Sony has started the usual late summer/early fall, get-ready-for-camera-announcements series by announcing two new compact, full-frame mirrorless cameras and a new high-end lens.  

Both cameras—the a7C II and the a7C R—are similar in design, and like the original a7C, are compact and lightweight (two features that are sure to appeal to photographers who want to streamline their gear or want an easy-to-carry camera for travel or street photography). The 33-megapixel a7C II measures 4.88 x 2.8 x 2.5 inches (w x h x d) and weighs approximately 18.1 ounces. Similarly, the 61-megapixel a7C R (R = resolution) has almost exactly the same size and weight specs. 

While the EVF and LCD aren’t the highest resolution—an issue many had with the original a7C—the EVF is brighter, and the LCD gets a slight bump in resolution, so there’s at least a little improvement. IBIS has improved, too, up to 7 stops. 

In addition to similar physical specifications and design, the two new cameras utilize Sony’s latest BIONZ XR processor, the same as the Sony a7R. Along with the processing power, both cameras also take advantage of Sony’s excellent AI subject detection which includes people, animals as well as birds, insects, cars, trains, and airplanes. Like the new APS-C a6700, the a7C II and a7C R can target people even when their eyes/faces aren’t visible thanks to the camera’s ability to recognize human poses to identify people.  

Video options have been updated since the original a7C was introduced. In addition to 4K/60p (over sampled from 7K and 6K for the a7C II and a7C R, respectively), users have access to S-Log 3 for 14+ steps of dynamic range as well as user upload-able LUTs and Sony’s signature S-Cinetone. If you’re a solo shooter, you’ll love the camera’s AI-based Auto Framing. Essentially, this feature follows your subject and automatically adjusts the frame to keep the subject centered (albeit cropped) giving the visual impression that you have an extra camera operator. I’ve used it on the Sony a6700 and it works perfectly. It’s also handy for streaming or online demos. Tap on an object via the Creators’ App on your smart device, and the focus will move away from you and onto the object you’re demonstrating. 

If the a7C R’s 61 megapixels is too much for some shoots, there are smaller sized Raw formats to choose from. Or, if you need to go in the other direction, check out the multi-shot feature that expertly combines 16 shots for a 240+ megapixel file. You’ll need to process it using Sony’s Imaging Edge software though. 

These cameras are a good step forward for the a7C line and will be available this fall for $2,200 for the a7C II and $3,000 for the a7C R.  

Before we sign off, we have to say, we’re even more excited about the new wide-angle lens announced along with the two cameras—the FE 16-35mm f/2.8 GM II. This full-frame G Master zoom features a new optical design that delivers high resolution throughout the zoom range. Look for a minimum shooting distance of 0.22mm along with speedy performance, quiet operation, and minimal focus breathing. And, at 4.4 inches in length and 1.21 pounds, it’s really compelling. Available this fall for about $2,300. 

For more information about the new cameras and zoom lens: www.sony.com. 

Camera 101

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Josh Beaton is a Chicago-area photographer specializing in luxury portraits with an edge, and he also shoots headshots for actors. After taking the step to run his studio full-time, Beaton and his wife Danielle also started a portrait photography non-profit called The Tween Esteem Project. The organization offers luxury portraits to teens and tweens, giving them a much-needed confidence boost in this social-media-saturated world, where digital distortion harms the way young people view themselves. Beaton recently joined host Nikki Closser on The Portrait System Podcast to talk about his portrait business and his plans for The Tween Esteem Project. 

In his 20-year career as a graphic designer, Beaton worked his way up to creative director. In the past few years, Beaton developed a portrait studio on the side, making the leap to going full-time into portraiture this February. Beaton specializes in luxury portraits, headshots, and senior photos. One day, Beaton a young lady interested in being a TV extra came to his studio for headshots. While chatting with her godmother, Beaton discovered that the girl was going through a difficult time and was struggling with her self-esteem. He invited her back for a full luxury shoot for no charge – just to give her the experience. She was so moved by the experience that she wrote a school paper about him on the topic of a person who had significantly impacted her life. 

Beaton says, “It’s a different world than when I was a teen. If you’re getting bullied, for instance, when I was a teen, you came home from school and the bullying is done. Now . . . social media bullying non-stop. These kids don’t have a have a chance to take a breath and just be with themselves.” 

