Rim Light

I spent last week in the Cincinnati area studying photography with the great David Ziser. Over the next few blog posts I’ll display some images I took and describe what is going on. Here’s the first image – the beautiful Leonora photographed at The Cincinnati Club. Her face is lit with window light while a rear light adds accent lighting. Let me know what you think. I’d love to hear.

Leonora - Rim Light

Wedding Trailer

Last week I had the honor of capturing and creating Erin and Jermaine’s wedding photos. You may remember them from a previous blog where I did a small video of their engagement portrait session on the roof of a building. I’ve created a little teaser of some of the photos from their special day.

I spent the entire day with them, capturing and creating their memories. It’s a short clip of some of the highlights. Check it out!! And don’t forget to drop us a comment below!! I’d love to hear what you’ve got to say.
Until next time.

-Leon

Wedding Cost Statistics. Who cares? Trust is more important. part 2 of 2

In the last blog, I promised to discuss some interesting statistics on wedding costs. So, here goes –

First, let me explain the numbers: the first number is the cost in the year noted. The second number is the cost in today’s (2009) dollars accounting for inflation.

Total Costs –
Beginning at the end of WWII, in 1945, the average wedding cost around $2500/$29,500. This average rose steadily until 1990 to $15,200/$24,600, although when factored for inflation, it actually dropped. Then the rate of rise decreased, eventually peaking in 2007 at $28,700/$29,700. With the downturn in the economy, 2008 and 2009 both delivered a decrease in the average cost of a wedding to just under $20,000. So, in today’s dollars, the average wedding costs 30% LESS today than in 1945! It is expected to continue to decline, albeit at a slower pace over 2010 – 2012.

Now let’s look at some of the specifics –
The US peaked at over 2.44M weddings in 1990 and has been on a steady decline ever since. Not surprising when you look at data on the average age people are getting married (rising), the divorce rate (rising), and more people living together (also rising).

According to the Bureau of Labor Statistics, the market will add nearly 12% more photographers over the next 8 years. With less weddings and more photographers, it’s not surprising that the forecast for the average wedding cost is in a downward trend. It’s simple supply and demand.

So let’s say you are an aspiring photographer. You crave working for yourself. You want to spend more time with your family. You want to express your artistry and at the same time put some money in your pocket. These are all admirable desires. However, it’s not as easy as it seems. Over the next 8 years, nearly 18,000 people are thinking the same thing! And there are less and less weddings available for everyone to photograph. So, what do you do?

First, if you are serious about making a career out of photography, get some formal training. You need training on the technical side of the business as well as the business side of the business. Just because you have a nice camera, doesn’t make you a photographer. Most wedding and event photographers carry with them over $20,000 in equipment. The equipment doesn’t make you a great photographer who can command thousands of $’s for his/her photos. It’s your ability to understand lighting and how the camera sees that light. It’s your ability to adapt to ever changing moods (people AND lighting). It’s your ability to deliver a professional looking product(s) in a timely manner. It’s your ability to relate to people to make them feel comfortable. It’s your ability to build rapport and sell your photographic services.

Capturing beautiful photos alone, won’t put $ in your pocket. You have to market, market, market and build rapport with the prospects you meet. You can’t make a living photographing weddings for $500. Someone will always do it for less. You have to compete on building rapport, trust and expertise in your client relationships.

And THAT is why Aunt Sue can’t be a professional photographer. She is a hobbyist, not a professional. Most hobbyist who turn their photography hobby into a business, go out of business within 2 years. They can’t break out of the hobbyist mode and into the business mode.

I know we’re talking about weddings, but let me demonstrate TRUST. Take a look at these photos. This young man is 13 years old. We wanted to do these photos in an urban environment. So, I suggested an ally – complete with pallets, cables, electrical panels, etc. Mom was willing to let me try (trust and rapport) and we went for it. She LOVED them. They spent nearly 3 hours culling the images down to these select few. Her exact words were “You took so many great photos, it’s hard to edit them down.” It came down to her trusting me. Not my camera, not my lights, not my gear. TRUST. I built rapport with her to the point that when I suggested something a little out of the ordinary, she trusted me.

