'Pregnant Glow'

This is a shot of my wife; we’re expecting our first child in just under a week’s time (eeek!), and we wanted some nice photos of the ‘bump’ – this is our favourite shot from an evening’s photoshoot we did in our lounge last week. I’m still learning lots about off-camera flash, but I’m really happy with how this shot came out.

For anyone who’s on the fence about whether to try their hand at off-camera flash, I really recommend going out there and doing it. Sure, there’s a lot to learn, and it can seem daunting at first, but when you get a really nice shot, it’s all worth it. There’s also a fantastic book about off-camera flash called ‘The Speedliter’s Handbook’, which I did a review of – it really talks to you in a no-nonsense, practical way; cutting through all the jargon and just showing you how to light things – I heartily recommend it.

For this shot, we got rid of some paintings on the wall in our lounge, and I set up my 580 EX II Flash in a softbox, camera-right (using the fantastic Lastolite Ezybox 24″ x 24″ Softbox Kit). The below lighting diagram is my (incredibly bad) way of showing you how the lighting setup looked like (idea taken from the great GuessTheLighting.com)

Yep, I'm obviously not an artist...!

I couldn’t really show it in the drawing very well, but the softbox was actually positioned a little way behind my wife, so it was pointing a little bit more towards camera, rather than directly at her. This meant that the light from the flash wrapped around her somewhat, and gives a really nice sense of depth to the image.

I shot at ISO 100 so that the image was as clean as possible, and used a shutter speed of 1/250 sec and aperture of f/8 so that no other light – apart from the flash – was part of the exposure. There were some low-level lights in the room (so we could see what we were doing, and could achieve focus!), but because I was shooting at 1/250 sec, with an aperture of f/8 and ISO 100, it meant that this low-level light was not part of the exposure – exactly what I wanted, as I just wanted the light from the flash to be the only light source.

So, I dialed in those settings, and took a test shot (before turning on the flash). The shot looked totally black, which is what I wanted. I then turned on the flash, using the 7D’s built-in wireless trigger capabilities to fire the 580 EX II through the softbox. After some trial and error with changing the power of the flash (I shot in manual flash mode, changing the power of the flash down if I thought it was too bright, or up if it was too dark) I got the shot above!

As I mentioned above, I really recommend reading ‘The Speedliter’s Handbook‘ if you want to get into off-camera flash; I tried to find out information on the internet about doing it, but didn’t find information half as good (or half as easy to understand) as in The Speedliter’s Handbook.

The following in a guest post by Villian, from Villian Conception. You can also follow Villian on Twitter and Facebook – thanks for your guest article, Villian!

Visualizing in Photoshop is a skill that very few learn, it is something that pros do daily.  You must see before you can reveal to your audience.  Visualization in Photoshop is the process of planning your shot with overlay drawings and grids to get the most out of your project.  It is a pivotal step in making your project pop and in giving it a real jolt from your imagination into reality.

I wanted to introduce visualization to those who are not familiar with it’s process so, I will take you step by step so that you can understand what the purpose is and how to use it.  There are many ways to visualize in Photoshop but I will show you my method it is neither wrong or right it is just one way.  I will hope to find your own way as your journey into the visualization process.

Plan Your Shot

Before anything goes onto paper you must plan your idea even in it’s vague form a general idea is extremely important because this will reveal how you will actually shoot the piece.  For this shot I knew far in advance that I wanted him to be a warrior – somewhat like the Aztec warriors aggressive but really valiant in their traits.

The Outline

When starting to visualize it always starts in your head, the first step is getting it down on paper.  I generally jot down things that hit my mind like so.  Using action words and presence words that really give me a good image are the best way to go.

1. warrior
2. rough
3. tribal
4. conquering
5. defiant
6. honour

Writing down the outline is usually the most important part of visualization.   Ironically it’s words that will help you see your image more clearly.  I commonly go back and look at them to see if my picture symbolizes the words that I originally wrote down.  I have never been disappointed in my work that matches it’s original intent, without the outline my thoughts sometimes slip away from it’s true purpose.

