When the Cat's Away...

No, just no.

I am a little annoyed this morning to find out that while focused on my pregnancy concerns and newborn, my kindness has been taken advantage of and it has reflected poorly on our photography here at Akelis Studios.

Why is this such an issue?  Because I love every one of my photos for the story they tell, the success for each model as their portfolio grows, and the happy couple who can share those memories for years. This means when somebody disrespects the subject of a shoot it is a reflection of how they feel about that person, that story, or that couple.

Life is messy and imperfect at times.  We learn from making those mistakes and it makes us better people in the end.  Splashing around in a pond or a pool is the only way to really learn to swim.  Scribbling is how we start learning to draw, even our greatest artists started with just a box of crayons and some free time to color.  

Unfortunately, mistakes in business can ruin chances of working with a great client or getting recommendations for future work.  I will be emailing and calling all impacted by the recent issues personally and take this time to apologize for the behavior and comments of an unprofessional nature.

Budgets Are My Bag

So many lovely brides contacting us for late summer and early fall weddings!  Tanya and I are working hard to answer emails and keep planning the shoot for the fall line while I wait for the impending baby to decide they are ready to join us "on the outside".  Add in that the poor husband and I are still looking for a larger place closer to where he is working, and I feel like I have plenty of reasons to "pop" any day now.

Prices have been updated and I need to plug them in this week so you can see the new price lists for all our services.  We're keeping in mind budgets and trying to offer the best over all results based on what has been popular for the last year or two.  My biggest aim is to offer digital galleries and options to allow more clients to share their images with friends and family even if they do not feel an album is part of their needs.

Once again I am sticking to my guns on affordable packages and quality images being the goals, meaning I have taken on the challenge to find ways to keep everything in-house for editing and sourced local printing to keep cost down.  I am proud that for the third year in a row we are set to do everything under $2000 for even our most elaborate package and longest day.

Working Poor Wedding Planning

With unemployment higher than ever and weddings becoming more extravagant with every celebrity under the sun looking to show off for the paparazzi, planning a wedding has become a dream many couples simply cannot afford.  Fresh out of college and struggling just to feed themselves on minimum wage, often a bride and groom can no longer fall back on parents either.  Wedding loans and DIY can go a long way in stretching a budget, but not everyone can handle the idea of an intimate gathering or elopement.

I decided recently that I am uncomfortable with how so many photographers turn down elopements or low budget events and flat ignore or insult the needs of a couple strapped for cash.  It is true that albums are expensive to order and my time is indeed valuable.  But weddings are often the one time where getting to be photographed is not faced with dread.  There is so much value already placed on the bride being beautiful, and this means those photos framed and displayed for guests will mean so much more to the couple.

Being on a budget does not mean a couple expects lower quality images.  The comments about "getting what you pay for" with photographers should not have to mean blurry or poorly white-balanced snapshots from a camera phone or point-and-shoot pocket camera.  Rather, a groom should look just as dapper in $600 photography as they would at $6000; and digital copy should be the norm, not the exception.

To fix the problem of prices, I have made a new rule for my business plan.  I will never quote any couple a package price exceeding $2000.  I begin all wedding packages at $500, hourly shooting at $75, and boudoir or engagement sessions at $125.  Digital copy is included with every booking and extra copies of CDs are $5 per copy.

As always, interested couples should contact me with their needs and I will work with them to see what best suits their budget.

Good Bye To 2012

Hell to a happy 2013!

The holidays are gone, and I cannot say I am sad to see them fade into memory.  I always feel drained after Christmas and this year was no exception.  By the time Christmas day arrives I have been covering so many holiday parties and weddings, that I write "sleep" on the top of my list each year when family asks what I want.

With the trees no longer covered in lights it is time for planning the next big holiday for photography... this time for adults!  I am talking here about Valentine's Day. 

Boudoir is always a popular gift for that special somebody and this time of year just increases that focus.  This year I am going to work on planning boudoir sessions without having to drag a ton of equipment out for each shoot.  I am working on changes in how I light and draw focal lines so that everything can be done with just a simple standing light and portable flash.  My ideal would be to have a set-up that can be set or packed in under 5 minutes and prepared to shoot at any location.

I also count this as my time to start focusing on bookings for late spring weddings.  These brides tend to book a little later in their planning and I want to make sure they are not ignored.  Being a budget bride and knowing how hard it can be to plan an elopement without feeling that you have nothing to share... I will be rolling out new offers for small events.