More about this topic in the next blog. Leave me a comment below. I LOVE to hear what you’ve got to say. Until next time – Leon

What’s a Wedding Cost? 1 of 2

Talk about an open question!!! It’s like asking what’s a car cost? Do you want your wedding to be a large luxury or a small subcompact? There is no right or wrong answer. YOU have to decide what’s important and channel your limited funds to those areas. Ok, so let’s begin –

Here’s a short list of just 10 of the items that will lighten your wallet:
1. Catering Hall
2. Entertainment
3. Photography
4. Videography
5. Flowers
6. Wedding Dress
7. Invitations
8. Tuxedos
9. Rehearsal Dinner
10. Bridal Party Gifts

So, how do you select? Well, the first thing you have to decide is what’s most important to you. Set an overall budget ‘target’ and then set an absolutely drop dead ‘do not exceed budget’. Typically, 15% over your ‘target’. Think of this 15% as your “I deserve it if the value is there amount”. Next, start your search process. There are 3 vendors you must lock in early – Catering Hall, Entertainment and Photography. Usually, within a month of announcing the engagement.

Next, ask for referrals, referrals, and referrals. Why reinvent the wheel? If someone you trust refers a place, location or photographer, go visit and see what they have to offer. Every time you visit a vendor, ask for referrals for other vendors. Those vendors are used to working with each other and will take care of those little annoying things that can ruin even the calmest bride’s day. After a while, you’ll begin to see a pattern emerge of referrals. Is there one entertainment company or photographer that is referred to more often? There’s a reason for that. It means they’re experienced and are accustomed to working with each other. As a bride, you want that familiarity between your vendors. It’ll make your day, that much more special.

For example, let’s say that due to funding limitations, you hire a college kid to photograph your wedding. He may be a friend. He may even have formal training in photography. But, is he prepared? Has he worked with the entertainment company before and know what to expect and when to expect it? That’s part of what you are paying for. It doesn’t matter how artistic he may be, if he isn’t ready for the next thing, he can’t capture the moment when it happens.

Here’s an example of Mitzvah I did recently where the DJ / MC assisted me in capturing these photos. He was on the microphone instructing the men to rotate the chair and telling the kids to look at the camera.

Notice how he's looking right at the camera per instructions from the Mc.

The Mc just told her to look at the camera after he told the guys to turn her around.

Let’s say you hire a DJ who is brand new in the Wedding market. Will he keep the reception hopping? Will he keep it on schedule? Will he coordinate with the wait staff? Will voice the instructions in the garter toss? All this things contribute to making the event a success. Your vendors must work together to make your day the most special. And only YOU can decide what’s worth the investment.

In next week’s blog, I’ll discuss some interesting statistics on the average wedding cost. I think it’ll surprise many of you!! Stay tuned.

I’d love to hear your comments. Press ‘Leave a Comment’ below and write me.

Leon

What’s New?

I frequently get asked “What’s out there that is new and different?” I guess people ask me this because I’ve come to be known as one who is always looking for new stuff. And it’s become one of my competitive advantages. I do a lot of shows/expos and people are always amazed at the different things I have on display that other photographers don’t. All photographers have albums. And we all create excellent images that capture the emotions of the event. So, in order to separate myself from the competition, there has to be something different about Egozi Photography. It can’t be price related, because there will always be someone who will do it for less. The separation has to come with value, uniqueness and rapport with the client.

So, I read trade magazines. I attend industry shows. I speak to people in the industry to find out the latest trends. And, daily I spend 30 minutes just sitting back, thinking and study on how to create a new product and market it to my clients to demonstrate that I don’t and won’t sit still with the status quo.

People want new things. They want to be different from their neighbors. They don’t want the same album or the same portrait as their friend. They want something different.

Here’s an example – Take a look at this photo.

Printed on aluminum 'tiles'. Well wishes will be written on the bench.

You may recognize this couple from the video I did a couple of blogs ago. Their wedding is coming up next month. And at their wedding, we will display this image. It is printed on 12”x12” tiles of aluminum. People will sign their well wishes on the park bench. The bride just fell in love with this unique idea I presented to her. Once they get it home, they can proudly display the photograph on their wall. It weighs next to nothing (it’s aluminum remember), has a lifetime warranty and is extremely durable. It’s just one example of how I try to separate our studio from the competition. So, the next time you speak to a photographer. Find out if he/she is hip with the times by asking ‘What’s New?” and wait for the response. You’ll be surprised by what you hear. Or maybe more importantly, what you don’t hear. Until next time.
Leon

Candid Event Photography

Part 2 of 2 –
Continuing on last week’s topic of event lighting, I promised to explain how to light a catering hall, banquet room, etc. in order to capture naturally looking images without aiming the on camera strobe directly at the subject. I don’t want to bore anyone, so I explain it below with generalities. Those who want more details are free to call me. I’ll be glad to help.

