Mar 28th
It is Photography Awards season here in Australia. Although it always seems to sneak up on me, I love the Awards process. At times it is more of a love/hate relationship. It is hard to put yourself out there. Even after years of entering it is a confronting experience. You are putting something you have created, up to be judged. But the reason I do it is because it makes me stop and think about my work and it tests me creatively. When you push yourself, you have to become a little better and in the end that makes a difference for the people who trust you to photograph them as a professional.
I’m pretty happy with how my prints went this year, but what I am most proud of is not my work, but Aurelie’s. Aurelie really put herself out there this year and she not only just went okay, she became Runner Up Queensland AIPP Illustrative Photographer of the Year. The smile on her face was better than any award I’ve won. Aurelie joined our team a little over 2 years ago and has quickly become an incredible shooter, fast booking weddings of her own. You can check out her portfolio of images in the photo gallery here.
This was just one of the many moments already this year that have reminded me how lucky I am that Studio Impressions is more than just me. Studio Impressions was started by me, but it is really a collective of passionate talented people who love photography and how it can make us laugh or cry or argue or smile. Each one of them is talented in their own right. I’ve told you about Aurelie and you often see Adam’s work on this blog, but also sharing our little workspace are Karen & Tania who create cuter baby images than I can, and Gabe who is my right hand man at weddings and has recently produced some of the most beautiful albums the Studio has ever done. And then of course, there is my wife Penny who has been there behind the scenes from the very start, by my side, building this dream of ours. It really is a team I am super proud of.
I’ve decided it is time that you started to hear a lot more from them too. Along with Adam’s weddings you can look forward to some future posts of weddings by Aurelie and newborns by Karen, and I have asked Penny to write a few posts of her own too. I think it will be nice to hear a female voice now and again, starting tomorrow when I let the girls loose on the blog to share their favourite wedding fashions.
In the meantime, a BIG CONGRATULATIONS to all the very deserved Award Winners at this year’s Queensland AIPP awards. Here are just a couple of Aurelie’s gorgeous images that scored solid silver with distinctions from the Illustrative and Wedding categories.
Mar 20th
With much anticipation on my part last Thursday, the courier arrived with a shiny gold box. The new Nikon D4 camera had arrived. Before photographing my first wedding on it, I was lucky enough to have two days of portrait shoots to get a good feel of the camera. The camera is slightly different to the D3s so having time to get acquainted was very welcome.
First impressions? Wow. The camera feels great in the hand. Focusing seems effortless, and the high noise ISO performance is, in my view, not just equal, but slightly better than the current D3s.
It was fantastic for photographing my weekend wedding of Will and Faith. Yes that is their real names. Penny says they must be destined for blessed lives and the strongest marriage, because that’s what you need sometimes – some will and some faith. We told them we think they have to name their firstborn Hope. I’ve posted a sample from their beautiful day at St Johns Cathedral and Customs House .
If you would like to make some comparisons on the quality of imagery for yourself, visit here to see early D3s samples that I took when that was first released. You could also look at my most recent wedding images shot on the D3s here, shot a few weeks ago in Sydney at Rebecca and Dan’s wedding.
Like all new cameras, a little care is needed to ensure your the setup matches your shooting preferences. There are a few buttons and operations that are a little different to the previous model so it can take a little time to get used to this before heading straight on into a big shoot. The most notable difference I found was that the easy exposure compensation dial is the opposite to the D3s. It is easy to get used to but a little frustrating if your second body is a D3s or D700.
Over all I think the D4 is definitely a step up. So happy I’ve ordered a second body.
On a side note – seeing as I mentioned settings, if you would like to know more about the camera settings and shooting techniques I use you’ll find this post helpful “My Camera Settings”
The images below have been developed in Adobe Lightroom 4 with minimal adjustments. No adjustments have been made to alter (or to reduce) the noise in the images.
ISO 1800 f2.8 @ 1/60th
ISO 2200 f2.8 @ 1/125th
ISO 8000 f2.8 @ 1/60th
ISO 12800 f2.8 @ 1/60th
100% crop
ISO 1100 f2.8 @ 1/60th
ISO 7200 f2.8 @ 1/60th
100% crop
ISO 4000 f2.8 @ 1/60th
ISO 9000 f2.8 @ 1/60th
ISO 7200 f2.8 @ 1/60th
ISO 12800 f2.8 @ 1/60th
ISO 4000 f2.8 @ 1/60th
ISO 7200 f2.8 @ 1/60th
100% crop
ISO 12800 f2.8 @ 1/60th
Aug 8th
It has been a while since my last post about equipment & technique, so I thought it would be time to open my kit bag to you again. This time I thought I’d talk about the settings I use on my camera and a few shooting techniques.
