WEDDING PHOTOGRAPHY GUIDE AND FAQ, VERSION 2.5 by Mark Goldberg The purpose of this FAQ is to help you understand wedding photography from the behind-the-camera-side to make wiser choices in your own purchase, as well as get the most from it after you have contracted. History First, families went to the studio for the traditional portrait. On-location photography flourished after World War II with portable sheet film cameras and flashbulb lighting, plus a horde of Army-trained photographers. Typically, many photographers converged on a wedding and shot on speculation. The hired photographer had to standardize and pose the so-called candids so that the obligatory formals and all else fit within the limited number 4x5 film holders and flashbulbs he carried. The stitched-celluloid- enclosed albums had a limited number of same-size black & white photographs. An engineering flaw in early color print papers caused their colors to shift after a short time. Rollfilm cameras, interchangeable lenses, color film, and electronic flash expanded the creative possibilities, but it took years for practice to catch up. Standardized photography gave way to a variety of styles, ranging from on-location romantic portraiture, to abstract effects, to spontaneous photojournalism. The Professional Photographers of America, Wedding Photographers International, and industry leaders have done much to advance the art and science through conventions, seminars, publications, print and album competitions, and ethics codes. Much of the credit for the growth of quality wedding photography goes to teacher-photographers like Bill Stockwell, Don Blair, Monte Zucker (romantic portraiture) and Denis Reggie (photojournalism). We now have excellent materials and products, such as new high sensitivity portrait film, library-bound albums with creative mounting, compact high power portrait flashes and light controls, and advanced medium-format reflex cameras with ultra-sharp lenses. The Future Electronic imaging is it. I also think multimedia - a merging of video and computer technologies - will provide a new way to enjoy a combination or wedding photography, video, and other factual data about the event. The tools of wedding photography will certainly change. Expect to see media like PhotoCD become more common and affordable. Brides will select their images and design their albums on the computer. In a few years, digital printing will also replace traditional chemical-based lab processes. The quality of prints from video is increasing at a rapid rate. Part of this is due to the use of higher-resolution production formats like Hi8 and Super-VHS. Although it will be sometime before these video- originated prints will equal their filmed bretheren, there will come a trasition point after which much of the market will have one individual with a video camera capture the wedding. This technique has been termed "Photorealistic video imaging" and is now being taught at video seminars. At the same time, I have seen a resurgence of interest in black&white, hand-coloring with photo oils, and ressurection of antique photo processes. One thing that will never change is the demand for a photographer who can flatter a wedding couple and capture an event with sensitivity, alertness, and professionalism. WHEN SHOULD I LOOK FOR AND BOOK MY PHOTOGRAPHER? As soon as your wedding date has been selected and your ceremony and reception site are booked. I recommend 6-12 months in advance. The good ones get booked for popular dates 18-24 months ahead. HOW SHOULD I LOOK FOR A PHOTOGRAPHER? Referrals from other service providers, friends, and relatives. Ask your videographer if he's hired first. If you don't like what you see, go into wedding guides and the phone book. DO NOT correlate quality and service with the size of the ad. Don't forget alt.weddings! I suggest outlining your desires and requirements before making any contacts, so you can rule out those you don't like. WHAT SHOULD I ASK A PROSPECTIVE PHOTOGRAPHER? No sense spending valuable phone time with a studio that's already booked, so that is the basis of your first question. I used to have a long list of questions in the FAQ, but I now think most folks are smart enough to word their own queries once the goals of the questions have been established. Reading this FAQ should point you to the important issues. The overall goal of your phone contact should be to determine whether or not a candidate deserves a visit. Don't try to cover all possible technical details here. I think it is far more important to test the waters of how the individual will interact with you on a personal level than waht he charges for a 5x7! HOW CAN I DETERMINE IF