Wedding Photography Project

February 18, 2009

Radiopopper PX Review

I just got some new toys tools for wireless, off-camera flash called Radiopopper PX. What they basically do is take Canon wireless flash technology and make it useful somewhere besides in a dark room with the flashes pointed at each other. You then use the flash system on your flash to set up lighting ratios, manually change the flash settings, use automatic flash without having the light source coming from on top of your camera. Today I took my son and Sounders FC superfan, Kyler, to the park to play with the system.

I wanted to test a few things: the High Speed Sync, speed of operation, and a comparison of the eTTL system versus the manual flash adjustments that I usually do. I used a flash 580EX flash on my camera acting as the master unit with a Radiopopper PX transmitter attached to the top of it and two 550EX acting as slaves with the Radiopopper PX receivers attached.

This is what I envisioned when we went to the park.  I used the Radiopoppers to transmit the fire signal and the manual flash adjustments while keeping my shutter speed at the 1/200th top speed that the Canon 5D allows for traditional flash systems.

This is what I envisioned when we went to the park. I used the Radiopoppers to transmit the fire signal and the manual flash adjustments while keeping my shutter speed at the 1/200th top speed that the Canon 5D allows for traditional flash systems.

This image was taken using the high speed sync allowing for a much more shallow depth of field.

This image was taken using the high speed sync allowing for a much more shallow depth of field.

I really liked this image.  Ky loves soccer and is really excited for MLS to be coming to Seattle (Sounders FC season starts March 19).  For this I used the eTTL system rather than manually setting the flash and I was pleasantly surprised at the nicely exposed result.

I really liked this image. Ky loves soccer and is really excited for MLS to be coming to Seattle (Sounders FC season starts March 19). For this I used the eTTL system rather than manually setting the flash and I was pleasantly surprised at the nicely exposed result.

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This is more what I expected from eTTL.  The camera saw the bright lightsource in the frame and didn't use enough flash power (even though the fired) to make a proper exposure.

This is more what I expected from eTTL. The camera saw the bright lightsource in the frame and didn't use enough flash power (even though the fired) to make a proper exposure.

In this image, I switched to manual flash exposure and I had a much better exposure.  This image is processed identically to the image before it so that it is an apples to apples comparison.

In this image, I switched to manual flash exposure and I had a much better exposure. This image is processed identically to the image before it so that it is an apples to apples comparison.

This image shows the shallow depth of field that is possible using high speed sync and a fast lens.

This image shows the shallow depth of field that is possible using high speed sync and a fast lens.

Same as the image before, but with the focus on his face rather than his hands.

Same as the image before, but with the focus on his face rather than his hands.

Another using the high speed sync to make him pop from the background.

Another using the high speed sync to make him pop from the background.

Testing the range.  I was about 150 feet away.  Really all that I need it to work at would be this range.  The system is supposed to work at 1700 feet.  Nice, but not necessary for me!

Testing the range. I was about 150 feet away. Really all that I need it to work at would be this range. The system is supposed to work at 1700 feet. Nice, but not necessary for me!

The front of his jersey.  This image was shot at 1/6400 of a second with a full power flash.

The front of his jersey. This image was shot at 1/6400 of a second with a full power flash.

This image of my amazingly handsome son was taken at f2 for the shallow depth.  Again using HSS.

This image of my amazingly handsome son was taken at f2 for the shallow depth. Again using HSS.

Again using the two flashes and HSS.  The shallow depth of field throws the trees and sky out of focus and makes them shapes rather than trees.

Again using the two flashes and HSS. The shallow depth of field throws the trees and sky out of focus and makes them shapes rather than trees.

These last three images are for illustration of the Manual versus eTTL.  The first is taken with manual flash, the second is eTTL.  The third is eTTL with +2 stops of exposure compensation.

These last three images are for illustration of the Manual versus eTTL. The first is taken with manual flash, the second is eTTL. The third is eTTL with +2 stops of exposure compensation.

