed over, she’s checking her watch and is wondering about the studio she passed on the way to see you.

Learn when to speak and when to keep silent and listen. Really pay attention to what your bride is saying and respond positively. Learn what works and what doesn’t. Learn to put out the right message, and learn how to shorten the process by understanding the process in which brides buy. If at all possible never ever say no to a bride. Saying no to a bride is like saying no to opportunity. You never know what good things might happen by saying yes.  Don’t believe me, go out and rent “Yesman” staring Jim Carrey. Although the movie may be an over dramatized example the principle still applies.

Ultimately you want to dig your well before the drought comes, plant your seeds before the harvest has arrived. By doing the marketing you will ensure your continued success. And when the inevitable disappointments come look at them like Thomas Edison. Not as failures but as learning experiences of how not to market your business. In the end you will become what you think about becoming if, and only if, you put those thoughts into actions.

Houston Wedding and Portrait Photographer - Scott Villalobos www.rsvpstudios.com

Is there anything more memorable then an amazing portrait of a bride and groom on their wedding day? When I look at wedding albums usually the first thing I see is great shot of the newly weds gracing page one. It sets the tone for the rest of the album and builds anticipation for what lies inside. Instantly the memories of the day will flood the minds of the viewer and chances are the bride and groom will never look this good in a photograph again. It’s a huge responsibility to be sure, but one I always look forward to and strive to improve on with each and every wedding I shoot. 

With that in mind we as photographers can’t afford to take such images for granted, we couldn’t allow ourselves to just show up and hope for the best. What to do? If you’re like me you spend countless hours searching the websites of other photographers, or maybe you’ve subscribed to a few wedding photographers blogs via RSS. Or, maybe your regularly thumb through the pages of Grace Ormond, The Knot, or some other wedding magazines. It’s a great way to get ideas and see developing trends from people in the business. It’s called cognitive stimulation, and there are many hidden benefits to this activity.

Stimulating your cognitive senses is like visual Viagra for the photographer and when put to good use can be just as satisfying in an artistic sense. Several things happen when you feed on a well balanced diet of visual input. First you are making constant deposits in the bank account of your sensory perception – basically your feeding the artist within. Images you like stay with you and are there to withdraw when you need them. As an example, many times I have found myself walking through a venue looking for visual cues for dramatic photographs, an archway, a chandelier, a row of columns, whatever. Unfortunately not every venue has such architectural characteristics and this can leave you feeling somewhat disheartened. However, there may be things that you may not have thought of before, ways of shooting that may not have crossed your mind, or you simply have not used. However, when you have a large amount of images stored away in your cognitive bank account you may remember seeing a similar setting that when lit correctly looked amazing. Believe it or not, those images will pop back into your mind when you need them.

I had recently viewed a blog post by Jasmine Star, wherein she blogged about inspiration. She had posted a photograph of the wall behind her desk that was littered with images, some wedding, some fashion. Were they images of her best work staring her in the face every day as a constant reminder of how good she had become? Nope. Were they their for her clients to see how many magazines she had been published in? Nope, nope… The images on her wall were the works of other photographers she admired and wanted to emulate, the direction she wanted her imagery to head in. Each day that she sees those images the more likely they will be locked away in her mind for future reference. A cognitive billboard on the roadway of her creative process.

Now if you’re thinking that you need to develop your own style or be true to yourself, an original photographer who works are solely your own, don’t give up on this idea. Why not? I’ll tell you a brief story and then you decide if this is for you or not. Way back in 1993-94 when I had decided to renew my love affair with photography I enrolled in a couple of photography classes at the local college. My instructor encouraged us to show him our best work, so I took him up on the offer and brought in an album of what I considered to be my best work. He flipped through the pages of the album much like Jack Nicholson when he was portraying the Joker in the movie Batman. As he thumbed through Vicki Veils portfolio all you could hear him say was crap! While Lee didn’t verbalize that particular term, his saying, “All I’m seeing a bunch of family pictures and a few dime a dozen-landscape shots” was just his polite way of saying crap! He didn’t have much else to say but he did take us to the library and dropped a bunch of photography books on the table. “Look through these.” he said. “This is art.” There were allot of books, far more then you could look through in the hour or so that we had to do it. So I made it a point to visit the library before every class and spend an hour really devouring the imagery of such great photographers. One day I came across a book that included landscape photography and it got me to thinking. “What if I tried to take pictures like these guys?”

Not long after, I subscribed to a few landscape photography magazines to feed the starving cognitive child that had been borne within the confines of the right side of my brain. I began to cut out the pictures I liked and paste them in a folder that I would take with me when I went out to shoot. When I saw a scene that looked like the ones in the folder I would try to shoot it in the same way that those images had been done. Before long I was able to recognize the visual cues in the landscape and how to arrange them in a way that was artistically pleasing. This process went on until I no longer needed to rely on other photographs. Before I knew it I was relying on previous experience and the ability to pre-visualize the image in my head.