First, let me summarize some important points.
1. You never aim the strobe directly at the subject. Whether it’s diffused through some sort of soft box or other means (NEVER).
2. You bounce your on-camera strobe, preferably off a neutral color wall, using your external lights in addition.
3. Keep the shadows. Shadows convey a sense of depth to the face. Remember, your eyes see people as they are – 3 dimensional. The camera sees people as 2 dimensional. The only way to convey the 3rd dimension of depth is to keep/create shadows.

So, let’s say you are in one of these huge banquet rooms and the dance floor is in the middle of room. In order for you to bounce the on camera strobe, that light has to travel a long distance and back to create the shadows. In physics, the inverse square law says that for every additional 1 foot light travels, the intensity of that light drops by 1/4th. You can somewhat compensate for that light loss with other camera settings, but not always. Enter the external light source. That source can be an assistant holding a battery powered light at the desired angle to the subject (usually just above the head at a 45deg angle to the camera.) OR a fixed position light. I prefer the fixed position light and have the subjects either turn until they are in the correct position, or I wait for them to dance into the position I need. All the while the camera focused on them, hence the use of long lenses so that the subject is unaware I’m focused on them and waiting.

I usually set up 2 lights – one on either side of the DJ. And control them remotely with a radio transmitter. That way, I can turn the subject(s) to create the shadows with my external light while the other light is behind them lighting up the dance floor. This is a necessity in order to avoid people with dark hair blending into the background. You want to separate them from the background. You can use a wide aperture to blur the background and make the subject ‘pop’ out of the image.

Take a look at the photos in this blog and see if you can tell where the light source(s) is/are coming from. Also, take a look at the new video entitled Candid Event Photography at right. Notice that the backgrounds are also lit. Click on the “Leave comments” link at the bottom of the blog to tell me what you think. I’d love to hear from you. www.egoziphotography.com

How Many?

It just so happens that the last 3 potential clients to come to the studio have been Mitzvah clients. All 3 have all asked me “…how many photographers do I use?” It’s a strange question because in the 12+ years I’ve been photographing mitzvahs, I’ve probably been asked this question 3 times. Now, I get asked 3 for 3. So, here is my answer: I have an apprentice that will most likely be with me, but it’s not guaranteed.

Like I said, I’ve been photographing mitzvahs for over 12 years and honed my skills to achieve the proper lighting effect without any help. Weddings on the other hand REQUIRE at minimum 2 photographers to provide the proper capture and creation of the images in order to ensure the bride is thrilled. The assistant can photograph during the ceremony and hold the external light for the photographer during the reception.

Okay, so I’ve stated that I can photograph a mitzvah by myself and keep my clients thrilled. So, how do I do it – by studying and practicing proper lighting techniques. I know I’ve blogged about 3D lighting in the past. So, this blog will be part 1 of a 2 part series on event lighting as opposed to studio lighting.

As I mentioned in a previous blog, lighting for 3D effect is, in my opinion, the only way to light an event. It’s not the camera that makes the images, it’s the photographer’s understanding of lighting.

The next time you attend a wedding, mitzvah or other event, take note of the photographer. Notice one little thing – Does he/she aim the on-camera strobe at the subject – either directly or through a soft box? Or does he bounce the light off the wall? The key is to bounce. Why, because bounced light is not only softer (not as harsh), it will also give the same desired effect as if an assistant were holding an external light. In addition, bounced light will create the desired shadow on the face and add depth to the subject rather than give a flat dead look. Lighting that is focused directly at the subject will kill all shadows on the face and create a flat dead look.

Is bouncing the on-camera enough? The venues that I photograph wedding and mitzvah receptions are usually so large, that bouncing the on camera strobe is usually not enough. Now I introduce external fixed position lights controlled by me and my camera. In part 2 of this series, I’ll explain how that is set up and how I use those lights. Hint – there is a peak at some of what will be in next week’s blog hidden in the photos below.

Take a look at the images below and see if you can tell where the lights are placed. Leave me comments – I’d love to hear from you.

Enjoy – L.E.

Can you tell where the external light is?

You Got Me

I’ve known Erin for years. She teaches sign language for the hearing impaired. When she told me she was engaged and wanted me to photograph her wedding, I was honored.

