Business of Wedding Photography
a guide by photo.net wedding photographers; created November 2007
Topic #1: Determining your personal style and breaking into the
field
Jeff
Ascough
• Bob
Bernardo
• Conrad
Erb
• Michael
Mowery
• Nadine
Ohara
• David
Wegwart
• Marc
Williams
• Josh
Root
David Wegwart - Denver/CO.
The Business of Wedding Photography is an extensive subject, best
answered by a team of professional wedding photographers, who also
happen to be star photo.net members. In this article, these
professional photographers have contributed advice and personal
experience gained from running wedding businesses. Whether you are
just entering the field of wedding photography, or are a seasoned pro,
the tips and insights shared here should be helpful with your own
business.
We asked our panel of experts the following questions:
- How did you enter the field of
wedding photography?
- What tactics did you use to build your
portfolio, resume,
experience, and personal style (work for friends, second
shooter)?
- How do you set yourself apart from other wedding
photographers?
Entering the field
How did you enter the field of wedding photography?
Marc Williams - Franklin/Mich.
Marc
Williams: My career in advertising had me traveling quite a bit. I
took a Leica M with me and captured B&W candids. Art Directors saw the
prints and asked me to photograph their weddings the same way, and it
snowballed from there.
Bob
Bernardo: I was a professional musician and played in symphonies
and taught in college. Sometimes we performed two concerts a day,
which added up to 400 plus a year. Although I was a pro in the music
world, I was bored and hated the travel. I played with cameras most of
my life, which included experimenting in the darkroom. As a child, I
remember how exciting it was to watch my father develop in his
darkroom. It was magical as a 5-year-old to see a white piece of paper
suddenly come to life. Looking to explore the world of photography
again, I went to a lecture by a National Geographic
photographer, who said he takes about 3000 to 5000 images per week, or
per subject. Only an average of 5 photographs get published. For some
reason, I suddenly got hooked on quality as I had with music. Later, I
took a class and the wedding pro was looking for talent. I apprenticed
with this studio for free for two years. With his blessings, I felt
comfortable to try my first wedding.
David
Wegwart: I was asked to photograph a wedding for friends who knew
my passion for portraiture. I have slowly gained momentum since then
(circa '89). It began before the first time I was asked to photograph
a wedding though, when I discovered I love to portray people
in their environments. I am more seasoned now but still love to do
this more than any other genre of photography.
Nadine
Ohara: I started photographing weddings with the idea of
earning extra cash while I was getting another business off the
ground. Ironically, the wedding photography took over and although the
other business did ok for about 10 years, it is now gone.
Michael
Mowery: I moved to NYC in pursuit of a photography career
with no formal training to my credit, only ambition and passion for
photography. I spent many hours reading books on the technical aspects
of photography and took many pictures accompanied by detailed notes. I
landed in NYC with no job, much less a photography career. Then the
break came. A friend called and asked me if I wanted to earn some cash
assisting a wedding photographer. That's how I got into weddings. It
didn't matter what kind of photography I was doing as long as I was
photographing. Two years later, I was photographing weddings solo,
freelancing for other studios.
Jeff Ascough - Derbyshire, UK
Conrad
Erb: I actually never set out to be a professional
photographer. When I started becoming a serious amateur photographer,
I had a bit of contempt for wedding photographers, because I was a
radical artist with an important statement to make to society, and
thought they were sell-outs. I was a poor college student
when my friends asked me to photograph their wedding. I
did a lot of research and testing, and assisted a professional
photographer twice to prepare. After photographing the wedding (I
still remember it - May 5, 2002), my friends were thrilled, people who
saw the pictures told me how much they liked them, and I was left with
an incredible adrenalin rush. I was hooked. After a
while, a few more people I knew asked me to photograph their wedding,
and I became a wedding photographer, doing around 4-5
weddings a year. I slowly got more busy from there as word of mouth
spread, and I became addicted to having happy clients and feeling good
about my work. Out of college, I was hired as the assistant to a
public figure in Washington DC, and I continued to photograph 10-12
weddings a year. I never considered going full time until 2006, when I
realized I really enjoy photography, my clients rave
about my work, and enjoy the idea of being my own boss and having
the excitement of running my own business.
Jeff
Ascough: When I started my own photography business, I looked for
something that I could photograph without having a studio. Weddings
were the obvious choice.
Josh
Root: It's a lot less glamorous than most people's stories. I had
spent the past 6-7 years as a professional photographer traveling
around and photographing extreme sports photography for the BMX,
snowboard, and wakeboard industries. It was a fun way to spend my
early 20s, but it is a hard way to earn a decent wage
photographically. By the end of my "extreme sports" time, I wanted to
stop sleeping on couches and tour vans three weeks out of the
month. I decided to stop my editorial work with extreme sports
before I really had anything to replace it. My credit cards bills
were piling up at the same time that people were offering me money to
photograph their weddings. I hadn't really thought much of wedding
photography before then, and even at that time I probably thought it
was just going to be another paycheck. After I went out and
captured those first few weddings, I realized how fulfilling it was to
be able to tell the story of someone's wedding day. These images mean
so much more to the couples than any BMX image ever did to a magazine
editor. 75 weddings later, I'm still doing them.