A few years later I had entered an image I had taken at Canyonlands National Park called “Days End – Candlestick Tower Overlook”, (google it, it’s all over the net) in the local art museums annual art show. To my surprise the image won the LMAC Award. It’s like winning an Oscar in the photo community of the Antelope Valley. My photo teacher was the only other photographer that had ever won that award. Now here was the student beating out the teacher, and for me the circle was complete.

Interestingly my photo teacher had once said to me that you will need to shoot 100,000 images before you will develop your own style. This is so because no one is a natural born photographer. Think about it, have you ever heard of a child photography protégé? I never have.  This is because photography is a learned medium that takes time to develop. This isn’t to say that you can’t be born with a pre-disposition to be a great photographer, but there are so many technical and aesthetical properties involved that the ability to create amazing images with a camera is a learned skill. Learning by proxy is one way to get on the fast track to developing your own unique vision of the world and allowing your style to emerge.

The other aspect of photography that you are going to have to learn before your style will be allowed to blossom is the nuts and bolts behind every image. You need to learn your gear, and acquire the tools to make it happen. This doesn’t mean that you can’t get by without them, but they sure make the job easier and nine times out of ten better.

The first image is a perfect example of having the right tools. After the ceremony and formal shots were done the bride and groom wanted to get some shots alone on the beach. No problem right? Wrong… The sun had set and it was getting dark. I needed a few things to be able to get a usable image for my clients. First I needed to introduce an artificial light source to illuminate my subjects. Second I needed a way to trigger that light source. And third I needed an assistant to make adjustments and hold the light source. Take away any of these tools and no image, no usable image anyways.

The process of this image had begun long before the day of the shoot. Having and knowing how to use those tools is essential, after all do you really want to be learning how to use your wireless flash setup on paying customers? From previous experience I know that the camera manufacturer’s IR triggering system wouldn’t work at this distance, so I used a set of radio slaves. Having an assistant who knows how to adjust your strobe is definitely a lifesaver. A little training and practice ahead of time is all that’s required.

When I had booked this event the bride had informed we before hand that she definitely wanted images taken by the ocean. Being new to the area I had never been to Galveston before so this required a little homework on my part. Simple stuff like how far was the beach from the venue, what time of day, how much time would I need to schedule in between the days events.

Although I had never been to the Galvez, the other two images were the products of pre-visualization. As I walked into the lobby of the hotel I instantly recognized several areas that I could use to create some dramatic portraits with the right lighting. This was a direct result of the cognitive bank account I mentioned earlier. Once I saw them I could see other images that I had locked away of similar settings and I could see how to use those setting to achieve a similar result but in my own unique style.

So if creating dramatic, romantic, wedding day imagery is your goal, remember to feed the artist within a steady diet of the work of those you admire and get familiar with the tools you have at your disposal. 

Houston Wedding and Portrait Photographer - Scott Villalobos www.rsvpstudios.com

Welcome to the first of an ongoing series of articles about albums for the professional photographer. In this article we will examine the album as a professional value added product. Not just being a material object, the album is another way for your client to have an emotional re-connection to his or her event or moment. Sure, photos will be framed and hung on the wall and there may be a DVD; but unlike these, the album is a treasure to be viewed at one’s own pace. The experience will be an amazing and visceral time. The reason for this impact is that an album is an emotional, artistic and unique platform for photo presentation. It will become a family treasure, a keepsake allowing your client the ability to relive the moment in a stylish and personal way. Most importantly, your client has the ability to bring it anywhere he or she goes. This is what we call mobile marketing.

These are your images that your client will be showing off to everyone she or he knows. With your studio logo and contact info placed strategically into the design on the last page, your work will receive attention and be known as yours by your client’s family, friends and acquaintances. This is a key feature and benefit of adding an album to any package or making it a hot item that your client cannot ignore. An album also allows all kinds of different marketing purposes by getting it to your vendors and by displaying it in the studio so it will highlight and showcase your business and your best images. Beyond marketing purposes, an album is another avenue for studio branding. With an album, you get another chance to show off your style to your potential and current clients. So by adding an album to your current package you are increasing the importance to your package and increasing your earning potential. By offering an album, in a package or a la carte, you are offering another product that helps you, as a professional photographer, stand above all the amateurs and prosumers trying to undercut your business. This is especially true when you offer an album product from a professional album company like Forbeyon.

Through product differentiation, an album is an exciting and unique value added product that allows your client another way to view his or her pictures and reconnect with his or her event or moment. The album is also a professional product that increases your earning potential, differentiates you from the prosumer market, heightens your studio branding, lets you stand out from the other photographers and can be your strongest marketing tool. See your studio take off in this changing economy by adding this wonderful product into your product and service lineup. Next time we will be talking about image selection and how it relates back to the album as a professional value added product.

