89 pro photographer magazines. All yours.





I’ll divvy up that stack one week from today (Tuesday, the 15th) and mail them out. If I have one responder, one lucky responder will get 89 magazines free. I’ll take care of the shipping charges. If I get 89 responders, each of you will get 1 magazine free. I’ll take care of the shipping charges.


This is a combination of several years of Professional Photographer (PPA’s mag) and Rangefinder (WPPI’s mag). Leave me a comment here or send me an email, eric at ericmccarty dot com, with your shipping address.


That’s all you have to do!


Don’t you love free stuff! It’s my way of saying thanks for reading this blog.

I ran across this post on LifeHacker. Well, I saw it on LifeHacker’s RSS feed into my reader. It’s from another site. The post outlines some techniques to reduce camera shake when you’re hand-holding. I’ll add a few of my own.

• Lean into a doorway threshold. Propping your body on something immobile is a huge help. Lots of times the shake you get when hand-holding is not necessarily due to arm/hand movement, but general body movement. Lean against a wall, doorway, the groom’s cake, chandeliers, napping children, or basically anything that makes you look slouchy. If someone looks at you scornfully as if you are a vagrant, just sneer back at them, and know you’re doing your job DOT-style.
• Prop your bows on a table. The demonstration in the link above showed the photog in the middle of an open area. You rarely are. Find something to prop your elbows on. You might even try piling 13 or so dinner rolls atop one another as a substitute for a tabletop monopod. Of course, building a 2-foot high pyramid out of the rolls (it’ll take about 60) would make for an even steadier brace. You’ll probably want to practice building one at home, so that you can do it quickly and discreetly at a reception.
• Prop the flash on your shoulder. When I say flash, I mean an attached hot-shoe flash with a swivel head. This probably warrants a demonstration picture, but I don’t have time this week. This is for a vertical shot. Hold the camera horizontally. Turn the flash-head 90 degrees so that it is facing over your left shoulder. Now turn the camera vertically and prop the flash-head on your shoulder. I recommend turning the flash off unless you want to melt the skin off your shoulder.
• Prop on a tripod. You don’t have to have the camera attached to the tripod to take advantage of it’s stabilizing effect. Just prop your big honkin’ lens on the tripod, then toss your 3-legged friend out of the way when you’re done. Don’t hit the flower girl with the disposed tripod.

Alrighty. Hope that was useful.


QUOTE OF THE DAY
“Life is a long lesson in humility.” - James M. Barrie

Don’t curse that flash recharge time!



Manual Mode; ISO 1600; Shutter 1/60; F-stop 2.8; Focal Length 108mm. Flash on, but not recharged, did not fire.




Manual Mode; ISO 1600; Shutter 1/60; F-stop 2.8; Focal Length 108mm. Bounce Flash.



When you bounce flash your flash normally has to fire at full or near-full output. It depends on several factors, but bounce has to travel farther and work harder than direct flash. The result is a slower recharge time. Use fresh batteries and an external pack if you can to minimize this, but don’t call it a blankety-blank-blank under your breath when it doesn’t recharge fast enough.


The settings on both shots above are the same. The only difference is that the flash was recharging from a previous frame in the first shot and did not fire, and it did fire in the second. This was a traditional Indian dance at a wedding in West Virginia on Saturday. The room was light enough that I was getting a lot of ambient at 1600, 1/60, 2.8. I used a bounce flash because I knew I could pull off quite a few with the flash firing to freeze the motion and quite a few in-between flashes with some blur. Win-win. I look like a genius by getting two completely different looks without changing a single thing.


One of the great things about bounce flash off a wall behind you is that it dramatically increases the distance from light source to subject and background which dramatically decreases the light fall-off from subject to background. Let that sink in. The sun lights your house and the one down the street pretty much the same because the relative distance between the sun and your house and the sun and the neighbor’s is essentially equal even though their house is 100 yards farther from the sun (at sunrise, or at midday if you live on a mountain). The farther the light source is from two subjects, the less the relative lighting difference between the two subjects.


