Bloke with a Camera - the interview

How did you get to be 'Bloke with a Camera'?

It all started as a bit of fun really. Having used film for years, in 2003 I bought a little digital compact - just as a toy - and was amazed at what it could do. After a few months I'd taken some images I rather liked, and got them accepted for exhibition in local libraries. I spent loads on printing, frames and mounting card, and ended up with 40 nice exhibition prints on show.

Did you sell any?

Nope! People liked them but nobody actually wanted to buy one. So I was simply decorating the County's libraries free of charge and at my own expense... However, I was sufficiently inspired by the possibilities of digital imaging that I promptly swapped my film SLR for a DSLR, and that's where the story really starts.

How did you get from there to weddings?

Thanks to a mention on a wedding forum, I got an e-mail from a couple looking for a photographer. They came round for a chat and we were getting on very well, and then the chap said 'Have you got any samples of wedding photos we can see?'. I had to reply 'No, but this is me, and this the kit I plan to do it with, and you've seen some of my other stuff - how about it?' And Richard and Natalie trusted me and booked me. From that first wedding, I got good photographs I could use to help promote my services. And it just snowballed from there!

 

 

Why are you different from other wedding photographers?

Two main things. Firstly, I work by being me - by being natural. I have a reportage style which you can see on this site - essentially I don't set things up artificially. If people like what they see on this website, they get in touch and away we go. We meet up, talk it over and the couple get what they really want. Normally they come to me because they don't want formality, or stuffiness, or being herded about and told to say cheese. Where's the fun and originality in that? I prefer people to smile because they want to!

Secondly, there are no fixed packages as such. Every wedding is different so I'm not a dreary old sausage machine. People can buy as much or as little photography as they want, and just as important, I don't make them buy prints or albums - they're welcome to have all the photographs on disk.

Sometimes, when I'm doing a location visit, bemused officials say 'Oh, but none of the other photographers want to do that!'. This inspires me, because it reminds me I'm always looking to get better results for my customers than the average 'tog', who does the same old shots from the same old places, and gets the same old predictable boring results. In fact, thinking about it, I don't really photograph 'weddings' at all, I photograph people. People are endlessly fascinating and it's the combination of people that make the day and the memories to capture.

You don't do prints or albums?

I will if someone wants me to, but my customers are intelligent. They know you can buy perfectly good prints for pennies, so why pay a middleman £15 each for them? It's barmy. I'd rather they put the money towards their honeymoon or a new kitchen. So my modus operandum - the 'Bloke concept' - is to charge for my time and skill on the day, put several hundred good images on a disk and let them do what they want with it. It suits me, it suits the customers and it sets me apart from the herd. £1800+ for an album with 50 prints? You're having a a giraffe!

So how much do you charge?

Typically, from £800 to £1000 depending on the amount of work and time needed. Every wedding is different and people want different things, so each job is planned and quoted individually. Remember that this also includes around two days of digital processing, so the rate is really for three days, not just one.

What's digital processing?

To get the highest quality I shoot in a format called RAW. It's like a digital negative - it gives the best results but has to be processed in a computer to make an image you can see at home. Most photographers do this in batches to save time. I don't, because every image is different and so needs different treatment. So I adjust *every* image individually to get the optimal exposure, white balance and shadow detail. High contrast scenes are double-processed and composited using layer masks. As you can imagine, it takes considerable time and concentration, but it's worth it. Afterwards, if I decide make an image black and white, it's because it looks good, not because I'm trying to rescue a second-rate JPG!

For a detailed estimate, or if you have any questions, just mail me with as much information about the day as possible and say what you want :-)

 

 

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