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My conclusions are that the Radiopopper PX system works really well for doing portraits. The system fired the flashes every time the flashes were ready and charged. It works well at distance. It provides a reliable system to use the HSS (high speed sync) allowing for flash and shallow depth of field at the same time. And it allows me to change my manual flash settings without going over to the flash and pushing buttons (I can push buttons from wherever I am with the camera).

Where it falls down in my mind is the difficult installation (you actually have to semi-permanently attach it to the flashes you are going to use rather than take it on and off at will) and the fact that it is limited to speed of operation of the Canon wireless flash system. I tested it on motor drive and was able to get only four out of 12 to fire at 1/128 power at three frames per second (frames 1, 2, 3, and 9 of the 12). This was because the Canon master flash was not ready, not because the Radiopoppers or the receiving flashes were not ready.

Finally, I found that I got the results that I wanted most consistently when I used manual flash exposure. The eTTL was right about 75% of the time, but for me being wrong 25% of the time doesn’t cut it.

It is a very cool time to be a photographer with all the awesome equipment available!

February 16, 2008

The Power of Model Shoots by David Beckstead

The Power Of Bridal-Model Shoots!
My first model shoot was after my first destination wedding in Italy. The wedding couple did not want to be involved with a “Day After’ style shoot. The wedding day was all the imagery they wanted. I was a little disappointed. I had the perfect opportunity to expand my imagery base and use the wonderful Italian architecture to my advantage and give the couple some creative art. The wedding ceremony was at an old Italian church yet all other architecture around the wedding festivities had a modern feel to it. So I asked my wife (who is my shooting partner) to model at Lake Como in the North of Italy. We bought a dress and I shot for hours. These images I used to enhance my destination wedding business. This was the start of a new passion: Bridal-model shoots!

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By bridal-model photography I mean models in bride dresses and occasionally a male model in a groom style outfit. Why? My branding. I am a pro wedding photographer: every image I take is meant to enhance my brand to my prospective clients and to photographers. Every strong model image is useful to me in many ways.
Here are some ways:
1. An outlet to bring out compositional concepts not always easy to accomplish at weddings.

2. Improving compositions, style and your art.

3. Creating imagery for marketing and branding.

4. Creating value and increasing your worth.

5. Giving you a reason to see the world.

Many times I catch myself wishing the bride created more opportunity and time for me to really shine and pull compositional concepts out of my head and onto digital. Often the pressures of the wedding day keep eroding the time they said they would give me with the two of them alone. Timetables get pushed back and ‘your’ time with the b&g gets taken away. You go home a little frustrated that you could not create some of the art you intended to. Of course you shoot an amazing wedding for your clients but there is always artistic ideas you wanted to give to the bride and groom and more importantly, give to yourself. Let’s admit it, you are always looking for that perfect opportunity at wedding shoots to find and make a fantastic image you can use for your website, print competition and marketing.
Model shoots will give you this time (your time!) to flush out compositional ideas and concepts. These kinds of shoots will help improve your composition (what you decide to include and eliminate in your cameras viewfinder) more than you realize. It ‘feels’ easier to ‘Step Outside The Box’ and trying something different without the pressures of the wedding day. As you become more comfortable expanding your vision, passion and creativity without added stress, you just automatically start testing these ideas at real weddings. I would not suggest that you start all at once: developing ‘Style’ in your imagery and overall brand takes time. Don’t rush it!
Style is an overall look that your imagery evolves too. It never really attains a level you stay at. Part of being an artist is the constant evolutionary change we all seek: never satisfied, always looking for the next image-idea that turns us on. There comes a point when others look at your imagery and can detect a style of overall imagery look. In a sea of wedding photographers, that is a good thing! Model shoots can help you improve your compositions, thus improve your overall style. Practicing your craft is very important!

Composition is the rock-solid foundation of your art and business!

