Brett Harkness Wedding Masterclass in Digital SLR Photography

Weddings
experets
seri 3
part
From their beautiful converted ‘woodmill’ studio in the outskirts of Manchester, Brett Harkness
and his partner Kristie run a highly successful photography business. Brett has made a name
for himself over recent years for his brilliant contemporary portraiture and is regarded in
photographic circles as one of the most innovative and exciting young talents to come from
the UK in years. As well as taking pictures, Brett’s studio has recently begun a series of
training courses covering a wide range of subjects including portraits, weddings and lighting.
For more information, visit: www.brettharknessphotography.com
Brett Harkness and his wife and partner, Kristie, started shooting
weddings in 2002 at £150 a time. Within a year, they were charging
£500. Six years later, Brett is one of the top wedding photographers in
the country, commanding between £5,000 and £8,000 for a small
wedding, and up to £25,000 for a very large one. He shoots between
20 and 25 weddings a year, both at home and overseas
Brett’s wedding gear
•
The start of the big day
If the ceremony is more than an hour from our studio, we'll
head down the night before. We arrive at the house in the
morning with ample time to spare. The preparations are
important, and people get scared that you’ll be snapping
them all the way through this stage, so reassure them that
you won’t stick to them like glue! A female assistant is an
asset here, as she can go in and make sure that the bride is
decent, avoiding any really embarrassing situations.
We take things gently at this stage. The day isn't about us, so
we have to go with the flow, rather than force people to do what
we want. If the preparation goes on for too long, we gently remind
them of the time, as we know how long it can take to get a dress
onto a nervous bride. We almost take on the role of wedding
planners at this stage as we've been to so many weddings!
I never walk around with a large gadget bag. Instead, I have a
self-contained waist pack (a ThinkTank Speedfreak) filled only with
what is essential for each particular stage of the wedding. In the
preparation stage, I have my main lens – the 70-200mm – and my
flash on the camera (it never comes off!). I’ll also take the 17-35mm
and 50mm macro lenses with me. If the house is small, I'll use the
24-70mm lens instead of the 70-200mm. I save the 15mm fish-eye
lens for the church. This helps to keep the album varied, and gives the viewer a nice
surprise when they are flicking through it. When I shoot a wedding, I think of the day as a
finished album, always connecting one photo to the next, creating a narrative, to guide
the viewer through the day when they flick through the album.
If the bride is getting ready at the venue, rather than at home, take the opportunity to
shoot other preparation details, such as setting the tables, icing the cake and flower
arranging. I don’t bother the bride much at this stage. Details are really important, such
as the bride's shoes. Try laying out all the shoes in boxes, or lying on the floor with a
wide-angle lens and wait for her to step into them. At this point, although I’m just
shooting ‘documentary’ shots, I’m in control. You only get one chance to capture each
part of the wedding, so if you have to, ask the bride to step over to the window so that
she’s facing the best light. It’s important that you don’t choreograph the day, but
sometimes it can help to ‘orchestrate’ a bit. Every wedding must be photographed
differently. While the key elements remain the same, I always try and go for completely
different shots from the last wedding I shot. Only if the weather is bad, will we spend five
minutes photographing the bride before she goes out into the elements as it would be a
real shame for her to go to such lengths with hair and make-up for it not to appear right
in any of the shots. In winter, ask the bridesmaids and bride to stand near some French
windows or a nice source of light, just to get a ‘safe’ shot before they go outside.
Sometimes I set up my video light in the preparation/make-up room, as using flash isn't
helpful to the make-up artist, and may annoy the bride. I used to take shots of the bride
being made up, but don’t anymore, instead waiting to shoot the lipstick and mascara
being applied. After that, we let things progress, shooting events as they happen.
Camera body (Canon EOS-1DS
Mark II) and back-up cameras (plus
a 35mm EOS with 50 rolls of film)
Canon lenses: 15mm fish-eye;
70-200mm f/2.8L IS; 50mm
f/1.2L; 50mm f/2.5 macro;
24-70mm f/2.8L; 17-35mm f/2.8L
2x Canon 580 EX II flashguns
with off-camera leads
Pocket Wizards (remote triggers)
10x Lexar 2Gb and 4Gb
CompactFlash cards
Jobo Giga Vu Pro portable hard
disk (with LCD screen)
Quantum turbo compact
battery (very important in autumn/
winter when using flash)
Lowel Pro video light
Broncolor Light Heads (These are
great for castle shoots or situations
that requires modelling lights but I
rarely use these as most weddings
don’t allow the time.)
