The hired photographer posed the so-called candids so that the obligatory formals and all else fit within the limited number 4x5" film holders and flashbulbs he carried. The stitched-celluloid-enclosed albums had a limited number of same-size black & white photographs. An engineering flaw in early color print papers caused their colors to shift after a short time.

Rollfilm cameras, interchangeable lenses, color film, and electronic flash expanded the creative possibilities, but it took years for practice to catch up. Standardized photography gave way to a variety of styles, ranging from on-location romantic portraiture, to abstract effects, to spontaneous photojournalism. The Professional Photographers of America, Wedding and Portrait Photographers International, and industry leaders have done much to advance the art and science through conventions, seminars, publications, print and album competitions, and ethics codes.

Much of the credit for the growth of quality wedding photography goes to teacher-photographers like Bill Stockwell, Don Blair, Monte Zucker (romantic portraiture) and Denis Reggie (photojournalism). We now have excellent materials and products, such as new high sensitivity portrait film, library-bound albums with creative mounting, compact high power portrait flashes and light controls, and advanced medium-format reflex cameras with ultra-sharp lenses.

The future is now: digital imaging, multimedia - a merging of video and computer technologies, and sharing of wedding photographs and video via the Internet.

Some couples are now selecting their images and designing their albums on the computer. In a few years, digital printing will also replace traditional chemical-based lab processes. Digital retouching is now starting to replace traditional brush and airbrush retouching.

The quality of prints from video is increasing at a rapid rate thanks to devices like the Play, Inc. Video Snappy. Part of this is due to the use of higher-resolution production formats like Hi8, Super-VHS, and most recently, DV. Although it will be sometime before these video-originated prints will equal their filmed brethren, there will come a transition point after which much of the market will have one individual with a video camera capture the wedding. This technique has been termed "Photorealistic video imaging" and is now being taught at video seminars. At the same time, I have seen a resurgence of interest in black&white, hand-coloring with photo oils, and resurrection of antique photo processes.

One thing that will never change is the demand for a photographer who can flatter a wedding couple and capture an event with sensitivity, alertness, and professionalism.

What makes a good photograph?

• Sharp, clearly focused image - at least the main part
• Full range of tones from the whitest white to the blackest black
• Attention is drawn to the main subject of the photograph
• Clear, distinct center of interest or emphasis without distractions
• True, vibrant colors
• Definite subject or theme
• Good finish quality.

What makes a good album?

• Sequence of images tells the story of the day and makes sense
• Good photographic quality throughout
• Logical flow from one image to the next
• Consistent color and quality throughout
• Solid mechanical feel and workmanship
• Good protection and alignment of photographs.

When should we look for and book our photographer?
As soon as your wedding date has been selected and your ceremony and reception site are contracted, or 6-12 months in advance. The good photographers get booked for popular dates 18-24 months ahead.

What should we ask a photographer on the phone?
Determine your desires and requirements before making any contacts, so you can rule out those you don't like. Is the photographer is available for your event? If not, get recommendations. The goal of your initial call is to determine if the candidate deserves a visit. Don't try to cover all possible technical details or detailed pricing; just get a general range.

How can we make sure the photographer is a professional?
First thing is to trust you intuition. If it seems like an amateur operation, it probably is. The fact that someone is "full time" does not guarantee a true professional quality operation. Here are a few possible indicators of a pro, as opposed to a hobbyist:

• Legitimate sales tax license, plus any other required license for your state or province.
• Proper business insurance. (Don't expect the candidate to show you his business documents, just ask for assurance.)
• Professional, well-maintained equipment with backup systems.
• Membership in a professional associations like the Professional Photographers of America, Wedding and Portrait Photographers International, or the Wedding and Event Videographers Association International.
• Clean place of operations (if damp or musty, imagine that mold growing on your negatives and prints!)

What services and products should we get?

The possible situations for photography are (*don't omit these):

1. Informal environmental pictures, with B/W glossies for engagement announcement; plus small framed prints for placement on desktops, gifts for the families, wall-size display, or creation of a sign-in card for display at the wedding reception
2. Formal bridal portrait in gown, taken in advance - for newspaper, etc.
3. Wedding couple's portrait session in advance
4. Rehearsal dinner
5. Getting ready at home
6. Pre-ceremony preparations at ceremony site
7. Pre-ceremony portraits on wedding day or different day
8. Ceremony (no flash) with processional, etc.*
9. Formal groupings after the ceremony*
10. Reception activities, plus informal groupings of families and guests*
11. Photographs of members of the wedding party with their significant others, presented to them in folios as a wedding favor.