Jay is a good looking guy. His dark complexion and her blond hair make a wonderful contrast in photos. I wanted to enhance that contrasty look in our engagement photo session. So, I asked a friend to let me shoot on the roof of his restaurant. I wanted to bring out the rough look of the brick wall and asphalt in contrast to the ‘clean’, modern/contemporary look of this couple.

There are different contrasting elements at work here. His complexion and her hair. His height over hers. Their clothes against a backdrop of brick and tar. I think all the contrasts add to the emotions of this couple in love. I can’t wait to photograph the ceremony!! Enjoy.

more about “You Got Me“, posted with vodpod

Atlanta Photographer Defines Photography as “Painting with Light”

pho·tog·ra·phy
Pronunciation: \fə-tä-grə-fē\
Function: noun
Date: 1839

: the art or process of producing images by the action of radiant energy and especially light on a sensitive surface.
This is how Merriam-Webster’s Dictionary defines photography, but my definition is simpler yet: Photography is the art of painting with light. A photographer’s relationship with light is the single most important component he uses to produce exceptional results. I mentioned in my last blog that you should avoid direct lighting in no uncertain terms. I’d like to illustrate for you exactly why lighting is so crucial to the final outcome of your photographs.

Notice the first photograph is flat and doesn’t convey any depth or saturation. When you blow out the shadows, you are left with a stark image that appears hollow and cold. The second photograph is rich with depth and vibrant hues. Proper lighting makes the image appear more lifelike and lends that coveted 3-dimensional quality to your favorite memories.

I capture beautifully defined imagery by understanding the refraction of light and the way a camera’s setting will pick up and translate imagery. The settings on a camera primarily determine how much light to let in when capturing an image. That is why even in a digital age of supposed point-and-shoot technology, people still wind up with only a few nice photographs among dozens of misses. They seem to just keep snapping away, hoping they get lucky with a good shot while using random settings they don’t completely understand.
You know, that is the downfall of digital equipment. Most people don’t have much more than a cursory understanding of the settings on their camera and don’t know how or why to adjust those settings if the image they are trying to capture doesn’t translate well in the shot.

We “old” guys in the industry grew up studying the nuances of light and it’s relationship with the camera through formal training. We understood the inner workings of a camera and how to use it as a tool. We carefully scrutinized every shot because frankly, film was expensive and there was no immediate image feedback the way there is today. We didn’t know we messed up a shot until we were in the darkroom hours later, and once we wasted that time, film, and energy, we were sure to never repeat the same mistakes! I still think in those terms, about how to capture the right shot the first time every time because in life’s precious moments, sometimes you just don’t get a do-over.

Are you going to trust your event to the fabulous Uncle Bob with the fancy camera, or let him enjoy being a part of the festivities and put your memories in the hands of a seasoned professional? Much like a photographer, you may only have one chance to get it right. After all, you can’t re-stage your wedding or family reunion, can you?

3D Lighting

I look at a meeting with a potential client as an educational experience. My job is to educate them on the importance of capturing their memories and their job is to educate me on what is most important to them regarding their event photography. But, every once in a while I’ll have someone ask me “Why can’t my uncle Bob take my wedding or mitzvah photos, he has a big camera?” This is a clear signal that they have no clue what the photographic craft is all about. They think that a ‘big’ camera – whatever that means – makes a professional photographer. They couldn’t be more wrong. It’s not the camera, it’s the LIGHTING! I can do the same with a $500 camera as with a $5000 camera. Yeah, the pro camera has more features and is more rugged, but take any given camera, set up the shutter speed, ISO and aperture identically to each other and the photo will be the same. A professional brings knowledge to the craft. Knowledge of lighting, exposure & composition and how all 3 work in unison to create images that look 3 dimensional rather than flat. And, I’ll give you a clue to our craft – direct lighting, however it is used, is flat out wrong. Whether it is shot through an umbrella/diffuser, raised up on a bracket, or bounced off a white card taped to the on camera strobe,  it’s wrong. It’s still direct lighting. Direct lighting is flat lighting. It kills the shadows. If you don’t save/create some shadows on the faces, you won’t get any depth to the photos. People will look 2 dimensional.  Just take a look at the most famous portrait photos in history. Think about it – we take a 3D subject and print a 2D representation of it on paper. I want a 3D subject to look 3D, regardless of how it’s printed! The attached 2 minute video clip of a mitzvah I did back in August shows that in order to achieve this look, you don’t need a studio with perfectly controlled lighting! You can still do it on location in a ballroom with people moving and dancing. Let’s see uncle Bob make his photos look like these! Big camera or not.

3D Effect-show0

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