Wedding and Photography Services

Saturday, June 30, 2012

You Look Smashing!

Earlier this week my son turned one.  I was agonizing over what approach to use for his cake-smash photos because I wanted to capture the entire event without going too artistic and loosing the quality of the moment for the sake of one or two images.  After having to fight my instincts as a mother, I went for a bold color choice in frosting and made an effort to really light the area at an insane level so I could ensure that every little detail was visible.
 
The boy was an amazing model yet again, really getting into the moment and giving me some wonderful expressions in his wild celebration.  The start was just a little timid, poking the frosting then looking at and licking his fingers.  For a moment I even thought he was going to go Godzilla on the poor cake and belly flop on it in some sort of mini pile-driver.  He got his feet, hands, even his bottom into the act when he sat on the cake at the very end.  
 
Thankfully it was followed by a bath since we have a full bath with tub at the studio, but I got stuck with the epic clean-up while my husband simply took bath duty.  The hardest part of the whole event was getting the little man to bed that night after the amazing sugar rush.  Thankfully he did nod off around one in the morning, but by then I was already to tired I was debating if he would ever have cake again.


Tuesday, June 26, 2012

Directions In Photography


I do not claim to be the world's best photographer. I have spent years learning and teaching others, but I will never claim to know everything about my craft. I shared a blog recently about being humbled and shaken when a peer gave a scathing comment on my request for advice, and I still find myself looking at work sometimes saying “I should have moved just a smidgen to the right” or “I wish I waited just a second longer so his eyes would be slightly more relaxed from the last flash”. These are the worries and thoughts of a typical photographer, and may have been distilled perfectly in a quote a fellow photographer made in a forum I was once reading:

A GOOD DAY FOR ME IS REMEMBERING TO POINT THE CAMERA IN THE RIGHT DIRECTION.

This is a man who has his work in Vogue, Elle, and a million other places I can just hope to achieve in my lifetime. But his words have more meaning when you think about how a photographer is actually doing their client a service by freezing a moment in time.

Expression is huge, but only lasts a second. Shock and joy on the groom's face as his bride comes into view, or that warm candid moment when the Mother-of-the-Groom gives her son a kiss with tears rolling down her cheeks because he is all grown up; these are all something you can only capture just as they happen. These are true moments of candid photography. I need to be on my toes every moment at a a shoot so that I can capture the perfect image.

Perhaps even more so than weddings, working with children requires almost inhuman speed and attention to detail. I am talking about this because it will be a vital part of my shooting tomorrow and is weighing on my mind. Tomorrow is my son's cake smash sitting. Cake smash photography is a quickly growing avenue for child centered studios because of the honesty and silliness it embodies. To make it simple, a toddler is placed on a bare backdrop with a cake or cupcake in front of them and the photographer documents the following chaos.

I was introduced to the idea while working for a chain studio that absolutely forbid it because they kept a strict policy against food in the camera room. When I moved on the the studio chain, where I was responsible for training newer photographers, it was something very warmly welcomed. Now that my own studio is open, I am more than open to doing this kind of work and will soon begin looking for a local bakery to coordinate our efforts.

My son is a perfect test subject for the studio. He is constantly in my advertising and I have begun to market him out to infant and toddler talent agents because his aptitude for brilliance in the camera room could honestly make him a good deal of money to put aside for college. I also use him to test out new concepts and techniques, something I do often in an attempt to grow as an artist... but as a mother I am facing some worry that I will dislike the results.

What I want to do is really intensify the images tomorrow by choosing a stark white backdrop and a bold shade of blue-green for his cake. Next is where I am reaching my point of tension, because it is a huge risk as well. What I want to do is use a very tight depth of field and play with a slight distortion in focus. My goal is to change how we see the moment and bring out the “dirty” part of the experience.

Unfortunately, cake-smash is the kind of photography where one cannot simply “reset and try again”. The child's reaction will inherently be different because they understand that they have absolute freedom in that moment. As a mother, I want these images to be something my family can cherish just as much as myself. As an artist, I want to take advantage of this ideal opportunity to advance my skills as a photographer.