Rehearsal dinner photography?
Here is a great opportunity for spontaneous photographs of the couple with attendants and families. While no substitute for wedding day photographs, this gets many of these group shots out of the way. It also can provide a more natural "everyday clothes" photograph of the wedding couple if a casual environmental is not done.

How much should we pay for wedding photography?
Some bridal consultants say 10-20% of the overall budget. Due to the variation of markets, expectations, and practices around the country, I won't give specific numbers. Here's how to answer that one for yourself. First, list your requirements and expectations. Look at some examples to get an idea of price vs. quality. Note your preference for style and manner of working. When inquiring, don't ask "How much do you charge?" Ask, "How much should I invest to get what I want, based on my needs and the logistics of my event?"

How can we stretch our very limited budget?
I still think it's important to have professional photography. Consider: a portrait session at the studio, or find a photographer who will give you an hour or so on location. If a longer event is involved, e.g. party at home or backyard, get the pro to take the essential formals plus a few groupings encompassing all the guests.

A popular cost-saver with my clients uses the Art Leather Galaxie album, which has two photographs per page side (four visible at a time) with all photographs in the 5x5-inch size. This saves considerably on alb um production time and gives the client ALL the images within a month of the wedding.

What about having a friend or relative do it?
I am generally against imposing on friends and relatives to do the official photography. Chances are, a competent friend may be better than an incompetent "professional." It is unfortunate when a couple truly limited in budget gets poor results. (I cover this about six topics ahead.)

Do we need both video and photography?  Does video coverage of the reception eliminate the need for candid stills?
They are different media. The experience of watching a video is different from going through your album. Most I know have no regrets about getting both. Many couples I know regret not getting a good video (one done by a pro, not by a friend).
In some instances, couples get full video coverage and limited photography. Video captures the sound and motion of the day in a way that still photos just can't match. It is still not a substitute for professional photographs.

What are the dominant styles?
Portrait-based and photojournalism. The former depends on use of a studio setup, or portrait session at some location where lighting and posing are carefully controlled. It is someone more invasive and demanding, but provides the elegant results some brides prefer.

Photojournalism demands alertness and preparation of the photographer to capture the natural, spontaneous images of the day. Most do take a short time for formal group pictures, but the majority are done without prompting or commands to smile. To take advantage of this style, expect to have a large number of pictures in your album. It is the choice for reality with least intrusion and a natural flair. Even though I advocate photojournalism, my opinion is that even a wedding photojournalist must know the principles of how to flatter a subject with portraiture. He must also be sure to get certain must-have groupings, even if it takes some intervention.

Our photographer's (or videographer's) contract states that we must use his studio for the video (or photography) too, or have no video at all. Can he do that?
I'm not a lawyer, but to the best of my knowledge and belief, in the U.S. it is an illegal provision prohibited by Anti-Trust Laws. Illegal contracts are simply not binding. This may be a tip-off to an uncooperative studio.

Our photographer wants to limit what guests will take with their cameras. Why should that make a difference to him?

I personally have no objection to and feel no threat from guests with their camera. In fact, if I'm not occupied at the moment, I offer to take group shots with the guests' cameras. There are certain times, like the 15-minute post-ceremony formal ses sion, where I need the attention of the group.

But, I've heard of several local photographers who claim that all wedding images are "copyrighted and cannot be photographed by guests." That is patently wrong!

Images on negatives and prints can indeed be copyrighted. There are some critical times, like during formal portrait sessions, where guests cameras distract the subjects, casing them to look in divergent directions. The guest's flash may also cause eyes to be closed for the pro's shot (which you are paying for). Also, some churches prohibit flash during the ceremony. Guests' flashes in this time are not only distracting. They also spoil the wonderful existing-light shots your photographer may be striving for. If guests behave with consideration and manners when using their cameras, there will be no problem.

What about those disposable cameras?
The single-use cameras with built-in flash (required, since most receptions are indoors), are good for the 5-7 foot range. They work best for guests taking snapshots of other guests. In my experience at weddings where these cameras were distributed, the wedding couple later reported to me that one or two always get inadvertently carried off by guests, and of those remaining, about 40-50% of the shots are printable (others are underexposed or blurred). With the cost of developing and printing, figure $17-20 per camera. The disposables ARE NOT a substitute for professional coverage.
If you have already devoted adequate resources to your professional coverage in photography and video, the disposables are a nice adjunct and will give you another slant on the wedding. Just make sure the guests know how to activate the flash and where to deposit the used cameras. If your photography budget is tight, better off devoting that extra $200 to your pro coverage.

