Quiz: Photography and Videography

Target: 70% or higher.

Section 1: Multiple Choice (1 point each)

1. The chapter's threshold concept is:

  • A) Photography is the most important vendor
  • B) Photography is a timeline constraint, not a service
  • C) The photographer should be given creative freedom
  • D) Coverage hours determine quality
Answer **B).** **Four demands, and every one takes hours from something else:** getting ready (the morning) · portraits (cocktail hour, or a first look) · **family photographs (cocktail hour, always)** · and golden hour (**whatever is happening at 7:05, which is usually dinner**). *Reference:* §23.1

2. "Documentary" describes:

  • A) A photographer who needs no scheduled time
  • B) A style, which has almost no relationship to the schedule
  • C) A package that includes video
  • D) Unposed family photographs
Answer **B).** **A documentary photographer still needs thirty to forty-five minutes for portraits, still needs the family matrix, and still cannot photograph a couple after dark without lighting or a plan.** **The couple are buying how the images look, not how much time the day gives up** — and the misunderstanding is one of the most common in this chapter. *Reference:* §23.1

3. Instead of a portfolio, ask for:

  • A) References
  • B) A full gallery from one recent wedding, start to finish
  • C) Their most-liked social media posts
  • D) A sample album
Answer **B).** Anyone with two years' experience can produce twelve extraordinary images. **A couple receives six to nine hundred, and the question is what image four hundred looks like.** **Scroll to the middle.** Are the middling images competent, well-exposed, and of the right people? **And a photographer who will not show a full gallery is answering the question.** *Reference:* §23.2

4. In a $3,200 fee, the largest block of hours is:

  • A) Shooting
  • B) Travel
  • C) Editing
  • D) Pre-wedding meetings
Answer **C) Editing — 12–18 hours** on ~800 images, and it is entirely invisible to the couple. **Total: 38–44 hours**, which is $73–$84 gross before equipment, insurance, software, backup storage, a second shooter, tax, and the weeks with no weddings in them. **A photographer's day rate is not a day rate. It is a four-day rate, and the couple sees one of the four.** *Reference:* §23.2a

5. If a couple must choose between two extra hours of coverage and a second shooter:

  • A) Take the hours
  • B) Take the second shooter
  • C) It depends entirely on the venue
  • D) Take neither and reduce the fee
Answer **B).** **A single photographer cannot be in two places**, and a wedding has three moments where two places matter at once: getting ready in two locations · **the ceremony, where one camera is at the front and one at the back** · and the reception, where the room and the dance floor are different subjects. **$400–$900 buys the walk down the aisle photographed from the front rather than only from behind, and the partner's face while they watch.** *Reference:* §23.2a

6. Coverage hours should be bought:

  • A) At the start of the day, for getting ready
  • B) At the end of the day
  • C) Evenly at both ends
  • D) According to the package tiers offered
Answer **B).** Couples add hours at the start because getting ready is the part they are anxious about. **The value is at the other end** — the dance floor at its fullest, the older relatives who have relaxed, and the images where everybody looks like they are having the best time of their lives. **If the budget buys eight hours, start at 2 p.m. rather than noon.** *Reference:* §23.3

7. A family-photo combination takes:

  • A) 30 seconds
  • B) 1 minute
  • C) 2–4 minutes, almost all of it finding people
  • D) 5–8 minutes
Answer **C).** *"Now Sam's mother's side"* — four people are at the bar, one is in the restroom, one has gone to the car. **The photographer waits, the couple wait, and the eleven people already assembled wait.** **Which is why 18 combinations is 45–55 minutes, and why 25 does not exist anywhere in a wedding day.** *Reference:* §23.4

8. The single biggest lever on family-photo time is:

  • A) A faster photographer
  • B) A written list
  • C) A named wrangler who is not the planner
  • D) Doing them before the ceremony
Answer **C).** Somebody who knows the families by sight and has the list — usually a sibling or an aunt. **With all four fixes** (list in shooting order · wrangler · telling people in advance · a cap agreed in month six): **twelve combinations in twenty-two minutes.** Without any: **twenty-two in sixty-eight**, and cocktail hour is over. *Reference:* §23.4

9. The shooting order should be:

  • A) Smallest groups first
  • B) Largest first, subtracting, never bringing anybody back
  • C) One family completely, then the other
  • D) In the order people arrive
Answer **B).** Largest first releases the most people soonest. **Two hard rules:** **grandparents and anyone with mobility needs go in the first three**, and **nobody comes back once released.** **And at a wedding with divorced parents: alternate sides rather than doing one family's six and then the other's six** — because the order is read. *Reference:* §23.4