[Read: How to Turn Personal Photo Projects into Paid Work]

Beaton was moved to make creating luxury portraits for tweens a cornerstone of his business. However, he noticed that he was only booking these shoots to one demographic — white girls from the suburbs. With Chicago being such a diverse city, Beaton knew that there were many more teens and tweens who could greatly benefit from this experience and that his current business model couldn’t reach them.  

He and his wife started a nonprofit to seek funding for youth who can’t afford the experience. Now they have a prestigious board and are seeking a major grant and other funding sources. They’ve served over twenty young people, many of whom are in foster care. For youths like this, who often have no photos at all of themselves as children, the experience is tremendously empowering. Beaton and his wife have seen the youth they have worked with have such profound improvements in their senses of self, that they hope to extend the program nationwide, working with portrait photographers in different locales who can provide the same standard of service to local youth.  

To learn more about Josh Beaton’s work, visit Josh Beaton Photography and The Tween Esteem Project. 

The Portrait System Podcast helps portrait photographers navigate the world of photography, business, money, and much more. Hosted by Nikki Closser, the podcast is powered by The Portrait System, a comprehensive, online educational platform that teaches all aspects of running a successful portrait photography studio. If you’d like to be a guest on The Portrait System Podcast, send them a voice message. 

Painterly Portraits

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Photographers often find themselves chasing after the idea of how to set themselves apart from the crowd. According to portrait photographer and educator Cat Ford-Coates, you needn’t run blindly after this desire hoping for the best. There are a set number of variables you can experiment with that can lead to developing a style all your own. In her keynote talk on the WPPI stage this year, Ford-Coates shared a list of ten areas to explore. Rangefinder readers can watch Ford-Coates’ WPPI talk by getting a special discounted TPS membership with the code RANGEFINDER7.

Ford-Coates says that even before getting into technical ways to experiment with your style, it’s crucial to first get in touch with your intentions. Not only are your artistic intentions the best guide for your image style, coming into alignment with them is the best way to bring about personal satisfaction with your body of work. Ford-Coates gives these two key questions for this important first step: What are your guiding principles for your art and what do you hope to accomplish for your clients with your images? Knowing the answers to these questions can help you exponentially in developing your own uniquely recognizable, creative style. 

Ten Components for Finding Your Signature Style 

Photographers work with a finite number of components when it comes to image creation. According to Ford-Coates, understanding these variables and experimenting with them is the key to developing your unique look. Each one becomes a lever you can intentionally pull while applying your guiding principles in telling your clients’ stories.  

These are the ten components Ford-Coates encourages photographers to explore: 

1. Light/Shadow: Natural light vs. Artificial Light. Constant vs. Strobe. Flat Light vs. Hard Light. Light modifiers, such as a snoot. Taking a course like Felix Kunze’s can help you overcome any fears you have with experimenting with light.

2. Expression: Learn how to ask for expression. Give direction. Remind them to breathe. Use your clients’ name and know their story, so you can remind them of what you’re creating together during a shoot. Be a mirror for them.  

3. Color Harmony: Learn about color theory. Notice what colors you are naturally drawn to. 

4. Posing: Posing is a tool that allows you to guide your clients in expressing who they are. Whether they are expressing vulnerability or power, the more you can create a shape with their body, that shape will help you tell their story.

5. Texture: Dappled shadows, backdrops, wardrobes, layering fabrics. Textures are visually interesting, not distracting. 

6. Motion: Motion becomes emotion. Play with shutter speed – slow or fast. What supports your story? You can bring in client motion or the motion of thrown fabrics. 

7. Structure/Composition: Is the composition wide with lots of space, or tight and intimate? Is it a dirty frame with backdrop stands? Also, check out where you are standing — high or low. Check out all the angles. Find not just your client’s best angles, but also look for your sweet spot. 

8. Environment: Do you prefer studio work, or do you go on location? How can you use the environment to tell your story? What should you include? What should you leave out? This can include the leading lines of buildings, or in studio, adding fabrics to your set. 

9. Wardrobe: Either you work it out with them, or you provide wardrobe. Is your style fluffy and regal, sleek and form-fitting? Is it plaid? 

10. Lens Choice: Notice what your typical focal length is. 50 – 70 mm compression really works in your favor. 70 – 100 mm creates beautiful background blur. 35 mm is fantastic as a fashion lens. 

These ten components are already in play in your photography. As a first step toward developing your signature style, Ford-Coates recommends analyzing your portfolio to find out where your current biases are. Before starting to experiment with these variables. It’s important to understand what you are already doing.  

