Winter Musings: February. From Camera to Computer. Part Two

Phew, sorry for the late post but had lots of little family emergencies come up the last couple of weeks.

Last month I talked about my camera techniques. Now, we move on to the software I use and how I employ it in my RAW workflow. Speed, efficiency, and automation are important because they free me up to do more fine tuning and retouching instead of the more mundane color and exposure adjustment tasks. It also means clients get to see their images a little sooner. Again, there is no magic here, and nothing that many pro's do not already do. Nonetheless, hopefully you will be able to take something away from this entry and use it to make your life easier. Perhaps you will leave a comment or suggestion for me to make my life easier :)

After the event, cards are imported into Adobe Lightroom, copied to the hard drive into a single directory, and renamed. Additionally, my Lightroom import process applies a custom preset and metadata information (adds the copyright statement). Images shot by my second shooter will be manually flagged as a "pick" permitting me to filter between us later as I edit. Once all the images are in, I sort on capture time and rename. The RAW files are backed up on my NAS before I begin any additional work.

The generic portions of my custom import preset consists of auto color correction and - more importantly - no auto tone correction. Auto color correction is pretty good, but not perfect. You will need to go back for some fine tuning and then batch synchronize applicable image files. Shooting RAW forces you to color correct anyhow but it does not necessarily require exposure correction. I found auto tone correction to be far more annoying and time consuming to adjust. Auto tone defeats the purpose of shooting in Manual because it eliminates consistency. It was especially bad for backlit images or ones where a light is peeking from behind the subject. The algorithm appeared to be a type of weighted average which tries to keep the brightest spot from blowing out making everything else much darker (by about 2 stops). I hated going through to check and correct this and now I don't have to.

Now the real work can begin. For my own images the first pass involves picking favorites using a combination of color labels, editing rejects with the reject flag, and marking album-worthy images with stars. You can zip along using keyboard shortcuts and the number pad which is far quicker than using the mouse. My top picks are corrected and the exported for blog posts. Next I scan the second shooters images and cherry pick my favorites. Marginals are retained and the rest rejected.

The second pass eliminates duplicates using the Compare feature in the Library module. Reference color settings from the first pass are now synchronized in batches. Questionable images are viewed at 100% to confirm focus. Images are cropped and straightened. Minor exposure adjustments are made.

Recall my last post which said shooting in Manual saves me time in post. If you shoot in Av or Tv, exposure usually changes from frame to frame requiring you to potentially correct each image in Lightroom to maintain a consistent appearance, even if you chose to Auto Tone. I only need to make adjustments occasionally and when I do, I can batch it for a set of images which share the same exposure setting. Huge efficiency boost!

During a final review custom enhancements and B&W conversions (using home grown presets) are performed. Photoshop is used for retouching choice images (using home grown actions). Images are exported for print JPEG's, the client's DVD, and reference thumbnails. RAW, XMP files and image thumnails are copied to the RAID5 NAS for fault tolerant archiving. Backup DVD's are burned with RAW+XMP files. The spare copy of RAW files on the other NAS are deleted.

I mentioned last month that shooting RAW saves HD space. Previously I would need to use Photoshop for color correction and then save the PSD files to keep the settings around when I was ready to make prints. This was preferred over flattening and saving a JPEG because I did not want to recompress the image. I kept the PSD files around for long periods of time for things like album production and making enlargements. 1000's of wedding image = 1000's of PSD files. This required a lot of storage space. Of course, I maintained the files because I was anal and did not want to recreate the adjustments again later. In the end, I would archive the original JPEG, a large number of PSD files (favorites/prints/album), and adjusted JPEG's. Today, I keep a RAW file and the sidecar XMP file which is about 13MB. This is significantly less than a 60+ MB PSD file and 8+ MB worth of JPEG's.

You can shoot JPEG and use Lightroom for post processing and save even more HD space. The tradeoff is a smaller dynamic range (8-bit v. 12-bit) resulting in restrictive exposure correction latitude and losing image information to compression. I just like keeping RAW files around and besides, storage is cheap.

