Douglas Foulds Studios

We're now pear studios!

2011-09-16T10:42:00.004-04:00

Well folks, I've thrown my lot with Kristina and we're now officially pear studios. We're excited about the change and we're looking forward to many years of witnessing the most important moments in our clients' lives.

This blog will be kept online for the many slideshows and other information it contains, but for new stuff please log into pearstudios.ca/blog

Cheers,

Doug

Michelle and Ken

2010-11-19T17:30:00.002-05:00

We met Michelle and Ken early this year, when we photographed Michelle's brother's wedding. We were honoured (and excited) to be part of another family wedding.

The day certainly had variety. We started at Pina B's little salon on Lakeshore Boulevard West, moved on to St. Dominic's in Mississauga, stopped for photography at Len Ford Park on the Etobicoke shoreline, and finished up at grandiose King Edward Hotel in the heart of Toronto.

Michelle and Ken are certainly a couple in love. We're pleased to present a taste of their wedding celebration.

Farah and Rizwan

2010-11-15T11:37:00.005-05:00

We met Farah and Rizwan over a year ago, at Mandip and Aman's wedding in August 2009. We were thrilled to be entrusted with their day (10/10/10, of course).

Kristina and I had a great time with their wedding party on the Lake Ontario shoreline in Port Credit; the weather and the fall colours couldn't have been more appropriate as backdrops for the group.

The Mississauga Convention Centre did their usual great job in hosting the ceremony and celebration that followed: the room, and especially the head table, were beautiful.

Farah and Riz, thanks for inviting us to witness your day.

Severa and Mehdi

2010-11-12T12:58:00.003-05:00

Severa and Mehdi's day was grand in every sense of the word: the transportation (small and fast in a Porsche 911, big and fast in a Hummer); the venue (Archeo at the Distillery District in Toronto); the food (five different stations with cuisine from around the world); and the party itself (it rawked!).

Plus, we got to work once again with Karina Lemke who produced the event in her usual elegant style.

But don't take our word for it. We present Severa and Mehdi's wedding.

Big changes

2010-09-26T12:24:00.004-04:00

I'm thrilled to announce a couple of exciting changes for my studio.

Douglas Foulds Studios is joining forces with Kristina Laukkanen's Sugartree Photography. Our new venture is Michael Raimi Studios, which is derived from my and Kristina's middle names.

Those of you who know me also know that Kristina and I have been collaborating for the past four years: she co-shoots my clients' commissions and vice-versa. Both of our businesses have been growing, with 2010 being our busiest year yet. It only seemed natural that we make it official and combine our efforts under one banner.

The other change is our new physical studio located at 108 - 20 Leslie Street, Toronto. We're renovating and moving in over the next few weeks, and we're looking forward to a grand opening in early November, just in time for holiday portraits.

Michael Raimi Studios will continue the best traditions of my and Kristina's work: weddings, portraiture, outstanding presentation options like fine art books and canvases, as well as new forays into photography and cinema workshops and commercial assignments.

The future is bright. We're excited that it's here.

Anisha and Sameer

2010-09-04T16:03:00.012-04:00

For four glorious days over the August long weekend, we had the privilege of getting to know Anisha, Sameer and their many friends and family.

Kristina and I are pleased to share just a few of our favorites from the weekend. Even at 10 minutes, this show is probably not long enough!

Enjoy.

Katelin and Mike

2010-08-26T15:43:00.012-04:00

Sometimes, I get to spend wedding days with old friends in familiar surroundings. That was certainly the case with Katelin and Mike's wedding at McLean House on the Estates of Sunnybrook in Toronto, a venue I've covered on several occasions. I also got to work again with Karina Lemke who, in Katelin's words, performed her usual Fairy Godmother act in making sure the wedding day was perfect. Frankly, I still don't know how Karina makes it look so easy.

With that, I invite you to experience Katelin and Mike's day through my lens and that of special guest photographer Ryan Visima of Vtography, with whom I'd work with again in heartbeat.

Vanessa and Piotr

2010-08-25T22:13:00.010-04:00

It's been an unbelievably busy summer, but we're now starting to catch our breath a little. It's past time to share some of the stories we've witnessed over the past few weeks.

Vanessa and Piotr were married August 7 and celebrated with family and friends at one of our favorite intimate venues, Qssis, located in the east end of Toronto. We were with them every step of the way and had a hard time condensing their wonderful day down to a 3-minute presentation, but we did it . . . somehow.

Enjoy. We sure did!

Karina and Mark, Part II

2010-08-09T23:47:00.003-04:00

You've followed Karina and Mark's planning ups and downs on The Wedding Co. 30-day bride blog. You've read about Mark's wedding day pranks in Post City Magazine. You've seen the highlights on ET Canada.

Now, for your viewing pleasure, the full wedding experience in four minutes. Enjoy.

Anastasia and Elias

2010-08-05T00:11:00.010-04:00

Kristina and I were honoured to witness Anastasia and Elias' celebrations at the end of July. We were welcomed as friends and took away lasting memories of a grand day.

We've posted a short show of images that caught our eye. Enjoy.

Jasmine and David, part II

2010-07-12T22:24:00.006-04:00

Jasmine and David had a postcard-perfect wedding last Saturday.

We actually got to spend a lot of time with them prior to the ceremony at the Estates of Sunnybrook, so we took advantage of the hustle and bustle of Toronto's Harbourfront as well as the quiet splendor of Glendon College.

A short show of some of the images we love will give you an idea of just how much fun we had. Enjoy!

Karina and Mark's wedding on ET Canada

2010-07-06T12:25:00.002-04:00

Karina and Mark invited Entertainment Tonight to follow them on the day of their wedding. We had a blast with Angela, Andy (thanks for the extra lighting help!) and the rest of the crew as they documented this very special event. Tune into Global TV at 7:30 PM tonight (July 6) to see the highlights.

Karina and Mark

2010-07-03T14:16:00.010-04:00

A few images from Karina and Mark's Canada Day wedding in Laguna Beach, California. More to come!

Holly and Mike

2010-06-28T15:49:00.004-04:00

The rain held off and, on the last weekend of spring, Holly and Mike got hitched . . . with the help of two dozen bridesmaids and groomsmen! Wow, that was a bridal party to end all bridal parties. The dance floor at the West River Event Centre got a great workout, too.

A few of our favorites have been posted for your enjoyment.

Jasmine and David, part I

2010-06-28T00:28:00.004-04:00

It was a very soggy evening in Toronto, but Jasmine and David managed to keep (mostly) dry and we managed to get some great images, too.

See you both in just a couple of weeks!

LA bound

2010-06-08T14:12:00.010-04:00

I'm very excited to be covering Karina Lemke's marriage to Mark Breslin at the luxurious Sand and Surf Resort in Laguna Beach, California on none other than Canada Day.

Karina, as many of you will know, is a legend on the Toronto wedding scene. She's an event planner, owner of Posie's Flower Shop in Toronto, and star of shows like Rich Bride, Poor Bride on Slice TV and Pedal Pushers on HGTV. Mark, of course, is the owner of the world-famous Yuk Yuk's International Comedy Club empire. Together, they're a riot and a lot of fun to be around. Separately, they're not bad either :-)

Karina and I first met at Connor and Trevor's beautiful wedding in May 2009. Since then, we've teamed up for several weddings with more on the way this summer. Now, I have the honour of covering Karina's own nuptials, which are also being chronicled in a daily blog feature by Catherine Lash of The Wedding Company.

While this is first and foremost a photography assignment, I do plan to do some surreptitious HD filming of the event if the opportunity arises. To that end, I've added a Sennheiser G3 wireless lav microphone system to my rapidly expanding collection of HD gear. I've also added a Canon 17-55 f/2.8 IS lens which should provide even better (read: dreamier) footage when bolted to the 7D.

I'll be sending some first impressions for publication on The Wedding Company's site the day after the wedding, as well as posting some thoughts in this space. Stay tuned!

Victoria and Kevin, part 2

2010-05-19T09:07:00.003-04:00

They did it! Victoria and Kevin, surrounded by their families and friends, were married last weekend. It was a grand celebration -- but don't take my word for it. A few of my favorites from their day are online.

Victoria, Kevin: thanks for allowing me to witness the start of your new lives together. I'm looking forward to designing your book!

Violet and Eric: the Great Engagement Shoot

2010-04-29T22:26:00.010-04:00

Well, the Great Engagement Shoot was a hit. It was great meeting all the Stephanies from the Wedding Co., and it was also great to see Judy and Darsi from Elementz of Photographie and FrugalBride.com. And, of course, it's always great to hang with Kristina from Sugar Tree Photography.

I was fortunate to be paired with Violet and Eric, a thoroughly delightful young couple who are being married in late May.

Our session was, as expected, short and sweet. Starting from the Steven Bulger Gallery we walked a few blocks west to the Drake Hotel. We wanted to shoot inside, but the staff wouldn't admit us despite previous arrangements by the competition's organizers. We couldn't hang around debating the situation, so with the clock ticking towards a 60-minute deadline we made our way back towards the gallery, stopping every few minutes to get a couple of shots.

After a half-hour it was time to wrap up the shoot and prepare one image for judging. That image is below, and unlike everything else we captured it was done completely on the fly.

The image didn't take first place, but I like it anyway! Violet was especially chic in a great red coat and cool ivory ankle boots. Eric looked OK, too :-)

Here are a few more that could have made the grade but, alas, we could only submit one for judging:

Violet and Eric, thank you so much for being such a gracious couple. I wish you a lifetime of joy and happiness! Watch your mail for this and several more great shots of the two of you having fun on Queen West.

Victoria and Kevin, part 1

2010-04-25T23:28:00.003-04:00

Part 2 will follow their wedding on May 15.

Can't wait!