Building your portfolio, resume, style
What tactics did you use to build your portfolio, resume,
experience, and personal style (work for friends, second
shooter)?
Bob Bernardo - LA area.
Marc
Williams: I use the same style as I had for the candid personal
work. I worked as the principle and only photographer on my first
wedding and never apprenticed or captured as a second
photographer. However, as an career ad guy, I had been exposed to some
of the best photographers in the world. You tend to pick up a few
things that way.
Bob
Bernardo: While working at that wedding studio for two years, I
was
able to get some really nice quality photos. It is my belief that
lighting is the key to great photos and this is what I learned
working at that studio. Books can show you different types
of lighting, but actual experience and hands on teaching separates
good photos from mind blowing images.
David
Wegwart: I have photographed for friends and family in the past
though most are past that part of life and now having kids (also
lots of fun to photograph). Beyond that, I photographed numerous
weddings for another photographer. That was a little surprising as I
expected to be tutored in the realm of personal conduct and
flow. Not so, he threw me in there believing I already had the
knack. Nowadays, I photograph for my own clients and love to feel well
suited to those who choose me.
Nadine
Ohara: I assisted a wedding and portrait photographer when I was
in high school but only for a couple of weddings. I captured a few
weddings on my own for friends and friends of friends while going to
college. I studied graphic design and photography but ended up in the
business world in marketing communications. When I started doing
weddings again in earnest, I jumped in with no assisting. I read
everything I could about it and just "did it". Word of mouth and
referrals took care of the rest.
Michael
Mowery: There is a catch 22 when it comes to having samples and
getting work. You can't get work without samples and you can't get
samples without work. I never planned on starting my own business, I
have always contracted myself out to the highest bidder so to
speak. Everything I do is by the book, no secret formula. I taught a
seminar once in photography called "The key to success in photography
is TLC: timing, lighting and composition." We try to complicate things
while all along if we just stick to the basics we will be more
successful.
David Wegwart - Denver/CO.
Conrad
Erb: I never did anything particularly special in the above
categories. Instead, I focused very intentionally on building my
skills, and everything else seemed to follow. I should say that as
far as resume, I have never been an employee in a photography-related
job, and I would suggest that people who want to be photographers
should be careful about taking photography-related jobs in the hopes
that it will transform them into professional photographers. I believe
that much more can be learned through research, practice and
experimentation than from staffing the counter of the local Ritz
Camera from 9-5pm.
I tried to photograph as much as I could, regardless of whether or
not I was paid. I worked at a children's summer camp for five summers
in high school and college, and I spent a big chunk of my weekly
salary on film and processing. As far as skills, I consumed as much
information as possible about the fundamentals of photography until I
was blue in the face. When I didn't understand something related to
photography, I read about it until I did. This approach has proved
helpful, and I'm proud to say that even though I have very little
formal photographic education, when I meet with other professionals, I
always feel like I can keep up with their technical discussions. I
made a lot of phone calls. I would frequently go through the Yellow
Pages and call every photographer I could, trying to land a gig as a
second photographer here, or an assistant gig there. I eventually got
a few gigs. It was a valuable experience to work with a professional
photographer and see where I needed to improve and where I was
competent.
I would pick up as much information from other photographers as
I could. Whenever I met other photographers, I would gently bring up
the topic of photography and see where it went. If they were
interested, I would sometimes ask a question or two, and I was
sometimes rewarded with a personal workshop for no charge. On the flip
side, I help other photographers when I can. Just last night, I
had just finished a job when a security guard asked me a question
about photography. I was happy to talk to him and we chatted for 10 or
15 minutes about photography and his interest in being a
photographer. I would like to think that my time was well spent.
Conrad Erb - Philadelphia, PA
I work pretty hard and treat my clients with white gloves. For some
reason, people seem to expect wedding photographers to be lazy and
grumpy. I try to be the antithesis to this by sweating and smiling a
lot. Nearly every time I photograph a wedding, a guest will approach
me and tell me how I am the hardest working, friendliest photographer
they have ever seen. I have met far too many photographers who have
egos or are socially awkward. Regardless of what you are
photographing, being a friendly, approachable person, without being
fake, can be a huge boost to your photography career. I also made a
web site when I realized that I wanted to show my photographs to the
world. It was a pretty clunky site compared to what I have now, but I
would say that a web site is still one of the most important things
for someone who wants to develop as a photographer.
Jeff
Ascough: No tactics, just sheer determination to succeed. I took
on gigs at a low price to build up my portfolio and experience. Year
on year, as I got better I raised my prices. 19 years later I'm still
doing that. I've never been a second photographer. Most importantly
I've never tried to copy or follow others.