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Let’s quickly give you some ideas on how to set up model shoots.You need a model, dress and location.

Models: One of the best places to find models is from your past clients! They almost never charge you for their time. They are often ready to do something cool and fun for the exchange of fresh imagery! Promising them a nice print would cost you very little and a good way to put icing on the cake when asking them to model. Dress shops often know of women looking to break into the modeling world. Often they will model for just the final imagery trade-out. You may know of a family member or friend that just wants to get out of the daily-grind and model for fun. Of course there are pro models and agencies sometimes willing to lower their prices for imagery that is different.

Dress: Ebay, discount bridle shops, past clients wedding dresses, the list is endless. Dresses can be procured with little or no cost to you. It all depends on your tenacity to ‘Make It Happen”! Dress shops will often trade out great imagery for the use of nice bridle dresses.

Location: Great locations are just a phone call away. Many places will allow you to model shoot on private property if you give them the use of the imagery shot on their location. I have always wanted to shoot at the Vizcaya Museum at Miami, Florida. The opportunity came up a few weeks ago and I will be shooting a model shoot there in less than one month! The cost for a shooting permit? $125.00 for all day. That is worth every penny to me! Yet most of my locations did not cost me a dime!

It may take a little ‘selling of a concept’ to get ingredients together for a great model shoot, yet the effort is worth your time.

There is an even easier way to be a part of model shoots if you have a little extra money but no time to organize it: Workshops.

Many workshops have bride style model shoots. This is such a great way to for the instructor to show you his/her style in action, help you with compositional concepts and allow you to take home amazing imagery that is useful in your own branding. There is nothing like learning from a photographer you admire.
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Now that you have some amazing shots, what do you do with them?

There are endless ways to increase your brand-coverage in this industry with wonderful and artistic imagery.
Websites: my only caution would be to make clear lines to delineate what is from model shoots and what is from real weddings. A link called ‘Bride-Model Shoots’ would work. Put the images in their own link area. If your wedding images tend to be more conservative, yet you have branched out and photographed very different imagery at model shoots, don’t just mix them around your site. This can have a negative effect with brides you are used to booking. Place the more unusual styled images in there own area, together. Then the lines are drawn and the bride will probably appreciate your creativity.

Your marketing: When using images for marketing you need to find out what mood you want to evoke, what ideas you want to project, who you are, what you do and many other concepts. Bridal imagery is often hard to delineate between a real-bride and a model. I see no problem using model imagery in your marketing, as long as it is constant with the style you are capable and willing to shoot at real weddings. If you can’t replicate the model image overall style at your weddings, don’t put it front and center until you can.

If you have no problem telling a curious bride that a particular shot was actually a model image, then the bride should have no problem with it.

Let’s say you really want to shoot a destination wedding. Travel is great, but very expensive. Having a bride hire and pay your way would be a dream! If a bride does not see any destination-style work on your site, most likely she will find a photographer who does. How do you break into that market? I would suggest picking a country or destination location you have always wanted to go and create a goal to go there. Don’t just travel to see the place, make a business trip out of it: create a model shoot at your chosen location and write some of your trip off as a tax deduction. Take a model and dress with you. Perhaps your sister, friend or spouse would model for you in exchange for the airfare costs. Or arrange with people in our industry located at your travel destination to help you with a dress and model. Some will do this for trade out of your imagery. How much would it cost a dress shop to hire a commercial shooter to create art for the purpose of marketing? Plenty! Sell that idea to them. Or what if you made some photographer friends in your travel destination and arranged to ‘get together’ for an International model shoot. I have done this many times and it is a blast!!

Now take these images home and incorporate them into your marketing. If a bride asked about the images and the wedding, tell her the truth, it was a model shoot. But tell her all the effort it went into doing this and why you did it. She will most likely be impressed.