Stepladders
Reflector
White Towels (Kept in the boot of
the car – if you take the bride and
groom into a field, the bride can
stand on these. They will protect
her shoes and dress, and will reflect
light back onto her)
Lens cloths
A change of shirts (especially in
summer. Everyone sweats!)
A handkerchief/headache
tablets/bottled water
It is essential to make sure that
your equipment is ready the night
before. I always clean the sensor
and lenses; format my Jobo Giga
Vu Pro portable hard disk and
check it's charged; format my
cards (I use lots of smaller
capacity cards rather than one
large 32Gb card just in case), pack
a spare camera, charge batteries
and pack all accessories
tips
Lifestyle Masterclass
wedding
highlight
S
If there
is
the wed sunlight shinin
d
camera ing dress, unde g directly onto
b
in the hig y two stops to rexpose the
re
impossib hlight areas, as tain the detail
th
le to retr
ieve if b ey're
urnt out
•
•
•
•
•
•
•
ABOVE: Never
miss the shoes,
especially when
they cost more
than your car! I
always take
them outside for
a still life shot.
A 50mm macro
lens fills the
frame with the
rings. The rusty
garden table is a
nice background
for the silver.
BELOW: Try to
get the bride
ready near a
window, asking
her to turn to
face you half way
through.
Waiting by the
mirror will allow
you to capture
the bride taking
her 'last look'.
•
•
•
•
•
•
The wedding assistant
All day long, Kristie transfers
images from my memory cards
onto my portable hard disk. We
don’t erase the cards unless I’ve
overshot, in which case I'll delete
images (after saving them to my
Giga Vu) and NOT format the card,
as images will be harder to recover
in an emergency. I know when I
have used a card, as I turn it upside
down in the plastic box that they
come in. I have a photo of my face
on the back of all my cards, so if I
can see my face, I know not to use
that card again. Little details like
this add up to a far safer way of
controlling your day. A good
assistant is very important for a
successful wedding photographer
and are definitely worth paying for.
XX Digital SLR Photography April 2008
April 2008 Digital SLR Photography XX
tips
Lifestyle Masterclass
gear
In case of rain
ABOVE: There are lots of
interesting characters at weddings.
Shooting individual photos of them
with a telephoto lens can lead to
more sales than just shooting lots
of group shots with a wide-angle.
ABOVE: I included
the lights in the top
left corner of this
scene, not to
illuminate it, but
rather to add an
element of interest
to the shot. I often
use other light
sources in my
images, such as
streetlamps and
lights in isolated
windows.tlamps
and lights in
isolated windows.
ABOVE: I included
the lights in the top
DSLR settings
Take five or six white umbrellas along,
which you can lend to people. This looks a
lot better than mismatched corporate
logos and different colours. They also
reflect light back onto the subjects’ faces
Outside the church
Depending on the light
levels, I always use the lowest
possible ISO setting outside
the church. The lower, the
better. If it is a bright, sunny
day, I will go down to ISO 50
(shutter speeds allowing).
ABOVE: Underexposing for the sky and filling in with
flash is a great way to incorporate the scene, the
bride and her father into the same image, using a
fisheye, or as in this shot, a 17-8mm f/2.8 lens.
XX Digital SLR Photography April 2008
the vicar
!
One pie
c
vicar un e of advice. Do
n
le
Don’t giv ss you absolute't talk to the
you from e them the cha ly have to.
n
church, taking photos ce to prevent
in
or from
where y side the
ou want
to be!
Awaiting the bride’s arrival
We leave the house ten minutes before the bride. This allows
us to set up at the church before the bride’s arrival, allowing
us to tie in the story. (Keeping in mind the finished album).