Side note. Buy the fastest card reader you can find. Several years ago I bought a cheap one that worked but my Sandisk Extreme USB2.0 reader is so much faster at 20MB/sec.! Lexar has a competing product too and both have Firewire versions that claim to double the data rate. These will save you alot of time (and eliminate multiple coffee breaks). If you are interested, these are faster because of the advanced programmed I/O (PIO) protocols used. Take one of these apart and you will probably find a chip inside that performs the task which is why these readers are not $5 at Best Buy.

Wow, so that is end of my Winter Musings for this year. If there are topics you are interested in for next winter send them on in.

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Winter Musings are monthly posts between November and February. They cover a range of topics related to wedding photography with couples and photographers in mind. Comments and requests are appreciated!

Post Modern Bridal 2008.

So here is an image of my booth from the show. Nothing elaborate, I know, but I like to keep it a bit simple. Maybe next year I will have multiple LCD's running slideshows continuously, disco lights, and music blaring ;)

Despite the poor weather in the morning there was a long line of people waiting at 11am to get in. I spoke with many wonderful couples this past Sunday and look forward to many great events later this year and next. Thank you for stopping by and taking the time to chat and examine my work. I look forward to talking with some of you very soon.

Modern Bridal Faire 2008 at the SF Concourse.

Once again, I will be exhibiting at the Modern Bridal Faire! This year, the show is on February 24 from 11am until 4pm. The SF Concourse is on the corner of 8th and Brannan across for the GiftCenter/JewelryMart and near REI.

Look forward to meeting you!

Winter Musings: January. From Camera to Computer. Part One

I thought some readers would be interested in learning about the technical details behind how I work. Some things were taught to me and others learned; nothing you read here is a secret per se but it is a result of experience. Originally planned as a single entry I decided to split it up due to length. So this month I will be describing my camera set up and rationale while next month I will discuss my preview and editing tools, and how it all comes together in my workflow.

I value consistency and process, Henry Ford would be proud. I am not as much a seat-of-the-pants photographer as others and believe my best results are achieved when I take more responsibility for how an image is exposed and processed. My own skills and experience are trusted over the exposure programs offered by the DSLR. This methodology helps streamline my RAW file workflow. Do you see of my engineering background peeking through? Yes, I like control!

My two Canon 5D DSLR's are configured identically and are fitted with aftermarket Haoda horizontal split prism focusing screens (SO missed these from my 1 series Canon's). I photograph using:

• manual exposure - always
• center focusing point - almost always
• spot metering - almost always
• evaluative metering when using ETTLII on the 580EX flash
  
• "back button focusing" - almost always
• normal focusing when dark and using 580EX flash's IR assist
  
• RAW format - always
• with lens hoods - always
  

I prefer manual exposure because it produces consistent results. I do not want my shutter speed or aperture to change just because I am pointed at a slightly different area of the scene. The light illuminating the scene has not changed. If I photograph a series, each exposure will be identical which makes post processing much simpler - assembly line is a good analogy. Tweaking each image to create a consistent looking result requires way too much effort. Manual exposure permits me to batch process exposure adjustments with a predictable outcome.

The center focusing point is used by many focus-and-recompose photographers like me. Letting the camera decide can be frustrating. Also, experience has shown that autofocus is great but the split prism is best for critical shooting when depth of field is at a premium. Just be careful when you are very close to the subject and shooting wide open. A slight recomposition may change the focal plane and something you thought was in focus will actually not be. Occasionally I will switch points when I want a particular framing. Despite how good the camera is at auto-selecting focusing points, I still like the control when manually selecting the point.

Spot metering gives the photographer control over highlights and shadows - here's that word again - consistency. I move the spot over areas of the frame and decide what I want to show; set the exposure (manually) and fire away. You will get rich and saturated images out of the camera without post processing. Weddings are easy because you generally contend with faces and dresses. I can always spot meter on the dress to prevent blown highlights. Something to think about: if you are going to use spot metering for backlit subjects, you might as well just use it all the time.