SETTINGS:
It is so important for a photographer to be in tune with their equipment, settings and technique because the moments we capture happen so quickly. The most extraordinary ones happen in milliseconds and they often only ever happen when you least expect it. Like the image below, this was a “one take” only opportunity, there was no way I could ask this little guy to repeat his action of curiosity (having 3 little boys myself I know).
Program Modes:
There are 3 program modes that I regularly use shooting a wedding (in order of priority):
In addition to using the above program modes I also use the “AUTO ISO SETTING MODE & QUICK EXPOSURE COMPENSATION” when using both Aperture and Shutter Priority. I will turn this off when working in M-manual mode, as I prefer to use this mode in complete MANUAL. (Though if you do need to have a set aperture and shutter setting, it is nice to know that you can set these and then use the Auto ISO to correct for exposure.)
I use the Aperture priority mode most of the day to allow for variable lighting exposures. I shoot with Av mode with Auto ISO on with a minimum shutter speed of approx 1/250th sec. This is based however on shooting in environments that are not too low in light and is adjusted accordingly. I then set the ISO maximum to a whopping 12,800 on the Nikon D3s. This limits both camera movement and mirror slap and enables me to shoot multiple scenes extremely fast.
Once I’m in an environment where the lighting is consistent, I prefer to shoot in full M-manual mode. This is when I resort back to my early beginnings as a photographer. For most of my Canon years, I used to shoot my entire weddings in manual mode, taking control of everything. But after spending some time shooting with some of the great photojournalists like Jeff Ascough and Greg Gibson a few years back, they re-opened my eyes to the advantages of using Aperture mode. Now I feel that I use the best of both worlds at the right time in the right situation.
Once, in dark environments, we had no other choice to drag the shutter speeds of 1/15th of sec or even slower as High ISO performance was non-existent. But this meant that you got beautiful movement within the image, with the main subject pin sharp but the surrounds or other people were blurred, due to the use of the slow shutter speed. Sometimes, I still use slower shutter speeds on purpose just to recreate this effect. Here’s an example on an image I shot of the famous Brisbane author “Nick Earls” at a busy Brisbane street crossing some 6 years ago using this technique.
Here’s an example of pushing the boundaries shooting at a very slow shutter speed in dim light.
These days, to capture movement and expression I usually just set up my S (Shutter priority mode) between 1/15th and 1/30th sec. I then simply swap over to this mode whenever I need to shoot at slower shutter speeds. This overrides the minimum shutter speed set out in the AUTO ISO setting.
EASY EXPOSURE COMPENSATION MODE:
Most importantly, when I work in either Aperture or Shutter priority, I’m constantly adjusting the camera’s exposure to compensate for the light in the scene that I’m capturing. For instance, for a bright scene like a bride on the beach, I will dial the exposure into the positive, adding between 1 and 3 stops of added exposure. Where the scene is a dark suit against a dark wall, I do the opposite. Camera metering systems see the world as 18% grey and so you need to adjust the cameras settings to accommodate.
MY MENU
A feature I absolutely love is the “MY MENU” available in most cameras. I simply program the settings I always use & they are right there at the ready. It makes using multiple modes throughout the day a breeze. For example, one feature I’m always turning off and on is the Auto ISO setting. Having it quickly accessible makes it possible for me to switch between “A” (Aperture priority) and fully “M” Manual mode
Every photographer has their own personal style and they also have their own way they use the camera to record the moment. There is more than one way to get the job done and it really just comes down to personal preference. But, it really is about knowing your tools, and being able to quickly get the most out of your equipment at just the right moment. A great camera will get you so far, but creative use of your equipment and the ability to see a beautiful shot and to bring it all together in that moment, that is the true mark of a professional. And that is what provides the adrenaline rush that I love about wedding photography.
RELATED BLOG POST: MY GEAR, BAGS and STRAPS
Jun 9th
Well, here it is – Post number 2 on Russia that I promised. And YES there are people in Russia.
While I love photographing vast empty landscapes, I find that incorporating the human element in these scenes can add so much more to the story I’m wanting to tell. I do this in some of my wedding images where I include the couple as one element in the surrounds they have chosen for their wedding. Both compliment each other to create a more dramatic story.