Technolust

2010-04-16T10:45:00.006-04:00

I've been confronted with a unplanned hardware upgrade cycle: yes, my main production computer is in the shop, hopefully being repaired to a working state. It is, however, getting on in years and it's prompted me to upgrade. Somehow, a mere quad-core system with a 32-bit OS just doesn't cut it when editing HD footage.

After a lot of research, and after sizing up a Mac Pro, I decided to order a custom-built Windows 7 64-bit box featuring two Xeon 5520 quad-core processors on an ASUS server board, 12 GB of DDR3 RAM, Quadro FX 1800 video card, and a solid-state hard drive. It'll also have USB 3.0 and eSATA ports which should greatly reduce file transfer times among devices.

A new NEC 2690WUXI-2 panel and ColorMunki calibration system is also on order.

So, hopefully this is it on the hardware side for a while. I'm certainly going to welcome the enormous performance improvements over the old system!

UPDATE April 25: Well, that wasn't it on the hardware front after all. I've ordered a Thinkpad W510 with a quad-core processor, 8 GB of RAM, and a solid state drive. I want to be able to work on the go, and this laptop is about as close as you can get to a true mobile workstation.

OK, that's really it!

Great Engagement Shootout!

2010-04-15T13:46:00.002-04:00

I'm excited to be selected as one of the photographers competing in the Great Engagement Shootout Challenge on April 28.

This event, organized by The Wedding Co. and sponsored by the Stephen Bulger Gallery, Elevator Digital, and Sassafraz, will match 20 photographers with 20 couples. Each team will have just one hour to create and submit an engagement-themed image for judging.

It should be a pile of fun. I like to work quickly anyway when I'm doing engagement sessions, so I'm looking forward to capturing as many different looks as possible within the first half-hour, then spending the remaining time picking and tweaking one shot for judging.

Jamie and Peter in "Nine Years to Life"

2010-03-14T14:02:00.004-04:00

Glorious late winter weather graced Jamie and Peter's wedding in early March. After an early afternoon ceremony, we were off to U of T for photography, then on to a fantastic party hosted by the Eglinton Grand.

Kristina and I were fortunate to work, once again, with our good friends Karina Lemke (who not only produced the event but whose flower shop, Posie's, provided the beautiful floral arrangements) and Michael Coombs of Prodigy Entertainment, who did his usual outstanding job of both emceeing and getting the dance floor moving.

Sit back, relax, and enjoy the show.

Speaking at PPO on February 22

2010-02-21T17:45:00.003-05:00

On February 22 I'll be speaking about HD film making to members of the Professional Photographers of Ontario, Central Portrait Branch at their monthly meeting in Toronto.

Although it's very early in my film journey, I thought I'd share my experiences with HD from a photographer's perspective.

The presentation will be part technical and part business, and I'm looking forward to meeting some new colleagues.

UPDATE Feb. 23: If you missed my presentation, you can download it (PDF, 101 Kb).

Canada's Bridal Show -- DONE!

2010-01-10T22:41:00.005-05:00

Thanks to everyone who stopped by the booth at Canada's Bridal Show this past weekend. Kristina and I enjoyed ourselves. There were some very good questions and very nice compliments on our work, including new books from Finao and Graphistudio. And, as always, the mini pocket books were a huge hit.

Our availability for 2010 is nearly gone, with sporadic weekends in the spring and late fall pretty much all that's left. We're also taking bookings for prime weekends in 2011 (and even 2012). We continue to be humbled by the trust our clients place in us, and we're looking forward to a fantastic season of shooting and filming.

Thoughts on filming with the Canon 7D

2010-01-03T15:40:00.006-05:00

Well, my first impressions of the Canon 7D in a real-world situation -- a New Years' Eve wedding at the Four Seasons in Toronto's Yorkville district -- are overwhelmingly positive. A quick run-through of most of the footage shows it to be a very, very capable HD camera. I'm especially blown away by the look provided by Canon's fast primes, especially the 24 f/1.4L and 50 f/1.2L.

For those of you thinking about filming weddings with the 7D, here are some thoughts for your consideration:

I stayed between ISO 200 and 640 all day, and at shutter speeds of 1/50 or 1/125. With the fast primes almost wide open, these settings were adequate for all but the darkest parts of the reception. I kept the camera on Manual, too, which was surprisingly easy to manage.
Unless audio quality is of paramount importance, you should be able to get away using the 7D's onboard microphone. I used a Zoom H4N in a double-source setup but I am impressed with the native audio straight out of the camera. That said, a great use of the H4N is as a recorder of the speeches: I placed it on the podium when the bride and groom addressed the room to ensure I got the best possible recording.
With the 1.6x FOV crop of the 7D sensor, the ideal lenses for reasonably steady handheld (or shoulder-mounted) shooting are anything between really wide and 50mm. Much above 50mm really requires a dedicated steadycam system or a tripod.
A magnifying loupe, like the Zacuto Z-Finder, is an absolute must. At shallow depths of field, focusing without it is very risky even with the beautiful screen that comes with the 7D. The Z-Finder enabled me to achieve and retain critical focus quickly.
The Redrock Micro eyeSpy DSLR shoot rig performed quite well. Changing lenses is a bit of a pain due to the pull focus apparatus, and it's awkward to set down and carry, but it did help me get some great footage. It's also deceptively heavy, so be prepared to be a bit sore the next day if you use it extensively.
I tried using a Glidecam 4000 but found it was too hard to hold it, keep it steady, and focus at the same time. Part of the problem is the magnifying loupe which fits around your eye: by touching the camera with your head, you're degrading some of the steadying advantages provided by the Glidecam. I'm not certain that a SmoothShooter vest will help much except in situations where the lens can be stopped down to f/11 or f/16. On a dimly lit dancefloor, where moving with the camera is most important, this just ain't practical. I'm seriously considering a wheeled dolly for dance floor shooting.
The 7D in Live View mode chews through batteries. Bring a charged spare and a charger. I went through two charging cycles with both batteries.
Bring plenty of CF cards. I had 80 GB of Acumem 233x cards and found I needed almost all of that space, even thought I was shooting short (5-10 second) clips most of the time.
Watch the crop mask on the LCD. It's easy to let subjects drift out of the frame, especially at the top.
Travel light. With the awkwardness and weight of the DSLR shoot rig, everything you think you'll need had better fit into a comfortable backpack unless you've got an assistant to schelp for you. Next time, it's just two lenses (24 f/1.4L and 50 f/1.2L), the audio recorder, battery charger and spare battery, and extra CF cards.

Our bold leap into cinema is a Go

2009-12-29T00:36:00.007-05:00

Thanks to the good folks at Vistek (on both the second and third floors), I'm set to enter the HD cinema era.

My first film opportunity will be New Year's Eve in Toronto's Yorkville district, and I'm looking forward to working with event planner Erin Bosak of Exquisite Affairs who helped me connect with our soon-to-be wed couple.

After much debate and research, I decided to go with a Canon 7D mounted on a Redrock eyeSpy Deluxe DSLR shoot rig. The rig is an engineering marvel. Audio will be captured using a Zoom H4N four-channel recorder. We'll also bring a Glidecam 4000 stabilizer, just in case we want to do extensive "flying" through scenes.

I would have opted for a Canon 1D Mark IV instead of the 7D, but the Mark IV is not available yet. When it is, it'll be added to our stable of outstanding 1D bodies. In the meanwhile, I'm in awe of what Canon has achieved with the 7D ~ particularly at the price, currently 1/3 that of a Mark IV.

I'm enormously optimistic, and somewhat apprehensive, about the fusion of cinema and photography that seems to be at hand.

Check back on January 1 read how things went. It'll either be a rave, or it'll be a link pointing to a just-listed 7D and Redrock rig on eBay :-)

HD cinematic coverage coming in 2010

2009-12-02T23:05:00.004-05:00

UPDATE December 28: We have our three trial weddings. Thank you to everyone who expressed an interest!

We're thrilled to announce that we're adding high-definition cinematic coverage to our 2010 offerings.

Details, including pricing, will be released in January along with our new collections.

In the meanwhile, because this is new for us we're looking for up to three laid-back brides who are being married in February, March or April. We want to break in our new gear and try some new techniques, and there's no substitute for a real wedding. We'll even consider traveling anywhere in Canada or the US, on our dime, for the right opportunity.

The catch? You can't currently have a videographer or hired film-maker, and your photographer must be cool with the idea. In exchange, you'll get a fully-edited copy of what we filmed.

If you're interested, contact us with your details at weddings@foulds.ca or call us at 1-866-507-0303.

Album cutoff is November 1

2009-10-25T22:41:00.001-04:00

If you have an album design to review and approve, note that the deadline for doing so is November 1 if you want the book to arrive in time for the Christmas holidays.

Books approved after this date will be delivered after the holidays.

Angela and Charles

2009-09-23T20:47:00.003-04:00

The Rosewater Supper Club was the setting for Angela and Charles' union last weekend. As you'll discover through the short best-of show we've assembled, the affair was timeless and elegant, with a mix of traditional and modern touches.

Our good friends Kara Greenwood of Belle Fleur Events and Michael Coombs of Prodigy Entertainment were also part of the celebration.

Angela and Charles, our warmest congratulations on a beautiful day. We're honoured to have been included.

Mandip and Aman

2009-09-13T23:45:00.003-04:00

Nearly 24 hours of shooting over two days. Two ceremonies. Stops in Richmond Hill, Mississauga, Hamilton, and Ancaster.

Exhausting and exhilarating are just two of the words I could use to describe Mandip and Aman's weekend-long celebration with family and friends from around the world.

We've created a short show with just a few of the many highlights from both days. We hope you enjoy it as much as enjoyed the party.

See us at Canada's Bridal Show in January

2009-08-12T16:20:00.003-04:00

We're excited to be exhibiting at Canada's Bridal Show, the biggest show of its kind, next January 8, 9 and 10. If you're planning to be married in 2010 and beyond, you won't want to miss this event. Where else will you find several hundred wedding-related vendors under one roof?

