|Posted on May 24, 2010 at 9:15 AM||comments (0)|
Wedding Photojournalism is an increasingly popular style ofwedding photography today. Brides who choose photojournalists to capture theirwedding day feel the traditional photography style is stale and old, they arelooking for something new and different.
Photojournalism is a skill, not just the name of a style ofphotography. A wedding photojournalist is a photographer whose strength is incapturing the moments. Often a photographer using this style has experience injournalism - newspapers, magazines, etc. This style originated within the newsmedia, and transferred to other areas of photography, such as weddings.Photojournalists capture images that tell a story.
The wedding photojournalist usually arrives well before the brideis dressed and stays until they take last photo of the bride and groom leavingthe reception. The photographer unobtrusively captures each action of the day,this way the photographs are not posed or staged. Since the subjects areunaware the camera is there, events are captured in a pure, genuine state. Trueemotion is caught and revealed using this style of wedding photography.Usually, these photos are taken with black and white film which truly capturesthe 'storybook' effect of this style. The end result is a narrative collectionof images that show actual emotions and experiences of the days events.
Choose a wedding photojournalist to document your wedding day ifyou want unique photographs designed to tell the story of your day. This styleis right for you if you want candid and artistic photos, a loose and relaxedway of being photographed, with a photographer that lets the actions of the dayhappen instead of making them happen.
Delroy A. Whyte-Hall
Journalism-Style Wedding Photographer
|Posted on May 17, 2010 at 9:15 AM||comments (0)|
Question: "What's the #1 question on the mind of every business editor, every day?
Answer: “What are we going to do for art?"
"Art" is newspaper jargon for the photos and graphics that run on almost every page, and always on the front page and on section fronts.
Newspapers, magazines and other print media all report the news using both words and pictures. But some stories are easier to illustrate than others. Entertainment, sports, weather, fashion, charity and many political stories often provide dramatic visual images that help tell the tale.
On the other hand, there is the plight of the business editor. The vast majority of business is done by people sitting at desks, working on computers or telephones, or in conference rooms. There may be dramatic goings on at these desks and in these conference rooms - mergers or acquisitions, huge customer deals, you name it - but most of the time there's nothing interesting to photograph.
Yet you'll notice that not a day goes by when the business section is devoid of graphic content. Editors expect the business section to look like the rest of the newspaper, so business editors have to come up with eye-catching graphics to go with the stories they are reporting.
This is where PR people come in. Business editors rely heavily on PR people to help their photographers and graphic artists illustrate the stories running in the business section.
Got a spiral staircase in your building? Tell the photographer and have your spokesperson photographed standing on it. Your CEO likes to ride his bike during lunch hour? Talk him into allowing himself to have his picture taken while riding it.
You can even use this bit of knowledge to pitch stories. Identify novel-looking objects, locations or activities within your organization, and figure out how you can link them to the story you are pitching. Then bring up the availability of this good photo opportunity to the reporter or editor you are pitching. Even reporters, who don't generally have to worry about the visuals for their stories, have been trained to perk up their ears to listen for and find good photo ops. And don't be shy about pointing out that your spokesperson or key executive is a woman or a physically challenged - given the lack of women and physically challeged business leaders, that will spark the interest of business editors as well.
When you don't have a good photo op, try to find a way to illustrate your story with graphics, such as charts and even artwork. In this case, be careful to look for truly newsworthy statistical information or artwork that supplements your story. And also be careful not to pitch proprietary or hard-to-research information or you could wind up promising something you can't deliver.
If you are already working with a reporter on a story, you can still use this strategy, since reporters usually talk to many sources for a story - but only one or two get their picture in the paper. Sometimes, if the story is of enough importance, the editor might request a specific picture to illustrate it. But just as often,they are on a tight deadline and looking for just about anyone they can take a picture of. Have your picture taken, and you are not only very likely to have it appear, you are also going to be quoted prominently in the story as justification for having your picture there.
Final point: this is another example of how being a thoughtful PR person who understands the needs of the media can help you be successful at your job. Most of the time, you don't need fancy media strategies to get coverage. You just need to know how the media works and what they need from PR people - especially when it comes to knowing their photographic needs. And maybe even more importantly, you'll make a good impression on the journalists you are working with, which will help your career and increase your pitching success over the long run.