People often look at my wedding albums and ask how many
photographers there were, assuming that there were three
or four. I only ever take on a second shooter when the
wedding has over five hundred guests. Kristie has been
taking photos for a while now, and she will usually fill this
role. If your day hasn’t gone exactly to plan, don’t worry. It
is essential for you to remain relaxed, as your subjects
need to feel confident in you.
If you have a problem, think quickly. Technical knowledge is extremely
important. You need to know your camera inside out, so you can react
quickly when moments present themselves. Many wedding
photographers have a very limited understanding of their
equipment, but you are being trusted with someone’s memories of
the most important day of their lives. It is your responsibility to give
them a professional service and great images. When I arrive at the
church, I jump out of the car, and let Kristie park it up. I need to be
there, ready in case the bride arrives.
If I have time, I’ll look for the groom’s party and take a few shots of
them before she arrives. I always set the scene with a wide-angle shot,
and then use the telephoto zoom to pick off the details. Think to sell!
Shoot shoes, handbags, facial expressions, the top of the spire, etc.
Women love their Jimmy Choos, so shoe shots will always sell! When
the bride arrives, there are usually around three or four people who will
want to be between my camera and the bride, so I give myself two
options: Stay long and back off, getting the shots from a distance, which
allows me to move around freely; or, using the 17-35mm lens, I’ll get in
really close, exposing for the sky and setting the exposure compensation
to -2 stops, using my flashgun to light the subject. If I’m on my knees
near the car door, I can have the bride ‘step into the shot’. Three shots
and I’m out of there. Speed is really important here. I’ll run up the path to
the church, change to the zoom lens and get shots of her walking
towards me. I have to really rush here, as I have to take my place in the
church before the bride enters. I have one minute to get from the back to
the front of the church, so I don’t have much time to adjust my camera’s
settings. If the exposure needle is not in the middle here, it doesn’t really
matter. Perfect exposure is not essential in the church – you can always
convert your shots to black & white later on!
dodge
Inside the church
Inside the church, I set my
camera to manual mode (M).
I am not looking for the
perfect exposure now, but
just enough to get me
through the ceremony. I keep
the ISO high (800-3200).
Inside the church
I take my SLR off program and set it to manual, increasing the ISO as it
will be dark. I also take a custom White Balance reading. Depending on
the light source, I'll use my Expodisc to set the White Balance from a
spotlight, or whatever is lighting the bride. If in doubt, use the AWB
mode, which is generally pretty good. If you shoot Raw, you can always
fix this later. I always try to sit with the choir at the front of the church,
which gives me a great vantage point. The bride stands on the left,
and the groom on the right, facing the front. I'm always on the
groom’s side of the church, with a clear view of the bride. In the
church, it pays to sit and be quiet so don’t snap away furiously. Wait
for the moment. Always look through the lens! This means that you
are ready to take the shot when an interesting moment arises, and
it’s also great to hide behind. Everybody is facing in your direction,
so it can be a bit daunting. Your DSLR is great for getting between
you and them! Hymns are great. Again, use a wide-angle lens to set
the scene, zooming to pick out the details. There are lots of facial
expressions to be captured during the hymns, so make the most of
it. Remember – think to sell! Also shoot other details, such as the
organist’s fingers and stained glass windows. It’s important to get
some really intense, bright colours to contrast in the album with
the black & white shots of the congregation. Try and be as inconspicuous
as possible. This way, people will look right at your lens without really
noticing you, and the shots will be much more natural. Don’t forget to
capture all the important moments, such as the exchange of rings, etc.
“Any reason why these two cannot be joined” is always great – the couple
always looks behind them and there are usually a few smirks in the
crowd! If you've not been allowed to shoot during the ceremony, you can
usually capture the couple signing the register. It's an official document,
so you're not allowed to shoot the document itself. I’ll usually get on my
knees and zoom in on details such as their hands holding the pen. By
getting low, the vicar can see I’m not photographing the register. I also
use this time at the front of the church to pick off details in the
congregation, making sure that there are no gaps in the album. The vicar
will usually invite me to take a picture of the couple but I never shoot
posed shots so I just press the flash button, so it looks as though I’ve
taken a shot. I then walk very slowly out of the church (in front of the
bride) and use this time to prepare the settings for the outdoor shots.