Then, when you are ready to experiment, just play with one factor at a time, or at most three. If you feel nervous experimenting with clients, self-portraits can be a great way to go. That way, you can get a new technique under your fingers and be able to apply it efficiently with a client. Ford-Coates also points out that most clients love to try out an experiment with you. If it becomes part of your signature style, they get to say they did it first, which turns them into a brand ambassador for you. 

Above all, it’s important to lean into your inclinations. As Ford-Coates says, your natural biases are what allows “you to create work that nobody else is doing because they’re not going to make the same choice as you.” Those natural inclinations “allow you to create from a heart space, and the heart space is what allows your clients to connect with you because their hearts are there, too.” Furthermore, when you are connected with what brings you joy in creation, that is going to make your work not only recognizable, but also something that brings you personal fulfillment. 

Want Hands-On Instruction? 

Cat Ford-Coates is leading two Breakout Classes – Session A1 and Session A2 – at The Portrait Masters Conference in Phoenix, Arizona, this September. In them, you’ll get to go through Ford-Coates’ process of working with a client to understand their needs and desires, and you’ll see how she works with her makeup artists to come up with a look specific to that client. You’ll see how she works with wardrobe and posing with male and female models, and you’ll also get a chance to photograph the models yourself, so you can add their images to your portfolios, too.  

Regarding this year’s Conference, Ford-Coates says, “with this being Sue’s last dance, everything we’ve planned for in this conference is so special and so intimate. It simply isn’t to be missed.” 

Breakout Group A1: Mastering Style and Posing: Crafting Your Signature in Portraiture | Cat Ford Coates

Breakout Group A2: Mastering Style and Posing: Crafting Your Signature in Portraiture | Cat Ford Coates

Tickets to the Portrait Masters Conference | Sept. 11 – 14, 2023

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The long-awaited announcement of the new Icon International Photography Awards at WPPI is here! Ever since WPPI pressed pause on its Honors of Excellence program in 2022, photographers around the world have been wondering when and if they can expect the return of the prestigious competition. As promised, the announcement has just been made that submissions are now open for the new Icon Awards, which will be hosted at WPPI in 2024.

[Read: What Makes an Award-Winning Portrait?]

What’s Changed and What’s the Same

The biggest change is in the ownership of the competition. For over 30 years, WPPI shepherded the annual awards, but in 2023 after putting the program on pause for a year, the company decided to shutter the competition completely. Former directors of the competition, Jerry Ghionis and Melissa Ghionis then took it upon themselves to create the Icon Awards.  

While the Awards no longer belong to WPPI, the awards gala, print judging and gallery will continue to be hosted during WPPI, and the Ghionis’ were able to provide continuity between the two competitions by matching former WPPI Honors of Excellence designation and accreditation points for former WPPI entrants. Entrants from countries who were not eligible to enter in 2020, 2021, or 2022 will have one year to catch up on points, with their top 12 scoring entries (not just 4) contributing to their Honors of Excellence points.

While they are running the competition completely autonomously, Melissa and Jerry Ghionis are proud, as co-directors of the Icon Awards, to continue WPPI’s legacy of offering the most prestigious wedding and portrait photography competition in the world.

Important Details

Entries for the digital competition are open from now until midnight on Oct 20. There will be no deadline extensions. Entries are $30 each with additional fees for public or private video critiques. The top ten scoring images from each category will receive an invitation to enter a print image for the Icon International Print of the Year Awards, which will be held at WPPI in Las Vegas in March 2024. You can find all pertinent info and make your submission at iconawards.com. Stay up to date with the Icon Awards by following them on Facebook or Instagram.

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Tickets to the Portrait Masters Conference | Sept. 11 – 14, 2023

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The rugged beauty of the mountains means inspiration is rarely in short supply. But, shooting in the mountains brings with it a long list of challenges, including temperamental weather, high altitudes, and varying times for sunset. Photographers also often have to work around other visitors enjoying the beauty — or trek to a more remote view. This week, we feature five photographers who tackled the challenge of shooting in the mountains for photographs on a grand scale. Find inspiration in this week’s photos of the week from Becca Lueck, Morgane Raposo, Wes Shinn, Matt Pocknell, and Jack Makin. 