The show will be held at the Metro Convention Centre on Front Street West in Toronto, next door to the Rogers Centre and CN Tower. We'll be in booth 1507, right near the entrance to the show floor.

We'll have plenty of books and albums on hand for viewing, and you'll be able to spend time with us, the actual photographers! We'll also have a show special just for brides-to-be who drop by and say hello. What is it? Drop by and say hello to find out!

Gorgeous light

2009-08-10T23:47:00.006-04:00

This is the light photographers chase: the half-hour or so before sunset, when the light is warm, soft and oh-so-flattering. We call it, not without reason, "Yummy."

Here, Mandip and Aman are captured by Kristina Laukkanen in the evening glow of Toronto's Distillery District. They've selected this image, along with three others, for a canvas display piece.

We're very much looking forward to their two-day celebration over the September long weekend.

Sharon and Brian in Today's Bride

2009-08-05T14:44:00.004-04:00

We're thrilled to see one of our all-time favorite couples, Sharon and Brian, featured in the current issue of Today's Bride magazine in their "Spotlight on You" section.

Sharon and Brian were married last fall at the Old Mill in Toronto. Sharon claims she was a nervous wreck, but you wouldn't have guessed it by being around her.

My thanks to Sharon for her thoughtfulness in contacting Today's Bride with her wedding story, and for submitting one of our images to accompany the piece.

Go get your copy of Today's Bride -- on newsstands now, as they say!

Taline and Andre

2009-07-31T23:45:00.004-04:00

Kristina and I were honoured to be a part of Taline and Andre's special day at The Manor in Kettleby, Ontario last weekend.

As our newlyweds enjoy their south Pacific honeymoon, we invite you to enjoy a few of our favorite images from their celebration.

Robert Fairley, 1926 - 2009

2009-07-22T00:44:00.006-04:00

Three springs ago I was honoured to create a set of family portraits for a friend of my family, Alison. The portraits were to be a gift to Alison's husband. Along with her children, Alison asked her father Bob to join us.

I photographed Bob in his Legion uniform, heavy with campaign medals and ribbons from his time in the Merchant Navy during the Second World War. The setting was Inglis Falls, just south of Bob's adoptive hometown of Owen Sound, Ontario. As I worked, Bob talked about his time sailing with convoys delivering much-needed supplies to Murmansk, of the life he made in Canada after the war, and of his frequent journeys back to his own birthplace of Liverpool.

On July 9 Robert (Bob) Fairley passed away at the age of 83 after a life well lived.

Alison and family, my heart is with you. Thanks for giving me the chance to meet your father, grandfather and friend.

Brittany and Ryan

2009-07-17T22:39:00.004-04:00

A weekend full of great weather and great memories: that's what we'll take away from Brittany and Ryan's celebration in beautiful Antigonish, Nova Scotia on July 11. From the ceremony at St. Ninian's Cathederal to the spin through town in the new Mustang convertable to the rockin' party on the campus of St. FX, the experience was truly one we'll remember for a long time.

We can't thank Brittany and Ryan, and their families and friends, enough for making Kristina and I feel at home and welcome throughout the entire stay.

Friday night in Antigonish

2009-07-10T22:12:00.004-04:00

Weddings are very much like theatre: there are many actors, several acts and scene changes, and everyone has to hit their marks in front of a live audience. The problems: very little time for practice, and the show opens and closes on the same day!

Brittany and Ryan played it safe this evening as they rehearsed with their full wedding party (and many others) at the beautiful St. Nininan's Cathederal in downtown Antigonish, Nova Scotia.

They also practiced the party aspect of their wedding day by hosting a tropical-themed luau at Ryan's parents' home in the rolling hills outside of town.

Between the church and the socializing, I think tomorrow should come off without a hitch!

Julie and Phil

2009-07-07T23:53:00.005-04:00

After a lengthy romance, Julie and Phil decided to make it official last weekend on a gorgeous Saturday filled with friends and family.

Julie and Phil, thanks for having us along. All the best as you start a new chapter in your lives.

Your day, our style: what to expect on your wedding day

2009-06-18T13:36:00.002-04:00

We're asked, in one way or another, about our "style". This is often a question about what you, as a bride- or groom-to-be, can expect of us on your wedding day. How much time do we need for group photography? What if you're not comfortable in front of the camera? Will flash be used during the ceremony? Are "posed" images necessary?

Our approach, tried and tested over several years, is to provide primarily documentary coverage of wedding events. This means shooting it as we see it, with a minimum of interaction with the subjects or the moment. Approximately 80% of the proofs we present to our clients are classified as "documentary": candid moments, reactions, vignettes of the day.

Documentary, however, does not mean "random". We're storytellers, and we aim to tell the unique stories embedded within each wedding day. How do we know what the stories are? We spend time ahead of the Big Day getting to know you. We also shoot as much with our ears as our eyes: we listen, and we try to anticipate, those moments that deserve to be captured.

When documenting a wedding we try to be as discreet as possible. We don't use flash during ceremonies. We prefer a mix of long lenses and fast wide-angle lenses which allow us to shoot at a distance and under low light conditions. We may resort to setting up remote strobes for large reception halls, but we try to be as "low touch" as possible.

There are parts of the day during which we will want your attention. We believe in the power of properly-executed portraiture, and we like to set aside a modest amount of time to create those images. Typically, we ask for 10 minutes with both the bride and groom right before departing for the ceremony, and another 30 to 60 minutes afterward. This time is in addition to whatever time you may want to spend on group photography, but we've found that group photography can be done very quickly *if* everyone is present and attentive to our instructions.

So, when it comes to wedding day photography we tell our clients, "Ignore us. We'll let you know when we need you."

Meg and Rob

2009-06-17T00:48:00.004-04:00

We're delighted to present a few glimpses into Meg and Rob's fabulous day at the Berkeley Church on Queen Street East in Toronto. It was, quite simply, a perfect and beautiful gathering of friends and family.

Doug handled principal photography with Kristina providing second camera coverage and Rhea assisting (and doing a little shooting of her own).

Get more out of your point and shoot

2009-06-15T21:23:00.003-04:00

I was delighted to speak to employees of Somerset Entertainment last week on the topic of getting more out of your point-and-shoot camera. The original presentation, in PDF, is available for download (warning: it's 5.9 MB).

Questions from the Somerset crowd are most welcome!

Sarah and Brent

2009-06-06T01:18:00.005-04:00

The Waterview Inn, in Wiarton at the base of the beautiful Bruce Peninsula, was the setting for Sarah and Brent's wedding. We made a brief excursion to Spirit Rock Conservation Area where we were able to capture some fantastic moments before heading back to the Waterview for the evening's festivities.

A slide show of their special day is yours for the viewing.

Kristina and I wish Sarah and Brent all the best. Thanks for having us along!

Kim and Dan

2009-06-01T00:33:00.002-04:00

The Briars Resort and Spa was the backdrop for Kim and Dan's wedding this past weekend. The day reflected the couple: lively, fun, and full of love. I was honoured to be a part of it, as was Kristina and our documentary film maker Gary (more on that later).

We invite you to take a peek at Kim and Dan's fabulous wedding.

Connor and Trevor

2009-05-23T23:33:00.004-04:00

We were honoured to photograph Connor and Trevor's beautiful and classic wedding at Knox College at the University of Toronto, with a reception and dinner on the 33rd floor of The Sutton Place Hotel.

Kristina and I invite you to view a few of our favorite images from the day.

Enjoy, and congratulations Connor and Trevor.

Quote matching, and why we don't do it

2009-05-21T15:35:00.003-04:00

Occasionally, we get e-mails like this one:

Hello

I am getting married on ________. Please confirm your availability on ________. If you are available, I am interested in obtaining a quote for your services. Please provide me your best quote.

I am interested in a Wedding Photography Package that includes the following:

1. Continuous photography coverage on my Wedding Day of approx 14 hours
2. Principal Photographer plus Assistant (or) Second Photographer
2. Engagement photo shoot of approx. 4 hours at a location of my choice
3. 16X20 Print
4. 40 page flush mount leather bound Wedding Album (10X10 or 12X8)
5. 2 - 20 Page flush mount Parents Album(s) (8X8)

I have already interviewed a photographer that has offered me all of the above and much more. I am now interested in obtaining further quotes from which I will determine which two photographers I will interview. Upon interviewing two more photographers, I will be making my decision shortly after.

Sincerely,
xxx

The problem with this kind of approach is that it basically assumes that all photographers are the same with regard to talent and technique. Photography is most definitely not a commodity, but issuing a generic "request for a quote" like the one above tells me that the most important thing is price.

I replied to this request for a quote by asking to meet with them, to discuss the vision for their day and to answer several questions. For example, where is the wedding taking place? Are the parents' albums duplicates of the main book, or customized for each set of parents? What if I don't carry 8x8 books? Do they want the files? An online gallery? Why is the engagement session four hours when an hour or so will do? What's their budget? And on and on.

If you're shopping for a photographer, and if photography is important to you, skip the quote-matching game. Instead, select between three and five photographers whose work appeals to you and then interview them. If, at the end of the interview, you're still interested, ask them for a quote based on what you've discussed. Share the things that matter to you, including your budget range: these will help your photographer generate a quote that fits your requirements.

Finally, keep in mind that there are plenty of "photographers" who would be happy to work for cheap. The problem, of course, is that you usually get what you pay for. Instead, focus on the value you're getting for your photography dollar. A shoddy job for $1K is not a bargain--it's a waste of $1K.

Vanessa and Rob

2009-05-06T00:17:00.003-04:00

Hockley Valley Resort near Orangeville, Ontario was the setting for Vanessa and Rob's wedding in April. Take a peek at their day as we saw it.

My thanks to Kristina Laukkanen (as always) and Rhea Munroe for second photography support.

