KPM
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KPMParticipantYou never know, you might end up with some classics like :
http://weddingpros.wordpress.com/2009/05/29/top-20-worst-wedding-photos/” onclick=”window.open(this.href);return false;
Make sure to scroll down as there is a second helping !
KPMParticipantHi there,
I have just finished with my annual policy and had a good look around.
Whereas I would normally try to keep my suppliers local, my renewal for this year was EU245 more expensive than the quote I got from photo-shield. They are one of the sponsors of this site and I found that Steve Beveridge was a pleasure to deal with.They cover all types of photography insurance so you should give them a shout and see what they say.
For me, my annual policy covers EU6.5m Public Liability, EU75k Professional Indemnity and EU30k of camera gear (including EU20k cover for theft from car etc.) and it came it at EU650 for the year. even better is the fact that this is payable monthly with no extra charge.
Regards
Kevin
KPMParticipantHi Jody,
not a bad hotel near me, The Waterside in Donabate. This is right on the beach with great views across to Howth head and the Wicklow mountains in the distance. Hotel itself would be middling, restaurant does a great steak, but its the location that sells it. 5 mins drive from train station (25 mins into town on train) in case herself wants a bit of shopping while you wander off for photos !
http://www.watersidehousehotel.ie/” onclick=”window.open(this.href);return false;
Rgds
Kevin
KPMParticipantKPMParticipantChris,
everyone has their own idea / preferences when it comes to lighting.
Very often, the more power you have the better, but this also has to be balanced with portability, tidiness (no wires etc. with speedlights) ease of control, how sensitive the power adjustments are (half stops, full stops, qtr stops etc.).
Personally, I find the SB800s are grand for individual portraits and smaller groups, but for larger groups they have their limitations.
Hope I didn’t confuse you more !!
Rgds
Kevin
KPMParticipantJust bough the DVD yesterday of Salems Lot – the one with David Soul (Hutch !).
That was a real brown trouser one when it first came out and have to admit, the old blood suckers
are still very creepy. My eldest who is “into” Vampires (I blame Twilight) legged it at the first sight
of the kid scraping on the window.Will be watching the second part later tonight.
P.S. – Another scary blast from the past was a second Stephen King story – IT – never liked clowns since.
Kevin
KPMParticipantI was using the lightspheres for a while but have found much better results (when using sb 800’s & 600’s) with the main light through a white umbrella. I often use the lightsphere on a secondary / fill light.
If you can get an umbrella and stand attachment easily I would say go for it.
Rgds
Kevin
KPMParticipantFirst thing – relax !!
You are starting from a great point in that you are friendly with the B&G – therefore they will be a bit more relaxed, and they also know your situation.
When you meet with them ask them to give one list of any photos they want to the best man (to look after the grooms side) and another to the chief bridesmaid (to look after the brides side). Explain to the B&G that you won’t have a clue as to who Aunty Mary & Uncle Jim are !!
Get the name & address of both the church & hotel from the couple when you meet them. I’m sure if you google both you will find some detail – very few hotels don’t have a website and the ones that do usually have a load of photos. This will give you an idea. After arriving at the hotel you will probably have 15-20 minutes which you can spend looking around for suitable locations for shots so you should be fine.
Remember, very often the best shots have nothing to do with the location, but everything to do with facial expressions etc. so just concentrate on getting everyone to relax in front of the camera and you will be fine.Best of luck.
Kevin
KPMParticipantIn the current climate it can be difficult to get a good working relationship with, what is effectively, your competition, but it is a nice concept. I’m hoping to get my L with the IPPA this September and I know that they have ideas and suggestions of how to manage this type of situation – if I get any inspiration I’ill be more than happy to share.
In regard to my decisions over the two scenarios in my earlier email I didn’t want to make myself out to be a martyr for the cause, to be honest, when you start taking photos you (well I do) get completely caught up in the whole day and everything else goes out of your mind so it can be quite a good thing – but it can leave you totally drained.
I think Marks post makes a lot of sense. Try to have a good network of colleagues you can turn to in case of emergency and then just hope that you are never going to need them !
Kevin
KPMParticipantInteresting topic this one, and an issue which I have been thinking about for a while.
Whereas I have no formal arrangement, I do have a couple of other photographers, who
would be quite like myself in terms of style etc. who I could call in an emergency, but there
are some cases where its not possible due to timing issues.
I had a couple of very close issues last year – towards the end of August my eldest daughter
had a very serious reaction to an operation she had undergone the previous week. So, at 1am the
ambulance was called out, neighbours were in and mayhem ensued. We arrived in Temple Street
at 2am and things were touch & go for a couple of hours. By 7am things had calmed down, and my daughter
was stable – the wife stayed put and I headed home, farmed out the two younger kids to friends, had a quick
shower and headed off to the Avon Ri hotel for 12 noon to photograph a wedding. It would have been too late
to try get a replacement in, but luckily the adrenaline kicked in and the day went without any hitches.