Becca Lueck, Becca Jean Photography 

Shooting in the mountains alters the time of sunset — which can be an even bigger challenge when traveling to an unfamiliar mountain range. While her home in Oregon makes Becca Lueck of Becca Jean Photography familiar with shoots in the Rockies, she captured this image while traveling through Ireland with her friend. While visiting the country, she put out a model call and arranged a session photographing a local photographer’s family. During the shoot, her friend spotted a butterfly and the little girl was able to get the insect to climb on her finger, prompting big genuine smiles. She captured the shot using the Canon R5 and the Canon EF 35mm f1.4L II. 

“I shoot in the mountains a lot, considering I live in Oregon, and the hardest part about it is figuring out what time to start the session to ensure you don’t miss the sun,” Lueck said. “If I can’t scout it in person first, I will use Google Earth to see where the sun is setting and what time.” 

Morgane Raposo, Morgane Raposo Photographer 

The weather tends to be unpredictable in the mountains — Switzerland and Scotland elopement photographer Morgane Raposo (@MorganeRaposo) says photographers need to be ready to adapt to ensure a great and safe experience. During this elopement, the hike was cut short due to an incoming thunderstorm. Still, Raposo was able to capture this shot portraying just some of the scale of the mountains. She captured the image using the Canon 5D Mark IV and a 24-70mm f2.8 lens. 

“My main inspiration, apart from my clients, is nature. I’ve always loved to create pictures that showcase the beauty of it, and how small we humans are on Earth, especially in those massive landscapes. My aim is to create pictures that makes people feel like they are in some kind of fairytale land, and I feel like this image portrays that well, with the couple looking at some part of the landscape we can only imagine, and the huge mountains, which you can hardly gauge the size, in the background.” 

Wes Shinn, Wes Shinn Photography & Film 

The weather in the mountains can change quickly, often bringing wind. On this day of 30 mph wind gusts, Wes Shinn of Wes Shinn Photography & Film used the wind to create motion in this couple’s portrait taken at Raven’s Roost, Virginia. While wind makes off-camera lighting even more challenging, the shot is still beautifully lit with two AD200s to light both the couple’s faces and the dress. 

“The weather can change in an instant,” Shinn said. “Even with the most accurate forecast, the weather can change from sunny to rainy followed by wind and fog. Not to mention keeping the camera gear secure from all the elements — while maintaining a balance in communicating with couples. There’s a lot going on to capture an image like this, with wind gusts up to 30 mph on this particular day.” 

Matt Pocknell, Matt Pocknell Photography 

As a wedding and elopement photographer in Scotland, Matt Pocknell (@MattPocknellPhotography) is intimately familiar with the Scottish Highlands microclimates. It’s not uncommon to experience all four seasons in one day, he says. During this wet evening, keeping the couple and his gear dry and warm while reaching the more remote areas was a challenge, but one that resulted in this grand image using the mountains to frame the couple. He captured the shot with the Sony a7R V and the 24mm f1.4 GM lens. 

“I am continuously inspired by the world of cinema and the way in which huge, epic shots are used to set the scene and establish the location of a subject for the viewer,” Pocknell said. “This is something I try to create in my photography. Many of the couples I work with choose to elope to Scotland because they are in love with its vastness and its beauty, and I am always on the hunt for new ways to frame couples in the landscape in a way that amplifies that huge difference in scale between the subject and the mountains. This photo was taken from a viewpoint looking down the Glencoe Valley on a wet evening in the Highlands.” 

Jack Makin, Creek and Country Photo 

As a former ski instructor, Jack Makin of Creek and Country Photo is no stranger to the mountains. The photographer was on foot for this shot, however, and he said running up and down the slopes at high altitude was the most challenging part of the shoot. The other challenge was waiting until the frame was clear of other people, as the location in Wengen is popular among skiers. He captured the shot with the Sony a7 III and a Sony 35mm f1.8 lens. 

“I was shooting Matt & Hannah skiing towards me and as they went past, I turned around and this composition just stood out. I saw the little ridge that they are standing on, saw the amazing backdrop and asked them to ski up to it and just have some time with each other,” he said. “I framed them to the left as I think it makes the composition more interesting than if they were centered. I think the scenery completely dictated this photo and I really wanted to try and capture the scale of the mountains behind the couple.” 

Dig into our Photo of the Day archives for even more timeless photos, eye-catching wedding photos and portraits. Submit your wedding, editorial, documentary and other interesting imagery to: arlene.evans@emeraldx.com.