So here is a bit more of the story of my Russian experience. By the way, did I mention it was COLD, really, really cold.
I don’t usually find myself on the other side of the camera lens, but sometimes it just happens. And well, I REALLY took to Russia. Here are my before & after shots from the trip.
Before: The Serious Photographic Artist After: My alter-ego vodka-swilling Russian version of myself. Za Vas!
Jun 1st
Over the last few years there has been a real surge in photography. There are a lot more cameras at weddings and it seems, a lot more interest in photography. You just have to look at the number of photography Apps sold at the Apple store to see that. A lot of people use photography now to communicate and I think it’s great. At most weddings, there is at least one or two people that have an obvious interest in photography (usually their camera is the giveaway) and I’m always getting asked questions about the gear I use, my camera settings and other technical questions. So, I’ve decided to share some of this here on the blog. This will be the first of a few posts about technical “stuff”.
And because it is the most common question I get asked by both amateur and professionals alike, I thought I’d start with what gear I use. I’ll have to warn you though, this is a long one. You might like to get your coffee now.
So, WHAT GEAR DO I CARRY?
My CAMERA KIT for Weddings includes:
Camera Body 1: Nikon D3s
Camera Body 2: Nikon D3s
Primary Lenses: 24-70mm f2.8, 70-200mm f2.8 VRII, 35mm f1.4 and 85mm f1.4
Extension Tubes: 12mm and 20mm
Sandisk CF Memory cards: 8 x 16GB Extreme Pro, stored in a Tamrac: Card pouch
Epson: P7000 portable hardrive
Spare Battery for the Nikon D3s and Epson Download
LED Mini torch with warming Gel Filter (great to add a little light to detail shots)
For me it’s the perfect kit to capture the perfect moment.
For a wedding, I tend to shoot with two camera bodies as the two different lenses I have on those cameras provide two different perspectives. A little like having two photographers at your wedding. I can quickly choose how I want to capture the moment and know that between the two cameras I have a lens that will best capture that moment without hesitation. It also means you have an instant backup if there is a problem with your camera.
Sometimes I want to capture a particular shot, or a situation might call for something special. Over the past 3 years I’ve slowly acquired some speciality Lenses that include: 24mm PC-Tilt Shift, 45mm PC-Tilt Shift, 50mm f1,4. 135mm f2 and the 300mm f2.8. and I will use these lenses when required.
How do I get all this around?
I carry all this in a small pouch/belt bag, so I don’t have to worry about leaving gear unattended. Along side the belt bag I have a small tarmac clip pouch that contains my memory cards and a portable downloadable hardrive by Epson that has its own belt pouch. The Epson P7000 harddrive is fantastic because it provides me with security and means that all the data captures are safely secure on my person, and I have the ability to create an additional backup as I continue to shoot.
Camera Straps: To work with two cameras, the camera straps I use are critical. I use “UpStraps” produced by a little indie camera strap company in Tallahassee, in the USA, because the non-slip ribbed strap grips to my shoulder. This year I have also been trying a holster system called “Spider Holster” which by adding a bracket to the camera body I can holster the camera on a strap that goes around my waist. It really takes the weight off my shoulders (literally) during any downtime - considering each camera can weigh as much as 3-5kg it’s a good investment in the future.
Bags: Spare lenses and backup equipment are safely stored in a range of travelling Tamrac hardcase rollers that is secured either in the car or hotel. If I do need to carry some additional lenses and equipment whilst I’m shooting, I use either the ThinkTank Retrospect 10, 5 or lens changer.
Lighting: Even though I mostly shoot with available light, a few years ago I started to work with portable lighting kits at weddings which range from a strobist kit, to mini video lights & torches and even through to full studio lighting kits on location. I’ll share a bit more on my experiments with lighting in a future post.
But as every situation varies, so does the gear I use. You will find that the cameras, lenses, and technique that I use for my weddings will differ from what I use to capture my portraits or landscapes. I even have specific cameras for street photography where you really need to blend into the surrounds and look like a tourist rather than a professional photographer. .
WHAT BRAND IS MY CAMERA?
Just over 3 years ago I changed to Nikon from Canon after being a solid Canon user all my career. It wasn’t an easy decision. However Adam at the studio has always shot Nikon his entire life and I can vividly remember shooting a commercial job with him that completely changed my mind. He just acquired one of the first Nikon D3 cameras and I had my brand spanking new Canon 1Ds MkII. We were shooting in a variable low light situation and when we compared the images I was surprised. The low light quality alongside with the nano crystal coating technology in the Nikon lenses were a true standout. It took me several months more, but I honestly couldn’t argue that the new Nikon suited my style better than Canon and was helping me produce a superior product, and so I made the move. The choice of camera though all comes down to what works for you, but never be afraid to try something new. I must admit I do miss the banter we had when we had a divided camp in the studio.