Destination wedding photography 101

2009-04-28T18:27:00.008-04:00

If you're planning a wedding "down south," bringing a professional photographer to document the experience is a great idea.

When thinking about destination wedding photography, here are a few thoughts to keep in mind.

First, expect to pay better photographers for their time as well as travel expenses including airfare, accommodation, and local transportation. Some "photographers" will offer to shoot weddings in exchange for travel costs, but like all things in life you tend to get what you pay for. Pros don't look on out-of-town weddings as opportunities for free vacations. They're work, and you should expect a professional result. They also take time away from clients--and families--at home. You may be on holiday, but your photographer isn't despite the laid-back atmosphere.

Second, you should ask your resort or hotel about their policies regarding external vendors. Most places have staff photographers who won't be working if you bring your own photographer. In many cases, a "vendor fee" is paid to partially offset this lost revenue, so factor this into your budget. The fee usually isn't much, but make sure you're aware of local policies so that your photographer isn't hassled when they show up.

Third, make sure your photographer has experience shooting under the harsh lighting conditions that often attend open-air settings. There's nothing quite like getting your wedding photos back and discovering gross mistakes in exposure and poor control of available light. A pro will know how to handle difficult lighting challenges. Ask to see examples of outdoor weddings and judge for yourself.

Finally, make the most of your wedding. Beyond planning the actual wedding day photography, talk to your photographer about a "trash the dress" session or perhaps accompanying you on excursions to local places of interest. You'll thank yourself years from now that you captured these once-in-a-lifetime moments.

Spring/Summer ad for Wedluxe

2009-04-27T22:05:00.005-04:00

We just finalized our full-page ad for the spring/summer edition of Wedluxe.

Meet Vanessa, married on April 25 at Hockley Valley Resort near Orangeville, Ontario.

This was one rushed session: the hair and makeup team ran very late and ate up almost all of my pre-ceremony portraiture time with the bride.

Still, with the help of a giant window, white sheers, and a video light I was able to create this image just minutes before Vanessa went from a Ms. to a Mrs.

And she looks fabulous!

Why us?

2009-02-02T20:24:00.003-05:00

A good question.

We're asked regularly what makes us different from the thundering herd of photographers on the market. Well, here's why you should consider investing in a Douglas Foulds Studios wedding.

Award-winning photography
We regularly enter our images in international print competitions and they are judged by some of the best photographers in the world. Every one of our competition images are from real weddings, created on the actual wedding day. There's no reason why your images can't be next!

Exceptional personal service
Before, during and after your event, you'll enjoy the continuity of dealing directly with me, the studio owner and principal photographer. From initial consultation to the final delivery of your book or prints, be assured we're your photographer.

Fabulous presentation
Wedding photography should be seen and enjoyed, not jailed on a disc in your desk drawer. We work with the very finest album- and book-makers in the world, and we source our individual prints from the best labs we can find in Canada, the United States and Australia. If you want a unique heirloom for future generations, we're your first and only call.

Value for your hard-earned dollar
When you consider the consistently high-quality results we deliver, the personal attention to detail, and the stunning albums, books and prints, we think we're an exceptional value -- perhaps the best in the Greater Toronto Area.

Client feedback
Don't take our word for it. We're happy to place prospective clients in touch with current and past clients. Ask them about their experience with us. We're confident you'll find that our clients love us for all the reasons listed above.

Smart questions to ask your photographer

2009-01-21T22:11:00.006-05:00

It's a new year and that brings new engagements. At some point, you'll start to look for a photographer to capture the Big Day. Chances are you've never shopped for a photographer before. What questions should you ask? How do you spot a good deal? How should you structure your search for the perfect photographer? In short, what really matters?

We think three things matter more than anything: portfolio, personality and professionalism.

PORTFOLIO
Above all else, look for a photographer or studio with a consistently outstanding portfolio of work. What constitutes "outstanding?" Judging art is a subjective and personal enterprise, but you should look for images that would not be out of place in a wedding magazine. If your candidate photographer's images look more like random snapshots, move on. Wedding photography must tell a story. Your photographer must be a storyteller. The images must be compelling. They have to leave you wondering, "Just how did they get that shot?"

QUESTIONS TO ASK ABOUT A PORTFOLIO
1. "Tell me about this particular shot." (You're looking for evidence of the photographer's ability to tell a story. You're also looking for signs of passion and pride in their work as they describe the shot.)

2. "How did you select the shots you're showing me today?" (You're looking for more than an answer like, "Because I like them." Hopefully, your photographer has selected images that represent different uses of light, a range of poses and emotions, a blend of candid and structured images, and those that tell powerful stories or convey strong emotions.)

3. "Among all wedding photographers worldwide, whose portfolio do you most admire and why?" (This is a great question. Your photographer should be plugged into the professional community, and they should be able to talk about other photographers whose work speaks to them. )

PERSONALITY
You will spend more time with your photographer than almost any other vendor on your wedding day, and you will do so in close proximity. You must feel comfortable in their presence, be able to communicate with them easily, and be confident in their artistic vision and direction.

Your photographer's job is to hide in plain sight for most of the Big Day so you should look for someone whose personality doesn't appear to crave attention. Your photographer has to be able to read emotions and anticipate "decisive moments", so you should look for signs of attentiveness and active listening as you interview them. Your photographer will also be under a lot of (self-imposed) stress during a wedding, so you should look for signs of grace under pressure and an ability to be at ease in a pressure situation--such as your interview with them.

QUESTIONS TO ASK ABOUT PERSONALITY
There are none. Instead, you should try to discover their personality through the interview process. Set aside an hour for your conversation. Ask them about their artistic motivations, about why they are a photographer. Ask them about their favorite weddings. Ask them what they're thinking about as they drive to their first shooting location on the morning of the Big Day. Ask them about their most challenging wedding, then ask them what they learned from the experience.

PROFESSIONALISM
Unless you're paying very little, you should expect a reasonable level of professional technique and technology from your photographer.

Their technique--how they work--can be inferred from looking at their portfolio, but you should ask them to describe how they plan shots of, for example, the ceremony or the first dance. How they do it is largely irrelevant because these events can be covered in a wide range of creative ways; what you're looking for is a reasonable, thoughtful answer. Their answer should touch upon subjects such as lighting, camera position, choice of lens, whether they plan to give you any direction, and so on.

Technology is largely overrated, and the age-old question of "film or digital" is not worth asking, not because nearly everyone is using digital capture--they are--but because it just shouldn't matter what they use as long as they get good results. The type and price of gear your photographer chooses to use shouldn't matter for the same reasons, but a significant investment in pro-level equipment (and by this I mean Canon's 1D series, Nikon's D3, Leica's M8 or R9, and a range of medium format film or digital systems plus the pro-level lenses to go with them) is usually a sign of a committed professional. Unless you're paying very little, regard "professionals" who swear by gear you can get at Futureshop with a healthy dose of skepticism.

This is no knock on photographers who can get breathtaking results with a pinhole camera. That said, better equipment (very fast lenses, high-performance camera bodies, etc.) can remove some technical barriers to great photography.

And, while you're talking to your photographer, ask them about their professional education and memberships in photography associations and forums. Look for some sign that they have a solid grounding in the photographic arts and that they are constantly keeping their skills up-to-date. Ask them if they participate in adjudicated competitions or have won awards from recognized photography organizations.

Finally, be wary of any photographer who sells their services by running down others in the field, no matter how inferior their work may appear. Professionals don't do that -- ever.

See us at the National Bridal Show

2009-01-11T13:24:00.005-05:00

We'll be exhbiting, once more, at the National Bridal Show which runs from January 23 to 25 at the Direct Energy Centre on the Exhibition Place grounds in Toronto. Admission is free for brides who register on the show's site.

Why come to the show? You'll get to meet us, see our beautiful albums and books, and pick up a copy of our latest mini-magazine, just off the presses.

You'll also get very special pricing on our all-inclusive wedding photography package including . . .

An engagement photo session with a matted portrait
Full coverage of your wedding day by two photographers
A 30-page flush mount fine art book custom-designed by yours truly
Full-resolution images on archival-grade DVD or Blu-Ray discs
Travel within the GTA including Halton, Peel, York and Durham

See you at the show!

Facebook and images

2008-11-12T14:22:00.004-05:00

We're occasionally asked why we don't publish any of our studio's images on Facebook, or why we don't permit our clients to post images we created on their Facebook pages.

Facebook's terms of use, available at http://www.facebook.com/terms.php?ref=pf, say that if you post "User Content" then they can reuse it in any way they see fit without your permission:

"By posting User Content to any part of the Site, you automatically grant, and you represent and warrant that you have the right to grant, to the Company an irrevocable, perpetual, non-exclusive, transferable, fully paid, worldwide license (with the right to sublicense) to use, copy, publicly perform, publicly display, reformat, translate, excerpt (in whole or in part) and distribute such User Content for any purpose, commercial, advertising, or otherwise, on or in connection with the Site or the promotion thereof, to prepare derivative works of, or incorporate into other works, such User Content, and to grant and authorize sublicenses of the foregoing. "

What's interesting is the following sentence, in the same paragraph, that appears to have been added to deflect concerns about the above statement:

"Facebook does not assert any ownership over your User Content; rather, as between us and you, subject to the rights granted to us in these Terms, you retain full ownership of all of your User Content and any intellectual property rights or other proprietary rights associated with your User Content."

Great. So I don't give up my copyright when I post an image, but Facebook can still use it any way they want. They're not asserting ownership, just the right to use anything I upload.

Before you post your wedding or portrait images on Facebook, be sure you get the copyright owner's permission to do so.

And, if you're a copyright owner, be sure of what you're potentially giving up by posting that album of wedding shots you took last week. Plus, your client might not be very happy to see her face plastered on the side of a bus because Facebook decided to get into the business of selling user images as stock photography.