The one time I will not spot meter is when using flash. If you read about ETTL flash you will see why. Among other things, flash power algorithms are tied to exposure readings around the focus point. When I focus and recompose, the focus point may not be on my subject when I am ready to shoot which will lead to errant exposure readings and flash output. Result? Annoying over and under exposures. I employ evaluative metering when using flash which averages over the entire scene. It is a much safer setting in this instance.

Ooooo, the legendary back button focus - a religion for some photographers, including me. This is when you set a "Custom Function" allowing you to use a button on the back of the camera to trigger auto focus. The shutter release is then decoupled from AF and serves one less function. There are a bevy of reasons to use this especially for manual-exposure-spot-metering-focus-and-recompose junkies!

First, you now get instant shutter release, on-demand. Before you would have to wait for the AF system to deliver a focus confirmation. The benefit is a reduced risk of missing your shot.

Second, this allows you to prefocus, meter, and recompose before firing. This is commonly employed for predictably moving subjects. You focus on a spot then snap the photograph as they pass it. Higher probability of a sharp image. Before, the AF was triggered every time you press the shutter release thus changing what was in focus.

Third, you can use the full time manual (FT-M) feature of most pro lenses without flipping the AF/MF switch. This is very convenient when shooting macro details. Before, the AF would always override what you manually set when you pressed the shutter release down. It works for moving subjects too when you choose not to use the AI-Servo mode.

Fourth, you decouple metering and focusing. You can focus on a subject and then move your spot meter over another area of the image to examine your exposure by pressing the shutter release down half way. Move the camera back to the subject and fire without ever changing what was in focus.

I disable back button focusing when I'm in a dark room. The flash's IR assist will make sure what I am pointing at is in focus and release the shutter at that instant. Not all images will be in focus but it is better than prefocusing and the split prism is useless when you can't really see your subject. This is used mostly at the end of the night when the dancing starts and the fairy godmother turns my camera into an expensive point and shoot.

I always shoot RAW. One dark church was all that was necessary to convert me. Aside from the 12-bit mathematical benefits over an 8-bit JPEG, it is a great time saver on many levels. Color correction is much simpler in Lightroom, under and over exposures are more recoverable, it appeals to my engineering nature, and it saves interim hard drive space for my workflow. That's right, you read it correctly. Stay tuned next month for the reason why.

There is a reason why your expensive $1100+ lens came with a hood. It wasn't an upsell. Hoods restrict incident light to whatever you are pointing at. This prevents flare at the extreme, but also improves the color saturation by controlling unwanted reflections and light pollution. One other benefit is that it protects your expensive glass from fingers and pointy things as you move around.

OMG, this is way too long already. Tune in next month for Part Two.

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Winter Musings are monthly posts between November and February. They cover a range of topics related to wedding photography with couples and photographers in mind. I hope you will tune in next month. Comments and requests are appreciated!

Jeannie and Hyung's Wedding. Mountain View

Ceremony at New Community Baptist Church in Mountain View and reception at Ming's in Palo Alto.

It is Friday, January 4, 2008. The National Weather Service has a severe storm warning posted and is forecasting hurricane-force winds for the Bay Area. The Sierras around Lake Tahoe is forecasting blizzard conditions (extremely rare). We are going to have 3 straight days of chilly inclement weather. I just completed another scouting trip to Stanford and it doesn't look good. The wind is blowing rain everywhere, good luck finding a dry spot. Even I am worried at this point - but I did call Jeannie and joke that I was going skiing on Saturday instead of photographing her wedding because of the epic snowfall ;)

Saturday morning was clear enough for the groomsmen to gather outside while preparing for the seemingly universal Asian tradition of gift offerings, tests, bribes, and begging before being allowed inside the home of the bride's family. Several of the tests were... entertaining (one involved some ladies underwear). Shortly after entering Jeannie and Hyung served tea to Jeannie's relatives. Gifts and blessings were exchanged. After a mid morning snack and a quick change of outfits we were off to the Four Seasons - our backup bad weather indoor location - for bridal party pictures. The hotel was very accommodating!