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Here is a final yet simple concept: As your imagery becomes stronger, other photographers and brides perception of your value increases. Art is subjective, yet let me put this to the test: do an Internet search and randomly cruise through as many wedding photographers sites until you get my point: take a calculated guess at their starting package prices based on image strength and see if you are close to the mark. I will venture to say that after a while; you will see the correlation between the qualities of image/style to the perceived value of that photographer. The greater the image-composition skills, the greater the value the photographer will place on their work, thus charge more for their packages. In general, the market will not support an over-priced photographer with sub-par imagery.
How does this all tie into model shooting: The more you shoot, the stronger your imagery will become! Model shooting is a confidence builder. The more extra curricular shooting you do, the better your actual wedding shoots will become and the more your overall value will increase!

End of story!!
Not yet…

The beginning of a passion for model shoots!

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David Beckstead is an amazing wedding photographer that shoots all over the world and is based in the Pacific Northwest. You can find more information on David and his seminars at Shoot With Beckstead.

January 28, 2008

Using Flash isn’t hard!

Filed under: flash, photo techniques, photography, wedding photography — admin @ 5:19 pm

Using off-camera flash seems like something difficult to do.  It isn’t.  Once you get over the mental hurdles involved, it is really quite simple.  To illustrate, I have an image that I really like that I took this last fall.

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This image was really simple to create.  I took the couple out of the reception at sunset.  Then I set camera to the setting I wanted to expose the background.  When doing this, I usually underexpose the background by about 1 stop to create the deeper, richer colors.  So the ambient exposure that I set was 1/250, f8 at ISO 400 on my 30D.  Next, I decided I wanted the light to hit the couple from the left.  Then, I set up flash, which was an Nikon SB-25 on a small lightstand fired directly at them.  The flash was set to about 1/4 (might have been 1/8)  to properly expose the couple to “normal” density of the skin tones.  Finally, I put the groom where I wanted them and told the bride to go get him.  Pretty simple!  You can see more of my most recent work on my blog.

January 4, 2008

Two More Judges!

Here are two more to add to our list of Judges.  Jim Garner and Tommy Tompkins.

January 3, 2008

New Contest!

I have lined up a really cool prize for this contest. We will be giving away a RedCart system. This is a brand new flash-based, full-featured cart system valued at around $1000! The even cooler thing is that it is not even out yet! It will be on display at the Digital Wedding Forum convention this coming week and will be released in February.

Now on to the contest. It will be simple to enter. Email me up to two images from weddings or engagement sessions before January 31, 2008. Each image must be 1000 pixels on the long side and without watermarking. There are no limits on how the image was taken or processed. Please name your images with your initials and the number 1 or 2 (CP-1.jpg, and CP-2.jpg would be my entries). Each entry must also have a short paragraph about how you created it. Each of the top 10 images will be posted with links to your site, your explanation of how it was created and a great deal of applause in your general direction.

The illustrious judges: me (Cory Parris), Maurice Lebreque, Sean Flanigan, and Joe Hein.

I’ve edited this to add that the RedCart is only available in the following countries: United States, Canada, United Kingdom, Spain and Dominican Republic.  Therefore, you can only win the cart if you live in one of those countries.

July 10, 2007

We have a winner!

In the first ever Wedding Photography Project contest, we have a winner!  And the winner is (drumroll please)…Ed Pingol!

Here is the winning entry:

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camera setting was 100iso 30th @ f19. this smooths out the water falling and also gives us enough ambient light to light the whole scenery. monica, my wife is hiding behind the falling water on the left side (notice i didn’t clone her out so you can see her head) holding a SB-24 triggered by a pocket wizard mounted on a monopod.

The reasons behind my choice are first that I thought it was a cool composition with the lines traveling around the frame, the way line of the groom’s head and neck echo the line of the rock above him, the slow shutter speed to let the water blend, the cool use of flash during the day, the educational value it has for the people that read here, and just because I liked it!

I know that contest judging is always controversial because everyone has different favorites, but I hope everyone will congratulate Ed!