ABOVE AND
INSET: This
wide-angle shot
shows the
importance of
setting the
scene. This will
look great
alongside the
documentary
shots in the
album. I used my
70-200mm lens
to pick off the
close-up
moments from
the groom's side.
April 2008 Digital SLR Photography XX
Lifestyle Masterclass
Outside the church
tips
When the couple leaves the church, there’s often a gap of sunlight just in front of the church door.
Kristie stops them just before they get into the light, so that the path reflects the light onto them. If
they were in the light, it would ruin the exposure and the shot would look awful. I usually just say
'Big Kiss!', take a shot, run up to them, say 'One More' and quickly change to the wide-angle lens,
kneel down, click. Again, it’s important to think about the complete album when taking these
shots, so I tilt the camera about 20º left, take a shot, and then to the right. Then, I’ll change back to
the zoom lens. Keep thinking about sales – it’s senseless to have one shot of a group of eight
people, when you could have eight shots of individuals. You can sell one print or eight. That's up to
you! For the next ten to 15 minutes, I just let things develop, allowing the guests to mingle without
interfering; shooting all the time. This is where I really come into my own, and is the reason people
book me over someone else. The documentary style shots have to include as many details as
possible, so I shoot literally everything. At this point, Kristie makes sure that I have taken photos of
all the key family members (from her list) and all the important ‘events’ that I need to document.
If the reception is going to be held in a small space, or an unattractive setting (which is
extremely rare), I will get the group shots out of the way now, again referring to Kristie’s list. I make
a point of telling the couple, pre-wedding, which group shots we will need. Quite often, the couple
will have a list of up to 100 different shots, most of which never get sold, so there is little point in
wasting so much of everyone’s time. I always use a stepladder for the group shots. It allows me to
shoot from a more attractive angle, and also raises my profile. At this stage, I’ll be shouting at the
top of my voice, to make sure that everyone knows I’m in charge, and to ensure that I get my shots.
I am in full control of this situation, and that’s important, as the group shot is the one that can most
easily go wrong. I usually use a fish-eye lens for the group shots, with an aperture of between f/8
and f/11 for the right depth-of-field. I use program mode, underexposing by one-stop in-camera,
and overexposing the flashgun. As I shoot JPEGs, I will, at this point, switch to Large JPEG mode,
as the group shot will usually appear larger in the album, and any prints will be large. Make sure
that the aperture is correct, and that the wide-angle diffuser is down on the flash. I also always try
to make sure that the sun is behind the group as it would ruin the photo if it were shining into their
faces. When taking group shots, it is important to remember for whom you are shooting them. The
mother will usually prefer traditional portrait/landscape shots, whereas the couple might
prefer shots taken at quirky angles, through bushes, or containing a naughty smile or laugh.
Get real
!
More a
becom nd more Brit
treated ing ‘America ish weddings
n
weddin more like fas ised’, and are are
shoot regs. I hate tha hion shoots being
than
t id
al mom
ents an ea, and prefe
r
d emo
tions to
Documentary style
ABOVE: Spontaneous moments
like this kiss are very important.
The 15 minutes outside the church
are the perfect time to catch them.
LEFT: Group shots are an integral
part of any wedding, but there is
no reason why they cannot be fun
too. Using 15mm fisheye and
17-35mm lenses allows me to get
everyone into the shot.
BELOW: Sometimes even ladders
aren't quite enough, and you have
to get a little extra height.
XX Digital SLR Photography April 2008
A walk with the bride & groom
I will ask the couple to come on a ten-minute
walk with just Kristie and me. This is the time
to take high-coloured shots with nice
backgrounds (although I once had to use a
green skip as a blurred background in an
urban setting!) It’s important not to steal the
couple from their guests or to get them to do
anything that they’re uncomfortable with, as it
will show in the photos and stop them from
feeling at ease. On the walk, I will always look
for the best possible light, and I never forget
my reflectors, as at this point, we have more
time to use them. If they are nervous about
this part of the shoot, I reassure them that as
long as they can give each other a hug, that’s
as hard as it will get for them.
Caption:
I usually use
off-camera flash
on the walk, often
placing one behind
the couple’s
heads, using the
other to light their
faces. A selection
of lenses allows
me to get the best
out of the couple.
