Tag Archives: fine art
Jessica and Antonio’s Houston Engagement Photography Session
sun flared bride and groom at houston engagement session
engagement photo by the lake, near houston, tx
a light moment during the engagement photo session
fine art engagement session moment
We just finished up a recent engagement photography session with Jessica and Antonio near Houston, TX. Yee ha y’all. I did resist the urge to put them in cowboy hats and boots. I did’nt think that it fit their style. I really like engagement sessions because they are lighthearted, fun, and there is not the pressures and schedules of the wedding day. It also gives us a chance to spend more time with our clients. One of the things that we valued highly at Red Photo is our demand that we spend adequate time with our clients during the wedding photography process. Most people are not used to having someone follow them around with a big camera system snapping off photographs repeatedly. The flash makes it very obvious. In the case of our customers, they have to contend with two photographers running around taking pictures all the time. The engagement session is usually our first photography opportunity with the bride and groom and it serves everyone well. For the couple they start to get used to having someone follow them around. Hopefully, after a short time, they get used to our being there and relax back into their normal selves. This is a principle of photojournalism, which is a large component of our style. You can read more about our fine art documentary wedding style in the posts ‘Becoming a Fine Art Photographer‘ and ‘Developing Your Photography Intuition.’ For the photographers it allows us to get to know our subjects’ likes and dislikes, styles, level of ease in front of the camera, and how best to instruct and interact with the couple.
We cover both posed and candid photography. Jim leans more towards the posed side and I lean more to the candid. I really enjoy that unposed documentary style and you have to get to point where you have built enough rapport with the subject that they go back to being natural and do not look posed or stiff. I will usually give my subjects some direction, like where to stand, how to interact with each other, but then I will just let them be. While this may not be pure, hands-off documentary work, it none the less is in that style. The other component, the fine art one, is evident. I trained as a fine art photographer and have had many exhibitions, so I like to infuse my work with that art gallery look. I like the fact that many of my images can be enlarged an placed on a wall as art. Hence the fine art wedding photography idea.
The more time that we spend getting to know our clients the easier it will be for them and the more true their images will be. The upside is that it is fun to meet people and hang out with them, especially when there is photography and possibly sushi involved.
Gary Miller
Houston Fine Art Wedding Photographer
Eye Candy and Brain Veggies
Houston Bridal Show Photographs
a lovely wedding dress from misora bridal boutique
some delicious and elegant wedding cake from dream cakes
a beautiful and elegant wedding invitation from invitation solutions
tasty wedding reception food from chef brian pashoff
Red Photo recently attend an intimate bridal show at the Crowne Plaza Houston River Oaks hotel. You can see some images from a photo session of food, interiors, and brides that we did there recently in the post ‘Photo Shoot – Crowne Plaza River Oaks, Houston.’ Once again our hosts, Jeana Auger, the Catering Manager, and Brian Pashkoff, the Executive Chef, did a great job with the venue and the food. It is a great place to have a wedding reception and we really love photographing there.
We really enjoy participating in these types of events because it gives us a chance to meet and speak with many potential brides and grooms. An important part of our fine art wedding photography business is spending the time with our clients to get to know them better. This helps us to capture better images during their engagement sessions, bridal portraits, and wedding ceremonies and receptions. Taking that extra time helps put them at ease as they get used to having two photographers around popping off flashes. We only work with clients who we get to know before the wedding day. This level of service is really important to us.
The other great thing about bridal shows is the chance to meet and speak with other vendors. I think that it is important that local wedding vendors work together to get our clients what they need to have a spectacular wedding. Many different types of vendors were present at this show including florists, cake makers, wedding gown salons, DJ’s, lighting and decorating professionals, event planners, and some great food vendors that provided a beautiful flowing chocolate fountain and wonderful espresso drinks. I will be posting various reviews on these vendors in future posts. It is important that Red Photo helps our customers to find other wedding vendors. Since clients book their wedding photographers early in the wedding planning process we are often asked to recommend all types of vendors. By speaking with the couple we can help them to find a perfect vendor to match their style and needs. Sometimes I feel like we are part of the event planners.