Delroy A. Whyte-Hall
|Posted on May 10, 2010 at 9:15 AM||comments (0)|
Is it really true that you need to pile on foundation so thick you need a chisel to scrape it off, or lipstick so dark it appears you drank a canof brick paint so you don't look “washed out”?
Of course not!
That “washed out”look you might have seen in still photos is from direct flash with improper exposures set by the photographer, not improper make-up use.
Wear your make-upthe way you would want to look in real life because, with the right photographer, that is how it will show up on the camera.
On an opposite note, if you were planning on not wearing make-up, think it over again.
For a minimalist look, swipe powder on your face to help absorb oil and prevent shine. Even if you have dry skin, it will create as ofter, more even finish for your photos.
Try a crème to powder finish for better coverage with less steps. A little blush won't hurt either. Keep it a lighter shade of pink or a brownish pink for a more natural look.
Have darker toned skin? Try using brighter colors. If you have dark eyebrows and long dark lashes, you can get away with skipping eye make-up all together. Otherwise, use an eyebrow pencil and/or mascara if nothing else.
When it comes to lips, I know people always suggest clear lip-gloss for those who use make-up. I would suggest this is not always the best choice.
Wear some kind of colour on your lips, particularly if they are very light in tone to prevent an undone or dull look.
It needn’t be a dark shade,only enough to define the area and add a little pop! In fact, I would say, if you were to only wear two items of make-up, it would be lipstick and a crème to powder foundation.
And of course, practice putting this all together to make sure you're comfortable with the final look BEFORE your big day.
Delroy A. Whyte-Hall
Journalism-Style Wedding Photographer
|Posted on May 10, 2010 at 9:15 AM||comments (0)|
A picture is worth 1000 words, especially when it comes to print and television publicity.
That's why it is very important for publicists, wherever possible, include photography in each of their publicity campaigns.
In fact, in my experience, addition of a quality photo with a press release increases the probability of it getting run by 100-500%; it's that important.
Note the keyword in that last phrase - "quality". Quality in publicity photographs includes two key factors: visualisation of the story, andthe technical quality of the photograph.
1. Visualization of the story
This requires a different way of thinking for many publicity-minded individuals. Instead of just thinking about the best hook upon which they can hang a story, they also have to think visually - "how can I portray this story visually and in a compelling fashion?"
This requires much more than the old standby publicity photo setups... the infamous check pass, the hand shake and the ever-fascinating ribbon cutting
The best quality publicity photos visualize the story, to show the viewer inone glance what that story means to them or to others.
Quality publicity photos don't happen by accident, they're planned, and set up,maybe even rehearsed, in advance.
The technique I suggest you should use to judge a photo is to ask yourselves two questions:
- "If all the editor had was this photo and a caption, would he or she choose to run it?"
- "Would this photo communicate what we want it to if the written story was thrown away and all that ran was this photo with acaption?"
If the answer to both of these is yes, you've probably got a winner on your hands.
2, Technical quality of the photos
Even the best visualization of a story is useless if the technical quality of the photo is poor. Technical quality shows up in composition of the photo and the actual photograph itself (size, physical condition, DPI, etc.).
Delroy A. Whyte-Hall
|Posted on May 3, 2010 at 9:15 AM||comments (0)|
Be prepared for photo requests by making sure you have press photos on hand
Q: I own a gourmet food store. My friend saidshe thinks I need a professional photograph. Frankly, I think my money would be better spent elsewhere. Who's right - me or my friend?
A: Your friend, and let me tell you why. Here'swhat will happen if you don't have a photo:
You'll be called unexpectedly by a reporter for a local magazine who wants to do a feature story about you. When she learns you don't have a photo to offer, she'll say, "Today is the only day we can send a photographer to get a photo."
It figures. You were partying half the night before and have big circles under your eyes. You just got your hair cut yesterday, and the bangs are about an inch too short. The outfit you pulled out of the close tthis morning when you were running late looks like an Anna's Better Buy reject or better yet, a purchase you just made at the Salvation Army's Thrift Shops downtown. But you say yes anyway. The magazine photo turns out - not surprisingly - ghastly.