I will make the executive decision tomorrow as my husband places our boy on the subject mark. Once I can review the images I will post a selection and allow the results to be seen. But for tonight all I can do is take the advice of my photography hero and just hope that “my camera is pointed in the right direction”.

Sunday, June 24, 2012

Prices. They Are There For A Reason

 Because this will be a long post, I am going to start with a touch of pre-myspace humor...



And now for the serious part:

There are any number of ways a person can find a wedding photographer, and equally as many ways a person can complain about the prices they charge for that photography. While I cannot say that spending more will always result in better images, I will say that there is usually a fair price-range where photographers are paid well without inflating their prices just to make a profit. To explain why I price things the way I do, I'm going to let you inside my world for what I typically do for a wedding and what it costs me.

To make it simple, I will break down how my time is spent and what it would cost if I were to hire out for a service I provide in my own studio; this will also cover some of the expenses I have based on gear and preparation or maintenance before and after the wedding. First I'll explain my gear and then give you a price breakdown of what that means. Next is the more abstract issue of what I actually get paid for my time. Third, we will cover why items are priced the way they are and what it often costs to print or compile albums with and without post-production. Finally, I will let you in on how to weight the value of the product against the price you see on paper.

THE GEAR

I use a mid-grade DSLR camera to capture clear and precises images without costing my clients and myself a fortune. That camera then requires lenses since they are not included with most professional grade items; a small lens made for macro photography and or close-up work, and a higher end telephoto lens that is used for the majority of a wedding day. This also requires the use of an external flash unit, not the kind built onto the camera, including the soft box diffusers that help reduce glare while making the moment bright enough to capture in venues with mood lighting. And finally I carry no less than three 16GB cards and two extra batteries beyond what is already in the camera body.

To ensure that I can always serve my customers, I not only have these two lenses and my regular camera body, but must also supply an entire second set of body and lenses as well. So that first set of three expensive items now needs to be doubled. That means that I am usually working with about $2300 in regular gear in my hands or at my waist, and a back-up set that costs about $1800 even though it usually just stays in the car . Now consider that many weddings request a second photographer to cover events that are going on at the same time in different locations, this means a third set of gear in the $1850 – $2300 range because we must have a back-up available if one camera was to break and two must be in use.

Now considering that I need to cover all these items against theft, I also pay for insurance on each item; so a little portion of each wedding goes to covering insurance on the equipment involved. Just as limo drivers must have insurance on their limo, it would be a poor choice to hire a photographer without coverage to protect your images because of their equipment failure or loss. Considering that insurance also covers my ability to keep from being sued if I was to somehow have items stolen or otherwise lose the photos between wedding and upload, it is a good investment for my client's money and something they should be pleased about. I mention in every wedding contract what is covered for their loss and what they will receive back in the case of a problem just to cover all the bases. In general, I list the equipment coverage at about $125 for each event needing a single photographer.

TIME = MONEY

The work for a wedding on my part actually begins well before the big day. It starts out unpaid - when I first receive an email or phone call from the bride inquiring about the date, rates, and my packages. In general one of the three basic outlines I offer works the best for budget and needs, so they choose something and edit up or down as desired. I begin to check with second shooters, venues, and any other individuals I am required to coordinate with such as a planner for out-of-state brides. From there it is email, phone, and if possible a face-to-face consultation so that I can have an outline of exactly what is desired for specific shots, what time the ceremony starts, who I am photographing in total (not just the bride and groom are included), and how many images the client would like to have as a final count.

I offer a free consultation because brides often want to know what they are paying for before they hand over the money. I agree with this and want to know if something is being expected that I cannot provide for the price their budget will allow. Once everything is covered in that first free consultation as contract is signed and a deposit of $250 is made to guarantee that no double booking will take place. From there everything has a price.

Many couples engage a photographer for a studio shoot before their wedding for engagement photos. I run these based on my regular studio rates, usually about $85.00 for a two person sitting of one hour. They receive the ten best images in printed or digital form (their choice) or can order save-the-date and other announcement information. I also give the option of a bridal boudoir sitting in place of engagement photos. This is also about an $85.00 value and again includes the best ten edited images. Many brides choose this second option and give their groom the album as a gift before the wedding.