This is my time to
play. Posing is
always natural and
fun – I do all the
work. It's all about
placing the couple
in the right light.
Documentary style photography
is under-rated. Everybody thinks
that they can do it, but in reality
there is only a small number of
professionals who do it well. You
need an eye for abstract detail,
for example a laugh.
I always crop in-camera. I
only shoot what I want to appear
in the final image. We do use
Photoshop, but it is to enhance
an image, not to change it.
When I’m a guest at
weddings, I often notice that
photographers will stop after
every shot to review their LCD
screen. At this stage of the
wedding, this is not an option.
You have to keep shooting. The
best moments are often just
after the last picture was taken,
so you can’t afford to miss that
chance. Always be prepared,
have faith in yourself and don’t
check so much. Good wedding
photography is 70% technical
skill and 30% personality. If you
are confident, amiable and nice,
your subjects will reflect this.
Predict what's coming next
and be prepared. For example, I
know that in the best man’s
speech, the groom will almost
always look up and wink at him.
I’ll be ready to get that shot.
April 2008 Digital SLR Photography XX
Lifestyle Masterclass
The wedding: Business opportunities
The wedding reception and evening
If the reception is to be held in the same venue, I will just let things flow. I will stay
with the bride and groom for as long as possible. Invariably the driver will open a
bottle of champagne at this point, so I’ll be there with my fish-eye lens, filling the
frame with the bottle, the cork popping out, and champagne pouring into glasses.
If the couple get into the car, I’ll ask them to open the window. Sometimes I’ll
shoot through it, and sometimes I’ll actually get into the car with them. I like to
mix and match it. In summer, after about twenty or thirty minutes of shooting
them relaxing, I’ll wait until the light is low. I won’t leave until I have all the shots
of the bride and groom that I need. The light is nicer in summer just as it’s falling off,
so it’s worth waiting for that. Summer also allows you more time to make sure that you have the
best shots here that you can get. In winter, I will always shoot the bride and groom first. Group
shots can always be taken later. It’s important to get the right light for the right scenes; and the
bride and groom come first! In winter, remember to set your ISO higher to compensate for the
darkness. I also use my video lights a lot during this season, and sometimes bring out my ringflash.
I will invariably have to take more equipment with me in winter, as I’ll usually have to bring the light
with me. If the group shots are done by this stage, great! If not, I’ll do them now, posing them in
front of an old castle, or a nice building, using the video light to illuminate them.
Our usual practise is that we will agree to stay until the end of the speeches. If we are asked to
stay longer, we charge extra. This is normally agreed in advance. Sometimes, we are asked to stay
for the whole evening, which may include fireworks, parties and so on. The wedding is very tiring
anyway. You have to be intensely focused for up to 14 hours, so make sure that you keep yourself
hydrated (take your own water with you), and never drink alcohol while you’re working. It is
extremely unprofessional. For the first dance, I’ll use off-camera flash, and the Pocket Wizards to fire
them. I might have one on top of the camera and the flash fastened off-camera somewhere else,
such as on a post or light stand. I will usually use the flash to fill-in from the back of the subject,
often using a slow shutter speed and rear-curtain sync (or the video lights). I’m always trying to do
something different. I always know when I’ve nailed it. It’s a great feeling when you know you’ve got
it right. I can tell how well it’s gone by the time they sit down to eat.
indoor/lowlight
Using slow shutter speeds, flash
and video light are all conducive
to successful low light shooting,
both indoors and out. Don't
forget to set the white balance,
and make sure you increase the
ISO in darker conditions.
TOP: Make sure you don't miss features like this
surprise real life statue installation. ABOVE:
Keep shooting even when the light is going.
Shooting into the sun gives this backlit flare.
tips
DSLR settings
The pre-wedding shoot
NEVER Get lost
One piece of kit
Brett, is his Sa that is invaluable to
te
It can save ho llite Navigation system.
ur
even getting lo s of driving around, or
st
wedding phot , so it really is the
ographer's be
st friend!