It is starting to rain heavily again. It has rained so much up to this point that half the church's parking lot is underwater when we arrive. Jeannie is still all smiles though as they exchange vows and perform another tea ceremony. Korean this time. A unique aspect of this tea tradition is the throwing of figs and chestnuts. The more the couple the can catch, the more children they will have. Another wonderful thing is how each nationality has such different and colorful clothing.

At Ming's everyone is looking much more relaxed and we've all but forgotten about the rain. It seems the bridal party may have gotten their shoes wet because they changed to sneakers, hahaha. There was an abundance of food, a touch of emotion, lots of Karaoke, and tons of music. One thing worth mentioning was the DJ/MC - he was pretty entertaining if you prefer highly interactive DJ's.

Floral Arrangements: Nicole Ha
Cake: Napoleon Super Bakery
DJ: Macala Entertainment

Winter Musings: December. Wedding Day Photography

The title says “Photography” but this is all about the schedule. As photographers we face the challenge of delivering on our promise of providing artistic photographs from your wedding while working within a schedule. What I have been told by many other professionals and noticed over the years is that, despite advice and warnings, schedules run late and among the first things sacrificed is photography. Everyone wants the style of imagery they hired the photographer to take, but are willing to give up photo time when the ship starts to sink. Time is a resource constraint so tradeoffs are made. Oftentimes, looking back, the client is not too happy with the tradeoff.

How can we control the schedule and obtain terrific photographic results? Here is a very short list of suggestions that get you started down the right path.

Make photography a priority and give the photographer a lot of time. Set aside time, before the ceremony if necessary, for photographing the bride alone, the groom alone, and the bride and groom together. Couples frequently do not give enough time for these tasks. Great portraits are rarely shot while in photojournalist mode.

Pad your schedule before the reception. The vast majority of album-worthy images are taken before the reception so if you think a missing piece can be covered during the reception, please reconsider. Allocate plenty of time and then add a little more. It is better to have extra pockets of available time should things become dire. Schedules tend to run late when no one is in control.

Make someone else accountable on the big day. Your wedding day means you (bride or groom) should not do any work or have to make major decisions. Designate someone to make sure things run according to your plan. Make sure this person has a thick skin, is responsible, will not hold a grudge against you, and is stern when necessary. They will need all of these traits when dealing with you and others on the wedding day.

A new BMW costs upwards of $30K; that does not mean you can build one yourself if given the money. The answer is "highly unlikely"; your wedding is no different. Hire a day-of planner or, better yet, a full event planner. Leave it to the experts who are far more experienced. They are paid to be accountable and will do a great job for you.

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Winter Musings are monthly posts between November and February. They cover a range of topics related to wedding photography with couples and photographers in mind. I hope you will tune in next month. Comments and requests are appreciated!

Winter Musings: November. Make the Most of Your Engagement Session

I enjoy these opportunities to work with my clients. Couples should never pass on a prewedding shoot unless you absolutely must. Becoming comfortable with one another in front of the lens is a valuable takeaway as you progress towards the big wedding day. Also, it is oftentimes more artistic than the wedding itself because there are fewer time constraints making for a carefree and unprescribed shoot. How can you take advantage of this with whomever you hire to photograph your wedding? It really is simple:

• Make it special.
• Choose unique locations.
• Use the seasons.

Treat it like the extraordinary day that it is while still being true to the kind of people you are. Avoid dressing like your going to play hoops or off to work (unless your career involves modeling couture clothing). Try employing a theme or treating it like a first date in every way.


Kalaya and Dan accomplished this exceedingly well with their 1960's movie-inspired shoot and it shows. When they told me about their intentions my mind started to race! The anticipation was incredible. I even rewatched Breakfast at Tiffany's and Dr. No to study the look they were going for. Now, not everyone is going to hire a professional for a hair and makeup session or dust off a tuxedo but a little effort goes a long way. Afterall, you are getting married soon and this is likely the one day of two in your lifetime dedicated to photographing you! The investment will not be disappointing.


I would never suggest you avoid beaches, parks, and sunsets but the Bay Area is so much more diverse. You are after feelings of fun and romance; perhaps the images will have a dash of sex appeal and a hint of history too. Think about the look you want, what you enjoy doing, or where you enjoy going and then build around that. Have you considered a destination engagement session?