Let’s do the math. The subject was probably 20 feet away from me in the second image. The background on-lookers were probably 40 feet from me. Draw a line from me to the subject to the background. The background is twice the distance from me as the subject. The relative difference in the distance from source to subject and source to background if I had used direct flash would have been 100%.


Now let’s compare the math of bounce flash. The wall I bounced off of was probably 80 feet from the subject and 100 feet from the background. Now the relative difference in the distance from source to subject and source to background is not 100% as it would have been with direct flash, but merely 20% with bounce.


Look at the videographer and guests in the second shot. They are pretty well lit (a little better than the background guests in the first shot) and some of that is due to the bounce flash hitting them as well as the subject. As a Photographic Observer, you need to light up and tell the story of the on-lookers, not have them groveling in a black cave.


So set that sleek machine in your hands to high speed firing (the Canon 1D line can fire at 8 frames per second), smile when that bounce flash fires and doesn’t fire, and find the beauty in-between flashes.


OK, I should have split this post up into two different tips, one singing the praises of in-between shots and one extolling the relative lighting virtues of bounce flash, but I just got carried away.


BTW, I met with a couple on Friday about shooting their wedding next summer. The groom-to-be looks at a tent shot at dusk and says “You call that Sweet Light, right?” The blog works! The blog works! Thanks for reading, Johnathan!


QUOTE OF THE DAY
“It is a good thing for an uneducated man to read books of quotations.” - Sir Winston Churchill

So, many of you have noticed that I’m changing things just a bit. Well, a lot, actually. The change has nothing to do with what happens on Saturdays. My coverage is exactly what it always has been.


It’s just the way I’m presenting my work to my clients that is changing.

1. Business Name: I am indeed changing the name of the business. We’re still in the midst of it now, but I’m chunking “The Light Photography” for “Eric McCarty: Photographic Observer” or just “Eric McCarty”. The mission of my business is not changing, but it is just too cumbersome for clients to have to remember and describe TLP and Eric’s name at the same time. In the midst of some other reorientations, I felt like it was a good time to make that change.
2. Photographic Observer. I explained the change from “wedding photojournalist” to “Photographic Observer” in the last post. No need to go over that again. Though, I will tell you that while the last post may have been an accurate description of what I do, it may not be the best way to describe it to a new client or referring vendor. I’m working on a way to say all of what I said as I describe it through my pictures. More concrete examples, less abstract description.
3. Website. I’m chunking a very expensive, flashy website for one that is much more low key. I’m going to blow you away with my own work and not so much the work of amazing flash website designers. It’s been 3 years since I launched the current thelightphotography.com. That address will forward to ericmccarty.com in just a couple of days. I’m not showing as much to the potential client now on the front end. After they contact me, they’ll get to see progressively more and more of my work as we go. Up front you get to see several fantastic images. Coupled with a strong recommendation from a past client and/or referring vendor, these several images are plenty to get the ball rolling.

Many of you know and admire the work of my friend Jasmine Star. I’ve known Jasmine since before she hit the bigs and she is an incredible person. I have a book that she co-authored with her Dad on my shelf downstairs. Most of you know that last week Jasmine launched a fantastic new site. And you may be wondering why Eric would go in a completely opposite direction (much less about me, more emphasis on the images) with his sites. Here’s why:


Jasmine’s style is predominantly hands-on. She is, as I look at her work, more of a fashion-style photographer than anything else. Her style is very similar to David Jay and Mike Colon. Maybe we should call this approach “West Coast Fashion” since David, Mike, and Jasmine are all in SoCal. It’s fantastic stuff and no mistake, but it is, fundamentally, different from what I do.


Ask yourself this question: “Is it important that I really, really like the West Coast Fashion photographer?” The answer is yes. Why? Because they are going to be interacting with you a heck of a lot on the biggest day of your life. Not only does their personality have a lot to do with the end-product (the images), it has a lot to do with how the day goes for you in every way. If they don’t run the show well, it gets rough on everybody. They had darn well better be the coolest, most gregarious, happy people you’ve ever met.