300 reasons to love Canon

2008-10-28T21:34:00.006-04:00

I'm an unapologetic fan of Canon's pro gear, particularly the new series of fast prime L-series lenses that make shooting such a joy.

One of my favorite lenses has to be the Canon 300mm f/2.8L IS lens. It's among Canon's sharpest lenses from edge to edge, and it's nearly perfect for portrait work and true PJ shooting from very long range. Here's me in action with the 300 at Muskoka's Windermere House:

The sharpness, contrast and bokeh of this lens are all exceptional, and I've been spoiled by such Canon legends as the 70-200mm f/2.8L and 85mm f/1.2L. Take for example the following shot of our couple at Windermere. I was perhaps 15 metres away, with a lake and trees another 100 metres and more in the background. The bokeh in this image is something to marvel at; the background just melts away.

I love the fact it's also image-stabilized. I can get consistently blur-free images at 1/100 second which makes it a reasonable lens for indoor work in moderate light or with remotely triggered strobes, as in this shot:

The downside? Price (C$4500+), long working distance, and portability. This is a big, heavy and very expensive piece of glass. It's also got a minimum focus distance of about 2.6 metres. With a 1.3x FOV sensor on the 1D Mark III, this means I'm quite a distance (8-10 metres or more) from subjects for head-and-shoulders shots. The separation from the subject is sometimes a benefit, but I like to interact with the people I'm photographing just a little. Shouting is sometimes necessary when shooting with the 300.

So far, though, it's been everything I expected and then some. The images it creates are drop-dead gorgeous. If you can afford it, it's worth every penny. If you can't, try renting it for a weekend from Vistek. You won't want to take it back.

Good to great: tips for low-light action photography

2008-10-28T14:57:00.015-04:00

Shooting a fast-paced reception in a darkened hall can be a real challenge, but we've been doing it a long time and we think we're pretty good at it. If you'd like to master low-light action photography, you need to know a bit about the relationship among aperture, shutter speed and ISO, as well as flash techniques for getting great exposures that look natural.

THE TRIAD: APERTURE, SHUTTER, ISO
Understanding how these three parameters work together, and which ones to emphasize, is critical to successfully shooting in all kinds of light.

Aperture is the opening in your lens through which light is transmitted. The bigger the aperture, the more light is admitted. Aperture is represented as "f-stops", with lower numbers equalling bigger apertures (f/2.8 is a bigger aperture than f/5.6 and so admits more light).

Shutter speed is the amount of time, usually in tenths or hundredths of a second, that the sensor is recording the scene. A shutter speed of 1/40 of a second admits twice as much light as a shutter at 1/80 of a second.

ISO is the sensor's senstivity to light. ISO 100 is half as sensitive as ISO 200, and eight times less sensitive than ISO 800. This means that ISO 800 is better than ISO 100 at recording dimly-lit scenes.

SHUTTER FIRST, THEN APERTURE AND ISO
Shutter speed, aperture and ISO work in concert to create properly exposed images. Of the three we feel the most important under low-light situations is shutter speed. An underexposed image may be saved in post-production, but one that's blurred is much harder to improve.

A good rule of thumb for shutter speed is to check your lens's focal length and use the reciprocal value as your minimum shutter speed. So, a 50mm lens would dictate a minimum shutter speed of 1/50 of a second, while a 200mm lens would need a shutter speed of at least 1/200 of a second. This rule of thumb helps reduce blurring when hand-holding your camera. Ideally, you'd want to use a shutter speed that allows enough light to be recorded for a proper exposure, but the penalty you pay for leaving the shutter open longer is motion blur, either due to camera shake or the movement of your subjects.

Next, pay attention to your aperture. If you have a lens with a "wide" maximum aperture, it makes it easier to get a good exposure for a given shutter speed. An f/2.8 lens may give you a good exposure at 1/80 of a second, but an f/4 lens (which lets in half the light as f/2.8--don't ask why, it just does) will give you that same exposure only at 1/40 of a second. In other words, because half light is being admitted by the f/4 lens the shutter needs to be open for twice the amount of time. This reduces your ability to work in darker rooms. The penalty: as you open up your aperture you decrease your depth of field which, in turn, means that you risk more out-of-focus images. It also means that even if your subjects are in focus, the background may be blurred out--this may be fine, but it's something to be aware of.

Additionally, shooting "wide open" means you're using the entire surface of your lens, from edge to edge. Most lenses are sharpest in the center and less sharp around the edges. This is why photographers with a need for very sharp images will shoot "stopped down" so as to just use the center of their lenses, which means apertures of f/8 or even f/11 or f/16.

Finally, use the lowest possible ISO value for your shooting conditions. While higher ISO values allow you to get good exposures under low light at reasonable shutter speeds and apertures, the penalty is in image quality: higher ISO values mean more "noise" or grain in your images, with a loss of detail. Camera manufacturers are getting better at reducing noise at higher ISO values, but you may find that anything much above ISO 800 is too noisy for your taste.

Now that we've covered shutter, aperture and ISO, let's move on to other tips for low-light shooting.

BOUNCE, BABY, BOUNCE!
If you have an external flash and you can tilt and swivel the flash head, aim it up to the ceiling or sideways to a wall and "bounce" the light. The reflected light will be broader, softer and more appealing than just using straight-on flash. The only downside: if that ceiling or wall is, say, red, you'll get a red colour cast in your images because red light will be bouncing back to your subjects. White ceilings and walls work best. And remember that the angle of incidence equals the angle of reflection (or, more plainly, aim your flash so that the light bounces back towards your subjects).

If you don't have a wall or ceiling handy, try using a dome-type flash diffuser to spread and soften the light from your flash. The key here is making the light source as big and diffuse as possible: you want to "wrap" your subjects with light.

FASTER, PUSSYCAT, FASTER!
Shooting under low light demands "fast" lenses. By fast, we mean lenses that have large apertures because the bigger the aperture, the more light is admitted to the camera's sensor for a given shutter speed and ISO combination. Most consumer-grade lenses have apertures in the f/3.5 to f/5.6 range, which may not be enough for darker rooms. For wedding receptions in very dark rooms, we use lenses with maximum apertures of f/1.2, although these lenses are fixed-focus and very expensive. Get the fastest lenses you can afford. You'll also keep them much, much longer than your camera bodies, so invest in good glass!

ISO-WHAT?
If you're planning a lot of low-light work, you'll want a camera that can handle high ISO values without introducing excessive noise. Earlier consumer- and prosumer Nikon DSLRs are notoriously poor above ISO 800; Canon DSLRs are much better at handling high ISO situations, as are the most recent Nikon models (like the D700 and D3). On the prosumer side, consider the Canon 40D or Nikon D300.

OUR APPROACH
At wedding receptions, we use a mix of bounced flash, off-camera remotely-triggered flashes, and ambient room light. The method we use is dictated by the mood we're trying to capture.

When shooting using the ambient light in a room using our Canon 1D Mark III and a 50mm f/1.2L lens, we might have our ISO set to 1000, aperture set to f/2 or f/1.6, and shutter speed in the 1/80 to 1/125 range. This is a good blend of reasonable ISO, wide aperture and decent shutter speed.

When using bounced flash, we'll try to balance the flash output with the ambient room light. I won't go into the techique here, but briefly we use aperture to control the amount of flash and shutter speed to control the amount of ambient. If those two are balanced, the result is a natural-looking but well-exposed reception scene.

PRACTICE, PRACTICE, PRACTICE
The best way to become familiar with your camera and lenses under low light conditions is to try them out. Go into a dimly-lit room and start playing with ISO, shutter and aperture. Try bouncing your flash. Figure out how slow you can go wth your shutter and still get "shake-free" images.

The album design process

2008-10-06T12:14:00.012-04:00

Now that the wedding season is drawing to a close, it's time to think about selecting images for your books and albums. This can be an exciting and somewhat overwhelming task, especially if your proof set is in the 700 to 1000 image range. Use the following advice as your guide through the process.

In this article, we'll use "book" and "album" interchangeably.

STEP ONE: Pick your album type
There are three main types of albums:

Flushmount fine art books: Our most popular book. Each two-page spread lies flat with no gutter. Pages are printed on Kodak photographic paper (RC or metallic) and laminated for protection. Covers materials include leather, metals, and other options. Smaller duplicates of the main book are available at a modest cost.
Coffee table books: An inexpensive alternative to a flushmount fine art book. These books are bound in leather or linen and have pages that are press-printed. Unlike flushmount books, the binding includes a gutter so two-page layouts (while possible) include some loss of detail down the centre of the image. Duplicates are available at full price.
Matted albums: A traditional option, these albums are made-to-order in Australia. They hold fewer images than a flushmount or coffee table book--about 1.25 images per page on average. The prints are executed on photographic or fine art paper and inserted into custom-cut mats. Duplicates are available at full price.

For more information on our album types, download our price list.

STEP TWO: Select your album length
Books and albums are priced by the page (or "side"). Twenty pages is minimum order. There is no maximum number of pages for flushmount or coffee table books, but anything above 80-90 pages is usually divided across multiple volumes. If you're picking a matted album, the maximum page count is 36.

An album can hold 1.5 images per page averaged across the entire album (1.25 for matted albums), so if you think you'd like a 60-page book you'll have around 90 images in your final layout. We impose this limit because each image may receive substantial retouching before it's added to your book, and this takes time and effort. We're also fans of the "less is more" approach to book design: an uncluttered book with fewer knockout images is better than a busy one with lots of smaller shots, in our opinion.

There are two ways to decide how many pages you'll need:

Consult our price list and determine what you can afford. Albums are priced by the page.
OR
Review your proof set and decide what images you want in your book. If you wind up with a list of 120 photos, you'll need an 80-page book if you follow the 1.5-images-per-page rule of thumb.

STEP THREE: Pick your images
Now, the hard part. Selecting a handful of great images from a larger set of very good images can be difficult. If you just dive in and start picking shots at the beginning, you may find you have 100 or more before you get halfway through your proof set.