The Skeleton

After writing down my outline for the picture, I do what I call a skeleton.  The skeleton is the basic building blocks of the actual visual things I plan on being in the picture.   In the Skeleton I plan out things such as light source, atmosphere, colours, particles, and digital makeup.  The skeleton literally is my road map to my final destination.  The purpose of the skeleton is not to confine but to refine your detail in a thought out way.   I find myself going outside of it from time to time, but usually not much.  Look below at the skeleton.

How to make a Skeleton in Photoshop-
-Make a new layer on top of your photo
-Always save a second copy of your psd.
-On the new layer use your favourite paint brush or pencil
-You can write with a tablet or use type words like me
-Using colours to represent your skeleton features is a good idea
-Repeat and Rinse add layers as necessary.

After you have your road map developed you can begin to actually build layers onto your photo and actually put in the puzzle pieces that will make your image complete.  Just remember to always visualize, it will make you more observant of the possibilities.  Keep in mind you may find your own method of visualization – there are plenty and don’t let anyone tell you, you can’t, you can and you will.  Good Day.

Villian

Thanks again to Villian, from Villian Conception, for this article. You can also follow Villian on Twitter and Facebook.

Jordan Weeks

I’ve been really lucky this week, and have managed to bag an interview with Jordan Weeks, an incredibly talented sports photographer from the UK.

Jordan has been commissioned for photography gigs all across Europe, and he caught my eye last week when I stumbled upon some of his brilliant surf photography – some examples of which are further in this post.

Anyway, enough of my rambling; on to the interview (after one of Jordan’s great action portraits)!

Hi Jordan, and thanks a lot for taking the time to do an interview for us. I love your photography, so it’s really exciting to be able to talk to you and share your work with the readers of Learning The Light. Anyways, I suppose I should get to my first question! And that questions is this: What drew you to action/sports photography?

I first got into action sports photography when I was at college studying photography. I was also a keen surfer at the time. One day, the surf was set to be huge, the weather conditions were perfect, and I decided to head down to my local beach for a surf. However, I had forgotten my surfboard, and only had my camera with me. So I started to shoot some pictures from the cliffs as these massive waves smashed onto the shore. Within a few weeks, these images were published in a local surf magazine, and I haven’t stopped shooting since.

One of my favourite shots of yours is the one of a female running through a field (above). I love the low angle and inherent drama. Can you tell me a little bit more about how you got the shot?

Yeah, this was one of those photo shoots which worked out really well. I was out with my girlfriend, and had planned to take some ‘self assignment’ portfolio photos of her running. The plan was to get a series of action and scenic photos, using as little camera kit as possible (I usually  end up taking too much kit with me on photo shoots). They were all shot using the available natural light, no reflectors or flash units. I felt that this technique would help to give a sense of natural freedom to the sport of running – and I think it worked out well. But I still continue to carry too much camera kit around!

You have some fantastic cycling photography on your website. For anyone trying to capture what must be such a difficult subject – a fast moving cyclist – can you give them any tips?

Yeah sure… it can be tough tracking cycling with your camera, especially road cyclists as they can be traveling at speeds in excess of 40mph on the flat. I think one of the best tips which I can give, is that if you plan to photograph the subject from the side, from a static position, as the subject moves past, make sure you pan with the subject as you take the shot. Learning how to pan your camera correctly can be tough, but once you get the hang of it, and successfully move the camera in time with subject, the results can be fantastic. If however, you are shooting a cyclist from an angle or head on as they come toward you, i’d recommend opening the aperture right up to f2.8 if possible, in order to blur out the background, which in turn will bring the viewers eye to the main subject.

Let’s cut to some gear talk. What’s your favourite lens for sports photography, and why?

Funnily enough I get asked this question quite often, and the answer is not what most would expect. I typically use my 300mm f2.8 lens for surfing shots, but my favourite lens of all is my Canon 17-40mm lens. Yes, I know it’s a wide angle lens, but when I shoot sports, I like to get up close and personal where possible. Sometimes this has brought me close to danger, and I’ve nearly lost my camera as a result, so I wouldn’t recommend getting close with anything too fast or dangerous. But for set-up running and cycling shots, when you can speak with your subject and tell them what you plan to do, the resulting images from getting a wide angle perspective can be awesome.