A big “thank you” to  Ed Pingol, all the other entrants (I learned a bit, so hopefully others did, too), and Jim Garner the owner of the Boda bag company for putting up the prize!

July 5, 2007

The Real Final Entry

Okay, I missed an email and this is the real final entry!  This image comes from Ryan Brenizer.

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This is a photo, “Stars in their eyes,” was taken at a wedding in Litchfield Connecticut with Danny and Kelly, a great couple. No flash was used for this image; the foreground was actually in deep shadow, so I used a hi ISO to ensure that the sunlight behind them would be slightly overpowering. It was shot with the Fuji S5 Pro, which capured the dynamic range of the scene nicely. 24mm f/4 with a Nikkor 17-55mm f/2.8.

The final “Cool Photo” Entry!

This image comes from Aleks at Polka Photos in Los Angeles.

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I didn’t have a lot of time to capture this image.  I saw the bride coming into the limo and started shooting.  The ISO was set to 160 since I had been shooting outdoors and my settings were 1/100 at 5.0.  Processing was relatively simple.  When I process black & whites I often think in terms of what I would have done in a darkroom.  In Photoshop, however, I always start processing in color and save a color version first.  In Levels RGB channel I pulled in the blacks to give the photo lots of contrast.  I did a little bit of burning of midtones on the left hand side where there was a window and someone’s arm was visible.  I then converted to black & white.  Burned the window down a bit more as well as the glasses in the foreground.  Using Curves added a bit more contrast.  Then finally used the Unsharp Mask tool at radius 1.0 pixels until I like the sharpening (don’t remember the percent but I would guess around 130).  And voila!

July 4, 2007

A last minute entry to the “Cool Photo” Contest

This image comes from Jessica Del Vecchio in Maryland.

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I shot this from sitting on the ground to get a different perspective of the traditional cake cutting.  When I saw it in post, I knew I wanted to make this black & white.  Tara & Eric, the bride and groom, didn’t want any formals - we did a few quick shots by the fireplace during the reception and that was it.  Tara had told me she only needed one special shot of the two of them and earlier in the day, the bride had shown me her parents wedding photo (the “special one”) which was when they were cutting their cake.  Of course I was thrilled that Tara & Eric loved this image and we had it printed on canvas as a 20×24 gallery wrap.

A couple more for the “Cool Photo” Contest

These images come from Ellen McRayney from Atlanta.

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This image was taken at the end of a reception, right before the bride and
groom made their exit. It was an afternoon wedding/reception, so there was
plenty of light coming in through the windows. I asked the bride to stand
facing the windows, which were covered by white sheerish fabric, and hold her
bouquet behind her back. In photoshop, I cropped the image to be square then
duplicated the background layer. The bride had warned me before the wedding
that she had sports bra tan lines that she would prefer not to see if possible
in her pictures. They were very evident in this image across her back and
shoulder, so I used the healing brush and patch tool to remove tan lines on the
separate layer. I put a 10 point black stroke around the square image because
I wanted there to be a definitive line where the image ended. With the white
curtains and the white dress, I felt like the items in the image needed an
ending point. Then I added a gaussian blur (again on a separate layer). This
gave a nice glow to the image, softened skin, dress, veil, including softening
the black stroke at the edge of the image. I added a black mask to the
gaussian blur layer (alt-mask icon at the bottom of layers palette for PC) and
painted detail back into the critical areas with the brush tool (flowers,
jewelry) and with a decreased opacity brush tool brought back in a little more
detail to the areas of contrast and to the bride herself.

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This image was taken just after the ceremony as the bride and groom walked out of the church and it is actually my sister.  I knew that Craig and Rebecca were excited about having the Rolls to drive them from the church to the reception, so I knew I wanted to incorporate the car into the shots.  The processing was minimal.  I shoot everything RAW, so I opened the image in Bridge, bumped up the exposure just slightly and gave it a low dark vignette (-36).  Saved it and it was done.

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