THE PHOTOGRAPHER IS NOT JUST A HOBBYIST? First thing is to trust you intuition. If it seems like an amateur operation, it probably is. The fact that someone is "full time" DOES NOT guarantee a true professional quality operation. Here are some specifics: He should have a legitimate sales tax license, plus any other required for your state or province. He should have business liability insurance. His equipment should be professional in appearance and up to date. He should have backup systems. He should be a member of a pro association, like the Professional Photographers of America or Wedding Photographers of America. If his place of operations seems damp or musty, imagine that stuff growing on your negatives and prints! (Caution: don't expect the candidate to show you his business documents, just ask for assurance that he has them.) WHAT SERVICES AND PRODUCTS SHOULD WE GET? The possible situations for photography are: (1) Informal environmental pictures, with B/W glossies for engagement announcement; plus small framed prints for placement on desktops, gifts for the families, wall-size display, or creation of a sign-in card for display at the wedding reception (2) Formal bridal portrait in gown, taken in advance - for newspaper, etc. (3) Ditto, with couple (4) Rehearsal dinner (5) Getting ready at home (6) Pre-ceremony preparations at ceremony site (7) Pre-cereomony portraits on wedding day or different day. (8) Ceremony (no flash) with processional, etc. (9) Formal groupings after the ceremony (10) Reception activities, plus informal groupings of families and guests. As a bare bones minimum I suggest 8,9, and 10. The in-home stuff can be a real pain and many are opting for service at the rehearsal dinner instead. HOW MUCH SHOULD I PAY FOR WEDDING PHOTOGRAPHY? Some say 10-20% of the overall budget. Due to the variation of markets, expectations, and practices around the country, I won't give specific numbers. Here's how to answer that one for yourself. First, list your requirements and expectations. Look at some examples to get an idea of price vs. quality. Note your preference for style and manner of working. When inquiring, don't ask "How much do you charge?" Ask, "How much should I invest to get what I want, based on the logistics of my event?" HOW CAN WE STRETCH OUR VERY LIMITED BUDGET? I still think it's important to have professional photography. If the budget is limited due to blowing a wad on a huge guest list, lots of booze, and a $10,000 gown, then read no further and go back to the prior topic or press "q" now. If you are truly limited, opt for a portrait session at the studio, or find a photographer who will give you an hour or so on location. If a longer event is involved, e.g. party at home or backyard, get the pro to take the essential formals plus a few groupings encompassing all the guests. Another cost-saver is to go for an album with smaller pictures. Contact for the previews (usually 5x5") and an album like the Art Leather Galaxie, which hold two prints on each side of the page. This cuts down on production time involved with image selection, enlargement and album design and the savings can be passed on to you. I am generally against imposing on friends and relatives to do the official photography. Chances are, a competent friend may be better than an incompetent "professional." It is unfortunate when a couple truly limited in budget gets poor results. (I cover this about six topics ahead.) DO WE NEED BOTH VIDEO AND PHOTOGRAPHY? IF GETTING VIDEO, DO WE STILL NEED TO HAVE THE PHOTOGRAPHER ALL DAY? There's a separate Video FAQ. They are different media. The experience of watching a video is different from going through your album. Most I know have no regrets about getting both. Many couples I know regret not getting a good video (one done by a pro, not by a friend). In some instances, couples get full video coverage and limited photography. Video captures the sound and motion of the day in a way that still photos just can't match. It is still not a substitute for professional photographs. WHAT ARE THE DOMINANT STYLES? The two dominant ones in the US are portrait-based and photojournalism. The former depends on use of a studio setup, or portrait session at some location where lighting and posing are carefully controlled. It is someone more invasive and demanding, but provides the elegant results some brides prefer. Photojournalism demands alertness and preparation of the photographer to capture the natural, spontaneous images of the day. Most do take a short time for formal group pictures, but the majority are done without prompting or commands to smile. To take advantage of this style, expect to have a large number