Ask yourself this question: “Is it important that I really, really like the Photographic Observer?” The answer is no. Well, I should qualify that by saying that it’s not nearly as important as it is with the West Coast Fashion guys. Why? Because the Photographic Observer only opens his mouth a handful of times in a 15-20 minute time span over the course of a 10-hour event.


I literally interact with my clients twice as much when they sit down to look at my albums as I do on the wedding day. Now, a great personality sure comes in handy during that consultation and the interaction with the client prior to the day and during the post-wedding process, but I think you get my point. I hope you love me, but you absolutely do not have to. I want you to love my angle on this thing. I want you to love the images that I’m going to provide for your grandkids to “ooh and aaah” over 40 years from now. I want you to love my vision. I want you to love the way we’re taking care of you during the whole post-event process. But you do not HAVE TO LOVE ME.


My personality does not have a tremendous influence over the images themselves because of the way that I approach my work.


So, you’ll see much less of Eric through my website and even this blog now. You’ve probably noticed that a picture of me and my sweet family is not the headline on this blog. That was totally intentional. It has everything to do with what I just described to you.


I’m not nearly as concerned with having you fall in love with me as the West Coast Fashion guys. I want you to fall in love with your families, friends, and that someone with whom you’re gonna spend the rest of your life. I’ll be there to capture the expression of that love as it bubbles forth in a hundred little ways, unprompted by this uber-cool guy.

Note: This post will have a permanent link at the top of the sidebar.


What is Photographic Observation? Let’s put it in basketball terms. Most wedding photographers are head coaches who call timeouts, orchestrate plays, and give the players near-constant instruction. Photographic Observers are sideline reporters who quietly and attentively record the game.


Photographic Observers watch silently. Other wedding photographers command and direct.


Photographic Observation is what the originators of the phrase “wedding photojournalism” intended when the term was coined in the 1980s. The phrase has been so widely and loosely used, muddied, and misused (even by photographers claiming to be photojournalists) since that time that it has ceased to carry significant meaning.


Photographic Observation is the new term I’m using to describe a genre of artistic event coverage in which the photographer plays a reserved and unassuming role in the events of the day. It is not a new approach. It is simply the rephrasing of a description that has been too often misused.


The vast majority of wedding photographers today wear an “observer hat” for part of the day, but put on a “coach hat” or “fashion photographer hat” for a significant amount of time. This is a blended style. Photographic Observers, on the other hand, take charge of the participants and command their attention for a very small portion of the day - often only 15-20 minutes. This is a formal portrait session of a limited number of people—the wedding party and immediate families of the bride and groom.


Why is Photographic Observation better than other approaches? It has to do with the genuineness of not only the actions and reactions of the participants involved as the day transpires, but the authenticity of the photographic result.


The more the photographer speaks, directs, and meddles the more the participants are aware of the camera’s presence. Every step, smile, and emotion becomes checked by that consciousness. The result is not only distracted participants, but a less genuine end-product (the finished album).


Why is Photographic Observation difficult? Photographic Observation is a demanding expertise because the photographer is not in control of the proceedings. He must instantly recognize the qualities of ever-changing lighting and inter-personal scenarios and know how to manipulate the controls at his disposal (his position and camera) and not the events themselves to render stunning imagery. She must anticipate things that might happen, yet be ever-ready to capture the unplanned.


Photographic Observation means the photographer packs light (in terms of the amount of equipment) and moves quickly. The Photographic Observer must be ubiquitous yet invisible; everywhere and nowhere.


Why rename an existing genre? There comes a point when it becomes easier to define a brand new term than to attempt to redefine one that is often misunderstood.

Architectural photographers call it “sweet light” . . .



Aperture Priority Mode; ISO 320; Shutter 1 second; F-stop 2.8; Focal Length 20mm. No Flash. 8:29 p.m.




Aperture Priority Mode; ISO 800; Shutter 1/5 second; F-stop 2.8; Focal Length 20mm. No Flash. 8:09 p.m.



There’s a big difference between the first and second “sweet light” shots. It’s the direction. The top shot was taken facing the sunset - due west. The bottom shot was taken with my back to the sunset - due east. Same tent. Same night. Much different results.