I love your surfing photography; you have so many stunning shots on your online portfolio. Are you a bit of a surfer yourself? How do you manage to get such close-up action shots without risking drowning your equipment?

Some of my surf shots were captured from the water using a custom built water housing which was made for my camera. You have to get seriously close with this set up as it uses a 15mm fisheye lens. So working with surfers who you know are good at their sport is an important factor. When shooting from the beach or shore, I use a Canon 300mm f2.8 lens with a 2x convertor (if required). This telephoto lens setup brings me right in on the action, and is super fast at auto focusing fast moving subjects too, which is a must for any good sports photo.

What’s been your most challenging photography assignment?

I remember photographing at the IronMan triathlon event in nice, france, back in 2005. It was during a heat wave, and I had been commissioned to photograph all day. There was no shade on the Promenade Des Anglaise, which is where I had to shoot from. I stood there all day, heavily loaded with all of my camera kit, in the scorching sun. I was sun burnt, dehydrated and tired. But I still got the shots which I needed, and the end client was still pleased with the results.

What tips would you give to someone who would like to break in to the professional photography world?

I think any type of photography requires you to have an interest in what you are shooting. I photograph what I love. If i’m not photographing the sports which I work with, it’s usually because i’m taking part in them myself. I love my subject matter, and I honestly believe that it is this passion and understanding of my subject, that enables me to produce a better quality of work.

Do you have a favourite type of sports photography that you really love to shoot?

Anything that makes me feel alive really. I try to capture the adrenalin and excitement in every sports photograph which I take. If I don’t feel excited about the subject, I probably wouldn’t shoot it. I have worked with runners, cyclists, surfers, triathletes, swimmers and much more. My subjects are usually all involved in outdoor sports, and their sports typically have an element of adventure. This is why I use the tagline ‘ADVENTURE. Captured and Delivered’ for my photography business.

I love your off-camera flash work. What equipment do you use?

I actually use standard flash units for these images. I don’t have any fancy strobes and generators. I use just one Canon Speedlite. It’s a technique which I use very little, but when I do, I have always been happy with the results, as have my clients. I tend to use the flash unit bare (no soft boxes of umbrellas) and point it directly at my subject, I then under expose the background of the photo by maybe 2-3 stops, and expose the subject (which is flash illuminated) at the correct exposure. This makes the background seem dark a dramatic and leaves the foreground or subject exposed as normal. The technique involves a little trial and error, but once you get the hang of it, the photographs produced can look great!

If you could work alongside any photographer in the world – past or present – who would it be and why?

I would have to choose Chase Jarvis. Chase is a commercial photographer from Seattle. I think his work is fantastic and I often find myself turning his way for inspiration.

Thanks again to Jordan for doing this interview for us! You can check out more of Jordan’s work at www.jordanweeks.com, and you can also keep up to date with him via Facebook, Twitter, Flickr and Google+. He also has a great newsletter, where he shares lots of photography tips; I thoroughly recommend subscribing to it.

We had two photo canvases up for grabs, supplied by the fantastic folk at Easy Canvas Prints. So, without further ado, I decided to award the main prize to Tom Czerwinski, for his beautiful early morning light capture – and for his advice about always having a camera on you! Here’s Tom’s shot:

Copyright Tom Czerwinski

The second prize winner was awarded by members of our Facebook page (come and join us if you haven’t already!), with Ed Larom’s photo of his wife the clear winner. Here’s his shot:

Copyright Ed Larom

You can follow Ed on his website (currently being updated at the time I’m writing this post), Facebook and Twitter, too.

Thanks again for everyone who entered (it was really hard for me to pick a winner with so many great shots and stories) and Easy Canvas Prints for supplying the great prizes.

Stay tuned for more photo competitions coming soon…!

By the way, I did this post because someone actually contacted me and asked for it (thanks, Joseph!), so feel free to do the same if you have a topic you’d like me to cover on here (or ask on our Facebook page, if you’d prefer).