of pictures in your album. It is the choice for reality with least intrusion and a natural flair. Even though I advocate photojounalism, my opinion is that even a wedding photojournalist must know the principles of how to flatter a subject with portraiture. He must also be sure to get certain must-have groupings, even if it takes some intervention. MY PHOTOGRAPHER'S CONTRACT STATES THAT WE MUST USE HIS STUDIO FOR THE VIDEO, TOO - OR HAVE NO VIDEO AT ALL. CAN HE DO THAT? I'm not a lawyer, but to the best of my knowledge and belief, it is an unenforceable provision. I think such a provision is outlawed under Ant-Trust Laws. Illegal contracts are simply not binding. This may be a tipoff to an uncooperative studio. OUR PROSPECTIVE PHOTOGRAPHER WHATS TO LIMIT WHAT GUESTS WILL TAKE WITH THEIR CAMERAS. WHY SHOULD THAT MAKE A DIFFERENCE TO HIM? I even heard of several local photographers who claim that all wedding images are "copyrighted and cannot be photographed by guests." That is simply wrong. Images on negatives and prints can indeed be copyrighted. There are some critical times, like during formal portrait sessions, where guests cameras distract the subjects, casing them to look in divergent directions. The guest's flash may also cause eyes to be closed for the pro's shot (which you are paying for). Also, some churches prohibit flash during the ceremony. Guests' flashes in this time are not only distracting. They also spoil the wonderful existing-light shots your photographer may be striving for. If guests behave with consideration and manners when using their cameras, there will be no problem. WHAT ABOUT THOSE DISPOSABLE CAMERAS? Aside from the environmental waste objection, I have no strong feeling either way; here are facts as I know them. The disposables with fuilt-in flash (required, sincle most receptions are indoors), are good for the 5-7 foot range. They work best for guests taking snapshots of other guests. In my experience at weddings where these cameras were distributed, the wedding couple later reported to me that one or two always get inadvertently carried off by guests, and of those remaining, about 40-50% of the shots are printable (others are underexposed or blurred). With the cost of developing and printing, figure $17-20 per camera. The disposables ARE NOT a substitute for professional coverage. If you have already devoted adequate resources to your professional coverage in photography and video, the disposables are a nice adjunct and will give you another slant on the wedding. If your photo budget is tight, better off devoting that extra $200 to your pro coverage. WHAT ARE THE RELATIVE MERITS OF LARGE STUDIOS VS. INDEPENDENTS? Quality of work and service are more important than size. Large studios offer resources and backup in case your assigned photographer gets sick. Some feel more comfortable in dealing with a larger, more substantial firm. Most employ subcontractors, many of whom use photography as a supplemental income source or are just learning the trade. Some big studios are geared to low-budget events. Small studios and independents excel at individualized personal service. You will most likely have your first contact directly with the actual photographer who will do your event. The advantage here is that your album will more closely reflect your personal wishes. Small or large, make sure the photogrpher takes his profession seriously. ARE FULL-TIME PHOTOGRAPHERS BETTER? It is a misconception that full-time photographers are better than those who do "something else" during the week. An example is Mel Morganstein, Past President of the Southeastern Pro. Photographers Association (covers from Florida and Puerto Rico up to Maryland and Delaware), who is also a research engineer. Many of us in this position do photography for personal fulfillment and accept only those assignments which use our time and abilities wisely (translation: where we like the couple!). HOW CAN I DISTINGUISH GOOD PHOTOGRAPHY -- AND PHOTOGRAPHERS? If they all seem the same, then you haven't found the right one. Don't accept any excuses for sloppy photography. If the sample looks fuzzy or off-color or frayed, expect the same if you hire that candidate. Colors and tones should be natural and accurate. You should see detail in the whites (gowns) and dark (tuxes) parts of the image. I am personally impressed by wedding albums that portray the true feelings and events of the day and make the people look genuine and natural, while flattering. Very important: The photographer will be a part of your day and possibly interact with your family and friends. He is at his BEST at the appointment. If you sence insensitivity or abrasiveness, it will