If your goal is to create a book that tells the visual narrative of the entire day, then set aside an image "budget" based on the major phases of your day. We've found that the following budget works well in most cases:

Pre-ceremony: 10%
Ceremony: 10%
Formal / group photography: 25 %
Reception and dinner: 25%
Post-dinner: 20%

The math-saavy among you will notice that the percentages don't add up to 100. That's to leave a 10% "slush fund" in case you want to include a few more shots from, say, your ceremony or the post-dinner celebrations.

Let's say you've decided you want a 40-page coffee table book. Following our 1.5-images-per-page rule, your budget is 60 images. Following the advice above, that means you're selecting 6 pre-ceremony, 6 ceremony, 15 formal, 15 reception/dinner, and 12 post-dinner images with another 6 in your "slush fund".

You'll likely wind up blowing your budget on your first pass. Don't worry--that's normal. Go through the process again on this smaller set of files, and keep doing it until you're down to the right number of images.

Once you've picked your images, send us a list of the file names and any requests you may have with regard to their importance to you. If, for example, you LOVE a particular shot of you at the reception, let us know and we'll ensure it is placed prominently in your book.

You can also leave it to us to select images and create a layout for your book. We were there, after all!

STEP FOUR: Review and approve your layouts
After we get your list of images, we'll go to work laying out your book, page by page. Each two-page spread will be as visually coherent as we can make it.

When we're done, we'll send you a PDF version of your book. This is your opportunity to request changes to image size and placement. It's also your opportunity to substitute different images. Send us any changes you may have. We'll revise your layout and send a second PDF for review, if necessary.

During your second review we ask that you restrict your changes to no more than 10% of the pages. Why? When you're dealing with 90 or more images across 60 pages, there are an almost-unlimited number of layout combinations. Second-, third- and fourth-guessing where to put that shot of you and your grandparents only prolongs the process and, in the end, doesn't result in a substantially different book anyway. If additional changes are required, a per-page change fee may be applied.

We'll ask you to approve, in writing, your final album design. Once it's approved, production starts. Due to the customized nature of your book, we can't change the layout once production has started.

STEP FIVE: You're done!
Once you've approved your album layout, your role in the process is finished.

We'll keep you updated on your album's progress and advise you on a delivery date once we have that information from the printer. Typically delivery times are around 5-6 weeks after your final approval, more during the winter months when our printers are the busiest. We ship via Canada Post XpressPost from Brooklin, Ontario. You'll need to sign for your books when they arrive at your end.

Wedding photography auction for Saturday, June 20, 2009

2008-07-23T20:06:00.007-04:00

If you're being married on Saturday, June 20 next year (or know someone who is) and haven't yet settled on a photographer, this is your lucky week!

We're auctioning a full, no-holds-barred wedding photography package on eBay: complete, two-photographer coverage; an engagement session with a print; high-resolution files; and a 30-side Graphistudio book of images.

Hurry! The auction ends on August 2 at noon Eastern.

Katherin

2008-07-22T15:46:00.008-04:00

A while back, we decided to auction off six hours of our services on July 19, 2008 after the date opened up on our calendar. Katherin, below, was the high bidder and decided she wanted to do some engagement-type shots since she's being married in October 2009.

Here's a couple of our favorites from that session that featured rain, wind, a baby's feet, Starbuck's coffee, dropped muffins, and a sunset stroll on the shore of Lake Ontario.

A nickel's worth of free advice

2008-07-16T20:32:00.019-04:00

We monitor several bridal forums and regularly see advice, from brides, on this or that photographer.

More often than not, the advice is misguided--unintentionally so, but still off-base. Why? Those making the recommendations simply aren't qualified to do so. Most often, they're raving about photographers who, based on an objective evaluation their public portfolios, should be avoided at all costs.

I'm a wedding photographer. The comments that follow will, therefore, seem grossly self-serving. So, I'll state here and now that I don't care a whit if you book me or your Uncle Bob to shoot your wedding. What I do care about, though, is providing information to those who want to make an informed decision. Look on this post as a nickel's worth of free advice.

1. Does photography matter?
Yes. If your answer is otherwise, let's talk again in 25 years when you're sharing memories with your children. Don't put your family's future history at risk by taking a cavalier approach to photography of your family’s important events.

2. Does equipment matter?
Yes and no. Technology is largely over-rated but if your photographer styles themselves as a "professional" and is using a Rebel or D40 with a kit lens, you should be concerned.

In most cases, an over-reliance on consumer-grade equipment is a sign of an amateur or weekend warrior masquerading as a professional. Most talented photographers, even those with a limited budget, will find a way to avoid shooting with consumer-grade gear if at all possible. If your photographer has made some type of investment in gear that will enable them to shoot under (for example) low-light conditions, then you should feel better.

Film or digital is completely irrelevant, although digital photography has largely supplanted film these days.

How can you tell if your photographer is serious when it come to gear? E-mail us and we'll give you our unfettered opinion.

3. Does the portfolio matter?
Yes, absolutely. Your photographer's public images represent the pinnacle of their work. Their portfolio, both online and in print, should give you an idea as to their technical proficiency and artistic vision. You shouldn't expect 800 award-winning images in a proof set, but you should expect to see sufficiently large numbers of truly arresting images in your photographer's "best of" collection. After all, you're not going to print and display 800 images...but you may want to create an album around 80 exceptional shots so be sure to ask to see their finished work for past clients.

If you're unsure as to the competency of a prospective photographer's talent, get in touch with us and we'll be happy to evaluate them fairly and in good faith.

4. How should you pick a photographer?
Start by familiarizing yourself with the best work worldwide, starting with Pop Photo’s article on the Ten Best Wedding Photographers and the list of annual competition award-winners at the Wedding and Portrait Photographers International site. The work of these photographers are the standards against which all other wedding photographers are judged. Look at how the images are lit. Look at how they're framed. Look at the stories they tell. Then, look at your candidate photographers with the same critical eye. How's the lighting? Is there a story, or just random snapshots? Do their images provoke an emotional response? The more informed you are about truly exceptional photography, the better equipped you'll be when it comes to evaluating local photographers.

You shouldn’t rely on what you see online alone, although a photographer’s web presence is important. You should ask to see printed work, particularly if you might want an album or book later.

You should also ask them how they “keep current”: What professional organizations are they members of? Do they participate in competitions? How do they keep abreast of the latest techniques and technologies? You should look for some evidence that they take their craft seriously--unless, of course, you already know they're an amateur and you're fine with that.

Once you’ve settled on a handful of photographers whose portfolios you love, then you can start thinking about who you can afford. Think about affordability not only in terms of money, but in terms of value for the money. Paying a little more for much better quality is often a much better value than going with the lowest bidder.

5. Should I rely on my girlfriend's / MOH's / co-worker's recommendations on a photographer?
If you've got to this point and you are still wondering about this, scroll up :-)

Unless those providing advice are themselves professionals in the graphic arts, you should take advice on which photographer to hire with a grain of salt. Certainly, the experience that others have with their wedding vendors should factor into your decision-making process, but be sure to correlate a rave review from someone you know with what others are saying--and what your own judgment tells you.

6. Should I insist on getting the “high-resolution” images?
Up to you, but ask yourself what you plan to do with them if they’re not included in your photographer’s contract with you. Most top-flight photographers won’t release their files at all; others will charge separately for them. For a more fulsome discussion of the issue of high-resolution files, see an earlier posting on this topic.

7. Who would I hire to shoot my wedding?
I've been happily married for over 13 years, but if I was to do it over again I'd hire Ken Sklute to shoot my wedding. Ken is a Canon Explorer of Light and one of the world’s best wedding photographers.

Leah and Michael

2008-07-08T23:12:00.007-04:00

We've created a short slide show of some of our personal favorites from Leah and Michael's wedding in Beamsville and Hamilton, Ontario, on June 28.

Leah's parents' eclectically decorated and lushly landscaped home on the shore of Lake Ontario was the setting for many of these images.

Enjoy the show.

New pricing in effect

2008-06-25T09:43:00.004-04:00

We're pleased to announce new, more flexible pricing for both coverage and books and albums.

Our current price list has more details, but briefly:

Coverage can be arranged either by the hour or by the full event, with two principal photographers the default.
You can mix and match coverage, books and albums to create your own custom packages.
If you book at least six hours of coverage and pre-order a book or album at the same time, we'll take 15% off the entire custom package.
Engagement sessions are complimentary if you book six or more hours of coverage.
We have several new options when it comes to digital file formats including low- and high-resolution JPEGs, 16-bit TIFFs and even DNGs delivered on an iPod.

As always, we're booking up at least 12 months in advance, so if you're being married in the summer of 2009 now is the time to get in touch with us.

Got the high-res files? Printing your own? Read this!

2008-06-06T12:46:00.011-04:00

Getting the high-resolution files from your photographer may seem like a great way to save on post-wedding printing and album costs--and it can be. However, there are a few things we like to remind our clients about when it comes to DIY printing from professionally-captured images. As with most things in life, you get what you pay for when it comes to printing your own files.

First of all, be realistic in your expectations. If you're not familiar with the steps involved in preparing files for printing, or if you are familiar but you're not prepared to make the time commitment, then you shouldn't expect studio-quality prints or eye-popping books if you're dropping your disc at Wal-Mart or Costco.

Second, know what you're getting. Not all high-resolution files are created equal. When we provide high-resolution JPEGs, they are converted from RAW and in doing so they receive corrections to exposure, contrast, colour balance and saturation. They also receive some basic sharpening. The JPEGs are saved in the Adobe 1998 (or ProPhoto on request) RGB colour space, a more flexible option than the more-commonly used but "narrower" sRGB colour space. Starting with high-quality files makes all the difference. If your photographer is providing you with JPEGs created in-camera, you might need to do additional work on them before printing. If they're providing RAW files, you'll absolutely need to do some work to make them printable.