Submit your wedding, editorial, documentary and other interesting imagery to: arlene.evans@emeraldx.com to be considered for selection for our featured Pictures of the Week!

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Melissa Stone runs Brazen House Studios in Tacoma, Washington with a unique take on telling her clients’ stories. Not only does Stone offer headshots, but she also offers portrait and storytelling sessions, where people can share their life stories on video, including all the trials and tribulations that have made them who they are. Stone recently caught up with host Nikki Closser on The Portrait System Podcast to talk about how she left wedding photography to develop this truly one-of-a-kind style that encourages people to show up brazenly –unapologetically, just as they are. 

Stone began her career as a wedding photographer in 2009. She had visions of traveling the globe to exciting destinations and capturing beautiful, glamourous photographs for her clients. As someone who loves meeting new people and making connections, it was a great field for her to be in, but after a while, Stone began to burn out on the fourteen-hour days. Somehow, it no longer brought her the satisfaction that it used to. In 2018, she went through a divorce, and in 2019 she was in a major car accident. She had to stop everything, and it gave her the opportunity to evaluate what she wanted to do and what would bring her real career satisfaction. 

During the pandemic, Stone went to fashion school, and it helped her realize that she had been chasing glamour. She decided to make a big pivot and create a new kind of photography business that could help people by leaving the idea of glamour behind to become truly authentic. After an initial consultation, if clients choose to, they can come in for a storytelling session with video and audio, where they can share whatever is in their heart about their life and the journey they are on. Stone says having these storytelling sessions before portraits completely changes the session. 

She says, “You look at somebody through your lens differently when you see their life and who they are. They become so much more of a complex human. . . It’s about seeing them. It’s transformative.” 

In her new photo career path, Stone finds that not only does she get to relax into creating more authentic connections with her clients but also, they get to come away with an experience and a memento of truly being seen and appreciated just as they are. 

To learn more about Melissa’s Stone’s portrait and storytelling sessions visit Brazen Studios.  

The Portrait System Podcast helps portrait photographers navigate the world of photography, business, money, and much more. Hosted by Nikki Closser, the podcast is powered by The Portrait System, a comprehensive, online educational platform that teaches all aspects of running a successful portrait photography studio. If you’d like to be a guest on The Portrait System Podcast, send them a voice message. 

Words for Photographers – A Simple Guide to Unlocking Your Sales Potential

Outdoor and On-Location Photography: How to Create Better Portraits and Make More Money

Tickets to the Portrait Masters Conference | Sept. 11 – 14, 2023

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Nidhi Dahiya works full-time as a behavioral business researcher, and on evenings and weekends, she runs an Arkansas portrait studio with an $14,000 sales average. Dahiya credits her portrait business success not just to her photos but also to knowing human psychology and being able to skillfully make offers that increase her sales potential.

She recently sat down with Nikki Closser on The Portrait System Podcast to talk about those strategies, including how incorporating multiple brands maximizes the variety of her gallery and the size of her sales. Dahiya shares other tips in the interview, such as how the wall art in her home studio helps her clients understand how to incorporate wall art into their own homes and how pay-early bonuses encourage more spending. Listen to the whole interview. Visit Dahiya’s Thrive Code Academy for Dahiya’s educational courses for photographers.

In this bonus Q&A, Dahiya shares her biggest business breakthrough that led to her attracting her ideal clients, how behavioral business research helps her make stronger connections with clients, why offering quality at a low price is not sound business, and more.

What has been your biggest breakthrough in business?  

My biggest breakthrough in business was finding my voice, authentically communicating my why, and connecting with my clients on a deeper level. This allowed me to attract with ease my ideal clients who valued what I had to offer and happily paid for the value I was able to add to their lives through my work. 

 
What is your average sale currently?  

$11,000 across all portrait genres – family, seniors, beauty, boudoir, babies, and branding. 

 
Most artists had a point in their life when they knew this was meant for them. Do you have that moment?  

Growing up, people called me intelligent and smart, but no one ever called me beautiful. Maybe they didn’t feel the need to say that, but because I had never heard those words, I grew up believing that I was intelligent but not pretty. When I first started learning about photography and took my self-portraits, I thought, wow, I look good. Comments from my friends on social media validated what I was feeling. It was transformational for me to see myself like that. My portraits made me confident in how I looked and made me believe I’m beautiful, so I made it my mission to give this feeling to everyone I would ever photograph.  

How did you push past fear when building your business?  