That's why you need your own photo. Newspaper and magazine photographers can't perform miracles, but studio photographers can. So why risk looking awful in front of thousands of people when a pro, who has time, can polish and primp you? If you're worried about the price, rest assured you can get a good quality above-the-shoulders studio portrait taken and about six wallet-size shots for well under J$1,000.
Think of all the ways you can use photos:
- You can incorporate them in your brochuresand marketing materials.
- You can offer them to publications you write articles for.
- You can send them to the local media when you win an award, are sponsoring a special event or when you're part of a larger news story.
- You can post them on your Web site.
- You can include one on your business card to help people remember you.
A standard, above-the-shoulders photo ineither colour or black-and-white is the bare minimum for publicity-minded entrepreneurs. Keep at least six prints on hand and use them for the media,club newsletters, fliers or any place else you want your photo to appear.
Another option is the storytelling photo that shows you with props related to your business or hobby, such as you holding a big mixing bowl filled to the brim with fresh vegetables. Community and weekly newspapers that don't have photo staffs would welcome these types of photos too.
Here are tips to follow if you're having your portrait taken:
- Wear your usual hairstyle. Don't try anything new.
- Have your hair cut at least one to two weeks before your photo session.
- Make sure your hair is styled the way you want before you arrive at the studio.
- Avoid high-neck clothing that obscures your neck.
- Avoid sleeveless clothing.
- It's risky to wear prints that draw attention away from your face. When in doubt, be safe with solids.
- When applying make-up, pay special attention to your eyes. That's what people see first.
- Eye shadow adds depth. Avoid iridescent colours. Stick to neutral.
- Powder reduces shine and helps eliminate shiny foreheads and noses. Be sure to use it.
Also be sure to tell your photographer the photos are for publicity so he knows what kind of backdrop to use.
One last reminder: Don't forget to smile.
|Posted on April 26, 2010 at 9:15 AM||comments (0)|
Photos should be an important part of any small company's publicity programme.Photos help to brand a press release and make it stand out from the crowd.
The checklist for any company planning a publicity effort must include an item for photos. The final decision in a given case may be to use aphoto element in the publicity programme, or it may be to NOT use photos but the issue should be discussed for every publicity effort. Below are some tipsto make your photo usage successful.
Quality is Key – Hire a Photographer
The next step is to hire a good photographer, preferable on thathas newspaper photography experience (aka a Photo-Journalist).
A good photographer may be costly but it is the best money you can spend.
If the pictures are not shot correctly, the whole photo effort will be wasted.
To determine the quality of the photographer, ask to see his orher online portfolio. This is a collection of their photographs. You might also ask to see pictures from their last several shoots.
If you believe that the pictures are the kind of pictures that will tell your story, you have your photographer.
If you are not pleased, consult another.
Once you have the photographer lined up, spend time explaining just what you expect from the pictures, what story you are trying to tell and what message you want to deliver to readers and others who will see the photos.
To often, photographers are not properly briefed or poorly assigned, uninformed and therefore make poor pictures.
Need a photographer? WHYTE-HALLiMAGES can get you that perfect shot.
Delroy A. Whyte-Hall
10 tips that will help you ensure that a PR photo has the best opportunity to be published by print media!
|Posted on April 19, 2010 at 9:15 AM||comments (0)|
Working with a professional PR photography like WHYTE-HALLiMAGES helps ensure that a PR photo has the best opportunity to be published by print media.
As PR people, you should always ask three questions of a prospective photographer before hiring them:
- Do you shoot digital?
- Can you show me examples of other similar photos you have shot?
- What contacts do you have with the media and how will you help me distribute the photo to them once it has been shot?
Following are 10 tips that will help you ensure that a PR photo has the best opportunity to be published by print media:
- Remember, news photography is not advertising. Make sure you identify the news value of the story you want to illustrate.
- Newspapers and magazines get hundreds of photos a day. Your photo needs to tell your story quickly and creatively, and have real news value, to make the cut.
- Capture images that tell your story at a glance. If your story is that you're donating money to build homes for the homeless, get a photo of people building homes, not a "grip and grin" check presentation.
- Write a complete and proper caption. Don't be misleading.
- Identify the audience you are trying to reach. Photos for Annual Reports and internal publications are not the same as photos intended for print publications - newspapers or magazines.
- Get photos for day-of stores out in a timely fashion. Rely on a respected vendor to help deliver your photo to the media - they have credibility and experience with newsrooms that can greatly increase the chance of your photo being seen and used.
