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Fashion and Wedding Photography With a Latin Twist:
Gisela Prishker
By Margaret Lane
Gisela Prishker is one of Dallas' newer wedding photographers, having relocated to this
southwestern metro area a scant two years ago. She didn't move there with an eye to capture
nuptials, though--things just developed. While Prishker maintains a hot career with Hispanic
magazine Somos, as their chief photographer, she counts having completed imagery
for 12 weddings in her first year of wedding work as an important accomplishment.
It was the constant requests from models and associates with whom she worked that stirred
the pot enough to move her. "They kept asking me to come shoot their weddings," she laughs.
"I didn't want to. I was very happy working exclusively for the magazine and really had no
background shooting weddings." Several educational workshops, a few trade shows,
apprenticeships with other shooters, some inspirational presentations from Mike Colón
and Yervant, and Prishker was aiming her eye at weddings, while still living in Florida.
She took on a few of these Florida requests and is overwhelmed to see how much more
response she has had since relocating to Dallas.
Not Just Big Hair in Dallas
"Weddings are a big deal in Dallas, and business is good here," she exclaims. Prishker's
non-traditional photos and fun approach to working with couples are winning clients over.
Having done plenty of market research and networking, she's running with a goal to land
20 weddings in 2007. She's identified her couples as having a strong appreciation for
art and a disposition for fun. "I love to do sensual images with a fashionable and
modern feel, so the best customer for me is adventurous and open," she says. "I want
them to be creative and maybe a bit crazy like I am. My images are fun, creative,
sophisticated. Let me repeat: fun, fun, fun."
On some occasions, Prishker just about climbs into the shot with her couples. For the
romantic photo of the bride and groom in the water, Prishker employed her Canon EOS 20D,
a 70-200 f/2.8 IS lens and 580EX Speedlite (off camera). "I love that image because it
is hot and sexy," she enthuses. "I had this idea in my head; I wanted to create something
hot on Naples Beach and was waiting for the right couple. They eventually came along,
and I asked if they would play and get wet." It was a cold day when she and her couple
headed to a waterside setting in Grapevine, Texas. "The lake was very chilly, but they
did it! We got so wet and dirty." Prishker mentions that everybody asks her about this
couple. No, they are not models, she says, but she makes sure everyone she photographs
looks like one. "That's the crazy kind of thing I like to offer my clients for their
photos. I already have two brides wanting this same shot!"
For another photo of the bride alone on a divan, she was drawn to a natural light corner
at Rouge restaurant, where the wedding reception was taking place. "Brilliant clear late
afternoon light was flowing in through the windows giving a glow to the corner," she says.
"I used no flash on my camera, but there was a bit of light from the videographer's
light setup." This time a Canon EOS 10D was employed with a 17-35 f/2.8 lens.
The Right Environment
Prishker's new Dallas digs include a 3200-square-foot studio with beautiful natural
light streaming through the windows. Things are kept simple at the studio; there are
no props or backdrops. When she needs something colorful or different, she heads outside.
The space is supplied with big Photoflex softboxes and all sorts of lighting gear from
Profoto. Prishker has never liked tripods and hopes to avoid being restricted to using
one. Three years ago, digital was added to the menu. She now has two PCs and uses
Photoshop sparingly.
Most of the time potential clients are welcomed to Prishker's studio for an initial
meeting. It's there where she can best present sample albums, a promotional video and
slideshows of past work. "We talk about how they met, what they want in a wedding
photographer and things that are important to the couple," she states. "I don't try
to sell them on my work. There's no big push. I make sure they have a package that
lists my prices, and if they're interested, they call. After awhile, I think you know
who's going to call and who is not.
"I also like to find out where they met," Prishker says. "It's great to get out of
the studio and find wonderful, exciting, off-beat locations where photos can be staged.
I'm not afraid to knock on someone's door to see if I can shoot on their property."
She also notes that she's been quizzed on the location of certain shots many times,
and says, "When they learn it was a familiar place, most are surprised. I try to notice
things that others don't take in."
The engagement shots set the tone for her wedding work with any couple. "We do more
posing and planning during engagement sessions," she explains. "It's a chance for me
to see how they interact and how they photograph." Prishker's background in editorial
and fashion photography carries with it strong colors, dramatic settings and action.
But she's known for visually mixing it up, taking a different tack that's soft, simple
and earthy.
Come wedding day, Prishker generally logs 1500 to 2000 photos. She usually does all
photography, but will hire a freelance assistant when needed. "I got my start by shooting
and observing another wedding pro so I see the value of working with and helping others,"
she affirms. "I shoot in a photojournalist style, trying to stay out of the way. But I
am not invisible! I chat with my couple and make them comfortable. I want to have a fun
event and I admit I'm a little bit crazy."
Trained as a film shooter, Prishker keeps edits to a minimum, even though 100% of her
weddings are shot digitally. Photoshop is pulled in for color saturation here and there,
and she'll do minor edits if a bride requests them. She loves
Pictage and
Big Folio.
"Big Folio has the best customer service and they make my images look great. Pictage has
been very helpful, especially now that I am busier than ever."
The personal touch is important to Prishker, who makes it a point to call the couple no
more than two weeks after the wedding to let them know their images are ready. She sits
down with the bride and groom to help them make album selects too. She also hand delivers
the final album wherever possible. And that's not all--Prishker throws in other niceties:
an online slideshow of about 20 to 50 shots she hosts on her site, and plenty of free
lunches.
Letting the Texas Dust Settle
"I have loved photography since I was 14," Prishker says. "It is my passion. I enjoy every
shoot that I do, and have so much fun doing it." To stay charged, she visits art galleries
and museums. She's grateful to a good friend, Morteza, from Accent Gallery, citing that
his use of lots of red in his abstract art inspires her. A fellow photographer Robert
Morrell, helped her create her promos, and Dallas photographers Edward Ramirez and Greg
Blomberg have been encouraging. "They helped me break into the wedding industry and
pointed me to the WPPI conference," she says. "That changed my life, my work and my
career." Prishker gives final praise to Kiko, whose comments and contacts early on
helped her tremendously: "I was doing a cover for a magazine, photographing an actress
you see on TV. Her husband happened to be Kiko, one of the best commercial photographers
in Miami. The shot was in their house. I was nervous." Turns out she became fast friends
with the pair, and Kiko is now a mentor.
As Prishker settles into the Texas community, she finds remarkable value in donating
time and talent to the Heart Gallery, Big Brothers Big Sisters, and the Make A Wish
foundation. She also volunteers at the Dallas Museum of Art. Work with Somos
takes her back to Florida every three months to shoot several issues--she's poised to
shoot her 30th cover. Soon, she'll be en route to Iran to participate in the making
of a documentary about women in Tehran. Visit Prishker's website at
www.gprishkerimages.com
Margaret Lane is a freelance writer and amateur photographer. She has more than
15 years experience as a corporate communications professional for non-profit, photography
and technology clients.
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