What are the relative merits of large studios vs. independents?
Quality of work and service are more important than size. Large studios offer resources and backup in case your assigned photographer gets sick. Some feel more comfortable in dealing with a larger, more substantial firm. Most employ subcontractors, many of whom use photography as a supplemental income source or are just learning the trade. Some big studios are geared to low-budget events. Small studios and independents excel at individualized personal service. You will most likely have your first contact directly with the actual photographer who will do your event. The advantage here is that your album will more closely reflect your personal wishes.
Small or large, make sure the photographer takes his profession seriously.

How can we spot the good photographers?
If ones you have interviewed all seem the same, then you haven't found the right one. Don't accept any excuses for sloppy photography. If the sample looks fuzzy or off-color or frayed, expect the same if you hire that candidate. Colors and tones should be natural and accurate. You should see detail in the whites (gowns) and dark (tuxes) parts of the image. I am personally impressed by wedding albums that portray the true feelings and events of the day and make the people look genuine and natural, while flattering.
Very important: The photographer will be a part of your day and possibly interact with your family and friends. He is at his BEST at the appointment. If you sense insensitivity or abrasiveness, it will be much worse at the wedding. He must be a TEAM PLAYER with others involved in the wedding, such as your clergy, your videographer, and your catering director.

Our photographer seems to have a real "attitude problem." How can we prevent this from spoiling our day?
If you discover this at the wedding, your only hope is to have someone calm the situation as much as possible. Winning an argument or threatening to sue accomplishes nothing if the individual storms off the scene, leaving you high and dry. Avoid such individuals; however, many are deceptively nice until they have your contract.
Sometimes this behavior results from fear or insecurity of losing control of the elements needed to make photographs up to his standard. The remedy is to make it clear that you have confidence in your photographer and will do everything possible to cooperate with him, in exchange for his treating your family and guests with respect and courtesy. It is also essential to have everything clearly in writing and not to go on verbal promises, as many misunderstandings occur when clients fail to receive something offered casually but not promised in writing.

Now, about the "clod" who is insulting your guests ... you have two choices. One is to have him escorted from the scene by the resident "security force." Here's another. Have one of the more persuasive members of the family or wedding party calmly approach him: "Something seems to be bothering you. The bride wants very much to enjoy her wedding day. How can we make things go well for you, so that both of you will be happy - and civil?" Hopefully, that will diffuse the situation.

Why shouldn't we have a friend or relative do it instead of a pro?
Wedding photography is both an art and a science, requiring someone with the proper equipment and the right skills, plus the demeanor to be effective and creative under pressure. It is almost impossible to be a guest and at the same time, concentrate on the technical details of photographing an entire day. Trust your once-in-a-lifetime wedding to a "pro-for-a-day" and you will have bad feelings for a lifetime.
I feel that asking a guest to do the official photographs and no different from asking dinner guests to work for their meal. The biggest equipment failing of amateur photography in lieu of pro (for weddings) is inadequacy of flash power. Compared to at-home shots, the flash must cover a greater distance in rooms with higher ceilings for a longer day with slower film. Wedding pro flashes have 5-6 times the power for three times as long as even higher end amateur flashes. Don't discourage your guests from bringing cameras, but DO suggest that they enjoy themselves as guests and they should not interfere with your hired pro.

What are the relative merits of 35mm and medium format?
Most professional wedding photography is done in medium format (6x4.5, 6x6, or 6x7 cm) because of its inherent superior technical quality and ease of enlargement production. A larger negative will make inherently sharper enlargements. The 35mm negative is 3.6x2.4 cm and requires a higher enlargement factor for a given print size, so grain and focus errors are much more apparent. Medium format has lots of flexibility for cropping and alignment. It is much easier to retouch blemishes, scars, lines, and pimples in medium because it can be done right on the negative -- 35mm is too small for this. When considering the production of a 10" album, the lower cost of 35mm equipment and processing is overshadowed by the cost of custom printing the material to make it work in the album.
But 35mm is gaining in popularity for professional wedding photography. It works very well (a) for smaller, intimate weddings where large group shots are not required, (b) as a adjunct to medium format coverage, taking advantage of the latest autofocus technology and zoom lenses, (c) when the logistics demand use of a light, compact system (e.g. wedding on a boat). At INTERFACE PHOTOGRAPHY we have elected to use 35mm format only. That format permits flexibility, both in speed and ease of use - so we take many shots in typically a documentary style. That format reuslts in many candid and formal pictures with a greater slection for the final album. The result is the customer gets what he wnats precisely.

Is it advisable for our photographer to do the formals in medium format and the candids in 35mm?
This depends on the methodology and philosophy of your photographer. I usually don't because it complicates logistics (twice as much equipment and supplies to carry), and I can see a difference in image quality in a side-by-side comparison of group photographs or other compositions requiring resolution of detail. Many contemporary photographers employ the mix of formats using the advantages of each. Let your eyes judge the merits.