I’m an optimistic person and have always found a silver lining in the worst situations. Moving to a foreign country and building a life without any support has taught me that nothing in life is promised, but if we really desire it and commit to working for it, it will find a way to work out. If I fail, I will move back home with nothing – just how I came to this country 21 years ago. Magic happens when we get out of our own way, and I have experienced this over and over. 

 
Making a connection with your subject is one of the most important parts of a great portrait. How do you make lasting connections with your clients?  

I have always been very keen about getting to really know people. Growing up, I read tons of books on astrology, numerology, and personality traits. I have also been working in the field of Behavioral Business Research for 12 years for my day job. Behavioral business is all about human psychology playing a role in how we shop, think, and interact with people and technology. My love for learning and all the education in the field of psychology and business has given me a good skillset to be able to connect with people on a deeper level. Deep down we are all the same. We just need to help our clients move past the fluff we all hide behind to save ourselves from reliving unfavorable experiences in life. Most of my close friends have been my photography clients in the past. If we don’t become friends after a session, I have probably not served them with my everything. 

 
For someone starting out on their photography journey what advice would you have for them?  

Find your why and start communicating that with your audience authentically. We are all born with gifts and are destined to have a life we desire. Use your gift! When we discover who we are and serve from within rather than going after what is trending in the industry, we make deeper connections and achieve success on a much higher level than what we can perhaps comprehend thinking practically. Also, learn to be good at business, not just a good artist. You don’t have to give your art away to be loved. Healthy boundaries are important for both relationships and business. 

 
Do you regret any decisions you have made in your business?  

Yes, believing that if I offer great quality at low prices, I will be successful. Nope, that’s a recipe for getting burnt out! 

 
How has The Portrait System changed your life for the better?  

Finding Sue and learning about in-person sales changed my life. I was a shoot-and-burn photographer, shooting over weekends and evenings after my day job and making myself sick from overworking. Discovering Sue was a turning point for my business. The year before, I had made $33,000 the entire year. My first full year of implementing The Portrait System Education, I made 6 figures. This is my sixth year doing in-person sales, and I’m about to hit 7 figures! 2022 was a $762k year for my business, and I’m on track to hit $1 million this year. 

 
Where do you see your business in the next 5 years? 

I don’t really think too far out because I try to live in the now. Our best life is waiting for us right now, why wait to step into it? I know I will be a multi-millionaire. I will cross $1 million in revenue in 2023. My goal is to hit $2 million in 2024 with my portrait studio and coaching revenue, hire and train staff to increase my studio revenue without me working in the business myself much and spend more time on the coaching side to help fellow photographers hit that 7-figure mark in their businesses. I will most likely quit my day job by 2025. I think 13 years is a good mark to say goodbye :). For the rest, I will wait for life to unfold itself and be ready to surrender to everything that is coming for me. 

Words for Photographers – A Simple Guide to Unlocking Your Sales Potential

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Novice photographers spend a lot of time learning how not to make a photograph blurry. But camera artisans know that some rules are meant to be broken. Blur can add emotion or create a dreamlike feel. Blur can draw the eye, or blur can be used to make a photograph feel more like a light painting. This week, we feature five photographs that use different forms of blur to create exceptional images. Find inspiration in these photographs from Katherine Mills, Ivana and Alen, William Taylor, Tom Waldenberg, and Aly Kuler. 

Katherine Mills, Katherine and Her Camera 

Exploring the streets of Lecce with couple Mia and George felt like a dream for Katherine Mills of Katherine and Her Camera. To capture that dream-like feel, she focused on the couple’s hands and slowed the shutter speed as they ran together, creating an image full of the joy and connection of the day. She captured the shot using the Sony a7 III and an 85mm lens, adding a layer of dust scratches when the image gave her Hollywood vibes. 

“The natural texture of the historic streets in Lecce and the amazing movement of Mia’s dress and those gorgeous sleeves just called out for some motion blur,” Mills said. “I wanted to emphasize their movement and create a dreamy feel without obscuring too much of the detail. I used a slow shutter speed and moved the camera slightly along with them to get the same movement in the background as well as the couple themselves. It was quite a bright day in southern Italy, even in the shade of the side streets so my aperture was high at f22 and a low ISO of 100 so I could set my shutter speed to 1/8 second.” 

