Posted on January 7, 2018
The 2018 Oregon Wedding Showcase is happening next weekend at the Lane Events Center in Eugene, Oregon (i.e., the Lane County Fairgrounds). This is the place to find wedding photographers, wedding dresses, wedding DJs, wedding venues, wedding caterers and all other things wedding related. Don’t miss it!
Posted on March 11, 2017
When Instagram became a thing, I noticed a lot of photos were being altered so they looked washed out and yellowy; most had an Instagram filter applied and they all looked kinda fake (to me). Now that the novelty has worn off, and folks are posting more realistic looking images, I thought it was time for me to join. Here’s a screen shot of my latest posts. Check it out!
Posted on May 9, 2016
If you’re looking for wedding invitations, look no further than Basic Invite! They’ve just endorsed me and I was very pleased with the page they created for me:
Posted on May 8, 2016
I’ve just returned from a wedding interview and the bride-to-be asked me a question about one of the images she saw in my slideshow (see below). She asked how I was able to create such a blurry background, yet have the subjects in clear focus. I explained the difference between f-stops, as well as focal distance, and she was very interested; so much so that I thought I’d post the photo here and give some lens data. When photographers talk about a fast lens they are referring to its minimum f-stop (aperture); how wide open the lens will go. The term fast simply means it’s easier to shoot at a faster shutter speed with an f2.8 lens than it is with an f4 lens. The wider a lens opens, the more light gets in, which means a faster shutter speed is necessary to properly expose the image. For example, say an image shot at f4 needs a shutter speed of 1/125th-of-a-second for proper exposure. That same image could be shot at 1/250th-of-a-second if an f2.8 lens was used. Not only does this make it easier to capture sharper images while hand-holding a camera, the f2.8 lens will have a softer bokeh (ie, blurry background) than an f4 lens. This is where depth of field comes in. Depth of field is simply referring to how much of the image is in focus, based on linear distance from lens to subject. A shallow depth of field (ie, f2.8) will only contain a small area in focus while an image shot at f16, for example, would pretty much render everything in sharp focus, provided the subjects were standing completely still. However, if I were to have shot the image below at f16, the bride and groom would not have looked so sharp, since everything behind them would have been in focus as well. Additionally, at f16, I would’ve had to have used a very slow shutter speed (1/30th-of-a-second, for example), and the entire image would have suffered from motion blur.
I used a Canon 70-200mm f2.8, Image Stabilized lens on my Canon 5D MarkIII for this shot, and I was zoomed all the way in to 200mm. Image stabilization helps reduce motion blur when hand-holding a camera. I’ve already explained how shooting at f2.8 creates a blurry background and a nice bokeh. Using a telephoto lens compresses the foreground and background, further enhancing the bokeh when the lens is zoomed to its maximum distance. By compression, I mean optical compression, not digital compression; it’s the effect of the glass itself that creates the compression, not a digital algorithm (which a lot of point-and-shoot digital cameras use, making enlargements look very fuzzy). For this image, which was taken in Flowery Branch, Georgia, I had the couple stand on a bluff overlooking the lake behind them. I stood about 30 feet away and zoomed in so they almost filled the frame. The woods and lake in the background are over 100 yards away from the couple but they look closer, thanks to the compression-effect of the telephoto lens. Shooting at an f2.8 aperture meant I only had a small area that would be in focus, but the telephoto compression actually gave me a bit more leeway. If I’d used my 16-35mm lens for this image, shooting at f2.8 would have been a disaster: I would’ve had to have stood within a few feet of the couple, and only a part of their faces would be in focus since I wouldn’t have the benefit of compression.
So that’s Depth of Field 101, with a bit of telephoto compression thrown in 🙂
Posted on July 25, 2015
I use some form of flash in nearly all my images, as I’ve stated elsewhere in this blog. However, there are times when flash is unnecessary, as was the case with this first image below. When I saw the light shining through the trees, directly onto that swing, I knew I had to get the bride and groom over there ASAP. I already had my camera set for the ambient light so it was simply a matter of finding the right composition and focal length. I was using the new version of the Canon 24-70mm lens, and it performed very well. So that’s the first shot below. The second image was made after the sun had just set; you can still see the orange glow on the horizon. Exposing for that light meant the bride and groom would have been silhouettes if I hadn’t added my own light. I had the wedding coordinator hold one of my external speedlights and point it through a white translucent umbrella, about two feet away from the couple. In the first image, no amount of flash could have improved the shot; in the second image, flash was key.
Posted on July 13, 2015
Kaley and Derek braved this past Saturday’s rain showers and I’m glad they did. This shot was taken just before the ceremony, right after the First Look.
Posted on July 4, 2015
Finding a good vantage point from which to photograph both the bride and the groom as they enter the ceremony site (if it’s not in a church), can be a challenge. At this wedding there was a hill just above the seating area that afforded me a view of both angles. The groom and his groomsmen all entered first, then the bride and her bridesmaids. I always love this moment, the one just before the couple sees each other.