So, here’s a before and after image so you can see how making the eyes pop enhances the image. This is actually a photo of a friend of mine, from his 30th birthday party this year:

Before and After

So, to do this, simply open up your photo in Photoshop, and select the ‘Dodge’ tool. This is on the left handside, and looks just like a black version of the ‘zoom’ tool.

What ‘dodging’ does is to lighten the areas of the photo that you choose to apply it to. As we want to make our subject’s eyes pop, we can use this tool to brighten them up… simple!

So, you have the Dodge tool selected, but before you start applying it, look at the top left of your Photoshop screen to where it says ‘Exposure’, and move this exposure slider down so that it’s at around 10%. What this does is lessen the effect of each application of the dodge tool – if you had the exposure at 100% it would have a MASSIVE effect, which could look really overdone, so by having it at around 10% you can subtley keep adding to the effect until you get your desired ‘pop’ factor.

So, dodge is selected, expousre at around 10%; you’re good to go. Zoom in on your subject’s eyes, and start ‘painting’ (although you’re not actually painting, you’re simply brightening the eyes). Here’s a screenshot of my workflow window so you can see what I’m talking about.

This is the shot before I’ve started to dodge the eyes, just so you can see what settings I’ve selected.

You can keep ‘painting’ the eyes until you’ve ‘popped’ them enough (careful of overdoing it!), and then you’re done – ‘popped’ eyes in under 10 seconds. As I mentioned earlier, there are lots of different techniques on how to do this, but this is what I find to be the quickest and simplest.

Here’s a larger before and after comparison:

Before

After

Enjoy making the eyes of your subjects stand out!

The Photographer’s Ephemeris is a totally free desktop application (PC & MAC) that can help you plan an outdoor photoshoot to perfection. Well, I say perfection, but that may be a little bit of an exaggeration, as lots of things can happen on a shoot that are outside of this little programme’s control! But, that little point aside, The Photographer’s Ephemeris really can help you out because it will show you the angle of light for anywhere in the world, at any given time.

Say, for instance, that you intend on taking a few shots of sunrise at your local beach. What would be the best time to take the shot? From which angle will the sun be rising from? This free piece of software will show you in a few second – simply enter the address of your photoshoot location, and you’ll instantly see sunrise/sunset times, as well as angles of light for that specific location. Just see the example screenshot at the top of this post as an example.

This handy video shows you how to use the software in more depth:

You can download The Photographer’s Ephemeris for free here (download link is at the top-right), or you can get a mobile version on your iPhone/iPad on iTunes (though you have to pay for the mobile version).

*** Please note this competition is now over, thank you everyone for your great entries! Full details of the winners will be announced soon ***

It’s one thing taking a photo that you’re really happy with, but it’s another to be able to proudly display it on your wall – and that’s what we’re offering in our very first photo contest on LearningTheLight.com!

Courtesy of Easy Canvas Prints, we have 2 photo canvases to give away: A large, 16″ x 20″ (worth $89) for the overall winner (to be judged by myself), and a 11″ x 14″ (worth $62) for the photo with the most ‘likes’.

Yep, I did just mention ‘likes’ – as this is going to be a Facebook contest. The theme is My Proudest Photo – and all you need to do to enter is to put up the photo you’re most proud of on our Facebook wall, and include a comment about just why you’re so proud of your shot. As the whole point of this site is to learn more about photography, I thought it’d be nice if you could include a few sentences about how you took the photo, what it is about the shot that makes you proud of it, and so on…

I’ll be looking at both the quality of the photo and your accompanying ‘story’ when judging for the main prize – so even if it’s a small ‘I’m proud of this shot because I finally got the blurred background I’ve been trying to get for ages’, or ‘I’m proud of this because I got the eyes tack-sharp’, please do write a bit about it. The more the merrier; and if you can be helping others by telling us ‘how you got the shot’, that’d be great.