10. A first look primarily buys:

  • A) A calmer couple
  • B) Better photographs
  • C) 45–70 minutes of cocktail hour, and the couple attending their own
  • D) A shorter day
Answer **C).** It moves portraits, wedding-party photographs, and frequently the family matrix to **before** the ceremony. **The trade is explicit: an earlier, longer morning in exchange for the couple attending their own cocktail hour.** **And it must be offered with both halves.** For some people the aisle is the moment — **which is a real preference and should not be argued away by somebody whose interest is the schedule.** *Reference:* §23.4a

11. Golden hour is:

  • A) The hour after the ceremony
  • B) The 40 minutes before sunset — 15–20 usable, at a time set by astronomy
  • C) The best hour of the reception
  • D) Whenever the photographer prefers
Answer **B).** **Fifteen to twenty minutes, immovable, and almost always during dinner.** **Schedule it in month six.** At Reyes–Whitfield it is 7:05, after the main platters — **and it is only possible because Chapter 14 chose family style.** With a plated three-course dinner, 7:05 is mid-service and the couple cannot leave. *Reference:* §23.5

12. Video's bottleneck is:

  • A) Image quality
  • B) Audio
  • C) Storage
  • D) Camera positions
Answer **B) Audio.** **A wedding film without usable audio is a slideshow with music over it, and the vows are the product.** A videographer needs a feed from the ceremony PA, a lav on the officiant, and frequently one on a partner — **which is the same microphone photography does not care about, and which Chapter 18's ceremony kit already contains if anybody thought to route it.** *Reference:* §23.8

Section 2: True/False with Justification (1 point each)

13. An inexpensive photographer is a reasonable risk.

Answer **True, with four specific checks that take ten minutes.** A $1,200 photographer may be new, talented, hungry, and **some of the best value in the industry.** They may also be single-body, single-card, uninsured, and without a contract. **The four checks:** **dual card slots** (an in-camera backup — a single card failure loses the wedding) · a second body · **insurance** · and a written contract. **Plus a full gallery.** **Those separate "inexpensive" from "uninsured."**

14. A long shot list is a good shot list.

Answer **False.** A list of generic shots — the rings, the shoes, the dress on a hanger — wastes everybody's time, because **any competent photographer takes those.** **The list exists for the things only this family knows:** a grandmother, a person who travelled a long way, a friend who is ill, an object that matters, the two people who have not spoken in six years and are both here. **And the sentence that matters most:** *"is there anybody you'd want a photograph **of**, who isn't in a combination?"* — because a photographer takes what is in front of them.

15. The couple should receive the raw files.

Answer **Almost always no, and the reason is legitimate rather than obstructive.** **A raw file is an unfinished product.** Releasing it means the photographer's name is attached to work they did not complete — and a raw file viewed without processing looks flat and wrong, which is what raw files are. **What a couple should get instead:** all the edited images (ask what "edited" means here), a clear personal-use licence, and **a stated archive policy.** **And at delivery: download everything twice, to two places, that week.** An expired gallery link is the most common post-wedding loss photographers see.

16. Hair and makeup running late is a scheduling accident.

Answer **False — it is structural, and it happens at almost every wedding.** A schedule built for six people has no slack, and **person two's extra ten minutes is person six's forty.** **Two practices:** build backwards from a "ready" time that is **45 minutes before it needs to be**, and tell nobody except the artist that the buffer exists — because it will be consumed. **And put the partner being photographed first in the running order, not last**, since the tradition of finishing with them means that if the schedule slips, the most photographed person in the room is the one still in a chair at 3:15.

17. Photography and video restrictions from a religious officiant are the photographer's problem.

Answer **False. They are the planner's to obtain and to transfer.** Chapter 21 §21.2 puts them in the eighth category — dress and purity — **obtained from the officiant, in writing, in month one.** **And they end up in three places:** the photographer's contract, the shot list, and the run sheet. **Chapter 21 obtained them and flagged that they had not been transferred; this chapter is where the transfer happens.** **A photographer who discovers a restriction at the moment of breach was failed by whoever held the information.**

Section 3: Short Answer (2 points each)

18. Build a twelve-combination family matrix in shooting order for a couple with divorced parents on one side.

Sample Answer | | Combination | |---|---| | 1 | **Couple + all family, both sides** *(largest — releases the most people)* | | 2 | Couple + partner A's whole family | | **3** | **Couple + partner A's grandparents** ← early, because older guests should not wait | | 4 | Couple + partner A's parents and siblings | | **5** | Couple + **partner B's mother and her people** | | 6 | Couple + partner B's mother | | 7 | Couple + partner A's parents | | **8** | Couple + **partner B's father and his people** | | 9 | Couple + partner B's father | | 10 | Couple + partner B's siblings | | 11 | Couple + wedding party | | 12 | Couple alone → **straight into the portrait session** | **Three things about that order.** **Grandparents at 3**, not at 9. **Sides alternate deliberately** — A, A, B, B, A, B, B — rather than one family's six then the other's six, **because the order is read.** **Partner B's mother's block (5–6) completes and clears before the father's block (8–9) is called**, so the two are never waiting together. **And the ninety-second briefing to the wrangler:** *"five and six are his mum, eight and nine are his dad — let five and six clear completely before you call eight. If anyone asks why there isn't one with both of them, the answer is 'that's the list they gave me.' Not an explanation. Just that."* *Rubric:* Twelve combinations, largest first; grandparents in the first three; **separate blocks for divorced parents with a clearance between them**; alternating sides; ends at the portrait session. Full credit includes the wrangler briefing.