Just like any professional, my gear is vital, but it really is all in how your gear is used. It is just like a top golfer selecting the right club for the right shot. Those of us that are weekend golfers can buy the same club used by a professional, but it is how that club is used that makes the difference. So Tip No # : Get to really know your gear and all it can do.
Apr 27th
Over the weekend, I was reminded of my former career and my birth as a photographer. I was photographing two truly epic weddings and at each, like at many weddings, I get asked “What did you do before becoming a photographer?”. As many already know I was a banker. It is interesting how banking prepared me for my photography life and even my short stint certainly helped with my success. As a young employee experiencing mergers, take overs and uncertainty in my career, taught me that change is inevitable. That is certainly the case in the photography industry, where change is constant and the playing field is forever new. It is exciting times in our industry and for me it has also proven to be a great time to reflect back on my photographic career, finding comfort in knowing that uncertainty has always been there. It is simply a matter of how you view it - as a challenge or something to fear.
During my career I have found that sometimes it is the simplest of events that can set your direction. In my early twenties, when my business was part time and probably more of a hobby than a job, an encounter with a mystery Irish man helped set me on my path as a professional photographer. This story is in the book “Masters of Wedding Photography” (so apologies to anyone who’s read it) but I’ve reproduced a shorter version here.
“The Irishman”
This image recalls for me a day that changed the way I viewed myself as a photographer.
In 1998 I embarked on my first photography journey, a trip that was four years in the planning and would take me through Europe for six months. Constantly on my mind during this trip was the question of whether I had what it takes to be a professional photographer.
Six weeks into the trip my wife, Penny and I were exploring the bottom east tip of Ireland, near Ballinskellings, just off the ring of Kerry. We drove for miles up a dirt road and came across an artist village on the point of this peninsular. It was very remote and deserted – a beautiful, peaceful place. As we were driving away we passed an isolated, little farm house. There was nothing else around for miles. A man jumped out and waved us down. We pulled over and he started talking. He had such a strong Gaelic accent that we could barely understand him.
Finally we worked out that he was trying to give us his dog to look after. It seems he could no longer afford to look after it and was desperately looking for a new owner. It was such a sad story.
Being travellers we could not agree to taking his dog and after a difficult conversation we left with heavy hearts and headed down the road. A little further down the read it dawned on me that I should have asked to photograph him. Being so touched by the emotion of his story, and a little confused by what he was saying, I had completely forgotten my camera. Here he was, an older man who didn’t appear to have much and he simply wanted a better home for his trusted friend, his dog.
I stopped the car, grabbed my camera and ran back to ask his permission to photograph him. He was reluctant at first, but as we kept talking I started to fire a few shots off and he began to relax, slowly forgetting about the camera and just being himself. I noticed tears swelling up in his eyes and I took this shot – “Irishman”. Thinking I had taken things too far, I apologised and he told me it wasn’t the camera, but the fact that few people ever stop to even listen to him.
It was another six weeks before I was able to get the film processed (yes film, it was 1998 - showing my age) and a contact sheet made. It was at this point the image just jumped out at me and I got a shiver down my spine. Never before had an image given me this feeling. I supposed I realized then that I could really give my dream to be a professional photographer a shot. I guess this image helped me to start to believe in myself. I still look at it for inspiration in my career.
Reflecting back on the day, – I had met a man who was in the twilight of his life, trying to take care of his best friend, his dog. At the time I was just a young man, at the beginning of my journey as a photographer, with my best friend; my wife. It is probably my most memorable and favourite photograph, still to this day. Hope you like it too.
The extented story about the “Irishman” and my transition into photography is also included in my book published a few years ago by Amherst Media in New York: “Master’s guide to Wedding photography: Capturing unforgettable moments and lasting impressions”. Available through Amazon and on Kindle.
Bringing photography to life
Describes what we do. This blog is about exactly that - here we will share a little of our life and a lot of what we love - people, art and photography. Whether you are planning a wedding, a family portrait or building your own professional photography business, I hope you find something to inspire you here. Thank you for visiting.
- Marcus Bell | Brisbane, Australia