As I said, I’ll be judging for the main prize, but the smaller photo canvas will be going to the photo with the most ‘likes’ – anyone can vote on people’s photos, and you can vote for everyone’s if you wish – but you can only vote once for each photo (luckily, that’s the way ‘liking’ on Facebook works, anyway – you can’t ‘like’ the same thing more than once!). After you’ve put the photo on our wall, you can increase the chance of getting more likes by sharing it on your own profile and asking your friends to vote for you if you’d like!

If you’re a winner, you can choose to have your winning photo made into the canvas, or any other photo of yours. I’ll also feature the winning photos here on the site, too.

Please note, however, that as Easy Canvas Prints only deliver within the US, I’m afraid this competition is only open to US residents. Sorry about that, folks – I hope to offer some UK and rest of world prizes for future competitions.

How To Enter

1. Visit our page on Facebook, and ‘like’ us if you haven’t already done so (you’ll need to do this so you can post on our wall).
2. Put the photo you’re most proud of on our Wall.
3. Include a comment about why you’re so proud of it. Remember, for the large canvas prize I’ll be judging both the photo and ‘story’, so please do include as much info as you can – if you can be helping others take similiar shots in the future, all the better!

And that’s all you need to do. The smaller canvas will be going to the photo with the most ‘likes’, so feel free to share your photo on your own profile, too, or asking your friends to vote for you.

You have until October 31st 2011 to put your photo on our wall; a few days after that I’ll announce both my winner (for the large canvas), and the photo with the most ‘likes’ (for the smaller canvas – so, the earlier you get the photo up on our wall, the larger your chance will be of getting the most likes!).

Terms

• This contest is only open to US residents (excluding Alaska, Hawaii and PO Boxes).
• Competition ends on October 31st 2011.
• To qualify, post the photo you’re most proud of on our Facebook wall, and include a comment about why you’re so proud of it. There are no minimum or maximum lengths for this comment, just write as much as you wish.
• The 16″ x 20″ canvas prize will go to the person with the best photo AND story, and will be judged by myself.
• The 11″ x 14″ canvas prize will go the photo with the most ‘likes’ on Facebook.
• The top photo within this blog post is for illustrative purposes only, and does not reflect the actual canvas/size of the prize (image by BuhSnarf on Flickr, used with a creative commons license).
• We will get in touch with you in November if you have won, via Facebook. If we haven’t heard back from you within a week, we reserve the right to award your prize to someone else.
• As we will feature the winning photos on LearningTheLight.com too, please only enter if you are happy with this. We will of course link to your blog/website/Flickr profile etc, should we feature your photo on site.
• Our decision is final. Oh yes it is.

Good luck everyone, I’m really looking forward to seeing your proudest photos!

The DVD I’m reviewing is called ‘Digital Photography Exposed’, and is available online here.

Here’s a small trailer for the DVD:

My Review

So, first off, I’d say that this DVD is aimed at the beginner-to-enthusiast photographer, and will definitely be great for you if you’ve just had a DSLR for a few months, but haven’t really been able to get to grips with just how to get the best out of it. One of the great things about the DVD is that your host and photographer for the film – a guy called Mike Browne – only uses and recommends equipment that beginners generally have; cameras such as the Canon 550D / T2i, or the Nikon D90. So all the advice and technique he shows you, including close-ups of buttons/LCDs etc, is going to be useful for you, the learning photographer.

My overriding feeling from watching this DVD (which runs at a good length of nearly an hour and a quarter) is one of ‘wow, I really want to get out and try that’. I had my camera with me as I watched the film, but I found it so inspiring – and, in particular Mike’s down-to-earth advice and enthusiasm – that I wanted to get outside and try out all the different things he’d showed me.

If you’ve ever felt confused from photography books, manuals or magazines, but haven’t wanted to take the plunge with physical photography lessons, this DVD is for you – it’s like having a personal, one-on-one photography teacher showing you just how to take great photographs.

