Wedding Photographer's Handbook

by Bill Hurter

  Removable Storage Media. Instead of film, digital cameras store and save digital image files on portable digital media, such as CompactFlash (CF) cards, Memory Sticks, microdrives, and xD cards. The camera writes the image data to the removable storage device as photographs are captured. When the media becomes full, you simply eject it and insert a new card or microdrive just like you would change film at the end of the roll. Removable media are rated and priced according to storage capacity—the more storage capacity, the higher the price.

  There are two types of media: flash memory (like CF cards and Memory Sticks) and microdrives (miniature portable hard drives). Flash memory, which uses no moveable parts, tends to perform better than mechanical hard drives under adverse shooting conditions. Some cameras feature dual slots for different media types, others accept only a single type of card. Obviously, the more options you have, the more flexible the camera will be over time. The most common formats at this time seem to be the CF cards (Types I and II) and microdrives.

  The write speeds of the different media (how fast data can be recorded by the card) vary from 1.8MB/s (megabytes per second) all the way up to 10MB/s. Write speed is a critical function, especially if you plan to shoot RAW files, which are inherently bulkier than JPEGs. However, the write speed of the media is not the only determining factor in how fast information will write from the camera to the storage media. The software used by the camera, the file size, and the number of individual files to be written are all determining factors. However, as the crow flies, faster write speed is a desirable quality in storage cards.

  The Nikon D2H is a typical professional DSLR used by the contemporary wedding photographer. This model, in fact, is the one preferred by wedding specialist Joe Buissink. While its sensor size is somewhat smaller than other DSLRs (4.1MP), its burst rate is much faster (8 fps up to 50 [JPEG] or 40 [RAW/NEF] consecutive shots). Attached to the bottom of the camera is the Nikon WT-2A Wireless Transmitter, a Wi-Fi device that allows the captured images to be sent wirelessly to a laptop for processing.

  Digital images must be uploaded from the camera’s removable storage media to a computer. To facilitate this process, a number of digital card readers are available very inexpensively. Of course, the camera can also be connected directly to the computer and the images uploaded in this manner, but a card reader gives the photographer the flexibility of putting the camera back into action immediately—loaded with a fresh memory card. Card readers feature USB 2.0 or FireWire connectivity, which make uploading incredibly fast. Once the images are safely stored on the computer’s hard drive and safely backed up on CD or DVD, the memory card can be reformatted and reused.

  Image Sensors. Digital cameras use image sensors to record images. Presently there are two main types: CCD and CMOS sensors. While opinions on the aesthetic performance of the two imaging chips vary from pro to pro, both sensor types provide excellent quality image files.

  The latest memory card at this writing is the xD card, developed jointly by Fuji and Olympus. The xD card, which uses NAND Flash memory, is very small and provides write speeds up to 3MB per second. Currently, the largest capacity xD card is 512MB, but by the time you read this, it will be up to 8 gigabytes. Various adapters make the cards useable across a wide range of digital cameras.

  CCDs (charge-coupled devices) record an image in black and white and then pass the light through an array of red, green, and blue filters (called a Bayer filter pattern) to form a color image. The individual filters let only one wavelength of light—red, green, or blue—pass through to any given imaging site (pixel), allowing it to record only one color.

  Like CCDs, CMOS imaging chips (complementary metal oxide semiconductors) use a Bayer filter pattern over the photodetectors. Also included on the CMOS imaging chip, however, is analog signal-processing circuitry that collects and interprets signals generated by the photodiode array. After an image has been obtained, it is amplified and converted into standard red, green, and blue (RGB) format through interpolation systems. CMOS chips are more energy-efficient than CCDs, an important consideration as digital cameras are big-time battery consumers. They are also somewhat less expensive to manufacture.

  When using a DSLR with a full-frame sensor, such as the Canon EOS 1Ds Mark II, the focal length of the lens does not change, so that the zoom setting of 115mm, as was used here, is exactly that, 115mm. Photograph by Dennis Orchard.