- Try to create photos that have a shelf life. Can they be used to illustrate the specific story today as well as related/ongoing stories down the road?
- If you are putting on a press event, make sure you provide the media, both print and TV, with a visual opportunity. Talking heads at a podium are not visual.
- Don't try to over brand the photo. It should look spur-of-the-moment, even if it isn't.
- Photo editing softwares are wonderful tools. Don't abuse them to alter reality in your photos. Media will know if the photos are altered.
Delroy A. Whyte-Hall
|Posted on April 12, 2010 at 9:15 AM||comments (0)|
Wedding Photography Timeline - Tips andAdvice
Wedding photography is an art. Tomaster it requires being familiar with the minor details, procedures andtraditions that are tied up into this special day. This sample timelineoutlines a series of steps a professional photographer might experience as wellas typical responses and preparations needed to carry out a wedding tocompletion. Every wedding is different, and chances are slim that you will eversee a wedding process that goes exactly like this. For beginning weddingphotographers, this article may provide useful information and give an overallglimpse into the timing for photographing a wedding.
Note: This is one perspective of thetimeline for a wedding and mainly focuses on an American-style Christianwedding ceremony and traditions. We invite you to share your own timeline atthe end of the article.
4-12 months priorto the wedding date
· Initial contact with Bride and Groom (noted as B/G from hereforward) via phone or email.
· Meet in person with B/G. Show portfolio, provide price sheet andother printed promotional materials and discuss rates/packages/contract.
· Receive signed contract and retainer which can be anywhere from20 to 50% to hold the date.
· Discuss wedding with B/G and gather initial information abouttimes, locations, number of bridal party members, etc. Help the couple berealistic with timing especially with regards to how many family photographsthey require.
1 month prior tothe wedding date
· Contact B/G by phone, email or in person. At this point you willwant to go over the timeline; double check the information you gatheredpreviously; be clear about the priorities, details, times and locations andformal family photographs. Make sure you know if there are any divorces and howthose photos will be handled with regards to step-parents/siblings etc.Whenever possible get the information in writing.
1 week prior to thewedding date
· Contact B/G to once again confirm all info.
· Get emergency phone numbers.
1 day prior to thewedding date
· Charge all camera/flash batteries and make sure you have morethan enough batteries on hand.
· Format all memory cards.
· Remove dust from camera body imaging sensors.
· Clean lens elements.
· Pack camera bags/cases with all needed gear.
· Review all your information that you have (hopefully written).
· Make sure you have accurate directions (if needed), contract andany written information about the details, group shots, etc. packed in yourbag.
· Get a good nights sleep.
Wedding day, 2-5hours before the ceremony
· Eat something, you may not get a chance later.
· Pack all gear into car. Double check to see that batteries andmemory cards are there.
· Map and directions on hand if needed, and/or your GPS is readyto go.
· If this is not a local wedding, make sure you have budgetedenough travel time.
Wedding day, 1-3hours before ceremony
· Images of Bride/Bridesmaids getting ready. Makeup, hair, etc.
· Images of Groom/Groomsmen getting ready. Ties, cufflinks, makinga toast, etc. if time allows.
· Images of Mother of Bride (MOB) attaching veil, zipping upbride's dress, etc.
· Images of decorations being put up.
· Images of guests arriving.
· Formal portraits (see dedicated section below) if doing theseprior to the ceremony. If not doing these formal family photographs prior tothe ceremony, this is a good time to do the Bridal Portraits while she's fresh.Also, if possible, take portraits of the Bridesmaids with Bride and perhapsfamily with bride, which will save time later after the ceremony.
Wedding Day, lasthour before ceremony
· Images of guests arriving.
· Prayers with family or minister.
· Last minute hugs, tears, toasts or prayers withbridesmaids/groomsmen/parents.
· Guests being seated.
· If there is time and ceremony is at a venue rather than a church- this might be a good time to get photos of the tent, reception room, flowers,decorated tables and other details.
· Parents and Grandparents.
· Groom and Groomsman usually arriving from side door orBridesmaid/Groomsman pairs.
· Bridesmaids, if not in pairs above.
· Maid of honor, if not in pair above.
· Ringbearer and/or Flower Girl.
· Bride and her father (traditionally).