Two to three weeks prior to the event I visit the venue for the ceremony and the reception to take test-images. I price this visit at a flat $50.00 based on the normal amount of time, equipment, and effort. Aside from making sure I know where I am going, this gives me accurate data in my light meters for planning equipment. I also use these test shots as a visual reference when planning any posed images or where to place myself for maximum visual range when shooting in my typical photo journalistic style. Because the majority of my work is candid, I need to ensure that there will be no obstructions to my line of sight sense camera cannot see through walls. This visit is part of the package cost, and essential for ideal images.

Once the planning is done, payments are processed, it is all busy work. My “wedding” day begins almost twenty four hours before the bride starts dressing. The night prior, I pack my gear, test batteries, cards, flashes, each lens and body, and make sure that I have the correct location for the ceremony and reception in my GPS as well as any other photo areas. Gear is loaded into the vehicle, and an inspection of the car is done to avoid problems with the tires, oil, fuel or anything else. At this point, I am actually working “off the clock” but I consider this something that should be done to ensure that I am prompt an prepared.

I arrive at the first location, usually where the bride is preparing, at least ten minutes prior to the planned start time so that I can assemble my camera and locate essential people. From the moment my lens cap is removed, I am “working” and the hourly rate included in the chosen package is being used. For simplicity sake I make about $45.00 per hour though only about $ 15.00 per hour of that is actually my pay after licenses and other costs.

Most dressing, ceremony, photo-op, and partial reception shoots last about six hours. Few contracts actually extend a full eight hours any more because the couple is willing to forgo a huge number of images of table dancing uncles to get their more precious moments on film (or the digital equivalent). Once I have captured everything included in the contract and as many candids as I can to fill the time remaining, I will thank the couple and present them with the guest cards to access their online gallery. Once the lens cap goes back on I am no longer on the clock and packing up gear to return to my studio.

THE POST- PRODUCTION

To ensure nothing is lost in transportation or translation, I make sure to download the images immediately and save double copies of the originals for safety. Most weddings of six hours result in about 2500 planned images and another 2000 true candids. I secure all of this information before even going home for the night, meaning I often see my husband still sleeping when I leave and return after he is already snoring away in bed again that night.

At this point, our running total for the cost of a six hour wedding is about $665.00 for my time and services. This is where most believe my work ends. I have shown up, taken the photos, and now all I have to do is give them the images so they can be on their way. But that is not quite it. If I handed over that full set of 4500 photos they would see perhaps four of every shot, and a good portion would have half closed eyes or other imperfections. Nothing would be the clean, soft, magazine perfect look that wedding albums are supposed to be made of, at least not yet.

After I have given myself time to recover, or gone and repeated the whole process at another wedding the very next day, as sometimes happens, it is time to begin editing the images. First I go through the images and cut out angles and images that just do not flatter. This is not because I want to force customers to only have a few pictures, but because nobody looks great in every image and this is a time to look your best. This first cull will normally thin the herd by about 1500 images. I am charging basic editing rates now, so you are paying $15.00 per hour and I am taking home about $8.00 of that after paying for the studio's rent, electrical, phone and internet. The culling process lasts about three hours and includes about three passes, leaving most 4500 image sets at about 1000 that I would truly consider working on to enhance and edit.

At this point the client is paying about $700.00 for my services in total, and I have not begun to edit in Lightroom. At this point I have some options. My first option is to send this batch of 1000 images to a Professional Retoucher at a fair market rate and have them edit everything. My second option is to post this batch to the locked gallery and allow my clients to select the images that they would like to see retouched. My third option is to continue retouching all of these images at the same rate of $15.00 per hour.