Gary Miller
Houston Fine Art Wedding Photographer
Eye Candy and Brain Veggies
Posted in digital photogarphy, fine art photography, philosophy, photography, wedding photography
Also tagged digital photography, fine art photographers, houston wedding photographers, wedding photography
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Improving Your Composition in Photography
As many of my regular readers know I am very much into composition. You can read more about good composition in photography in my posts, ‘Good Composition in Photography‘, ‘Photography Movements- Formalism‘, and ‘10 Easy Ways to Improve Your Photos (Part1).’ These articles go over the general ideas behind good composition and the effective placement of elements within the photographic frame. There are many things that make a photograph good. Some of these elements include lighting, emotion, content, message, color, lack of color, form, texture, narrative, and composition. There are many other components. The way that I see it, every time that you have one of these components in a photograph it makes it better and more memorable. The more hits that you, the more likely the photograph will be remembered and seen as being good. A good example of this would be Dorthea Lange’s ‘Migrant Mother.’ It shows several of the listed attributes. Now a good photograph can have only one of these, but I am talking about a general principle that makes images more memorable. I will address these components more in future posts.
Since I have a large formalist component to my work I feel that composition should go high on your list of elements. I think that good composition skills can make something ordinary special. As photographers, part of our job is to see the world in different ways, just like any other artist. But a skilled photographer really does see the world and then is able to capture it in interesting and unique ways. Fine artists are like explorers. We go out and search the world for new and interesting items and then we bring back our photographic souvenirs to show other people, to hopefully broaden their view of the world. We are adding to the world aesthetic and informing, or just conducting visual alchemy. When I am photographing a wedding I am constantly looking for new and fresh image ideas.
Two compositional components that I tell my students to try when they are struggling with those general compositional things, like asymmetry and the rule of thirds, is to isolate and simplify.
1. isolate
Many times when you are creating an image a busy background or other distracting elements can easily creep into the frame. This can be especially true when you are shooting with a wide angle lens. It is hard to control things as you get more and more elements. The greater number of things in your frame can cause confusion in the viewer. They are not really sure where to look. So by isolating things, either by composition, lens selection, point of view, or a shallow depth of field, you make it easier for the viewer to see your main subject. They will like your image more because of this, even though they may not know why. Order, not chaos.
2. simplify
This goes hand-in-hand with the isolation idea. When you isolate and get rid of the clutter and the excess visual noise, you simplify your image. Most powerful photographs are simple in their elements, lighting and composition. This does not mean that they were easy. Simple means clean, ordered, and tidy. Minimalism is a great example of this. Objects or elements in the frame are pared down over and over until very few, sometimes only one, element remains. You can read more about minimalism in ‘Photography Movement – Minimalism.’
What is nice about this photographic compositional suggestions is that they also work well in other life situations. By isolating and simplifying things you will relieve stress, reduce clutter and waste, and allow your creativity to flourish.
Gary Miller
Houston Fine Art Wedding Photographer
Eye Candy and Brain Veggies
Posted in digital photogarphy, fine art photography, philosophy, photography, photography techniques, wedding photography
Also tagged digital photography, fine art photography, formalism, improving your photography, tutorial
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Becoming a Fine Art Photographer
It is great being a photographer. It is great to be a wedding photographer. But being a fine art wedding photographer really takes things to a whole different level for me. I have always loved photography, especially documentary style. I was fascinated by photojournalists from an early age and lulled into the mystique of the National Geographic photographer. I wanted to travel the world and photograph all types of people and culture. This was my initial drive and what originally led me down the photography road. When I went to graduate school, I was at a point where I wanted to continue making documentary photography projects, but by that time I was becoming more and more interested in the fine art aspect of the photography world. I noticed that there was a nostalgia and a romanticism that was creeping into my documentary projects. I was no longer satisfied with the ‘straight’, classic documentary photography that I was producing. For a long time Sebastaio Salgado was my lone photo hero. You can read more about that in my post ‘10 Easy Ways to Improve Your Photos (Part 2).’ To this day I am still heavily influenced by him and his use of light and his brilliant black and white images. But my hero list has expanded and now I follow more styles than people.