The Ceremony,giving away of the Bride
· Bride and father reach the altar and Minister addresses Fatherof Bride.
· Father of Bride answers (sometimes both Father and Motheranswer) and "gives" bride to Groom, typically hugs daughter andshakes Groom's hand.
· Father of Bride leaves to sit with family.
· Minister talks to everyone (B/G typically facing minister, awayfrom guests).
· Minister addresses B/G.
· B/G recite vows (B/G turn and face each other).
· B/G exchange rings.
· Minister addresses everyone, issues pronouncement.
· B/G kiss.
· Minister presents "Mr & Mrs..." (B/G turn to faceaudience).
The Ceremony,popular additions to above
· Minister leads prayer (B/G typically facing minister).
· B/G acknowledge parents/grandparents, walk down to hug or shakehands.
· Mothers of B/G light candles, then B/G use those candles tolight central unity candle (hard to photograph, may be facing away fromaudience at all times).
· Minister may lead closing prayer after vows but beforepronouncement (B/G facing each other).
· B/G walk back down aisle first, usually fairly quickly.
· Bridesmaids/Groomsmen in reverse order of processional.
· Parents, Grandparents, family, and honored guests.
· B/G may return and greet/release guests row by row, though thisis less common than it once was.
· Bridal party will be hugging, high-fiveing, and crying whereverthey all stopped after recessional (excellent candid photo opportunity).
· Guests will swarm around B/G and congratulate them.
· Possible receiving line, B/G greet each guest as they exit thechurch.
· B/G signing wedding license with minister and witnesses(typically best man & maid of honor).
Formal Portraits(basic groupings for example purposes)
If doing the formal photos after theceremony it is a good idea to do the largest groups first as well as theBride's family first so they can host the beginning of the reception as soon aspossible. Also, if there are very young children in the formal familyphotographs, it is wise also to get these done right away as children will tendto get cranky and restless. Here is a typical order for family and weddingparty shots after the ceremony. Not all couples want as many as listed here,but this could be considered a "traditional" list. No matter thenumber of groupings, it is wise to let couples know they should plan 5 minutesper photograph to make sure you have enough time to fit everything in withoutstress.
· Couple with Bride's parents, grandparents, siblings, spouses andchildren
· Couple with Bride's parents (also step combinations if required)
· Couple with Bride's Grandparents
· Bride with Siblings
· Bride with Parents
· Bride with Mother
· Bride with Father
· Bride with Grandparent(s)
· Couple with Groom's parents, grandparents, siblings, spouses andchildren
· Couple with Groom's parents (Also step combinations if required)
· Couple with Groom's Grandparents
· Groom with Siblings
· Groom with Parents
· Groom with Mother
· Groom with Father
· Groom with Grandparent(s)
· Entire Wedding party with Couple
· Bridesmaids with Bride
· Groom with Groomsmen
· Bride with Maid of Honor
· Groom with Best Man
· Bride with flower girls
· Groom with Ring Bearer
· Bride with each Bridesmaid
· Groom with each Groomsman
· Bride with Groomsmen
· Groom with Bridesmaids
· Groom with Ushers
· Couple with readers
· Couple with Officiant
Reception, B/Gannouncement and entrance
· DJ will announce B/G.
· B/G enter room to applause.
· Rest of wedding party enters room.
· Wedding party sits down at head table.
Reception, meal(buffet for this example)
This is where it is extremely helpfulto get the timeline from the couples. Some receptions start with the couple beingannounced into the room and then they do their first dance. Some start with awelcome toast from Dad followed by the Best Man and Maid of Honor Toast, then ablessing and then the buffet or dinner. Others may have scheduled the toastsafter dinner before or after the cake cutting. The first dance can happenbetween courses or before or after the cake cutting.
· B/G go through buffet line.
· Wedding party and family go through buffet line.
· Rest of guests go through buffet line.
· Everyone eats.
· B/G finish first and walk around greeting tables.
Reception, toastsand speeches
· Best man gives speech, toast.
· Maid of Honor gives speech, toast.
· Father of the Bride, toast.
· Father of the Groom, toast.
· Other family members, toast.
· B/G hold knife together and cut a piece of cake.
· B/G feed each other cake.
· B/G mash cake in each other's face (optional).
· B/G kiss.