be much worse at the wedding. He must be a TEAM PLAYER with others involved in the wedding, such as your clergy, your videographer, and your catering director. WHY SHOULDN'T WE HAVE A FRIEND OR RELATIVE DO IT INSTEAD OF A PRO? Wedding photography is both an art and a science, requiring someone with the proper equipment and the right skills, plus the demeanor to be effective and creative under pressure. It is almost impossible to be a guest and at the same time, concentrate on the technical details of photographing an entire day. Trust your once-in-a-lifetime wedding to a "pro-for-a-day" and you will have bad feelings for a lifetime. It is also my opinion that asking a guest to do the official photographs and no different from asking dinner guests to work for their meal. The biggest equipment failing of amateur photography in lieu of pro (for weddings) is inadequacy of flash power. Compared to at-home shots, the flash must cover a greater distance in rooms with higher ceilings for a longer day with slower film. Wedding pro flashes have 5-6 times the power for three times as long as even higher end amateur flashes. Don't discourage your guests from bringing cameras, but DO suggest that they enjoy themselves as guests and they should not interfere with your hired pro. Another contemporary flair is to have disposable cameras on the tables and involve the guests in the coverage. Great idea! But no substitute for pro coverage (see prior item on this). WHAT ABOUT 35MM? HOW DOES IT COMPARE TO MEDIUM FORMAT? Most professional wedding photography is done in medium format (6x4.5, 6x6, or 6x7 cm) because of its inherent superior technical quality and ease of enlargement production. A larger negative will make inherently sharper enlargements. The 35mm negative is 3.6x2.4 cm and requires a higher enlargement factor for a given print size, so grain and focus errors are much more apparent. Medium format has lots of flexibility for cropping and alignment. It is much easier to retouch blemishes, scars, lines, and pimples in medium because it can be done right on the negative -- 35mm is too small for this. When considering the production of a 10" album, the lower cost of 35mm equipment and processing is overshadowed by the cost of custom printing the material to make it work in the album. I still think 35mm has a valid place in wedding photography when used (a) for smaller, intimate weddings where large group shots are not required, (b) as a adjunct to medium format coverage, taking advantage of the latest autofocus technology and zoom lenses, (c) when the logistics demand use of a light, compact system (e.g. wedding on a boat). OUR PHOTOGRAPHER WANTS TO DO THE FORMALS IN MEDIUM FORMAT AND THE CANDIDS IN 35MM. IS THAT ADVISABLE? I personally don't like the practice because it complicates logistics (twice as much equipment and supplies to carry) and I personally can see a difference. However, I occassionally employ 35mm when its strengths (exotic lenses, fast films, autofocussing in the dark) are important in the coverage. Bottom line: ask to see an example album done in the format mix. IS IT POSSIBLE TO GET B&W PICTURES ALONG WITH COLOR? WHAT IS THE BEST WAY? If using the B&W just for the newspaper, then ask for a Panalure (b&w) or glossy color print. If you want some b&w for their artistic merits, your can either have some images originated in b&w film, or have it all shot in color and decide later which ones are best for monochrome treatment. Some pro labs now offer and print/process called Ektamax which gives fabulous b&w images from color negatives. Advantage is that you get a nice print, while avoiding the logistical hassle of having two film types shot. (Doing so complicates the photography and increases chance of a foul-up.) However, Ektamax is really a color paper with B&W dyes. If you are asking for B&W for its archival properties, or want substantial B&W coverage, get traditional B&W film and materials (Kodak agrees.) WHAT ABOUT GETTING THE NEGATIVES AND MAKING OUR ALBUMS AND ENLARGMENTS? Some in alt.weddings have given this as a primary factor in choosing a photographer. My opinion remains that it's what's in the image and how professionally it is created that matters, and not who holds the mylar. A big reason to hire a pro is the benefit of full service. There's processing, sorting, designing the book, mounting the pictures, etc. There are some photographers who simply give you a stack of proofs and negatives, and that ends your relationship with them. On the surface, it seems like a good way to save costs and get a lot for your dollar with great flexibility. I computed that these photographers generally earn more per hour than their