Later on in the year I got a phonecall on the morning of a wedding to tell me that my mothers life support
machine was being turned off (long story), but, with 2 hours to go before I was to be in the brides house again
it was too late to try contact anyone so I had to go ahead with the wedding, That decision was based on what my
mother would have wanted, and also the fact that I was dealing with a bit of a bridezilla so I don’t know what
her reaction would have been.Its great to have a few photographers in reserve, but really only useful if you have a bit of advance notice.
Rgds
Kevin
KPMParticipantIn my own experience, its not about a quality image every 30 seconds. When I am taking group shots in particular I might take 20-30 shots inside one minute. This would be to ensure that I get at least one high quality keeper – bear in mind you will have blinks, grimaces, people not looking at the camera. One of the biggest problems on the day is lack of time and between getting a group together in the first place and keeping them smiling etc. you might only have a minute or two per group so you have to make it count.
So, if so a standard wedding with say 10 formal group shots (siblings, extended family, aunties/uncles etc.) you might have 10-15 minutes to work on these on the day but (again my own personal experience) I could end up taking 200+ quick fire shots and still only present the B&G with 20 shots for their review.
One of the prime concerns of B&Gs these days is that they don’t want to spend too much time getting photos taken – personally I would prefer to keep them happy on the day and put in the extra time at a later stage.
Just as an aside, I started taking wedding photos using a Mamiya C330 TLR, then moved on to a Bronica GS1 so having come from a film background I find that the ability to take a large number of the one group shot is brilliant, I can be fairly sure that I get at least one high quality keeper rather than waiting for the films to be returned from the labs with the final result.
Kevin
KPMParticipantI usually discuss this with the bride & groom beforehand and advise them that I will “offer” between 150-200 shots from the day. Most are very happy with this and it would usually be one area where I wouldn’t budge unless I had a few particularly good sessions on the day.
What I also do is to show them a “mock” album of how the photos could look like depending on the album style they had picked and more often than not they go with 90% + of what I suggest. Remember that couples are choosing you based on your style so you should stick with what you normally do.
From talking to other wedding photographers many are pulling back from offering 300-500 proofs as there is often a huge delay in choosing the final shots. Just tell the couple that you believe in quality over quantity and they will find it hard to disagree with you.
Rgds
Kevin
KPMParticipantMy bag(s) would be very similar to EAS
D3 with 24-70 F2.8
D200 * 2 – One with 80-200 F2.8, The other with 85 F1.8
Sigma 12-24 wide angle
SB800 * 2 & SB600
Two light stands, one white brolly, one silver brolly, two GF lightspheres
Plenty of AA batteries & approx 24gb in CF cards
Copy of public liability insurance cert – just in case of any “jobsworths”Most of the above would never be used – have worked out that 80% + of my shots would be with the D3 & 24-70 and occasional bounced flash. Although did a wedding in Slane Castle the other week and most of my shots were internal due to our “sunny” weather so the stands and off camera flashes used for quite a lot of shots.
Had planned to cut to one backup – D700 with 80-200 f2.8 – but current recession has dictated otherwise !!
Rgds
Kevin
KPMParticipantCongrats on the job op. Graham,
I wouldn’t have great experience in this field, but one of the members here – Ashley – has posted many times on how to and what to charge for this type of work. I’d say if you do a search either by username, or by commission, you will find the details.
He has posted very in-depth details and the posts should clear up any queries you might have.
Rgds
Kevin
KPMParticipantIf anyone is interested, I have an email from MCPS/IMRO with details of licensing agreements, costs, usage details etc.
There are three word documents with all the blurb.Drop me a line with your email address and I will forward them onto you from my gmail account.
Extract from email below.
Dear Kevin,
Please find requested information attached,
MCPS have introduced a yearly licensing scheme, which allows easy access to its members’ repertoire, within certain types of low exploitation productions without the need for obtaining permission from each individual copyright owner.
Attached is a simple guide to the types of production covered by the MCPS Limited Availability Product Licence. If you have any queries regarding this licence you can contact me at this address or on (01) 6766940.Please be aware that you may also need to clear use of the sound recordings with the various record companies involved. Please contact PPI (Phonographic Performance Ireland) for further information on 01 280 5977.
If you have any further queries please don’t hesitate to contact me
Best wishes,
Paul Mallon l Senior Licensing Administrator
____________________________________________________________________
MCPS (Ireland) Limited, Regus Pembroke House, 30 Pembroke Street Upper, Dublin 2.
t: +353 (0)1 2374666 – Please note our new (temporary) address and my new direct phone number
f: +353 (0)1 6611316
e: paul.mallonmcps.ieVisit our website è MCPS Ireland
RgdsKevin