Just prior to entering graduate school I took a few photography workshops. One of them was at Anderson Ranch Arts Center in Snowmass, Colorado. The workshop was on documentary photography and it was with Sylvia Plachy. If you are not familiar with her wonderful work you need to look at it. The first day of the class she asked us to bring in prints to display and then the class would review them. I brought in some very classic, Salgado-like work from Mexico. The class and Sylvia liked it, but she could see that I was not satisfied, that something was bothering me. The beauty of Anderson Ranch is that you spend all day with your classmates; class, darkroom, meals, lounging time. And the instructors are around and available most of the time. So after class, later that night, I had a chance to talk with Sylvia one-on-one. I told her that I felt torn. My mind was telling me to stay with regular documentary work. I wanted a magazine job, a career with National Geographic. But I was feeling that romantic, fine art component creeping into my work more and more. I thought that she was going to be very strict and make me stick with the safe road of photojournalism. But much to my surprise she told me to do whatever I wanted to do. This surprised me at first, but then it really made sense. Someone who I knew and highly respected just told me to follow my passion and to follow my creativity. It was so simple, but I just needed that outside push to make it sink in.
That week long workshop literally changed my life. I left and began graduate school where all I did was let my creativity flow with no regard for what I should be photographing or not. The more I let go the more my true style came through. I wrote more about this in my post ‘Finding Your Own Artistic Style.’ When I began my wedding photography business my first impression was to photograph what clients wanted, to be safe and do what everyone else was doing. But I soon found that creative, free side creeping in. And that is when I decided to follow my passion to create fine art wedding photography.
Following my creativity is one of the reasons why my blog posts are so varied. I don’t want to just show lots of images from weddings. I am more than that. I want to explore photography subjects and review my art projects, and anything else that comes to mind. We all need to follow our passions. If you are trapped in something else, well now is the time to do what you want to do. Sylvia told it to me, now I am telling it to you.
Gary Miller
Houston Fine Art Wedding Photographer
Eye Candy and Brain Veggies
Why You Want Simplicity in Photographs
minimalism at white sands national monument in new mexico
I have written previously about the idea of minimalism in a photograph. You can read more about that in ‘Photography Movement – Minimalism.’ A brief review is that minimalism is a composition with a great deal of negative space, or open space, where the items that are missing are just as important as the items that are present. It is the concept that ‘less is more.’ Many beginning and seasoned photographers make the mistake of trying to put too many elements into an image and in the process they loose their focus. This is not a pun. I think that the wording is important. When a viewer is confronted with many elements in a photograph they can become confused about what they should be looking at first. You do not want to confuse the viewer, unless you have produced some fine art piece with that type of psychological component. For the most part I recommend keeping your compositions simple. For some advice on improving your composition you should read ‘Good Composition in Photography‘ and ‘Photographic Composition With Jim Zuckerman.’ Both articles are filled with useful information that will make you think differently about how you compose an image.
For me, composition is a vital component of a good photograph. Not that every good photography needs to have good composition, but I believe that it is vital in most situations. I have mentioned before that I have a great deal of formalism in my style. So I am very concerned with the shape of objects and how they fit together visually to create aesthetically pleasing compositions. A strong aspect of the formalistic view of art is simplicity. For me there is a difference between minimalism and simplicity, but the two often cross over. Many simple photographs are also minimalistic ones. Simple photographs are not cluttered with distracting information. Every part of the frame is used efficiently. In photography there are several ways to simplify an image. The obvious one is to put less things in your frame. The photograph above from White Sands National Monument in Alamogordo, New Mexico is a good example of this method. Another way to simplify your image and direct the viewer’s attention is through the efficient use of depth of field. When your main subject is the thing that is in focus, and the background is out of focus, you are telling your viewer what to look at, what is important. So if I am taking a portrait of a bride at a wedding, I want to place her away from busy backgrounds that will distract and then I want to use a wide aperture to blur the background and to really draw attention to my subject. Simplicity can also be obtained by limiting the colors in your image. This can mean more of a monochromatic palette or moving into black and white. If you are interested in learning more about black and white photography see my posts ‘Ode to Black and White Photography‘ , and ‘The Allure of Black and White Photography.’
There are other ways to simplify your images. Just keep that old adage in mind of K.I.S.S., keep it simple stupid. Start taking things out of your photographs and see how they can become better.
Gary Miller
Houston Fine Art Wedding Photographer
Eye Candy and Brain Veggies
The Allure of Black and White Photography
black and white ambrotype photograph
I really love black and white photography. I had a recent post that was my ‘Ode to Black and White Photography.’ For about ten years I was exclusively a black and white fine art photography, shooting primarily film. Some of you may actually remember film. There are definitely things that I miss about using it. I have nothing against digital, but the hands on nature of film really added another quality to the work. I felt more connected to the piece since I exposed the film, processed it, made contact sheets, and then made fine art black and white prints. I talk about this more in my post ‘The Visceral Nature of Film.’ Many of my students are interested in black and white photography. About a year ago I noticed that several of them were handing in black and white images for some assignments. But the conversions were weak and the images did not really fully exploit the abstract and graphic nature of the medium. So I created an elective class for them, ‘Black and White Digital Photography.’ Those that take this class really show improvement in their work very quickly once they learn to see in a monochromatic way.