· B/G dance.
· Bride and father dance.
· Groom and mother dance.
· DJ calls wedding party onto dance floor.
· (alternate) DJ calls all married couples onto dance floor.
· Everyone invited to dance.
Reception, bouquetand garter toss
· DJ calls single girls to get in group.
· Blindfolded or with back to girls, bride throws bouquet.
· Girl catches bouquet, everyone cheers and claps.
· DJ calls all single guys to get in group.
· Bride is given chair and sits down.
· Groom reaches up bride's dress and retrieves garter.
· Blindfolded or with back to guys, groom throws garter.
· Guy catches garter, everyone cheers and claps.
· Dancing begins again, continues until end of reception.
Reception, otherevents going on during above.
· B/G visiting with guests.
· Children dancing.
· Grandparents dancing.
· Groom and other men smoking cigars.
· Parents of B/G sharing stories.
· Additional drinking and toasts.
Wedding day,arriving home
· Download memory cards to computer.
· Burn backup CD/DVD.
Week/month afterwedding day
· Identify good photos.
· Sort photos into like groups (ceremony, reception, formals,etc.).
· Process images as per personal style or B/G request.
· Burn DVD/CD of finished images.
· Deliver proof images to B/G.
· Accept and send reprint and/or album orders.
· Congratulate self on job well done.
Note: this is one perspective of thetiming for photographing a wedding.
|Posted on April 5, 2010 at 9:15 AM||comments (0)|
While new technology has created greater opportunities for PR pros to get photos to the media in the current news cycle, the keys to placing photos with the media remain creativity and quality of the images.
These were among the messages presented at a recent U.S. Newswire workshop attended by more than 100 PR pros at Washington, D.C.'s National Press Club.
The event, presented by Medialink's U.S. Newswire division, featured Harry Walker, photo editor of Knight-Ridder News Service; Jonathan Elmer, former photo editorof The Associated Press; and Jim Sulley, director of photography for Medialink's WirePix division, a leading producer and distributor of news photosfor the PR field.
Walker stressed that a photo provided by a PR person has to be very special for him to run it on the KRTNS, which is now the second largest news service for photos.
He is looking for creative, compelling pictures that can illustrate a newsworthy story. For this to happen, Walker said the photographer shooting the work must understand the story.
PR people should look for photographers who are willing to take the time to understand the context and meaning of their story - not simply to show up and snap a picture.
A good PR photographer should be able to help suggest several ways to creatively tell the client's story with pictures, said Walker.
Elmer said during his days at AP, he would see as many as 800 photos a day and the staff reviews and considers hundreds or even thousands more.
These are actual pictures shot by AP's own news photographers and the staff photographers of AP member papers, as well as a network of paid stringers.
So, it is a challenge to create a PR photo that is of sufficient quality to move inthis group.
Elmer suggested studying pictures that are in the newspaper and seeing what gets used and why. He also noted that while meeting minimum technical standards (200 DPI,5 x 7), shooting in focus, proper lighting and captioning are all important.
There is also the matter of getting the photo to newsrooms in a timely and easy-to-use manner.
Sulley emphasize that with digital technology it is now possible to transmit photos directly from any event via wireless modem, laptop and digital camera. The ability to move pictures faster helps make it easier to deliver art to the wires in the same news cycle as text.
But timeliness alone will not make a compelling photo that will be used by the wires. For those instances WirePix has a contract with AP PhotoExpress, a satellite-delivered service that reaches AP member newspapers nationwide in minutes and before deadline.
Delroy A. Whyte-Hall
|Posted on March 29, 2010 at 9:15 AM||comments (0)|
Brides should keep their photography in mind when applying makeup.
Match your foundation to your neck color and stay away from foundations that have too much pink or orange colouring.
Choose a matte finishin a soft and neutral color.
Avoid using eye and cheek colours that are too bright.
The light will make them look even brighter in photos.
Matte lip colours photograph best.
Shiny makeup reflects in photographs.
Avoid jewelry that is reflective.
Small pieces without large polished surfaces photography very well, however, metallic items (especially polished or machines) metallic items can ruin an entire series of photographs if they catch the light wrong and flare.
Most important is that if you are relaxed, being yourself, and enjoying the wedding,it will reflect in your photos.
Delroy A. Whyte-Hall