  Marc Weisberg made this wonderful image with a Canon EOS 1D Mark II and 70-200mm f/2.8 lens. The ability of the zoom lens to crop in camera, thus providing the best composition, makes it excellent for the wedding photographer. Image made at 170mm focal length at 1/1250 at f/2.8 at ISO 200.

  Although full-frame image sensors now exist, most imaging sensors are smaller than the full 35mm frame size (24x36mm). While the chip size does not necessarily affect image quality or file size, it does change the effective focal length of existing lenses. With sensors smaller than 24x36mm, all lenses get effectively longer in focal length. This is not usually a problem where telephotos and telephoto zooms are concerned, as the maximum aperture of the lens doesn’t change. When your expensive wide-angles or wide-angle zooms become significantly less wide on the digital camera body, however, it can be disconcerting. A 17mm lens, for example, with a 1.4X lens focal-length factor becomes a 24mm lens.

  Joe Photo made this stunning portrait of the Eiffel Tower with a 17mm Nikkor lens on a full-frame film camera. Had he used the same lens on his Nikon D1X or D2X, the focal length would have become 25mm (1.5X)—not nearly the wide-angle effect he would have wanted to achieve. Original made on infrared film.

  At this writing, there are two camps: manufacturers who believe full-size sensors are the way to go, and those who believe a smaller sensor is more efficient, cheaper to manufacture, and just as reliable—even if there is an effective focal-length magnification. Currently, there are two full-frame sensor cameras available in a DSLR: Canon’s flagship EOS 1Ds and the EOS 5D. All other manufacturers are using smaller sensors.

  Camera manufacturers who have committed to the smaller image sensor sizes have begun to introduce lens lines specifically designed for digital imaging. The circle of coverage (the area of focused light falling on the film plane or digital-imaging chip) is smaller and more collimated to compensate for the smaller chip size. Thus, the lenses can be made more economically and smaller in size, yet still offer as wide a range of focal lengths as traditional lenses.

  Unlike film cameras, the image sensor in a digital camera must be kept clean of dust and other foreign matter in order for it to perform to its optimum level. Depending on the environment where you do most of your shooting, spots may appear on your images. Cleaning the sensor prior to every shoot will help you to minimize or eliminate such spots in your photos.

  While each camera manufacturer has different recommendations for cleaning the sensor, Canon digital cameras have a sensor-cleaning mode to which the camera can be set. With the camera’s reflex mirror up (a function of the cleaning-mode setting), the company recommends light air from an air syringe to gently remove any foreign matter. Turning the camera off resets the mirror.

  One should realize the image sensor is an extremely delicate device. Do not use propelled air cans, which have airborne propellants that can coat the sensor in a fine mist, worsening the situation.

  Intemos (www.intemos.com) markets a liquid-free cleaning product that removes dust and lint from the camera sensor. Lint-free tips with hundreds of micropores, called DSLR Clean Sticks, gently clean a sensor’s sensitive surface with a delicate vacuum effect that lifts and traps the unwanted dust. Clean Sticks work with both CCD and CMOS sensors.

  Things to Consider When Purchasing a DSLR System. In no particular order, here are some things to consider when purchasing a digital SLR system.

  Sensitivity/ISO Range. Most digital camera systems feature a sensitivity range from ISO 100 to 800 or, in some cases, 1600. Some cameras also offer an ISO 3200 setting as a special custom function. Ob
viously, the wider the gamut of sensitivity, the more useful the camera system will be under a wider range of shooting conditions.

  Burst Rate. Unlike film cameras, which use a motor drive to propel the film past the focal plane, there is no film-transport system in a digital camera system. The number of frames per second (FPS) the camera can record is dictated by a number of factors, including write speed (how fast the image can be written to the storage media), file type, and file size. RAW files are larger than JPEGs, for example, and take longer to record, thus the burst rate is slower when shooting RAW files than it is when shooting JPEGs. Typical burst rates range from 2.5fps (frames per second) for up to six shots, all the way up to 8.5fps for up to 48 shots. The spec to look at is the number of consecutive frames that can be captured in a single burst (6, 8, 10, etc.) and the frames-per-second rate (3fps up to 8.5fps).

