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JColeWeddingPhotography - 8

All images by Pat Brownewell. Used with permission.

Photographer Pat Brownewell usually shoots digitally, but in some cases still shoots with film as an extra bonus for his clients. But we’re not talking about the 35mm variety–oh no, that stuff is child’s play. We’re not even talking medium format. Pat shoots with 4×5 large format film in both color and black and white at weddings.

Why would he do this? Pat tells the Phoblographer that it was partially out of boredom.

We talked to Pat about the expenses and how it made him a better photographer.

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julius motal the phoblographer sony 70-200mm f2.8 G product image-6

I don’t always handle big lenses, but when I do, it’s the Sony 70-200mm f2.8 G SSM II (or it’s equivalent across camera systems). I’ve been a Sony shooter for a long time, but the closest I ever got to this lens was Minolta’s beercan, the 70-200mm f4. Times have changed, and with that, so has lens technology. The 70-200mm arrived in the same box as the Sony a77II, which has been a joy to use, and while this lens isn’t all that affordable, it’s a strong addition to anyone’s kit.

With a constant aperture starting at f2.8 and stopping down to f32, the lens also features a nine-blade aperture and some of the company’s other technologies.

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Chris Gampat The Phoblographer Oggl 2.1 iPad (1 of 1)ISO 16001-100 sec at f - 5.0

Every photographer starts somewhere, and when it comes to becoming a full time professional and having folks pay for your creative services. Many get their start by creating a side business and more and more putting increasing amounts of effort into it until they can work off of it alone. It’s not at all simple and requires a focused and steady plan as well as commitment.

At the end of the day, you’re going to become a business owner–and that means that you’ve got a whole load of other responsibilities. So here is how you navigate them.

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When you’re in the business of shooting portraits, weddings, events, or any sort of subject where someone else has to be a part of it, you quickly learn that your photography isn’t necessarily always just your own. That bride whose wedding you’re capturing: your photos are going to be the ones that YOU are responsible for making look the best.

It’s your job after all

Do it for years and years, you’ll eventually develop a blessing and a curse: hatred of your own photography.

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Before we begin this article, we want to explain that any photographer should always prioritize being artistic and having a creative vision above any technical aspect. But the two can work together very well if you have the right ideas. Photographers wanting to become more serious about their photos and photo editing should realize that one of the biggest ways to do this is to learn to read histograms. While you focus on making sure that you get as much as you can in the camera, what you get out of the camera will surely determine your post-production process.

For the beginner, here is our Guide to the Histogram.

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Image by Nick Murray. Used with permission.

Photographer Nick Murray recently won “Best Wedding Photographer in Wales 2014” at the Welsh National Wedding Awards, and it’s clear to see why. He has always had a love affair with light painting and being a professional wedding photographer for a little over three years has brought him in touch with who he claims are some of the coolest clients ever.

The story behind this photo is incredibly cool–or cold, rather! It was shot on a freezing December night at 10pm and took qite a long time to accomplish.

Mr. Murray’s story is after the jump.

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