Third, be prepared to do some post-production work. Your images may be printable as-is right from the disc, but it's more likely that you'll need to do some retouching and prep work using an application like Photoshop: removing blemishes, adjusting colour and saturation, cropping, resizing, sharpening etc. If you're getting the RAW files, you'll need to convert them to a usable output format like TIFF or JPEG before you can even start the retouching work. If you've never worked with RAW files, getting a good JPEG can take some time.

Fourth, you need to be aware of (and ideally understand somewhat) good colour management practices. What you see on your monitor may not be what you get back from your lab unless you take the time to calibrate your monitor and soft-proof your files using your lab's printer profile. You *can* leave this work to the discretion of the lab's printer operator, but they may not always do a good job, particularly in high-volume locations. The implications of ignoring colour management practices can be serious: the colours in your prints may not look like they do in real life.

Fifth, ensure you have written permission to reproduce the images and that you understand the terms and conditions in the license. In Canada, copyright of creative works defaults to the party who paid for the work--the client--unless the creator asserts copyright, as most photographers do in their contracts. Check your contract. If it says that your photographer holds the copyright, it means that you need your photographer's explicit permission to print or display images they created. Some labs will ask you to prove that you have permission to reproduce, especially if they suspect the images were professionally-created and it's obvious you're not the creator (that is, you're in the images).

Finally, most of the best album makers sell only to professional photographers. The quality of their printing and binding is almost always far superior to that available to the average consumer. Again, be prepared to adjust your expectations if you're producing your own albums.

Printing your own images can be a real cost-saver, but getting great-looking prints and albums may be a challenge. When you order prints and albums through your photographer, you're paying in large part for their expertise and skill in turning original files into great prints. In the long run, you might be happier leaving this work to your photographer.

LED panel lights rock

2008-05-04T23:23:00.006-04:00

We're starting to use our little LED light panel more and more, and we love the results.

Here's Leah standing outside in full, deep shadow in otherwise low-contrast light. The LED panel is being held by her fiance Mike to camera left, above Leah's head and just in front of her face (note the catchlights).

The light panel, a small box a little bigger than a deck of cards and containing 48 daylight-balanced LEDs, provides just the right amount of fill to open up the shadows and provide some interest in the eyes. It comes with a dimmer but it's almost not required because the light is so, ahem, light that it can be positioned exactly where you want it to give you the look you're after--and you can see the results before you shoot.

We highly recommend the Litepanels LP-Micro, available in Canada through Vistek.

Vendor favorite: Kara Greenwood, Belle Fleur Events

2008-04-24T13:41:00.000-04:00

We met wedding coordinator Kara Greenwood of Belle Fleur Events at a mid-2007 wedding and since then we've had the pleasure of teaming up with her on some of the most challenging and rewarding assignments we've ever had.

We love Kara, and we love working at events she's coordinating. She's fabulous, fearless, and focused. Her events are meticulously scheduled, well-rehearsed, and flawlessly executed. When Kara's running the show, we know things are going to run smoothly and that allows us to turn our full attention to photography.

For the life of us, we can't understand why anyone would not hire a coordinator. Unless you're marrying for your second (or third, or fourth) time, planning a wedding is a unique challenge. There are dozens of vendors to coordinate, hundreds of guests to host, thousands of dollars in expenses -- and it all has to come together "live" in front of an audience of family and friends. And you only get one shot to get it right.

We witness many clients who forge ahead with their planning chores, believing that if their mom/sister/best friend can do it without a coordinator, so can they--a rite of passage, if you will. And they do, inevitably, pull it off, but we always wonder just how much more enjoyable their wedding day could have been if only they had turned the details over to someone like Kara.

When you answer, "Yes!" to the biggest question of your life, call your family and friends. Then call Kara. Full wedding design, day-of coordination, and hourly consultations are available.

You can reach Belle Fleur Events at info@bellefleurevents.ca or 416-937-5878.

Mr and Mrs Smith go to Washington

2008-04-15T21:25:00.006-04:00

Here are a few of our favorite images from Marsha and Fitzroy's wedding over the April 5-6 weekend in Washington, D.C.

We had a wonderful time getting to know the families; we wish we could have spent more time with them. We're looking forward to the Toronto leg of the celebration in August.

To start the show, just click the arrow below.

Enjoy.

What's in the bag?

2008-04-15T10:17:00.017-04:00

We're asked on occasion about the gear we use to capture weddings and portraits. So, in the spirit of unbridled technolust, here's an overview of the equipment we use and, by implication, endorse:

DSLRs
Canon 1D Mark II and Mark III bodies are our workhorses, with the 1D Mark IV coming soon. They're fast, weather-sealed, and create exceptional images. You can also use them to hammer nails in a pinch. Kristina uses Nikon D200 bodies, although she pines for a D3. She's recently acquired a Canon 40D so we'll see if the conversion from Nikon actually happens.

NEW for 2010: We've added a 7D with a DSLR shoot rig for HD filming. Kristina has ditched the 40D and embraced Nikon fully with a D300 and D300S. So much for sharing lenses on location!

Lenses
Canon L-series lenses are the perfect mates for our 1D bodies. Our set includes the 16-35 f/2.8L II, 24-70 f/2.8L, 50 f/1.2L, 70-200 f/2.8L, 85 f/1.2L and (our pride and joy) a superb 300 f/2.8L IS. Of these, we're awfully fond of the 70-200 and the 300 for portrait work and the 24-70 for environmental photojournalism. The 50 and 85 are our favorites at receptions and anywhere there's a paucity of light.

NEW for 2010: A very fast 24mm f/1.4L and 17-55mm f/2.8 IS for HD film work with the 7D.

Lighting
We use a mix of Canon 550 and 580 speedlights, both on-camera and fired remotely using Pocket Wizard radio triggers. For larger rooms and studio work, we use Elinchrom strobes with softboxes and umbrellas. For exposure readings, we trust our Sekonic light meters.

Grip
Manfrotto tripods, monopods and other accessories are indispensable tools. We also like Lastolite reflectors and scrims. Our gear bags are by Lowepro, with hard travel cases by Pelican.

Memory
We use Sandisk Extreme CF and SDHC cards, along with Delkin Pro CF cards. With the 1D Mark III able to shoot at 9 frames per second, fast memory cards are a must.

Digital Darkroom
We're a Windows shop. CaptureOne 5 is our preferred RAW conversion application, but we do like Adobe Lightroom, too. Photoshop CS3 is our standard application for post-production work. BreezeBrowser Pro and ProShow are also used in our workflow. Our NEC 2190UXi LCD monitors are calibrated at least weekly using x-rite Monaco Optix equipment.

For film post-production, we use Adobe Premiere Pro, Quicktime Pro, and Cineform Neoscene.

Printing
We use Colourgenics and Pikto in Toronto as our main print labs. We also use The Edge in Australia for special jobs. For fine art prints, we have our own Epson 4000 Pro print engine.

Proofbooks and Albums
SharedInk and Asukabook are our preferred sources for proof books. Graphistudio in Italy, Finao in Michigan, and Cosmopolitan Album Design in Australia are are our vendors for our stunning flushmount and matted albums.

Another Accolade of Excellence at WPPI

2008-04-07T20:19:00.007-04:00

We've received another Accolade of Excellence from the Wedding and Portrait Photographers International 16x20 print competition held in Las Vegas in mid-March.

Here's the image, that of a groom photographed by window light at Auberge du Pommier just after exchanging vows with his new wife. We stopped at the restaurant, located in uptown Toronto and world-famous for its French cuisine, between their lunch and dinner sittings to allow the bridal party to recharge for the rest of the day. It was raining outside, too, so we decided to create some informal portraits inside using some beautiful north light diffused by white sheers.

This print, along with our other winner from this year's competition, will be featured in the 2008 edition of the best wedding and portrait photography from the WPPI convention.

Honours at WPPI

2008-03-19T17:19:00.003-04:00

We're thrilled to announce that we've received at least one Accolade of Excellence in the 16x20 print competition at the annual Wedding and Portrait Photographers International convention in Las Vegas.

Not all of the award-winning prints are on display here at the convention, but we did have the thrill of being in the judges' room when one of our images came up for discussion.

The award-winning print is titled "Great Scots!" and was created on the garden steps at Graydon Hall in Toronto.

Engagement session 101

2008-03-06T22:19:00.007-05:00

Your engagement photography session is more than creating beautiful images of the two of you. It's our chance to get to know each other before the big day, talk about the current state of your wedding plans and timeline, and introduce you to life in front of the lens. For these reasons we pretty much insist on scheduling one with all of our wedding clients.

Our engagement photography sessions are typically done as a location shoot in an interesting venue: Queen Street West, the Distillery District, the CNE, Harbourfront, Chinatown, the rooftop of your condo building, or just about any park or green space you prefer in the Toronto area. Ideally, we'll also visit the location we'll be using for your actual formal group photography on your wedding day, but that's not always necessary or practical.

Engagement sessions can take as little as 30 minutes or can run all afternoon, depending on your schedule, the weather, and your willingness to be photographed. Organizing it around an event (like a double-decker sightseeing tour, a ferry ride to the Toronto Islands, a shopping trip on the Yonge Street strip, or a walk through the autumn woods) makes for some truly fabulous photography: relaxed yet kinetic. In these situations, we'll shoot mainly photojournalistically but we'll pause for a pose whenever we notice some extraordinary light.

For your session, simply come relaxed and ready for some fun. Wear something that has a chance of not being out of fashion in two weeks, and keep the colours and patterns muted--after all, the focus should be on your faces. You may even want to bring a backpack with some different looks: hats, scarves, whatever.

You'll see your proofs within a few days of the session. We're also only too happy to work with you to provide whatever files are required for invitations, slide shows, place cards and the like.

Engagement sessions are included when you book six or more hours of wedding day coverage. See our Investment page for details.