  LCD Monitor. The size and resolution of the camera’s LCD screen are important as these screens are highly useful in determining if you got the shot or not. LCD screens range from about 1.8 inches to 2.5 inches and screen resolutions range from around 120,000 to 220,000 dots.

  Playback. As important as the physical specifications of the LCD is the number of playback options available. Some systems let you zoom in on the image to inspect details. Some let you navigate across the image to check different areas of the frame in close-up mode. Some camera systems allow you a thumbnail or proof-sheet review of exposed frames. Some of the more sophisticated systems offer a histogram (to gauge exposure) and highlight-point display to determine if the highlight exposure is accurate or “clipped” (i.e. detail is lost in the bright highlights).

  Lens Conversion Factor. The rated focal length of the lens multiplied by the focal-length factor gives the effective focal length. With a 1.6X focal-length factor, for example, a 50mm lens would become an 80mm lens. (Note: Lens speed, as mentioned above, is not affected by this conversion. Your f/1.8 lens would still remain an f/1.8 lens.)

  Effective Pixels. This is the maximum image size the sensor can record. The spec might be given as 5 million pixels or 5MP (megapixels). Obviously, the higher the number of pixels, the larger the file; the larger the file, the larger the print you can create from it. Some manufacturers also give the spec in terms of Photoshop file sizes—11MB (megabytes) or 18MB TIFFs, for example, since many people think in these terms. It is important to note that some manufacturers use processing algorithms to interpolate resolution. For example, the chip size might be 6MP, yet the standard file size is 12MP because of the software interpolation. The is the case with the Fuji FinePix “S” Pro models.

  File Types. The different types of files that DSLRs typically record are RAW files, JPEGs, and TIFF files. JPEGs allow you to shoot more quickly because there is file compression inherent in the format. RAW files provide the maximum amount of information in the captured image.

  PC Terminal. Some of the lower-priced DSLRs might seem a bargain until you realize they don’t include professional features like a PC terminal for connecting to electronic studio flash.

  DSLRs go through batteries quickly, so it’s essential to pack spare packs. These should be charged and ready to go—even with quick-chargers, you will miss precious opportunities if you are waiting around for the battery pack to charge. You should have enough spares to handle your cameras, your assistants’ cameras, and the backup gear.

  Michael Schuhmann created this wonderful bridal portrait by using the limited depth of field of a 50mm lens at f/1.4, its widest aperture. The image was made with a Canon 1D Mark II at ISO 250 at 1/5300 second at f/1.4.

  Shutter-Lag Time. This is a spec most camera manufacturers don’t provide in their literature, but is important to know before making a purchase. This is the length of time between when you press the shutter release and when the camera actually fires. Consumer and prosumer cameras (consumer cameras with professional features) have substantially longer shutter-response times than professional systems, which are almost instantaneous, but it is still worthwhile testing out each camera in various modes to see the differences between models. Shutter-lag time will directly affect the camera’s burst rate. Rates of shutter-release delay time are usually given in milliseconds (thousands of a second) if the spec is even given. An average shutter lag time would be in the area of 50-90ms.

  Lens Capability and Accessories. If you’re like most professional photographers, you’ve already invested heavily in one 35mm SLR system. Convincing you to trade in all those lenses and accessories and change to a different brand of camera would take some compelling arguments. Will your current lenses fit the DSLR and will all of their features be useable on the digital camera body? Know the answers to these questions before you invest.

  Removable Media. Some cameras feature dual slots for different media types, others accept only certain types of removable cards, like CompactFlash cards. Obviously, the more options you have to use larger and or less expensive media, the more flexible the camera will be over time.

  Dimensions/Weight. As with any camera system, ergonomics are extremely important—especially to the wedding photographer, who will be working for hours on end handholding the camera with a variety of lenses. Try the camera out. It might be quite different than even your same-brand film camera.