When the digital age roared in many of the software and printing manufacturers went after the commercial and consumer photography markets. For many of the last 12 years making good black and white images on the computer or creating a nice, fine art digital black and white print, was very difficult and disappointing. It was so disappointing that I abandoned black and white all together when I was using my digital SLR. In an ironic twist, as I was entering the digital SLR realm, working more with Photoshop and other software, and using the digital media to its’ fullest, I began to become very interested in the historical, or alternative processes. I was especially enamored by platinum printing and I spent several years perfecting the artform. It was laborious, but there was something magical about all of the time and effort and handwork that you had to invest to get a stunning print in the end. I still believe that nothing can match the sublime beauty and tonal subtly of a fine platinum print. There are inkjet prints that look like it and press printed pieces too, but nothing has that texture, that feel. If you have never seen a platinum print up close and personal then I recommend you search around at your local galleries and museums. You will see what I mean.
Now digital and printing technology have caught up and you can produce really nice black and white images. There are printers that contain gray inks or you can buy special ink sets that help create the subtle tonality of a fine black and white photographic print. There are many great fine art papers on the market. Photoshop has a good black and white adjustment layer built in and there are several vendors producing plug ins and stand alone programs for converting color images to black and white. One of the best that I have found is Nik Software’s Silver Efex Pro 2. It is a stunning piece of software. Nik Software makes some of my favorite plug ins and I am not a plug in type of guy.
So if you are interested in making black and white photographic images, good images, the technology exists to do so. But I encourage you to learn the medium. Too many people are just taking the color out of their images. That usually does not produce a true monochromatic image. It is important to utilize previsualization to get the best results. You can read ‘Do You See What I See?‘ to find out more about that concept. I have begun using black and white imagery more and more in my wedding photography business. It really fits my fine art, photojournalistic style, and there is a timeless nature about that you cannot beat.
Gary Miller
Houston Fine Art Wedding Photographer
Eye Candy and Brain Veggies
What Does the Future Hold for Photography?
what does the future hold for photography?
People are always trying to predict the future. Now this can be to make money, like in the stock market or predicting the winner of a sporting event,on in the field of business, to better prepare. But being able to predict the future in the business of photography will definitely help you prepare for changes and better position yourself in the future. No one knows what will happen. A new technology could emerge tomorrow and photography would embrace it. It always has. The latest technological advancements have always been mixed with the medium of photography. With that caveat, here are my predictions for the future of photography.
1. Video
Unless you have been living under a rock you know that just about every digital camera produced in the past two years has had video capability built in. The Canon 5d Mark II started the trended a few years ago and the look and feel of DSLR videography has taken off. Numerous television shows, movies, events, weddings, and commercials are being shot using these compact, incredible cameras. And the trend is going to continue. While many cinematographers have embraced the new technology, most classic videographers, like you encounter at weddings, have not made the switch. They are going to be left behind. Commercial and consumer photographers will be asked to produce more and more video in the future as the world gets more web-based and more motion-based. Don’t be left behind. Now is the time to learn the skills.
2. Camera speedlites
Those little on-camera flash units have come a long way in the past few years. They used to be clunky beasts, many times referred to as ‘potato mashers’, that blinded many a partygoer and bumped a lot of heads. Well these little babies have come of age. Now they have full TTL (through the lens) metering capability, along with manual controls, IR and radio control, power ratio setting, and power enough to do most jobs. They are starting to replace bulkier studio-type flash units because they are light, portable, and versatile. They have a look, a genre all their own. To learn more about them you should read Joe McNally’s wonderful book, ‘The Hot Shoe Diaries‘ or check out The Strobist website or books. My advice to you is to learn how to use an on-camera flash well. You don’t have to fully convert to using them, but they are going to become more and more of a good solution to many photo problems. And anything that you can do to improve your lighting skills is important.