You always get more dynamic sweet light shots facing west. By dynamic I mean a more electric, cobalt blue and more vignetting around the edges.


So here’s how I shoot sweet light . . .

• Wait til the sky light is roughly the same as the light INSIDE the tent/reception area. You can tell by squinting (or shooting).
• Tripod the camera.
• Drop the ISO. Assuming you’ve been at a high ISO shooting action shots.
• Set the camera to Aperture or Shutter Priority mode. The point is the light is going to be changing quickly during sunset. Let the camera do the figgerin’.
• Set your camera to a 2-second delay before firing. Your finger depressing the shutter makes the camera shake. No need to fight that battle. The two second delay between shutter depression and the beginning of the exposure gives the camera time to settle.
• Shoot one shot about every minute. The light will change quickly in those magical 5 minutes. It’ll surprise you. (Did I state this already? )
• Keep an eye on your shutter speed. If your shutter gets slower than 1 second or so, moving subjects will disappear. I’ve said before that I like my moving subjects to be ghosted, but not invisible.

I put the times in under each shot so you would notice the difference between the two. The easterly shot was exactly 20 minutes prior to the westerly. Think about it. The sky gets dark in the east first. If you have the option of shooting in a westerly direction, use that angle. I shot this one from the easterly direction first because I had no idea if something would be happening in those 5 incredible minutes when westerly sweet light would be occurring. Sure enough, the first dances were taking off about that time. Phillip actually shot the top one for me while I was shooting some dancing.


You don’t always have the option to shoot both directions. Your venue may dictate the direction of the shot courtesy of trees, sundry obstructions, or 26 lanes of interstate traffic between you and the westerly sunset shot. (The sweet light shot on the contact page of my feature site was not taken toward the west. It still turns out pretty cool.) If you have the option, shoot the easterly first, because you might be called away on an important task when the second one happens.


Here’s another example . . .


Aperture Priority Mode; ISO 160; Shutter 1.3 second; F-stop 2.8; Focal Length 20mm. No Flash.



If the front of the edifice is lit, it’s even better.


These sweet light shots are really Scene Setters. Check out the post on those here. The fourth shot down is from inside the reception and you get some sweet light through the clear tent.


In case you’re wondering, these images have not been touched-up in the least. That’s sweet.


QUOTE OF THE DAY
“A designer knows he has reached perfection not when there is nothing left to add but when there is nothing left to take away.” - Antione de Sainte-Exupery

Here’s another shot from Mandy and Adam’s wedding on Saturday . . .



Aperture Priority Mode; ISO 1000; Shutter 1/800; Aperture 1.4; Focal Length 50mm. No Flash.



For the Planner


Preparation shots come off best when there’s a nice window light in the room. If you have the flexibility to choose the spot where the bride or groom will get ready, put them next to a window. And try to position the chairs so that the subject is facing toward the window or at least within a 90 degree angle of the window. Anything but facing the opposite direction. This helps us tremendously. And it’ll give your makeup and hair stylists plenty of light.


For the Photographic Observer


Notice the detail work on Mandy’s dress? You need sidelighting to show off texture. Take advantage of it when it happens. Wedding gowns and cakes can be difficult because they’re all one color. Front lighting or backlighting will not get you any detail on things that are all the same color. Watch for and position yourself for sidelighting.


QUOTE OF THE DAY
“Beware of the man who won’t be bothered with details.” - William Feather

Here are a few from Mandy and Adam’s wedding on Saturday. Today let’s discuss the gift from bride to groom and vice versa . . .



Aperture Priority Mode; ISO 1000; Shutter 1/800; Aperture 1.4; Focal Length 50mm. No Flash.




Aperture Priority Mode; ISO 1000; Shutter 1/640; Aperture 1.4; Focal Length 50mm. No Flash.




Aperture Priority Mode; ISO 1250; Shutter 1/1000; Aperture 1.4; Focal Length 50mm. No Flash.




Aperture Priority Mode; ISO 640; Shutter 1/250; Aperture 1.4; Focal Length 50mm. No Flash.