At this point, we refer to the contract, and see what option the client had elected based on the estimated cost per the average 30 images selected. Clients looking for a very editorial feel like that seen in high fashion and couture wedding magazines usually select a professional service to do full enhancements, skin smoothing, and many other tricks of the trade. The retoucher I use begins their batch pricing at $200 per 25 image batch which I must pay up front when submitting images. They have very quick turn-around and flawless results, but can be pricey when it comes to large orders not needing an excessive amount of correction and may tack on more charges based on some requests. Clients looking for removal of braces or special enhancements will face higher fees which I explain to them before placing the retouching order.

Those looking for a natural feel or not previously decided on editing agree to my fee for in-house editing based on an average time of about six hours editing. I use a number of pre-sets to encourage a warm, romantic feeling, and this allows me to cut down on time devoted to fixing pixel-by-pixel. While it does not remove every pimple from Cousin Barney's face, it will make the overall family photo farm more handsome and his skin far less red. If you have kept track, we are now looking at $15.00 per hour being paid for six hours or $90.00 for basic retouching on about 30 images. While it is not as polished as the retoucher I use through my printing center, it is less than half the price for five fewer images and lands us at $790.00 for a typical six hour wedding with one photographer.

INVESTMENT VS. COST

And for those careful enough to have clicked over to my website and checked out the tab marked INVESTMENT, you will recall that my packages are listed as starting at $900.00 and including a CD of up to 100 images with a release for printing. That means that I do lose the profit from smaller prints, but many couples will order through their gallery for oil canvases, float mounted portraits, and or unique products. I also receive a good deal of return business from bridesmaids and guests that will book me for their own weddings or from clients that return for maternity sittings when they are expecting.

I honestly work about seventeen paid hours on an average wedding from planning to post-production, so keeping that in mind let us make a final breakdown of what I pay out in costs against what I am making on a typical starter package.
Client Pays $ 945.00
State Tax (5%) $ ( 45.00 )
% of Equipment Insurance Cost $ ( 65.00 )
% of Equipment Maintenance Cost $ ( 60.00 )
Full Gas Tank for Studio SUV $ ( 50.00 )
% of State Business License Fee $ ( 35.00 )
% of Studio Rental Fee $ ( 75.00 )
% of Electrical Fee $ ( 10.00 )
Professional Certification, Monthly Fee $ (135.00 )
State Wedding Association, Monthly Fee $ (195.00 )

Yep. As you can see my take home is about on a $900.00 wedding is $275.00 for those seventeen hours. That means I make just a little over $16.15 per hour. Since I can only do a single wedding each day, and expect to do five weddings a month, that is something I consider when taking a booking. It means time lost at the studio, which costs the same monthly rent no matter how many or few sittings or weddings I take.

So now that you have seen the costs and where the fees are; how unrealistic are my prices compared to my actual costs and services? I feel they are pretty fair based on what I consider a living memory. Something shared over and over now through social media and displayed at home for years to come.


Tuesday, June 12, 2012

Flashing Is Impolite

I am an odd-duck in the photography community.  I use very strong bright blubs in my camera gear set to flood the room with light but not as a flash.  I use an additional flash when needed, but in general my studio does not require that extra factor.  I do this for two reasons, one personal and one medical, and neither really has baring on the outcome of the images.  I also tend to shoot in my studio with a specific preset group of settings and use auto focus to remove that factor of human error unless is have an experienced model willing to hold the pose carefully.

Showing off a new diffuser I received for the holidays.

I bring this up because recently I asked for feedback from fellow photographers for thoughts on some images while in the selection and editing process.  While most were kind enough to state where they could think of tips for improvement, a few comments were less than kind.  Only one could be really categorized as "trolling" as it told me to give up photography because I knew nothing.  

At first I thought about what he said and wondered if I should put down the camera and go back to working a day job.  At that point I took the time to look through the person's own collections on his website and found nothing much in common in our shooting styles, though he has a wonderful eye for color combinations. So it got me thinking that perhaps the issue was how we do not use the same style of camera, equipment, or shoot at all similarly.
A selection from the shoot in question.
 I took time to get other responses and listen to what was suggested, and find that in general his reaction was a rare moment of trolling even in the eyes of those who were not raving fans of my work.  So I thought about how it was said, and this is where my topic seemed to hang... the person was not offering advice of any kind, just going for a low blow.  There was no effort to advance the skills and this is where I think any answer to a request for a "critique" should be aimed.