We always take pre-wedding shots of our
clients. It's an invaluable part of the process,
as it gives us a chance to get to know the
couple, and gives them a chance to see how
we shoot. We usually take them to a place
that has nothing to do with weddings, as
most people haven’t had professional
photographs taken of them before. This is a
great way to get them used to being in front
of the lens. It’s one less thing for them to be
nervous about on their big day. We try to
keep it fun, and use locations in their local
area such as backstreets or beaches, using
architecture and funky colours for contemporary
‘lifestyle’ images. I only use my 70-200mm lens on
the pre-wedding shoot. Most of the time I try and
stick to natural ambient light, sometimes mixing it
with other light sources that are available, for
example street lights or neon signs.
The couple are always in casual clothes, as it’s
unlikely that you will sell them a large print to hang
on their wall if the bride-to-be is in a gown. People
are more likely to buy photos of themselves in jeans.
Don’t underestimate the importance of the
pre-wedding shoot; Couples will often let me take
more ‘risky’ shots than they might have let other
photographers, as I make a point of earning their
trust in the early stages.
We look to cover all of the costs of the wedding
from what we make from selling the pre-wedding
shots. That way, any money we make from the
actual wedding is profit.
After the wedding
After the wedding (usually after the
honeymoon), the couple visit our
studio and choose their images.
This can take four to five hours. We
put all the photos on a slideshow
and set it to music. They quite often
start crying at this stage, so Kristie
helps them choose a manageable
selection. There is no hard sell, and
she actually helps them to get rid of
shots, guiding them as to what they
will probably really want. We also
provide lunch and refreshments.
Once the couple has chosen and
paid for their images, we put the
images onto our website, which is
set up as an e-commerce site. All
the images are there, as other
guests may want shots that the
couple haven't chosen. The parents
of the bride and groom will often
want to come in and make their
own selection of images.
We always use Queensbury
albums with a photo cover. We also
have ‘Photos by Brett Harkness’
tastefully placed there, so anyone
who sees the album will learn about
us. It’s important to know your
market, and to whom you’re aiming
to sell. Advertise to them in a way
that they'll find appealing.
Clients only buy the product they
want, so for our market, we ensure
our brochures are expensive and
exude quality. Everything about our
business has to be quality, from the
price, service, demeanour and
telephone manner, right through to
a bespoke envelope on their
doorstep. I’d much rather shoot 20
weddings a year at £7,000 than 50
at £1,000. This allows me to give a
better, more personal service.
CAPTION: Showing a signboard of the couple that all
the guests can sign is a great way of advertising.
Increase your sales potential
XX Digital SLR Photography April 2008
web
ABOVE: This was taken using the DJ's spotlight, exposing for the harsh
highlights. LEFT: Panning with a shutter speed of 1/20sec while the bride
and groom walk into their reception is a good way of adding some
movement and feeling to the shot.
If you’re in a rented venue such as a golf club, take
shots of the venue too. Email them to the owner after
the wedding, and they may want to use them in their
brochures. Always try to think of the commercial
possibilities that you are presented with.
Ensure that the pre-wedding shots are on display
at the wedding. If the couple likes them, they might
bring them along. We always use a ‘signboard’,
which is a large card that everyone signs with a
message for the couple. This has our name and the
services we provide on it. It’s a nice thing for the
couple to take with them, and it’s great advertising.
Everyone who signs it sees our contact details too.
When they're eating, take shots of the families and
couples. Show them on the LCD monitor. This is a
great way to pick up lifestyle commissions, but
remember to be significantly insignificant – don’t
impose yourself or interrupt people. You don’t want
to spoil their fun. Don’t get up in people’s faces, but
be free to talk if they want to.
We have found that each wedding invariably leads
to a couple more and some 70% of our commercial
work also comes from weddings. (We will shoot
everything from the cake to the venue, so each
company involved could potentially be our next
client.) I never do more than 20 weddings a year. I
don’t want to risk getting bored or complacent. I like
to balance my other work around the weddings.
CAPTION: Taking pictures of the location
and sending them to the owners can lead to
further work, or to those photos being used
by the companies that own the venue
Need to
know
more?
Brett will
b
wedding e running a cours
p
2008 call hotographers on e for
For furth ed 'New Year New 14-15 April
e
www.bre r information, visi You'.
ttharkne
ssphotog t:
raphy.co
m
April 2008 Digital SLR Photography XX