full-service counterparts! However, I think it's wise to cover the disposition of the negs in contract. Most reasonable photographers provide for release 5-10 years after the event if you keep your address current. WHAT ARE THE POPULAR ALBUM TYPES? Library Bound - simply the best. Bound as a real book. Photographs are individually matted, then matte-pages are bound as a book with a personally tooled leather cover. The most expensive, but the most elegant and long lasting. To my knowledge, the only ones in the US are made by Leather Craftsman (Farmingdale NY) and Capri (Mount Vernon, NY). Z-Page - photographs are slid into a slot in the page, which forms the border or matte. The page has steel pins on one edge with which it is snapped into a cover. Most covers simulated leather, such as Aristohyde. Less expensive that library bound and allows pictures to be changed later. But less elegant and in my opinion, less durable. Several offerers; including Art Leather (Elmhurst, NY). Most popular in US today. Post-bound - similar to above, but page ends and covers have 2-3 holes for screw posts. An old style. Subject to distortion. Offered by most major album companies. Posts tend to loosen, allowing the album to fall apart suddenly. Hinge-bound - ends of pages form a brass hinge. Pictures slide into paper pages which are thinner than two styles above. Pages and covers twist and distort. I have seen these fall apart in short order. I recommend against them and won't list the makers. HOW ABOUT GETTING LOOSE PICTURES AND PUTTING THEM IN OUR "MAGNETIC" ALBUM? These albums will not preserve your pictures. In time, the adhesive will deteriorate and the covering will fall off. It may adhere to the picture surface and destroy the emulsion. Pictures won't stay put! A danger with any album that puts a picture surface behind a plastic cover is the picture sticking to the plastic, which ultimately pulls away the color layers, or mildew growing under the plastic. I have yet to see an off-the-shelf album that compares in quality, workmanship, and durability to a custom-made pro album. OUR ALBUM AND ENLARGEMENTS ARE WAY OVERDUE? WHAT CAN WE DO? If you are just in the booking stage, make sure that completion schedule is addressed in contract and accept no verbal assurances. Folks often forget this in the excitement. Beyond that, review your contract and make sure you have fulfilled all the items you agreed to, like payment of balances due, completion of selection, approval of album design, and return of previews. Also look for clauses about seasonal variation in completion times. Next step is a series of gentle but increasingly firm reminders. Get a committment as to when things will be done. Be a squeaky wheel! I recommend against taking official action unless you get stonewalled or repeated reminders fail. Once things go into arbitrartion or litigation, your items may be held up pending the outcome if the studio makes a countersuit. Your specific recourses include contacting your state's pro photographer's association, the local Better Business Bureau, and if all else fails, the Court System. If things get tricky, communicate in by certified letter to establish a paper trail. HOW CAN WE GET AWAY FROM THE STANDARDIZED "POSED" LOOK? First, put enjoyment of the wedding day ahead of posing for pictures! Choose a photographer whose samples illustrate the look you want and who is willing to work with you in creating a unique repertoire of images. HOW CAN WE LESSEN THE INTRUSION AND ENJOY THE DAY? Pick a photographer who works unobtrusively and goes for natural expressions. If doing formals and portraits, schedule as many as possible early in the day - before the ceremony, or even on a prior day. Make sure the photographer is keely aware of your wishes. SHOULD THE BRIDE AND GROOM SEE EACH OTHER BEFORE THE CEREMONY FOR PORTRAITS? This is not an issue to be conerned with unless you want lots of portrait groupings or combinations which involve the biride and groom in the same picture. I firmly believe that couples who are opposed to a pre-ceremony photo session in wedding attire, for whatever reason, should not be pressured, coerced, or embarrassed into it. But they must also be made aware of the consequences with respect to picture results or imapct on the flow of the day. If you want lots of posed romantic portraits, there's no other way, unless you are willing to take time out from festivities or don wedding attire a few weeks later for photos. In my personal experience (since 1984), many couple have regretted not getting together in advance for nice pictures and some moments alone. But NOT ONE COUPLE that met in advance ver regretted it; many admitted afterwards