Aperture Priority Mode; ISO 640; Shutter 1/400; Aperture 1.4; Focal Length 50mm. No Flash.




Aperture Priority Mode; ISO 1250; Shutter 1/200; Aperture 2.8; Focal Length 155mm. No Flash.



For the Planner


Maintain good communication with your photographer when potentially emotional moments are about to occur or are occurring. Make sure we’re ready and ask if we have a preference on where the gift opening takes place. Ask the bride and groom if they will be giving gifts to each other and plan accordingly. It’s awesome if the bride or groom is fully dressed when this takes place. And make sure the make-up artist hasn’t taken off since mascara may have to be touched up!


For the Photographic Observer


I did not position Mandy for any of these shots. Fortunately, she found some great light on her own. It was just up to me to nail it. Notice, she turned toward the window light for some and away from the window light for others. The paper was back-lit when she was facing the window and probably difficult for her to read. Don’t mess with her at this moment! If I say “Mandy, turn back towards the window” I’ve just stomped on an unbelievably intimate moment. I’ve made her inordinately aware of my presence and then she starts thinking about how she looks for the camera instead of about the best letter she’s ever read in her life! Keep your mouth shut and your hands off this moment, photojournalist!


Notice my ISO ratings were high and the shutter speeds were well more than I needed to freeze the motion on some shots. Keep in mind I was changing lenses quickly between 1.4 and 2.8 maximum apertures. I set my ISO with the thought that she might do a 180 away from the window at any second (which she did) and with the thought that I might switch to a 2.8 lens. I knew I would have to be ready for anything so I went for a higher ISO than the 1.4 lens warranted. It paid off. The only adjustment I had to make when she turned around was to increase my exposure compensation.


Remember last week’s tips on framing within the image here, here, and here? I double-framed one of the shots of Mandy with the 2 doorways! It was a conscious decision (possibly enhanced because I’d been blogging about framing all week). Two doorways in the same shot made for some awesome framing. Gravy.


I put several similar shots in for a reason. I liked having the shots with the bridesmaids watching and taking pictures. It added to the significance of the moment because more folks than me wanted to shoot it. I also liked the shots where it’s just Mandy, no one else there or paying attention. It’s just her and the letter. Shoot like crazy, you crazy photojournalist. Shoot like there’s no tomorrow. A variety of small detail changes can make editing excruciating but everyone wins when the editing gets tough . . . except your free time.


QUOTE OF THE DAY
“Every artist was first an amateur.” - Ralph Waldo Emmerson

I wrote this foolishness to get across the point that most beginning photographers (there are many who read this blog) don’t get. Once you understand what your camera is trying to do, you’ve made quantum leaps in getting it to do what you want it to, and not the other way around. You become master. It becomes slave. Understand, of course, that I’m referring to luminosity, not hue. The paper was actually a brownish tone, but when I changed it to gray scale, this is the result. Also understand that it is not necessarily that the camera doesn’t trust you, but that it always seeks a mid-tone, and allows you to compensate and manipulate the results with the controls at your disposal.


Feel free to downloadeth and posteth this on thy blog, thy forum, or wherever thou wisheth.


QUOTE OF THE DAY
“And then I see You there
With Your arms open wide and You try to embrace me
These lonely tears I cry
They keep me in chains and I wish they’d release me
Cold is the night but
Colder still is the heart made of stone, turned from clay
And if you follow me
You’ll see all the black, all the white fade to grey”
- Jars of Clay

Manual Mode; ISO 1600; Shutter 1/40; F-stop 2.8; Focal Length 20mm. Bounce Flash.



OK sometimes framing within the image isn’t intentional. It just happens without any visualization on the part of the photographer. This was one of 100 or so departure shots outside the ballroom at The Four Seasons Hotel Atlanta. I was walking (jogging) backwards and doing my best to keep up. The subtle framing with the marble structure helped to make this one my favorite out of the set, but I certainly didn’t think hard about it when it happened.


QUOTE OF THE DAY
“Even if you’re on the right track, you’ll get run over if you just sit there.” - Will Rogers