19. Write the golden-hour decision for a wedding with sunset at 7:20 and family-style dinner from 6:40.

Sample Answer **Golden hour: roughly 6:45–7:20. Guests seated 6:32; service 6:40.** | Option | Cost | |---|---:| | 15 min at ~7:00 | The couple leave **mid-meal** | | **★ 15 min at 7:05–7:20, after the main platters have been eaten** | **The room is settled, the food is done, and it returns them before the toasts** | | Skip it | Legitimate — **and it costs the best four photographs of the day** | | Move dinner | Chapter 14 says no | **Take the second, and decide it in month six** rather than have the photographer ask at 6:58. **And note what makes it possible: family style.** With a plated three-course dinner, 7:05 is mid-service and the couple cannot leave. **Chapter 14's decision — made for money and for fifty minutes of dancing — bought this too.** *Rubric:* Must identify the collision; must pick the post-main window and say why; must state that it is a month-six decision; full credit notes that family style is what makes it possible.

20. Name the five collisions and give the month-six line for each.

Sample Answer | | Collision | The line | |---|---|---| | **1** | Golden hour vs. dinner | *"Fifteen minutes at 7:05, after the main platters. Agreed."* | | **2** | Family photos vs. cocktail hour | *"Twelve combinations, 22 minutes, wrangler named, list in shooting order."* | | **3** | **Portraits vs. the dance floor's first twenty minutes** | **"NO PORTRAITS between the first dance and 9:05."** | | **4** | Video's light vs. the room's | *"No on-camera light during dinner or the ceremony."* | | **5** | Photography vs. a religious restriction | *"No flash, no movement during the consent, photographer behind the stated line"* — from the officiant, in writing, into the contract | **Collision 3 is the expensive one**, and Chapter 22 costed it: a photographer needed four minutes at 8:52 and it cost forty minutes of dance floor. **And the reason to write all five down rather than handle them well on the day:** on the day they are a negotiation between a vendor doing their job and a planner protecting something invisible. **In month six they are a line everybody has agreed to and nobody has to defend.** *Rubric:* All five with a specific line each; full credit identifies collision 3 as the costly one and states the general argument for month-six agreement.

Section 4: Applied Scenario (5 points)

21. A wedding: 220 guests, a country house, ceremony 3:00 p.m. indoors in a chapel, cocktail hour 3:45–5:15 on a terrace, dinner 5:30 (plated, three courses, ending 7:45), sunset 8:52, toasts 7:45, first dance 8:30, curfew 1:00 a.m.

The complications. The couple have booked an eight-hour package starting at 1:00 p.m. The family list, as written, has 26 combinations. One partner's parents are divorced. The chapel has a no-flash, no-movement-past-the-third-pew restriction. There is a videographer, booked separately, who has never met the photographer. And the couple have said they "really don't like having their photo taken."

Produce: (a) the coverage problem; (b) the family matrix; (c) the golden-hour decision; (d) the collisions; (e) what you say to the photographer.