  Battery Power. So, where’s the motor drive? It’s been turned into a battery pack. Since you don’t need motorized film transport, there is no motor drive or winder, but the cameras still look the same because the manufacturers have smartly designed the auxiliary battery packs to look just like a motor or winder attachment. While most of these cameras run on AA batteries, it is advisable to purchase the auxiliary battery packs, since most digital camera systems (especially those with CCD sensors) chew up AAs like jelly beans. Most of the auxiliary battery packs used on DSLRs use rechargeable Lithium-ion batteries.

  Price. It’s not necessarily the price of the flagship camera in a manufacturer’s product lineup that’s important, but rather it’s the range of prices. Many photographers have decided to purchase several top-of-the-line DSLRs and then several of the lower-priced models from the same manufacturer for backup and assistants’ cameras. These backups still take the same lenses and removable media cards, but are less expensive than the top-of-the-line cameras.

  White Balance. White balance determines the color balance of the recorded image. It can be set individually for each series of shots you make (like applying a color-correction filter). Some manufacturers offer a wide range of white-balance options that correspond to a range of Kelvin degree (the color temperature of light) settings. Others use more photographer-friendly terms like “afternoon shade.” In addition, virtually all of the cameras feature an automatic white-balance setting, which allows the camera to sense and determine the optimal white-balance setting. Most also include settings for fluorescent and incandescent lighting. Custom functions allow you to create your own unique white-balance settings to correspond to certain known shooting conditions or mixed light conditions. Obviously, the more flexibility you have in accurate white-balance recording, the less color correction you will have to perform later in Photoshop. Some camera systems even offer a white-balance bracketing feature.

  Walking backwards as the couple approached, Laura Novak made this photo at very close range with a 17mm lens and a Canon EOS 5D with flash. Because she had metered for the ambient light, the photo does not have a “straight flash” look.

  Laura Novak made this very cool shot with a Canon ESO 20D and EF 17-40mm f/4L lens. Because of the 20D’s focal length factor of 1.6X, the 17mm setting, at which this image was made, became a 27mm effective focal length. The image was made at ISO 400 at 1/30 second at f/4.0 with flash.

  The 70-200mm or 80-200mm zoom is one of the most frequently used tools of the wedding photographer. When combined with the adjustable ISO speed of the DSLR, pictures can be made almost under any conditions. Dennis Orchard made this lovely image with a Canon EOS 1Ds and EF 70-200mm f/2.8L at 1/60 second at f/2.8 at ISO 400 and th
e 70mm focal length.

  LENSES

  Zoom Lenses. For today’s digital photographer, one of the most popular lenses for all types of photography is the 80-200mm f/2.8 (Nikon) and 70-200mm f/2.8 (Nikon and Canon). These are very fast, functional lenses that offer a wide variety of useful focal lengths for many applications. This makes them particularly popular among wedding photographers, who find them useful for all phases of the ceremony and reception.

  They are also internal focusing, meaning that autofocus is lightning fast and the lens does not change its physical length as it is focused. At the shortest range, 80mm (or 70mm), these lenses are perfect for full- and three-quarter-length portraits. At the long end, the 200mm setting is ideal for tightly cropped candid coverage or head-and-shoulders portraits. These zoom lenses also feature fixed maximum apertures, which do not change as the lens is zoomed. This is a prerequisite for any lens to be used in fast-changing conditions. Lenses with variable maximum apertures provide a cost savings but are not as functional nor as bright as a faster, fixed-aperture lenses.

  Wide angle lenses are also popular—both fixed focal-length lenses and wide-angle zooms. Focal lengths from 17mm to 35mm are ideal for capturing atmosphere as well as for photographing larger groups.

  Because digital lenses do not have to produce as wide a circle of coverage as lenses designed for full-frame chips, lens manufacturers have been able to come up with some splendid long-range zooms that cover wide-angle to telephoto focal lengths. Lenses like Canon’s EF 28-300mm f/3.5-5.6L IS USM and EF 28-200mm f/3.5-5.6 USM are fast, lightweight, and extremely versatile given the extreme range of focal lengths that are covered.