that it was for them the most memorable experience of the day. None ever complained that it spoiled the aisle experience. Many have started a new tradition of the First Meeting. Let it be a private personal moment you share before the vows. You will see each other close up at your best. And it is a wonderful opportunity for spontaneous, expressive pictures that really show your relationship. What an improvement over "ASOC" pictures (artificial smile on command)! WE'RE HAVING A FORMAL DINNER. DO WE NEED TO FEED THE PHOTOGRAPHER? The photographer's day starts several hours before the wedding and goes on for several hours after the party's over. It is a long, hard, tense day of being creative under pressure. It is in your interest to help him function comfortably and effectively, and providing a suitable meal helps; it doesn't have to be a full banquet meal. Your caterer may offer a sandwich or snack combo that's just right and will be greatly appreciated. WE'RE GETTING MARRIED AT A VACATION LOCALE. HOW CAN WE HIRE A PHOTOGRAPHER LONG DISTANCE? Get recommendations from the hotel or catering establishment. If not using such, contact the Professional Photographers of America (Atlanta, GA) for a list of members in the locale. Contract the candidates for information and samples. If at all possible, make an advance trip and personally interview them. An alternative: bring a photographer from your home town. HOW CAN WE GET EVERYONE IN AT LEAST ONE PICTURE? This is easy for very small events, but challenging when the guest list climbs toward 100 or more. Best way, IMHO, when having formal seated dinner service is to get table shots (before main course, preferably). Or, have the master of ceremonies call for a huge group shot of all the guests. It's fun and makes a great shot for the album! HOW MANY PREVIEWS CAN WE EXPECT? Depends on the style and approach of coverage, length of coverage, and size of the wedding. For a ceremony and reception with dancing and over 100 guests, you should have at least 75. Denis Reggie has shown over 400 for a single event - after eliminating duplicates! Possible guide: 15-30 images per hour. Beware of photographers who claim the 40-50 previews will result from a 6-hour event with 125 guests! WHAT ABOUT SLIDE PREVIEWS? This is where projection slides are made in lieu of the usual paper previews ("proofs"). Advantage is that you view the images 3-8 feet across, not 5" across. Plus, there's a mechanism for photographer input in the design and faster turnaround of the album. Disadvantage is that this format is not as portable as print previews. Some offer a video of the slides as an adjunct. WHAT ABOUT VIDEO-ONLY PROOFING? Some photographers now use a device called the Fotovix to convert negative images to positive images on tape. Each image gets a unique number for identification. The photographer can zoom on the image to simulate cropping or enlarge the faces so you can judge expressions. This saves the cost of actually printing slides or paper proofs, which are among the highest expenses of photographing a wedding. Photographers using the Fotovix may also add titles and music to spice up the show. Often, several copies are made, saving you the hassle of returning proofs or worrying about who's got your proof album. Downside is that video at this stage does not have the color accuracy or resolution (ability to show detail) of photographic materials. It is also hard to plan out your album with them images appearing sequentially on tape; that step is relatively easy with prints spread on a table, or 2" slides on a lighted surface. WHY DO ALBUMS TAKE SO LONG? HOW CAN WE SPEED IT UP? Biggest delays occur before the order is compiled (see prior question) and are due to some family member holding up the selection. Other big delays are due to laxity on the studio's part, so make sure your contract gives a completion time based on when order is submitted. And get your selection made on time! HOW LONG WILL OUR PHOTOGRAPHS LAST? Several labs claim 100 years for their color prints when not abused. I think properly-sprayed and mounted prints will last as long as the marriage! Kodak has now instituted a Promise of Excellence program which effectively gives a lifetime guarantee to portraits done with their products through studios in the P/E program. HOW SHOULD WE PRESERVE OUR PHOTOGRAPH ALBUM? Keep the album closed and flat; don't store it vertically. Keep it in a cool dry place. Don't expose the pictures to excessive UV from sunlight or flourescents. Avoid abraision. When kids arrive, store the album till they are old enough to respect it. And keep the photographer abreast of address changes so you'll get the negs before he trashes them. I have personally made replacement albums; the most recent due to destruction by the family dog, so store it out of Rover's reach! CAN WE SAVE MONEY BY GETTING BLACK & WHITE INSTEAD OF COLOR? No. BW film is about $1-2 per roll cheaper; that's it. Otherwise, it is more expensive to get BW coverage because of the higher developing and printing cost. BW has not been automated to the extent of color. So expect to pay a 30-50% premium for BW coverage. WHY CAN'T WE JUST COPY THE PROOFS TO SAVE MONEY? 