Jay Michael Stevens
Forbeyon's Customer Care Manager
Forbeyon is the photographer's sole album destination
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Turning Your Wedding Imagery Into Art | The Dramatic First Dance

Through out the wedding day there are certain milestones that must be documented without fail, without deviance, without a doubt. These are the shots that you must perfect, nail down, secure, capture, whatever it takes just get them and everything else is icing on your wedding cake. Why are they so important? Because as a wedding photographer you are there to tell the story of the wedding day. If you miss these images you not only leave your clients story incomplete, but also you can bet your going to have an upset bride, or worse yet an upset MOB. You pick your poison, but I’d rather walk around the mountain if it means avoiding the bite of the Black Mamba.

What does this have to due with turning your wedding imagery into art you ask? Well when you know that you have certain images that you take at every wedding shouldn’t you have developed a certain style? Shouldn’t you have a particular set up? And if you do have a set up you use each and every time, are you happy with it? Could it use some refining? The truth is if your not pushing yourself how will you improve or perfect? We’ve all heard the old saying that, “If it ain’t broke don’t fix it.” Really all this is just a cop out to not push yourself to the next level. If this has been your motto, perhaps you could look at it from a different perspective. Maybe something like, “It ain’t broke, but how could I polish it?”

One area of my wedding photography that has evolved over the years is the way I approach the first dance. This isn’t to say that facial expression; eye contact or tears in the eyes are irrelevant, not at all. But wouldn’t it be great to capture those dramatic moments in dramatic lighting? After all, lighting is everything. Don’t believe me try photographing without it. The problem in creating dramatic light for the first dance is often time the venue’s lighting isn’t. Many times the venue’s lighting is quite flat or even worse, fluorescent. But lets just say that you’re shooting in a nice venue with decent lighting, beautiful chandeliers hanging all around as in the photo above. In this case one of the most effective ways I know to create dramatic lighting is to backlight.

Back lighting or lighting your subject from behind can do a few things, some good, some not so good, but when done properly it’s some of the most beautiful lighting I’ve seen. It’s dramatic, it’s colorful, it can create beautiful lens flare or horrible lens flare, and it creates long dramatic shadows across the dance floor and these shadows lead the viewer’s eyes to the subject. Backlighting can be accomplished using one light or several.

Exposure is key when it comes to back lighting. While silhouettes are nice, I like to see some detail in the faces of my bride and groom. To accomplish this you need to balance your strobe with the ambient light, or you can use a second on camera strobe dialed down as fill. But for now lets stick to a one light setup.

Controlling your lighting using one strobe. This is pretty easy, if you’ve done a few weddings you will find that you have particular settings that your always using during the reception or at least within a narrow range of those settings. I’ve found for the most part that I’m shooting at an ISO of around 1200 to 2000 with an aperture of F2.8 to F5.6 for nighttime receptions. My shutter speed will vary from 1/10^th sec to 1/60^th depending on the available light and the look I’m after. The beauty of this is that once you have your basic settings you will be able to control your fill simply by adjusting your shutter speed, while your strobe will remain constant as long as you don’t adjust your ISO or aperture.

You will hear a lot about modern strobes being TTL, ETTL, or I-TTL. My experience has shown these automated “SMART” settings to be unreliable at best and detrimental to creative lighting. The solution I use is to shoot in manual, always. The perks for this is longer battery life because I’ve set my strobe to either 1/8 or 1/16 power and sometimes even to 1/32. I know with these settings my strobes will last 3 to 4 hours on a single set of rechargeables.

Position is key and slight adjustments to positioning will yield quite different results.  You will find yourself constantly moving, twisting, stretching or bobbing to get just the right angle and height for an effective backlit image. In the image above I positioned my strobe directly behind the couple at seven feet high. This meant that I had to squat down slightly to block the light source behind the head of the bride. I wanted the light to be as close too visible as possible without showing. This would ensure the most amount of rim light around hers and the groom’s heads. My ambient light was underexposed about 1 ½ to 2 stops so that I would have detail but not silhouette. What you don’t see is my assistant holding the light, but you don’t need an assistant to pull this off, a light stand placed strategically will suffice, but using an assistant that knows by hand signals where to be is invaluable and if needed they can make adjustments to your power out put without interrupting your work flow.

Remember, backlighting isn’t the only trick in your bag, but for the first dance it sure is a crowd pleaser.

Tech Data: Canon EOS 5D, 17-35 2.8L, Speedlite Transmitter ST-E2, ISO 1250, 1/50 @ f-3.5, Canon 580 EX II off camera set on manual @ 1/16^th power.

Next Time: Taking Your Wedding Imagery to the Next Level – “Romantic Portraits”

Houston Wedding and Portrait Photographer - Scott Villalobos www.rsvpstudios.com