What is the best way to get a mix of black-and-white photographs along with color -- assuming that's possible?
If using the B&W just for the newspaper, then ask for a Panalure (b&w) or glossy color print. If you want some b&w for their artistic merits, your can either have some images originated in b&w film, or have it all shot in color and decide later which ones are best for monochrome treatment.
Some professional labs now offer Kodak Ektamax prints for &w images from color negatives. Advantage is that you get a nice print, while avoiding the logistical hassle of having two film types shot which complicates the photography and increases chance of a mistake. But Ektamax is really a color paper with B&W dyes. If you are asking for B&W for its archival properties, or want substantial B&W coverage, get traditional B&W film and materials (Kodak agrees).

What about getting the negatives and making our albums and enlargements?
A benefit of commissioning a professional photographer is full service all the way to creation of a finished album. There's processing, sorting, designing the book, mounting the pictures, etc. But some photographers simply give you a stack of proofs and negatives -- and that ends your relationship with them. It seems like a good way to save costs and get a lot for your dollar with great flexibility. I estimate that these photographers charge more per hour than their full-service counterparts!
However, it's wise to cover the disposition of the negatives in contract. Most reasonable photographers provide for release 5-10 years after the event if you keep your address information up to date. At INTERFACE PHOTOGRAPHY we typically loan you the negatives for your use for private reproduction purposes. In most cases we will not ask for them back. Interface Photography at its election may sumit its copyrighted images fpr artistic or commerical purposes and will simply request the cxustomer to return the negatives for that purpose. All we ask is that you do not use them for commerical purposes unless there is compensation since Interface Photograph  owns the copyright. Please note that this issue is in fact a statement of law throughout the modern world

What are the popular album types?
Library Bound - simply the best. Bound as a real book. Photographs are individually matted, then matte-pages are bound as a book with a personally tooled leather cover. The most expensive, but the most elegant and long lasting. To my knowledge, the only ones in the US are from Leather Craftsman (Farmingdale NY) and Capri (Mount Vernon, NY).
Z-Page - photographs are slid into the page, which forms the border or matte. The page has steel pins on one edge for snapping into a cover. Most covers are of simulated leather, such as Art Leather's Aristohyde. It's cheaper than library-bound and allows pictures to be changed later, but it's less elegant. This style is the most popular in US today.
Post-bound - similar to above, but page ends and covers have 2-3 holes for screw posts. It's an old style, subject to distortion.. Posts gradually loosen, allowing the album to fall apart. Offered by several major album companies such as Tap and Holson.
Hinge-bound - ends of pages form a brass hinge. Pictures slide into paper pages which are thinner than two styles above. Pages and covers twist and distort. I have seen these fall apart in short order. I recommend against them and won't list the makers.

What about getting loose pictures and putting them in our "magnetic" album?
These albums will not preserve your pictures. In time, the adhesive will deteriorate and the covering will fall off. It may adhere to the picture surface and destroy the emulsion. Pictures won't stay put! A danger with any album that puts a picture surface behind a plastic cover is the picture sticking to the plastic, which ultimately pulls away the color layers, or mildew growing under the plastic. I have yet to see an off-the-shelf album that compares in quality, workmanship, and durability to a custom-made pro album.

What can we do if our album and enlargements are way overdue? How can this be prevented?
If at the booking stage, make sure completion schedule is addressed in contract and accept no verbal assurances. If after the wedding, review your contract to determine if the items really are overdue according to the terms. Make sure you have fulfilled your part of the agreement, including payment of balances due, completion of selection, approval of album design, and return of previews. Also look for clauses about seasonal variation in completion times. If the items really are overdue, try a series of gentle but increasingly firm reminders. Get a commitment as to when things will be done. Be a squeaky wheel!
I don't recommend legal action unless you get stonewalled by the studio or repeated reminders fail. Once things go into arbitration or litigation, your items may be held up pending the outcome particular if the studio makes a countersues. Other recourses include contacting your state's pro photographer's association, the local Better Business Bureau, and if all else fails, the Court System. If things get tricky, communicate in by certified letter to establish a paper trail.