I made lots of notes as I watched the DVD, so I’ll share and elaborate on some of the things Mike teaches us below:

• Composition and lighting; this is where the magic is. I really like this notion, as Mike makes it clear that equipment is only one part of photography, and rather it is the use of light – and knowing just how to make the most of any lighting situation – that really makes a great photographer.
• Without any equipment, however, we wouldn’t get any photos at all! So there’s a nice section on lenses, and a great description of focal length and zooms. Good tripod advice too.
• Exposure – great demonstration of shutter speed. Being able to physically see what happens when the shutter opens and closes is great; really helps you visualise what is happening in the camera. Mike gives a good explanation of what shutter speed looks like on your camera screen, too i.e. the difference between 4 (quarter of sec) and 4″ (4 seconds).
• A physical demonstration of aperture – so Mike actually shows us just what happens to the lens as we increase/decrease the aperture size. Just seeing this kind of thing realy helps you realise what’s going on inside your camera/lens, and makes aperture so much easier to get your head around.
• Explains lightmeter view on back of camera, changing shutter speed and aperture to ‘zero’ the lightmeter, and thus get a properly exposed shot. Sounds a little technical, but Mike shows you how easy it is.
• Depth of field, using aperture to blur the background, separating your subject from the rest of the scene nicely.
• Freezing motion or creating blur by controlling shutter speed.
  
  

  That's Mike above - he's a cheery chap, and a great host!

• ISO. Great advice: if you can either take the photo by raising the iso, or you would miss the shot, take the photo!
• Focal length. Demonstration with a model, using different focal lengths to take the same composition, but learning what the change of focal length does to the resulting image. Learning to move yourself, rather than zooming: know what focal length you want, and just moving yourself to get the shot, rather than zooming all the time. Great to see three different images and being spoken to about the differences. Changing depth of field, field of view, and perspective (how close spaces seem to be).
• How to get sharp photos. Where to focus by choosing focus point (auto focus doesn’t always focus on the things you want it to!). How to stop camera shake.
• Semi auto modes. Aperture priority and Shutter priority.
• Composition. Rule of thirds; don’t put your subject bang in the middle. Really great demo of putting the subject into rule of thirds. Creating depth/3D effect by utilising the notion of a foreground subject. A nice section on creating a ‘Frame within a frame’.
• Good advice about thinking/constructing images, rather than just ‘clickety clicking’.
• Light. This is a really great section on the quality of light, with physical demonstrations of different light types, and how they are suitable for different situations/people. For example, harsh, directional light is generally not good for people, but good for powerful subjects. Nice soft shade is diffused light for nice portraits.

As the review has probably shown you, I really like this DVD. I thoroughly recommend it to beginner DSLR-owners, and also think even an enthusiast photographer who’s had their DSLR for a year or so would still benefit hugely from giving it a watch. There really is a lot to be said for actually being shown how to work your camera effectively, and just how to use each mode, compose and shoot, to get the photo you want.

‘Digital Photography Exposed’ is available to order online via this link.

Marianne Taylor

This week I’ve been lucky enough to interview the fantastic London wedding photographer, Marianne Taylor. Marianne specialises in creative, reportage wedding photography, and her shots instantly drew me in when I came across her website.

I really love Marianne’s work, and also admire the way she handles such a busy schedule, but at the same time gives out little bits of help and advice to anyone who wants to ask her a question (see the question about ‘Ask Me Anything’ below for more info).

Anyway, over to Marianne (after one of her fantastic shots):

Hi Marianne, and thanks a lot for doing this little interview! So, my first question: I originally found you via Twitter (@mnoo), where you have a large following and are a prolific twitterer. Do many of your brides find you in this way, do you know?

Twitter for me is first and foremost about being part of a wider photographic & wedding vendor community. Funnily enough being a wedding photographer is a pretty lonely occupation, with long days – and nights – tied to the computer editing pictures and doing admin. It’s invaluable to have a community to talk to and keep you sane. It’s the equivalent of  the water cooler in a traditional office environment.

I do have some clients I know that follow me on twitter, mostly these tend to be the kind of people who are themselves somewhat involved with either creative or online communities. I think majority of clients keep an eye on my work via facebook and my blog.

To actually answer your question though, I don’t think many clients (unless they are part of the scene) initially find me via twitter, no.

Your photography has been featured in magazines such as Cosmopolitan Bride and You & Your Wedding amongst others; can you remember what your very first magazine feature was, and how it came about?