Go somewhere with exclusive settings and scenery. Flights are so inexpensive these days and, WOW, within a two hour flight of the Bay Area are some very interesting locales. For example, I once offered to shoot a couple in Las Vegas at no extra cost because I was going to be there anyways. It was such an incredible experience that I decided to offer it annually to one couple (first-come...) as I travel there consistently once a year.

Why wait until summer? The middle of the year is hot and dry as well as a photographer's busiest which makes for scheduling challenges. Try capturing the incredible colors of Fall and Spring or the moodiness of Winter. Autumn is rife with golds and reds while Spring features pink and white fruit blossoms and yellow mustard blooms. I hope more people see the potential of these seasons.

Be aggressively creative and challenge your photographer!

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Winter Musings are monthly posts between November and February. They cover a range of topics related to wedding photography with couples and photographers in mind. I hope you will tune in next month. Comments and requests are appreciated!

Sabline and Aaron's Wedding. San Francisco

Ceremony at Citicorp Center and reception at Atrium restaurant in downtown San Francisco.

This wedding from Saturday was my last event of the year :(

Sabline and I spoke briefly at the San Francisco Modern Bridal show this past February. I am glad she kept my contact information and called me because the three of us have had a great time together over the last several months - including their unique July prewedding shoot at AT&T park, home of the SF Giants.

We started the day with the guys at the Club Quarters hotel. Notably, Sabline's brother was able to obtain leave from the Marine Corp. He had just completed training and there were not certain he would be there. After some quick shots around the Transamerica building we returned to photograph the ladies. Their room was quite a hotbed of activity with people in various stages of preparation and lots of nieces and nephews dressed and ready to go! We grabbed some quick shots before heading over the to ceremony. Made it just in time.

It is really amazing how many places in the City double as venues for weddings and events. Citicorp Center is on the corner of Sansome and Sutter with thousands of people walking by everyday never suspecting what goes on there over the weekend. After the ceremony we went over to the 101 California building which houses the Atrium. The courtyard had just been decorated for the Holidays with huge red ornaments. More ornate ones hung inside the building's lobby. They resemble the lanterns hanging inside the Wynn in Las Vegas. If you have the time to visit, it is really is quite beautiful! During the reception many guests wandered outside to enjoy the display.

Sotheary and James' Wedding. San Jose

Ceremony at the home of Sotheary's parents and reception at Phu Lam Restaurant both in San Jose.

I usually try to have images blogged a few days after the event but I have been swamped so sorry these are later than usual!

Sotheary and James' traditional Cambodian wedding ceremony was a multi day affair filled with music and song, chanting, dancing, offerings, prayers, clothing changes, and rituals too numerous to list here. It was an incredible experience which ended with a HUGE Saturday night reception. I mean 500 people huge! If you are inclined, I found a website that describes the typical ceremonial events here.

We started on Friday as James and several musicians led a parade of family members to the bride's home with gifts and offerings. Before going inside, there was some choreographed banter between family representatives. Once inside, gifts were presented for everyone to see and included liquor, soft drinks, all sorts of food and fruit, and a large roasted pig. Among the memorable events were all the clothing changes, chanting monks, and a ceremonial hair cutting and cleansing. Everything started up again bright and early on Saturday morning as married couples encircled the bride and groom and passed lit candles around the circle as a blessing. Next family and close friends were invited to tie red string on the wrists of the bride and groom. As strings were tied rose petals and palm flowers were *sprinkled* on the couple. I learned later that this was actually a somewhat abbreviated and compressed version of the marriage rite.

Saturday afternoon, after some lunch and latte's, we regrouped at the Hotel Montgomery in San Jose. Sotheary, James, and the rest of their wedding party changed into western (as opposed to traditional Cambodian) clothing and we had a fun photo session in and around Plaza de Cesar Chavez Park. The night ended at Phu Lam with a large banquet, a Cambodian live band, and Cambodian dancing which involved everyone gathering on the dance floor and circling in unison with a certain hand gesture which I still cannot seem to master.