Should the bride and groom see each other before the ceremony for portraits?
Don't worry this unless you want lots of portrait groupings or combinations which involve the bride and groom in the same picture. I firmly believe that couples who are opposed to a pre-ceremony photo session in wedding attire, for whatever reason, should not be pressured, coerced, or embarrassed into it. But they must also be made aware of the consequences with respect to picture results or impact on the flow of the day. If you want lots of posed romantic portraits, there's no other way, unless you are willing to take time out from festivities or don wedding attire a few weeks later for photos.
In my personal experience (since 1984), many couples have regretted not meeting in advance for nice pictures and some moments alone. But NOT ONE COUPLE that met in advance ever regretted it; many admitted afterwards that it was their most memorable experience of the day. Many have started a new tradition of the First Meeting. Let it be a private personal moment you share before the vows. You will see each other close up at your best. And it is a wonderful opportunity for spontaneous, expressive pictures that really show your relationship. What an improvement over "ASOC" pictures (artificial smile on command)!

Do we need to feed the photographer?
The photographer's day starts several hours before the wedding and goes on for several hours after the party's over. It is a long, hard, tense day of being creative under pressure. It is in your interest to help him function comfortably and effectively, and providing a suitable meal helps; it doesn't have to be a full banquet meal. Your caterer may offer a sandwich or snack that's just right and will be greatly appreciated.

How can we get everyone in at least one picture?
This is easy for very small events, but challenging when the guest list climbs toward 100 or more. In my experience, the best way, when having formal seated dinner service is to get table shots (before main course, preferably). Or, have the master of ceremonies call for a huge group shot of all the guests. It's fun and makes a great shot for the album!

How many previews should we expect?

Depends on the style and approach of coverage, length of coverage, and size of the wedding. For a ceremony and reception with dancing and over 100 guests, you should have at least 75. Possible guide: 15-30 images per hour. Beware of photographers who claim the 40-50 previews will result from a 6-hour event with 125 guests!

Why do albums take so long? How can we speed it up?
Biggest delays occur before the order is compiled (see prior question) and are due to some family member holding up the selection. Other big delays are due to laxity on the studio's part, so make sure your contract gives a completion time based on when order is submitted. And get your selection made on time!

How long will our photographs last?
Several labs claim 100 years for their color prints when not abused. I think properly-sprayed and mounted prints will last as long as the marriage! Kodak has now a Promise of Excellence program which effectively gives a lifetime guarantee to portraits done with their products through studios in the P/E program. However, don't pick a photographer based on his film brand, as many get great results with Fuji film as well as Kodak.

How can we best preserve our photograph album?
Keep the album closed and flat; don't store it vertically. Keep it in a cool dry place. Don't expose the pictures to excessive UV from sunlight or fluorescent lights. Avoid abrasion. When kids arrive, store the album till they are old enough to respect it. And keep the photographer abreast of address changes so you'll get the negatives before he trashes them. I have personally made replacement albums; the most recent due to destruction by the family dog, so store it out of Rover's reach!

Can we save money by getting black & white instead of color?
No! Even though B&W film is cheaper, developing and printing are more expensive because B&W has not been automated to the extent of color. So expect to pay a premium for B&W coverage.

Why can't we just copy the proofs to save money?
1 - It's illegal, unles you have been given written permission to do so. 2 - quality will be very poor. Of course, some photographers do not claim copyright and even release the negatives. The right of a photographer to copyright the photographs has a firm basis in law. A number of copyright infringers have learned the hard way that illegally copying a photographer's work is a big no-no and cost them LOTS of money in damages and fines - and legal fees! So unless you have written permission, don't try it - and don't ask anyone to do it for you.

How can we be sure our photographer won't mess up?
Photography inherently involves an element of risk and speculation due to its technical nature. You can lessen the chance of problem by booking a competent photographer and clearly communicating your event information and expectations.
But mess-ups happen. Film jams. Labs ruin film. Cameras break. Most photographers are very sensitive to customer perceptions and will try to remedy the situation or compensate you in some way. (See question about overdue items.)

What if our photographer gets sick or has an emergency?
Most have a contract provision that says, in effect, that in such instance they will attempt to get a substitute, but that their liability is limited to a refund. This is where professional association membership is important; members cover for each other. However, realize that all the details of your wedding involve an element of risk.

How can we get the most from our photography investment?

Establish a win-win relationship with your photographer.

List the essential and important people to be photographed.

Be on time for your portrait sessions.

Insist that your wedding party and family members be on-time

Tell them how important your pictures are and that you consider cooperation a personal favor to you.

Ask your guests (or have the best man do it) not to interfere with the pro when he's doing group shots and formals.

Most importantly, ask your photographer, "What can we do in terms of cooperation to help YOU do the best job for US?"

Our photographer did a great job? Is tipping appropriate?
The size of your order for additional prints is one indication of your satisfaction. The most valuable gratuity is your recommendation of the photographer to others. And a very special token of appreciation is a personal letter of recommendation to the photographer. I can't speak for other photographers, but I have refused offers of cash gratuities.