1 - It's illegal. 2 - quality will be very poor. Of course, some photographers do not claim copyright and even release the negatives. The right of a photographer to copyright the photographs has a firm basis in law. A number of copyright infringers have learned the hard way that illegally copying a photographer's work is a big no-no and cost them LOTS of money in damages and fines - and legal fees! So don't try it - and don't ask anyone to do it for you. WHY IS PHOTOGRAPHY SO EXPENSIVE? Most who ask that are accustomed to discount quality prints from the warehouse club and are not aware of the myriad of costs borne by someone doing photography as a business, including the insurance, equipment, training, business overhead, supplies, and lab fees. You would be surprised at how low the margin is on wedding photography. Many who call photographers "charlatans who rip off the public with exhorbitant fees" have not had the priviledge of trying to survive in the business. Many pros call wedding work the most challenging of all and prefer other genres of the business. There is lots of turnover in the biz. Just look at the phone book from five years ago compared with now - lots of new faces, lots of old ones gone. WHAT IF OUR PHOTOGRAPHER MESSES UP? Your course of action depends on what happens. Photography is inherently risky and speculative due to its technical nature. You can lessen the possibility of this by booking a competent photographer and clearly communication your event information and expectations. But mess-ups happen. Film jams. Labs ruin film. Cameras break. Most are very sensitive to customer perceptions and will try to remedy the situation or compensate you in some way. If there is any negligence involved, you have the same recourse as with other businesses - letters of complaint, contact with professional associations, Small Claims Court, Better Business Bureau, or even the state Attorney General. The first step is to outline the settlement you want, monetary or otherwise. Some images can be salvaged by image manipulation and retouching. It is also possible to get hard copies from video; doon't rule out guest films. Some photographers will offer to repose formals. If you are being avoided and stonewalled, unfortunately your only recourse is legal. WHAT IF OUR PHOTOGRAPHER GETS SICK OR HAS AN EMERGENCY? Most have a contract provision that says, in effect, that in such instance they will attempt to get a substitute, but that their liability is limited to a refund. This is where association membership is important; many cover for each other. However, realize that all the details of your wedding involve an element of risk. HOW CAN WE GET THE MOST FROM OUR PHOTOGRAPHY INVESTMENT? Establish a win-win relationship with your photographer. List the essential and important people to be photographed. Be on time for your formal portrait sessions. Make sure everyone in your wedding party is one time, too. Tell your wedding party how important your pictures are and that you consider cooperation a personal favor to your. Ask your guests (or have the best man do it) not to interfere with the pro when he's doing group shots and formals. Most important ask your photographer, "What can we do in terms of cooperation to help YOU do the best job for US?" OUR PHOTOGRAPHER DID A GREAT JOB? IS TIPPING APPROPRIATE? Generally it is not in the case of a professional (I recognize some may disagree). The most valuable gratuity is your recommendation of the photographer to others. And a very special token of appreciation is a personal letter of recommendation to the photographer. HOW OR WHERE CAN WE LEARN MORE? Subscribe to the rec.photo newsgroup. "Crew" for your photographer for a day to observe from the other side of the camera. Take Photo 101 at a college. Here is a list of associations: Professional Photographers of America Atlanta, GA Wedding Photographers International Santa Monica, CA Your state or local professional photographers association. /|/| /||)|/ /~ /\| |\|)[~|)/~ | Everyone's entitled to MY opinion. / | |/ ||\|\ \_|\/|_|/|)[_|\\_| | goldberg@vni.net ========Imagination is more important than knowledge. - Albert Einstein=======