I spent several years of my professional life as studio and district trainer.  I would spend hours looking over the portfolios of students and working with them on how to improve their work.  Not every image was a winner, and I had some people who just seemed to let things go in one ear and out the other even when their job was on the line.  But I made a conscious effort to never insult or belittle those that came to me for advice.

The comment I received was based on my asking if I should follow through with a suggestion to buy an additional reflector.  I will share it here, and I have not edited the comment in any way other than taking off the name because it would be unfair to insult a fellow photographer.  

"You don't need to spend more money on gear but rather put down the camera until you learn to use it better plus a better understanding of light would be a bonus & cost nothing" 

Actually, I am not mad that this person answered as they did.  I found it a teachable moment for my blog because people of all art forms and business types should know what to say and what not to say.  Perhaps I can best rephrase this with an edge to increase the useful information.  That should always be the goal, and so I can think that with what little information he gave me, I would have said something like this:

"Rather than worry about new gear right away, save some money in the long run by doing some research on how  to work with the lights you have.  You might also focus on learning the specific controls on your camera for different settings.  If you are going to make an investment, do it through education in place of gear.  Take an advanced class and you will get more out of what you already have."

While I don't have the time to fix every mistake in a photo, or the energy to feed every troll to their heart's content... I am more than happy to spend my time making others stronger in their skills, even if it is through learning that those of us who intend good things get insulted too.

Friday, June 8, 2012

Unique Yet Simple

I believe that making something beautiful does not mean you have to make it overly complex.  Sometimes a portrait can tell more about the subject simply by it's minimalist approach.  A small detail, like the flower tucked behind an ear is often a better statement of personality than an obtrusive multicolor backdrop that detracts from the facial beauty of the model.

I worked for years at a series of chain studios doing formula photography of babies in various suits and dresses, girls in communion gowns, and any of the other traditional family photos that you find as a staple in many middle-class American homes.  This type of portrait was my bread-and-butter and still comprises a good portion of my regular business.  For that reason, I have found a way to keep portraits interesting for myself while still letting each image tell the subject's story.

When I work on an image, most of all when it is something I can have a hand in planning wardrobe or theme, I think of it in a series rather than a single snapshot.  Perhaps because I learned photography on a film camera and grew up waiting hours or even days to see things properly develop, I am almost overly cautious when planning a shot.  I try to select angles for their maximum value, slightly above for young children or brides because it naturally lends an innocent nature to the pose.  Off axis tilts with dynamic poses are my most popular combinations with teens because it mirrors the fashion and sports magazine without discrimination based on body type.

What may be difficult for some artists is finding a happy medium between props and poses.  Adding too many items is only going to detract from the viewer's ability to connect with the person in the photograph.  One thing I believe that many people forget is the one to one rule, one prop to one image, and chairs are props!  This is the same simplicity principle to be used when selecting a backdrop.  Too much color can detract from the beauty of the scene, and often they end up looking fake and flat because the backdrop is shot in very sharp focus and fails to have the illusion of depth behind the subject.
What may work best is color, or combinations of color in what are sometimes called "masterwork" or "fantasy cloth".  This can give the right hint of shades without taking away from the subject.  I often use fantasy cloth over a vinyl backdrop when shooting newborns or cake-smash images with toddlers. I find that it lends a great level of interest to the backdrop without looking like random stains on a colored cloth.  None of these are a sure-fire way to have an idea image, and there are ways to use a natural backdrop that is not a solid color - like a brick wall or a beach with flowing waves - to give an edge to images.

Tuesday, June 5, 2012

Never Too Old


I am always surprised to hear clients tell me they were embarrassed to inquire about boudoir because it is "something for young women".  I am not really sure why we need to limit ourselves to having fun only when we are in our teens and twenties.  Most women wait until they are twenty-five or older to start a family or even get married.  