Get the most out of your new D-SLR

2008-02-22T16:34:00.009-05:00

UPDATE 03/25:
This session is now full. We'll announce another one presently.

If you'd like to learn how to use your new D-SLR in more than "Auto" mode, or if you'd like to learn some creative compositional techniques, then consider joining Doug and Kristina for a late-afternoon workshop of hands-on shooting in Toronto's historic Distillery District, just east of the downtown core south of Front Street and between Parliament and Cherry Streets.

Date: May 4, 2008
Time: 4:00 PM to 6:00 PM (or whenever we finish)
Starting location: Balzac's Coffee, 55 Mill Street, Building 60

The group size will be capped at eight to ensure everyone gets ample one-on-one advice and instruction. Our studio shoots both Canon and Nikon, so it doesn't matter if you've got a Rebel XTi or D80--all that matters is that you want to learn how to use your new toy to take better pictures!

Contact us at info@foulds.ca to add your name to the list.

The cost: no charge for any of our current or past clients, $10 for Babblers, and $25 for everyone else.

See you May 4!

Moon over Brooklin

2008-02-20T21:20:00.004-05:00

The moon, as seen from Brooklin, Ontario at 9:09 PM tonight.

Captured with a Canon 1D Mark III at ISO1000, 1/125 sec., and f/16 using a 70-200 mm lens at 185 mm.

Reception hall windows and flash photography

2008-02-17T10:09:00.003-05:00

In a recent post on FrugalBride, a bride-to-be in Regina asked if her reception venue, with 40-foot glass windows covering an entire wall, would be a problem for flash photography. She was concerned that the flash will be reflected in the glass and ruin her images.

If you're using an on-camera flash and shooting directly towards any window (or mirrored surface), the laws of physics tell us that we'll see the reflected light. The solution? Move the light!

We use multiple off-camera, radio-controlled flashes and strobes to light reception venues, even if there's no issue with big windows or mirrored walls. The results are (literally) night-and-day compared to on-camera flash, even if that flash is "bounced". Multiple strobes, if they're properly placed and employed, will also eliminate the dredded "shot-in-a-cave" look that is far too common in reception photography.

Here's a a shot of a reception dance floor. The room was pretty dark, so we set up three remote flashes that were triggered by our cameras. The result? You be the judge.

If your photographer isn't "going multiple" with remote flashes at your reception, ask them why not.

Or just book us and be done with it.

Off to Vegas

2008-02-15T22:36:00.005-05:00

I'll be attending the annual Wedding and Portrait Photographers International (WPPI) convention in Sin City, U.S.A. in mid-March. This will be my third (or fourth?) visit.

This year, I entered three prints into the 16x20 competition for the first time, so it's going to be interesting to get feedback from the judges. Here are the competition entries:

Ten questions, ten answers

2008-02-15T22:20:00.004-05:00

We get asked many of the same great questions. We thought we'd compile the top 10 here. If you have a question that's not addressed below, post a comment.

How many photographers will capture our wedding day?
Two to three, including Douglas.
What are your prices?
See our current price list for details.
How many proofs do we get?
A typical proof set is between 600 and 800 images, but there's no predetermined limit. If it's good, you'll see it.
Are high-resolution files available?
Yes, in a variety of formats and prices. Ask us for details or see the price list.
How much will albums cost?
You can spend a little or quite a lot. If you pre-order an album or book and combine it with at least six hours of wedding coverage, the entire custom package is 15% off.
Is an engagement session included?
Yes, if you book six hours of coverage or more. Your wedding day isn't the time for us to become acquainted.
Where are you located?
Brooklin, Ontario with studio space on-demand in Toronto.
Is travel included in your fees?
If your wedding is in south-central Ontario, travel is included. Events further afield and destination weddings are quoted on an individual basis.
How far in advance should we book?
We recommend booking us at least 12 months in advance, more if your wedding is taking place on a Saturday between Victoria Day and Thanksgiving.
Film or digital?
It shouldn't matter but in case you're curious, we're digital. We use Canon 1D Mark II and Mark III bodies along with a mix of Nikon and Leica cameras. We do, however, like to use a Holga 120GN medium format film camera in some situations.

Kristina Laukkanen, associate photographer

2008-02-15T21:55:00.005-05:00

The talented Kristina Laukkanen, owner and principal photographer of Sugar Tree Photography, joins Douglas Foulds Studios as associate photographer for the busy 2008 season.

Kristina is equally at home in the studio and on location, and she has the rare ability to create classically composed portraits quickly as well as nailing the "decisive moment", as she did as she accompanied Alex (below) to the Windsor Arms Hotel for his wedding a couple of weekends ago.

Anyone seeking family, children or maternity photography should look no further than Kristina and Sugar Tree. We love her, and we're glad she's part of the team.

iPods for proofs? It's true!

2008-02-15T15:54:00.004-05:00

If you're booking our standard complete coverage package, one of the goodies you get is an iPod. Really!

Why an iPod?

We provide three sets of files to our clients:

DNGs, which are RAW files converted to a cross-vendor format. See my earlier post on RAW files for more information.
Full-resolution JPEGs in the Adobe 1998 RGB colour space. These files are perfect for high-quality printing.
Low-resolution JPEGs in the sRGB colour space. These files are optimized for web display and sharing via e-mail.

From a typical wedding with 800 proofs, these three sets of files can add up to 15 GB or more. We could burn them to DVD (and, in fact, we do--at least the JPEG versions) but we've found it's very convenient to deliver these files on an iPod which is really nothing more than a portable hard drive. Once you've transferred the photos to a computer, they can be deleted from the iPod and it can be used as, well, a regular iPod.

And yes, you do get to keep the iPod.

We just shipped our latest photo-laden iPod, an engraved 80GB Classic, to clients whose wedding we captured on February 2 at the Windsor Arms Hotel in Toronto.

Do you really want the RAW files?

2008-02-15T14:45:00.008-05:00

Many professional photographers shoot in a format called "RAW". RAW doesn't stand for anything other than "raw sensor data". RAW files are, like film negatives, latent images that require additional processing before they can be viewed. If you're interested in learning more about RAW, visit http://en.wikipedia.org/wiki/Raw_image_format

To view a RAW file, you have to use specialized software. To print or display an image captured in RAW, you have to convert it (using that specialized software) to an output format like JPEG or, less commonly, TIFF or PNG.

Photographers love RAW because it offers the greatest degree of flexibility when it comes to post-capture image adjustments. Using software like Capture One or the Adobe Camera RAW plugin for Photoshop, you can quickly adjust and fix image parameters like colour balance, exposure, contrast, and sharpness. Once those parameters have been adjusted to your liking, a JPEG or TIFF version is created. If this sounds like a lot of work to get a printable file, it is. But the end results are worth the additional effort.

Some photographers shoot in JPEG format. These files are viewable and printable right from the camera's memory cards, but because the camera's internal processor has made intial decisions about the image's parameters (colour balance, exposure, contrast and -- most critically -- colour space), some of the post-capture flexibility that you get with RAW files is lost. JPEG images are also lossy: some data is thrown away when the file is created and every time the file is re-saved. To me, shooting in JPEG format reduces my post-capture creative freedom of action. The only real advantage of JPEG over RAW as a capture format is the speed with which client-ready proofs can be created, but even then it's not a big difference in terms of time or effort.

So, with that out of the way, on to our question: Do you really want the RAW files?

The short answer is, "Yes," with a, "But."

Ideally, you want the RAW files if your photographer shoots in the RAW format. These files are your digital negatives. They are the files you burn to an archival-grade DVD (or three) and put somewhere safe on the chance you need them in 10 years. Don't expect to ever use the RAW files except in the event that your JPEG output files are lost, damaged or otherwise not usable for whatever application you have in mind.

Some photographers are not comfortable letting RAW files out of their studios. We don't mind if it gives our clients peace of mind knowing their "negatives" are safely in their possession.

Every camera manufacturer has its own RAW file specification, and not all RAW software can open (or will likely be able to open in 20 years) all current RAW formats. Canon has its own RAW format; Nikon has its own, too.

Right now, there isn't a good solution to vendor-specific RAW formats. Adobe has proposed its DNG format as a possible universal RAW format, and Leica has adopted DNG as its default RAW format for its latest digital cameras, but the debate over a single format rages on in places like OpenRAW.

Until the photography industry settles on a standard for RAW, we're providing our clients with DNG files with the original RAW files (be they Canon, Nikon, or from some other vendor) embedded, just in case they're needed later. These DNG-with-RAW files are huge--25 MB or more--but they should ensure readable files decades from now.

Unless you're comfortable processing RAW files, you also want those files converted by your photographer to something usable, ideally JPEGs in a wide-gamut colour space like Adobe 1998 or ProPhoto RGB. More on this in a future post.

New site, new blog, new wedding season

2008-02-15T14:34:00.003-05:00

Because we can't seem to sit still, we've just launched a fresh new look for our main site and joined the ranks of those who blog it.

We're quite excited and quite apprehensive about the new site. Until now, we've handled all of the design elements ourselves and hand-coded the pages. This gave us the look we wanted, but it also took time away from the rest of the business. To spend more time on photography and less time on site administration, we decided to give outsourcing a try.

And that's where the apprehension comes into play: we don't like being in complete control of our art or our brand. Handing over control of our site's look and feel to another company has been a tough decision, but we like what we see so far and it works well for the clients who've tested it. Do we stick with it forever? Hardly.

As for this blog thing, well, we're hoping it becomes a bit of a resource for brides (and even grooms) looking for candid advice on wedding photography. To that end, we'll post our thoughts on curren trends in photography, give you an insider's view of how photographers approach their craft, provide guidance on how to evaluate a photographer's portfolio, and the like.

Stay tuned. In the meanwhile, we're off to capture Lesley and Mike's wedding in Hamilton tomorrow. I'm starting with Mike at noon; it should be a blast!