3. Outsourcing
There was a time, not long ago, in the film days where the photographer, well photographed. We would expose the film, then take it to a lab to be developed. When it came back we would edit it and then send it off to the client, usually a graphic design or advertising agency. And our job was done. Then came the digital era and photographers were expected to take the image, retouch it, make it ready for printing, post it up on a website, etc. Well luck for us outsourcing is back. Now you can affordably send your images out to be edited, retouched, posted on a website, etc. The market is driving this as prices for these services are dropping. This trend will continue.
4. Boutique business
Being a ‘me too’ business is really not going to help to be successful in the future. You can read some more of my thoughts on this in my post ‘Fine Art Wedding Photography.’ You want to build a boutique business and stand out from the crowd. Charge more because you value yourself more and then your clients will value you and your services more. A great resource for all things boutique marketing is the Joy of Marketing website run by Sarah Petty and Erin Verbeck.
I am not some weird futurist. All of these trends are happening around us right now. To be successful in any photography business you just have to go back to the basics that your learned in your Photography 101 class, and that is seeing. Slow down and take a look around you. You will see all of things that I mention slowly creeping into the business mix.
Gary Miller
Houston Fine Art Wedding Photographer
Eye Candy and Brain Veggies
Posted in digital photogarphy, fine art photography, philosophy, photography, photography techniques
Also tagged digital photography, fine art photography, photography, wedding photography
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Curiosity is a Prized Possession in Photography
children at sesame place, langhorne, pa
When we were children we all had it. We would open up any door or box, search under the couch and behind the bed. We freely explored the world around us and although at times it was a dangerous endeavor, that may have resulted in some minor injuries, we lived on to explore another day. That was pure curiosity. That was the time in all of our lives when we are learning by searching, finding, tasting, seeing, and feeling. This is such an important time for us. Then, somewhere along the way, most people loose their sense of curiosity. One day it is there and then it is gone, beaten out of us by societal norms and rules. We are told what to do, how to sit, how to speak, how to act, and curiosity is not amongst the approved list of activities. Fortunately some people retain their curious nature. I don’t know why, but I am one of those lucky people. I remember when I was a kid I took apart everything in the house that I could get my hands on, and then thankfully I was able to put most of those things back together. I was driven by my need to know how everything worked. That is probably why I gravitated towards photography at an early age. There was probably some camera, my father’s old cameras, that I came across in the basement closet, stacked away in boxes and bags in the back. I remember finding his slides from Europe and sitting around for hours watching them through an old slide projector. One light in the dark led my imagination. It spurned my desire to travel and to photograph. I think that curious child is what led me to begin my amusement park project. You can see images from that in my posts ‘Amusement Park, Ocean City, NJ‘, ‘Amusement Park – Wildwood, NJ‘ and in several others.
My meeting with photography was an innocent one. I never knew that it would grow into my advocation. Over the years I have been a freelance photo assistant, a commercial photographer, and a fine art photographer. I am still all of those things, but now I am a wedding photographer in Houston and an educator. I do both because of my curiosity. I think that is what eventually led me to documentary work. I wanted to explore the world, the people and the cultures. Then my interest became more localized. I wanted to know about the life of the guy behind the counter at the local store. My wedding photography draws heavy on my drive to know more about people and to record their special moments. That is why I prefer the photojournalistic, hands-off, fly-on-the-wall style, over posing people too much. I want to be an observer of life, a recorder for posterity, a conduit for peoples’ memories. Check out my post ‘Photo Shoot – Crowne Plaza River Oaks Hotel, Houston‘ to see some of my wedding photography work.
To this day that same curiosity that I had when I was little drives me on. I think that many people have lost their sense of wonder and awe. I think that now would be a good time for people to find it again, to awaken their inner curious kid and to explore the world on their own terms. No one sees the world in the same way. Now is the time for your vision to be seen and heard.
Gary Miller
Houston Fine Art Wedding Photographer
Eye Candy and Brain Veggies
Posted in digital photogarphy, fine art photography, philosophy, photography, photography techniques, wedding photography
Also tagged amusement park, art, curiosity, digital photography, fine art photography, wedding photography
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Ode to Black and White Photography
When I began to learn photography it was all about color for me. In fact I looked for images with lots of bold color and then used a slide film that would make them even more saturated. At the time my influences were Ernst Haas and Jay Maisel. You can read more about Haas in my post ‘But You Have to See in Photography.’ I dabbled a little with black and white but that was only when I took a basic darkroom class. I used black and white film and worked in the darkroom just like everyone else did when learning darkroom skills. At the time I did not take it very seriously and it was more of a vehicle to learn basic techniques and then to move on to using the color darkroom.