Ivana and Alen, Ival Weddings 

Ivana and Alen of Ival Weddings capture the intimate moments between their couples rather than directing the posing. This particular shot, which was captured with the Canon EOS R6 and the 24-70mm f2.8, was inspired by the movement of the couple. This technique, called a zoom burst, was created while zooming in while the shutter was still open. 

“They were moving and playing around so we decided to play with movement,” they said. “It was all-natural light, with 1/80 shutter and zooming in on them.” 

William Taylor, William Avery Photography 

Adding flash to a slow shutter speed maintains all the fun of motion blur while still preserving some detail and sharpness. Inspired by the warm lighting coming from behind the bar during this engagement shoot, William Taylor of William Avery Photography decided to add some blur to add more interest to those lights. He captured the shot with the Sony a7R IV, Sigma Art 24-70mm lens, and Godox v860II. 

“I loved the warm lighting behind the couple at the bar area and, after a few establishing shots, I decided I wanted to get creative with that lighting and use shutter drag to create the light movement,” he said. “I used a slow shutter paired with a speedlight on camera to capture this affect by moving my camera quickly from one side to the other while taking the photo.”  

Tom Waldenburg, Tom Waldenburg Photography 

This colorful photograph by Tom Waldenberg of Tom Waldenberg Photography is actually an in-camera triple exposure, a technique that adds both color and a blurred replica of the couple. Waldenberg changed the color of the Boiling RGB LED lights between each exposure and repositioned the camera slightly. He captured the shot using the Nikon Z9 and the Nikkor Z 17-28mm f2.8. 

“I always try to do at least one night portrait with each of my couples, as I find night portraits to be unique, different, and can be so tailored to the environment,” he said. “I also try to suit my ideas to the couple – in this case for Anna and Jacob, Anna is an artist so I knew she would be excited for artistic/unique ideas. We made this photo at the edge of some dark woods in the couples’ family’s backyard where I knew the couple would pop against the dark woods.”  

Aly Kuler, Aly Kuler Photography 

Shooting in iconic locations like Grand Central Station presents a major challenge — making the subjects stand out from the rest of the crowd. In this shot, Aly Kuler of Aly Kuler Photography blurred the movement of the crowd to help the couple stand out. The other challenge with this location is that off-camera lighting and light stands aren’t permitted — a challenge Kuler met by using on-camera flash with a snoot directed at the couple. He captured the shot using the Nikon Z7 II with the Nikkor Z 24-70mm f2.8 and Godox V1 flash. 

“This location is an iconic transportation hub in New York where countless individuals cross paths,” he said. “While the couple were Peruvian and American, I was inspired by this location of how it creates unique human intersections and connects people to tell a story of how the couple met.” 

Dig into our Photo of the Day archives for even more timeless photos, eye-catching wedding photos and portraits. Submit your wedding, editorial, documentary and other interesting imagery to: arlene.evans@emeraldx.com.

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David Franco is a Master-accredited photographer with The Portrait Masters and winner of the Black and White Category in the last round of the PMAs. He is based in Los Angeles, California, where he runs his portrait studio in addition to being employed as an events photographer for LA County. This week, he joined host Nikki Closser on The Portrait System Podcast to talk about both photography careers and his passion for making fine art portraits of drag performers.  

Franco came to photography from graphic design, having received his bachelor’s degree in the field. While working for several tech and commercial companies, Franco experienced being on photo shoots. Deciding he would like to get into shooting as well, he bought his first camera and cut his teeth on nature shots and landscapes. He became involved in The Portrait System community and took Felix Kunze’s lighting courses, which influenced his moody portrait lighting style. Then, shortly after getting laid off from a tech job, a friend sent him a listing for a salaried position with the LA County Board of Supervisors. Franco got the job, and so gets to spend his days traversing the vast Los Angeles County covering all kinds of events. From the Women’s March to homelessness to new hotels to surfers and hand-shaking events, he’s there, bringing his artistic, portrait maker’s eye to bear.  

In addition to all the added inspiration Franco receives from the wide variety of subjects he daily shoots, Franco also has used his salaried position to build his fine art portrait studio business. He caters to all kinds of people, promising to bring out what is unique in each person. It is no wonder then that Franco is drawn to create fine art portraits for members of the drag community, where individual expression is heightened to a performative degree.

[Read: Long Live the Queens – Aaron Jay Young Photo Book Q&A]

Drag performers are such creative people that they frequently change their styles. Franco is considering creating a monthly portrait subscription for drag performers that would make it financially accessible for them to come to his studio frequently to document all the many transformations they create in their images and personas.