Josh
Root: To be honest, I just went out and started
doing weddings. I did one or two for friends before I started
advertising, but even those were paid wedding gigs where I was
expected
to perform. This is not a route I would suggest for most to take,
however. The reason I was able to be successful is that I already
had a number of years of professional photography work under my
belt. I wasn't a weekend photographer who decided to start advertising
as a "wedding photographer". Photography is the only thing that I had
done since I left college and it was how I paid my bills. More than
that, the photography I was doing had the same sort of "one chance or
you miss it" quality that a wedding does. If someone is back-flipping
off a 60-foot cliff on a snowboard, they aren't going to go back and
do it again just because you weren't ready any more than the bride and
groom are going to stop the ceremony and repeat the kiss because you
weren't ready. I had years of experience in fast moving situations
where the time to catch an image is fleeting and once the opportunity
is gone, it's gone.
Josh Root
Essentially, I just jumped in and started booking work as a wedding
photographer. If I were giving advice to a beginner who wanted to
become a wedding photographer, I would tell them that the
"second-shooter" route is the way to go. As a second shooter, you are
able to learn from someone who is more experienced than you, you don't
have all the responsibility if you make a mistake, and you are likely
to earn some money at the same time. Getting paid while you learn is
always a great plan. Photographing weddings for friends isn't the best
idea
simply because even the most heart-felt "We don't care if your photos
are professional looking or not" promises can turn into bitter feuds
if you mess up and your friends are left with no wedding images. By
being a second shooter to an experienced photographer, you can ease
into the stress and chaos that is wedding photography without having
to concentrate on every single aspect at once.
Setting yourself apart
How do you set yourself apart from other wedding
photographers?
Marc
Williams: I attempt to be more "emotionally tuned in" to my
subjects and surroundings. This has led to being emotionally
anticipatory in my approach to capture those decisive moments on a
consistent basis rather than by accident. That consistency is not lost
on many potential clients who are comparing choices of wedding
photographers.
Bob
Bernardo: I don't worry about other photographers nor compete.
Therefore, I only show images I create not copy. My goal is to give
the client what he or she wants. If the client is not happy, which has
never happened, they don't pay. I believe if we pay attention to the
client, we can find what they want and use their inner emotions as
well
as ours to give them the final product they will cherish. We never put
time limits on photo sessions because sometimes it takes several
hours to understand and find what triggers the client.
Nadine Ohara - SF Bay Area/CA
David
Wegwart: I am all about understanding your own personal style and
developing that vision as you season. I photograph for myself almost
as much as the client and that means those who select me for their
day, get what they expect and what I am passionate about
photographing. Bonus for them!
Nadine
Ohara: I don't worry much about setting myself apart. I do what
I've always done, which is to listen to the client and do what
he/she/they want in the way of wedding photographs. I have always
pushed myself to try new styles, to see differently,
react differently, and keep myself growing. However, I always make
sure that I have produced the images I know the client wants at each
and every wedding I photograph. I also emphasize honesty and
simplicity when I talk to clients, and hope that these concepts come
across in everything I do.
Michael
Mowery: I try to work as hard as I can and imagine that the client
is a family member or good friend. That helps me put a little more
love or T.L.C. into the job. After 100 jobs, one more job becomes
mundane, which is the most common hurdle to jump over. I try to
make each job fresh.
Conrad
Erb: I certainly never sat down and said, "Okay, how can I make
Conrad Erb's photographs different from everyone else?" I just try to
please my clients, create interesting images, and if I happen to set
myself apart, fantastic. That said, having a lot of technical
knowledge about lighting helps. In photography, good lighting makes
everything else easy. Far too many wedding photographers still light
scenes in a boring way. I started reading Strobist.com fairly soon
after it launched in 2006, and I recommend it to any photographer who
has already mastered the fundamentals of photography.
It is also important to drop your ego or attitude when you pick up
your cameras. Many photographers focus too much on
trying to develop a creative style based on a particular high profile
photographer. That's fine, but I think that it is best to look at the
work of many great photographers, try to emulate a few things from
each, and put it all together in whatever unique way you can.
Jeff
Ascough: I try to follow my instincts and don't take too much
notice of everyone else. Being true to yourself and not
copying others is a sure way of succeeding. I also try and re-invent
myself periodically to make sure I stay ahead of the game and
keep me interested. I also think the business side is as
important as the photography.
Jeff Ascough - Derbyshire, UK
Josh
Root: I don't know that I do anything in
particular photographically. My goal is to make the best images I can,
not to make images that are different for the sake of standing
out. When meeting with prospective clients, I am careful to stress
that this is how I work and to show them the style of images they will
receive. There are many different ways to approach wedding photography
and mine is just one of them. I am a good photographer and have no
doubt about that, but I know that I might not be the right
photographer for every couple. It is far more important that a couple
hire the photographer they will be happy with than it is for me to
book any specific job, both for the couple's happiness and for my
sanity.
I'm not the kind of photographer who works with multiple assistants
and a ton of gear. I came from an editorial background, so I am used
to working quickly and with a minimum of equipment. My posed formals
are simple and functional, but I am not a studio photographer. Long
drawn out portrait sessions are not my strong suit, and more
importantly, they are not any fun for me to do. I feel very
comfortable photographing with a fisheye lens in the middle of a
crowded
dance floor or standing on top of a rickety table in a bridal dressing
room. If posed formals and ceremony images were all I did as a wedding
photographer, I would find a new job.
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, December 04, 2007; 12:48 P.M. 