I myself was twenty-five when my husband proposed, and he was about to turn thirty that year.  We are by no means "old", but we did wait a longer time than many traditionalists would like women to think is normal.  I only point this out because I still have a long list of things to do in my life, and not one of them is something I have to complete while I am "young".


I am writing this today because I think beautiful women will always be beautiful when they are proud of themselves.  Success in life is something to be proud of; a good relationship, changes in habits to loose significant weight, or any other reason you can think of can be a fantastic reason to have photography of any kind.  I may do mostly boudoir, but I always suggest even a simple portrait to show off that happy glow.

So the next time you want to say "oh, I'm too old"... remember that experience can be far more sexy than innocence in the right circumstances.  And feel free to laugh at anyone who tries to tell you otherwise.

Saturday, June 2, 2012

Courage Comes In Many Forms


Tonight I want to speak to the shy girls thinking “I could never do that”. This is for all of you how tell yourself that you are not thin enough or tall enough or pretty enough to do your own boudoir shoot. I'm going to share where I get my own strength from, and some other things about where you might be able to find the courage to try this for yourself.

I absolutely love when a client comes in and is so secure in their skin that they are willing to really play to the camera while they wear next to nothing. I really adore when I can have a model sign up for a shoot thinking they want to keep their images personal, and end up signing a release at the end because the beauty we captured is just too perfect not to share. To all the models out there waiting to have a shoot like that, those moments are only achieved through a comfort in who “you” are as a person.

That strength and courage is a marvel to me. I feel that I am blessed to share in those moments of beauty and power when a woman can express her sexuality without shame. Inside every one of my models is a fire that will engulf anyone foolish enough to pour on some gasoline. They are rebels, rule breakers, free spirits that are proud of the female form with which they have been blessed.

These woman should be an inspiration to so many more girls and women. They are proud of their curves, proud of the stretchmarks on their belly and the baby that left them there. They are proud of the scars, the piercings, the tattoos, all the things that make their body unique. They are brave, and as a woman, I envy them for their courage.

When I look in the mirror today, I see a very different body from the one I remember. One year post-postpartum, I still see stretchmarks and a line of discoloration on my belly. I am heavier and less than pleased about how the weight is still not leaving even with a very controlled diet and more exercise. I look at the changes and have to tell myself that I am still the same woman that was a model years ago. At this point in my life, I could not pull off the kind of self assured and almost defiant sexuality that is needed to make those shots work.

My history is a long one when it comes to body image. I was raised by parents and close family friends that always made sure to teach their children that all bodies are beautiful. I remember going skinny-dipping back in the days when parents would not be hauled off to jail just because their kids did a nude cannonball into the river behind their house in the middle of the woods. I remember never being ashamed of wearing shorts to school even though I always had skinned knees and bruises on my legs from climbing rocks and riding horses. I even remember being teased because I developed early and the other kids were looking for any reason to be cruel, as preteens are want to do. And I remember suddenly learning serious body modesty when a boyfriend began to force his thoughts on how I should dress, wear my hair, and apply make-up. Working with horses, swimming on my college team, and jogging at the gym to clear my head all helped to keep me in shape but I never really thought about diet and exercise in terms of how “sexy” it made me. I never really thought about having to make myself attractive until it was something that reflected on my other-half.

At the same time, I would love to have my own boudoir shoot as a gift for my husband. He is my lovely right hand man and gives me “a man's perspective” when I find myself struggling with a shot or concept. He has given me courage to take what I thought would be a flop, and make it into my favorite for the entire shoot. It is because of that nonjudgmental support that I continue to work on pushing through my own blocks and boundaries to achieve something better.

I believe that the best models are those who can give themselves permission to let go; the ones that loose themselves in the moment and stop thinking about how silly they look to people not aiming a camera. Perhaps that is as much about being willing to live life for the moment as it is about getting a great photo. I can think of a few snapshots taken of me that are my favorites because they have an aspect of candid beauty that can never be recreated. It is images like that which I hope to find in every shoot.

In all honesty, I really hope every morning to simply have the camera pointed in the right direction. I have faith that with the camera pointed at the model, and a comfortable and supportive environment in the studio or on the set, magic really can happen.