It wasn’t until I entered graduate school that I found the joys of working in black and white. I am not sure how the transition happened. A few years before I became more and more interested in photojournalism and documentary photography. I began looking at the classic work of the Farm Security Administration (FSA.) This is the group of photographers that did some stunning documentary work around the United States during the depression era. They were originally conceived just as a vehicle to record the state of the country for the Federal government. But the photographers that were hired were some of the best and most artistic of the day. This group included legendary photographers Dorothea Lange, Walker Evans, Gordon Parks, and Arthur Rothstein. For me this was the height of photojournalism in America. All of their work is in black and white and it really helped to create the ideal form for me. When I entered graduate school I had already begun using black and white film as part of my documentary work. At the time it was a very pure style and my photo hero was Sebastaio Salgado. You can read more about him in my post ‘Why We Photograph.’ In graduate school I began to pursue more of a fine art direction and then applied it to a documentary photography approach. At that time all I did was black and white. I processed up to 40 rolls of medium format film a week, made countless contact sheets, and many prints. After doing this for the better part of three years I was totally absorbed in the black and white world.
When digital came around I began to experiment with it. I bought my first digital SLR camera in 2000, just as I was finishing up graduate school. At the time I wanted to learn more about digital photography because I knew that it would be the next big thing. But I did not do much black and white work with digital. At the time it was difficult to make a good black and white digital print. Also, converting the color files to monotone was not very good either. It wasn’t until the past few years with advancements in printing technology and computer technology that I have returned to black and white imagery and printing.
You will probably start seeing me post more and more images here in black and white. My dream is that some client will let me produce a complete wedding album in black and white and in a classic photojournalistic style. Fortunately, many people are rediscovering the beauty of this artform.
Gary Miller
Houston Fine Art Wedding Photographer
Eye Candy and Brain Veggies
Capturing Moments, That’s Our Job as Photographers
bride at her wedding reception
The essence of any photograph is the capturing of a moment. You can read some thoughts on this in my posts ‘On Being Obsessed With Photography‘ and ‘Photographing Effective Portraits – Richard Avedon.’ Both of these incredible photographers speak about capturing significant moments in their work. Photography is an art form that captures pieces of the world in fractions of a second. The moment we see something in the viewfinder and then push the button, we have captured a moment. Many times we missed the moment that we wanted to record. This happens often in action or sports photography. I remember one of the first times that I was photographing a soccer match. I thought that I was going to be so clever and get a picture of the ball just as one of the players kicked it. So I put on my telephoto lens, focused on the awaiting ball, watched with my other eye where the player was, and then the moment that he kicked it I fired away. At that time I was using film, so I was sure that I had the shot that I had envisioned; a compressed ball with a foot on it caught in mid action. Well, much to my surprise, when the film came back I had a lovely picture of the field. No ball, no foot, no nothing. I soon learned that to be a good sports photographer you had to anticipate when the action was going to happen and then trigger the camera a fraction of a second before. This took time and practice and can still be frustrating today. Now I can see my mistake on the back of the digital camera so at least I can get a second chance at it. To see some great sports photography check out the work of Walter Iooss here.
Documentary photography is the same way and weddings are events that are happening at the speed of light. I do not like to pose my subjects so I have to be keenly aware of what is going on, my surroundings, the lighting, and be able to predict what will happen. For the image above from the Crowne Plaza Houston River Oaks hotel I saw the bride struggling with her veil. I wanted to help her out, but I knew that if I did I would not get any real, candid photographs of the event. In documentary work you want to fade into the background as much as possible. You have to be really patient and wait for people to forget about you. When you first enter the scene it is like throwing a rock into a still pond. You cause ripples and therefore people are very aware of you. But if you wait, the ripples will calm down, the pond goes quiet again, and then you can create the photographs that you want. Patience young grasshopper.
Moments are so important. I think that the candid shots are always more prized in the future. People realize that these moments are real ones and that they happened so fast that even the people involved did not see them or remember them. Many brides and grooms are amazed when they look at the images from their wedding. They were present, but they were so busy with so many things and sensory overload, that they really did not get to experience the event. That is where a good wedding photographer comes in. It is our job to record those special moments and to preserve them for our clients. And that is the best part of our job.
Gary Miller
Houston Fine Art Wedding Photographer
Eye Candy and Brain Veggies