My first magazine features were some interviews for photography magazines, before I started doing wedding photography. My first wedding feature was in Cosmopolitan Bride magazine. Kat from rocknrollbride had told the Editor about my work and then told me to get in touch. I did, a lovely lunch followed, and luckily Miranda thought my pictures would work well editorially. Ever since the first Cosmo Bride feature there has been regular interest from several magazines, and I also consider Miranda a friend these days. Everything I do tends to happen quite organically, I don’t really have a grand plan or force myself on anyone. I hope that my work will do the talking in most cases.

You were the first photographer I came across that used the fantastic ‘Ask Me Anything’ service (check out Marianne’s page at http://www.formspring.me/mariannetaylor), where you literally answer any questions your readers throw at you (including technical photography questions). I found your advice and honesty incredibly helpful. Do you ever think you’d run any wedding photography workshops in the future at all?

Thank you! I’m glad someone reads it. I enjoy helping others and wish I had more time to do it. If anyone can learn from my successes or mistakes, that’s brilliant. I get asked about mentoring quite often and it’s something that is definitely at the back of my mind and is something I am planning on mulling over more when the season slows down a bit. I definitely wouldn’t want to take anyone’s money without having a clear idea of the value I might be able to offer though.

If you could choose to photograph any wedding in the world, be it in the future, or a wedding from the past (yep, you can time travel for this question!), what would it be and why?

Oh, what a hard question! I don’t think I’d have a specific person who’s wedding I’d want to photograph… The best weddings for me are when the couple are giddy about each other, and when they have planned the wedding completely on their own terms. 

Can you give our readers any advice for when they’re asked to photograph a friend’s or a family member’s wedding?

I would say, recommend they hire a professional photographer. There are photographers for all price ranges out there, with proper equipment, insurances and back up plans and procedures. I have heard way too many horror stories of this sort of arrangement not working for one reason or another, and it’s tragic not to have pictures you love as memories from your day. I also think it’s unfair on whoever has been asked to do it, it’s pretty difficult being both a guest and a photographer at a wedding without splitting yourself in two. Also to add, when they do hire that professional, let them do their job and enjoy the day yourself!

Do you have a favourite lens that you like to shoot with?

I am quite partial to the 50mm and the 35mm.

For me, one of the things I’ve noticed and really like about your photography is the amount of fun you capture – the smiles and laughter. Can you give us any tips on how you capture those moments?

Patience. I have always been drawn to the authentic expressions and the only way to catch those is to be aware of situations and be ready when the moment comes. Some photographers find it difficult to slow down enough and hence might miss more of these.

How do you like to handle the ‘first dance’ photos?

Generally my assistant will hold an off camera flash for these.

Can you remember your very first wedding?

My first-first wedding was back in the 90’s, but that’s so prehistoric now that it’s probably not worth mentioning! For my first wedding as Marianne Taylor Photography, I was planning on going solo. I saw the venue a couple of days before and realised the reception would be held in a dark room without any windows or artificial light what so ever.  After the initial panic, I asked my friend to come assist with off camera flash (I’ve never been a fan of on-camera flash). I feel I was otherwise fairly well prepared, I had backup equipment and I had my insurances etc. The day was a whirlwind, but went well and I loved it. We also realised how much we enjoyed working together with Susanna, and she’s been my regular assistant ever since.

I think one thing to point out is that I had absolutely confidence in my technical and artistic abilities at that point (of course there’s always room for improvement, mind!). I don’t think someone’s special day is the time to practice photography, that’s something you have to do before hand.

If you could only follow 5 people on Twitter, who would they be and why – can be photography related or not, up to you!

Since for me twitter is primarily a hangout with my industry friends, it would be impossible to rank them like that! So here are some completely unrelated follows: @LightStalking @PhotoProUK @foundacam @Londonist @heyuguysblog

Lastly, what would be your top tip(s) for someone tyring to improve their photographic skills?

Shoot, shoot, and then shoot some more…

Thanks again to Marianne for giving us this interview! You can see more of her work at her main wedding photography website, on her Facebook page, or follow her on Twitter.