Sample Answer **(a) The coverage problem — and it is the headline.** **Eight hours from 1:00 p.m. ends at 9:00 p.m.** **The first dance is at 8:30.** So the package covers **thirty minutes of dancing** and nothing else, at a wedding running to 1:00 a.m. **And §23.3's finding applies exactly:** the hours were bought at the wrong end. **The last hour of a wedding produces the photographs people keep**, and this package ends before the reception has really started. **Two fixes, and both should be presented:** | | | |---|---:| | **Shift the start to 2:00 p.m.** — ends at 10:00 | **$0.** Loses an hour of getting-ready, which is the cheapest hour of the day | | **Add two hours** — 1:00 to 11:00 | **$500–$900** | | **Both** — 2:00 to 11:00, +1 hour | ~$250–$450 | **Recommend the third.** And note the honest limit: **9:00 to 11:00 is the most valuable two hours of this wedding**, and $450 for them is the best-value line item in the photography budget. **(b) The family matrix.** **26 combinations × 3 minutes = 78 minutes.** Cocktail hour is 90 minutes and there are 220 guests at it. **That leaves the couple twelve minutes at their own cocktail hour, and the photographer no portrait session at all.** **Cap at twelve**, in month six, with the couple choosing — and **run the conversation from §23.4, including the sentence about people who are not in a combination.** **Structure:** largest first, subtracting · **grandparents in the first three** · **the divorced parents in separate blocks, alternating with the other side, with a clearance between them** · ending at the couple alone, straight into portraits. **And a specific opportunity here: the ceremony is at 3:00 and cocktail hour starts at 3:45.** With 220 guests and a chapel, **there is a real case for a first look and pre-ceremony family photographs for whichever family is on site**, which would return most of the ninety minutes. **(c) Golden hour.** **Sunset 8:52, so golden hour is roughly 8:15–8:52. The first dance is at 8:30.** **This is a genuine conflict and it has no clean answer.** | Option | | |---|---| | **Move the first dance to 8:45** | 15 min later. **Costs nothing and it is the answer** | | Take 8:15–8:30 and start the first dance on time | **Toasts end at 7:45 — the couple would be gone for the entire gap before the dancing**, which is §22.4's dip, made worse | | Skip it | The couple do not like being photographed; **this may genuinely be right for them** | **Recommend: move the first dance to 8:45, take 8:15–8:30 for golden hour, and be back with fifteen minutes to spare.** **And check it against Chapter 22:** dancing then runs 8:45–1:00, which is 255 minutes, **peak at about 11:35.** No curfew constraint. **It works.** **(d) The collisions.** | | Line | |---|---| | **1. Golden hour vs. the first dance** | *"8:15–8:30 golden hour. First dance moves to 8:45."* | | **2. Family photos vs. cocktail hour** | *"Twelve combinations, capped in month six, wrangler named. And we're discussing a first look."* | | **3. Portraits vs. the dance floor** | **"NO PORTRAITS between 8:45 and 9:05."** And since coverage now runs to 11:00, **there is time afterwards** | | **4. Video's light** | *"No on-camera light during the ceremony or dinner. Positions for the ceremony, first dance, and cake agreed between you two at −4 weeks."* | | **5. The chapel restriction** | **"No flash. Nobody past the third pew."** In writing from the chapel, into **both** contracts — photographer and videographer — **and into the shot list** | **Note that collision 5 applies to the videographer too**, which is the one people forget. **A videographer's tripod past the third pew is the same breach.** **(e) What I say to the photographer.** > "Four things, and one of them is about them rather than about logistics. > > **Coverage.** You're booked one to nine and the first dance is at half eight. **I'm going to recommend they move you to two till eleven** — losing an hour of getting-ready and gaining two of the reception. **Can you quote that?** > > **Family photos.** Their list has twenty-six on it, which is about eighty minutes, and cocktail hour is ninety with two hundred and twenty people in it. **I'm capping it at twelve and they're choosing the twelve.** There's a divorce on his side — **I'll send you the shooting order and there'll be a wrangler with the list; her name's on the run sheet.** > > **Golden hour is 8:15 and the first dance was 8:30. I'm moving the first dance to 8:45**, so you've got fifteen minutes clean. **And nothing between 8:45 and 9:05 — they stay on the floor.** > > **And the thing that isn't logistics.** They've told me they find having their photograph taken excruciating. **They mean it.** So I'd rather you took fewer and got them out of it faster — more walking, less directing. **If twenty minutes is enough, take twenty.** > > **What do you need from me that I haven't given you? And what do planners usually get wrong when they work with you?**" *Rubric:* | Criterion | 0 | 1 | 2 | |---|---|---|---| | Coverage (a) | Notes it is short | Computes 9:00 and proposes more hours | Both, **plus shifting the start rather than only adding**, and naming 9:00–11:00 as the most valuable two hours | | Matrix (b) | Says 26 is too many | Caps and structures it | Caps, structures with divorce handled and grandparents early, **and identifies the first-look opportunity created by a 3:00 ceremony** | | Golden hour (c) | Notes the conflict | Picks an option | Picks moving the first dance, **checks the consequence against Ch.22's arc**, and allows that skipping is legitimate for these particular clients | | Collisions (d) | Lists some | All five with lines | All five, **and notes that the chapel restriction binds the videographer too** | | The brief (e) | Covers logistics | Covers logistics well | Logistics **plus telling the photographer the couple hate being photographed**, which changes how they work — and ends with both questions | *Scoring: (a)=1, (b)=1, (c)=1, (d)=1, (e)=1.*

Scoring and Next Steps

Score Assessment What to do
Under 50% Needs review Re-read §23.1, §23.4, §23.6. Redo Part A.
50–70% Partial Do B.1 (four matrices) and B.4 (five collisions).
70–85% Solid Proceed to Chapter 24. Do C.1 first — ten minutes.
Over 85% Strong Proceed. Deep Dive: case-study-02.md, then C.2 and E.3.

Regardless of score: do C.1. Find three full galleries and scroll to image four hundred. It takes ten minutes and it will change how you evaluate every photographer for the rest of your career.