To learn more about David Franco and see more of his fine art portraiture, visit David Franco Photo and his Instagram.  

The Portrait System Podcast helps portrait photographers navigate the world of photography, business, money, and much more. Hosted by Nikki Closser, the podcast is powered by The Portrait System, a comprehensive, online educational platform that teaches all aspects of running a successful portrait photography studio. If you’d like to be a guest on The Portrait System Podcast, send them a voice message. 

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Rangefinder’s 30 Rising Stars of Wedding Photography is an exclusive list of 30 up-and-coming wedding photographers from around the globe. Applications are made anonymously by established members of the wedding industry, and the chosen photographers are asked to keep the honor a secret until the list is announced. This year, for the first time, wedding photographers are able to nominate themselves (link below).

Nominees must have been shooting weddings on a full-time basis for five years or less to be eligible for the competition. If picked from among the nominees, they are requested to fill out a questionnaire and submit 30 photos from their portfolio. This portfolio becomes the key to the judges’ ultimate decision as it must show promise for advancing and evolving the aesthetics of wedding photography. 

This year, nominations for 2024’s 30 Rising Stars are open until September 1. 

WHAT THE JUDGES LOOK FOR 

Variety

Rangefinder looks for submissions that contain various parts of a wedding day—from getting-ready moments and first looks, to the ceremony itself and reception. Some wedding photographers only submit portraits, which is a big misstep. Judges want to see interesting detail shots, photos of the family and guests, and other in-between moments that complete the full picture of a client’s wedding experience. 

The photos should also be sourced from more than one or two weddings, so that the judges can see a nominee’s demonstrated skill. 

Technique 

The exposures should be consistent throughout the 30 photos in a submission, and interesting exposure choices, such as double exposure or grainy photos should only be included as artistic choices and should not be due to technical flaws. 

Cohesion 

The judges want to see consistent style throughout a submission. It should be clear that all photos were shot by the same photographer. While that might sound basic, judges always encounter submissions with photos that don’t look like they come from the same creative voice. 

Narrative 

Judges must look through hundreds of submissions, comprising 30 photos each, so to capture and hold their attention, the nominees should sequence their photos in an emotionally compelling way. 

A good way to get outside input and emotional distance from photo submissions is for nominees to test their chosen portfolio of images on others. This can help the photographer get clarity on images that might have an interesting backstory but aren’t necessarily a photographer’s strongest images from an aesthetic standpoint. 

THE IMAGES NOT TO SUBMIT 

Visual Clichés 

After the volume of wedding photography that the judges have seen over the years, they can often sense when a photographer is imitating someone else. Photo ideas sparked from others on social media that don’t carry much narrative weight are clear indications that while a photographer is exploring, they haven’t dedicated themselves to an original voice yet. 

[Read up on “The Potential Traps of Following Wedding and Portrait Photography Trends”] 

The inevitable wedding moments that are always emotionally stirring—like the look on a groom’s face upon seeing the bride for the first time that day—are classic moments of a wedding day that the judges have come to expect, but trendy visuals without a compelling purpose—like a dress hung on a tree branch or curtain rod, a bride holding a bouquet in front of her face, or a couple framed small amid a landscape—need to be original. 

[Here’s why “Innovations in Wedding Photography Aren’t Coming From Wedding Photography”] 

As a general rule of thumb, if the image idea is something the photographer has seen before, they should consider different ways of doing it. 

Uncomfortable Posing and Disingenuous Expressions 

Real, raw emotion is one of the keys to a submission. Because nominees are submitting photos from real weddings, not styled shoots, the judges want to see that they can react to the emotion of the big day and don’t need to force or recreate those moments for the camera. 

Inconsistent Black-and-White Photos 

Muddied and mostly grey images that are meant to be black and white will turn off the judges; it will demonstrate a lack of technical understanding. Using the full range from black to white is a skill that not everyone possesses. If black-and-white images are not your strong suit, Rangefinder recommends only submit color images. 

It is not required to submit black and white images, and if they are shot alongside color images, it should be evident that they are all shot by the same photographer. When putting together their portfolio, photographers should play to their strengths. 

HOW TO SUBMIT TO BE ONE OF RF’S 30 RISING STARS

For the first time, Rangefinder is allowing wedding photographers who have been shooting full-time for five years or less to self-nominate. Industry professionals and wedding photographers can make nominations via this online form by September 1.

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