Keep an eye out for the announcement of new packages.  The goal is to produce three new ofers that can work for couples planning a weekend get-away elopement, all the way to the grand bash that every princess dreams about for her wedding day.

The Torture Of Just ONE Good Shot

I  am the mother of a very precocious little monster.  At eighteen months, he has grown up with a camera constantly documenting his every adventure.  What I share here is a small fraction of the memories that fill albums and frames in my home; but they all come at a price.  Hours of practice and careful planning to devote the time to each shoot.

The shot above is one of two successful images from a period of twenty minutes on Saturday afternoon.  He was occupied with the cat stalking through the tall grass, a bird flying past, the dog waiting to cuddle with him, and finally a pile of doggie left-overs from when that same cuddly dog had to visit the bushes.  Which is why I wanted to point out that toddler photography requires the understanding that a single great image is all you may receive and it may not be the one you desire.

Every year in my early days working chain store studios and selling retail photography, this was the time of year that made me cringe.  Families and parents that otherwise felt photography was a waste of time and money would begin booking sittings while some ideal image of two toddlers sitting with model perfect smiles in a catalog perfect holiday scene danced in their heads.  I often watched new hires and veteran coworkers being insulted and abused for failing to make their children magically behave like perfect darlings.

What I will be doing now is sharing all those moments that could have made lovely photos that fell victim to the evil toddler photobomb! Yes, even professionals suffer from those moments.  In fact, with my son visiting my studio on a daily basis at times, I have a plethora of material to choose from for this entry.

The image to the left is also for Saturday, though taken at my home with studio lights up while attempting to take an updated headshot for his portfolio**.  As you can guess, he was having no part of Mommy and her camera being in his face.  This is a rather typical response from toddlers to anything which they no longer want.


The next image, on the right this time, was taken at a family gathering on Thanksgiving Day.  This is a common moment of poor cooperation through extreme sleepiness on the part of the child.  My son had refused to nap and was about two hours past his usual time for unconsciousness following his watching of Sesame Street.  I was already forming the idea of this blog entry and was pleased to get this "gem" for our examples because I cannot begin to count the number of parents with infants and toddlers that do not understand how vital it is that they consider feeding and napping times when booking with photographers.

As the manager of a few chain studios I often gave advice to parents as they booked about outfits, props, and the often ignored "how to time your booking".  The factors were simple, children who are over tired or just woke up from a nap will be puffy-eyed and grouchy.  Children who did not have their snack prior to sitting for the camera should not be expected to just wait because they will get focused on food over smiles.  Sleeping newborns should be allowed to nap and wake up on their own; babies tucked into a gift wrapped box can be the best holiday card you will ever find.  I stuck this information into the Brain-File of advice along with having your child partially dressed for their sitting as you arrive so that you can put on their shirt or dress and make sure it is free of stains.

The example here is from another day I was in the studio just to shoot my son's photos.  This was at the same session that involved his destruction of a birthday cake, though I intentionally planned to do that last.  At this point it was late June and I wanted to take photos of his beach outfit before allowing him to make an epic mess.  I had put the hat on his head, but he insisted on holding it, leading to a natural failure with this second image.  I fell victim to having an idea in my head that he would leave the hat on, and instead he fought it and eventually tossed the hat on the floor before we moved on to our next phase.

Toddlers making a mess or doing things you do not expect can also make for lovely moments.  Keep in mind that there is often a way to make something beautiful without having to retake or ask your photographer to create a false image through large amounts of image manipulation.  That photo of your little angel looking off into the distance and not making eye contact with the lens can be just perfect. The cozy little monster sleeping through his photos could make for a perfect "Sugarplums Danced in Their Heads" moment to share with family.  And that kid with the grin that shows every missing tooth... he is just perfect even when he's asking Santa for his two front teeth!

Slacker Moments... I Have Them Too!

I am a slacker right now.  I actually wrote this on Friday night and forgot to hit the button to post it.  I could re-write, but I will be leaving it because I admit when there is something I did wrong.

Close-up taken by my husband after I
returned from work the other day.

I should be on the phone letting tech support have a piece of my mind over the delays with posting the gallery from my most recent wedding, but I know that it will do absolutely nothing more than make me feel guilty for giving some already over worked peon even more of a headache for doing his/her job.  Instead, I have been doing laundry and enjoying some mindless reposting on facebook that sparked a number of discussion on woman's rights and the ability to use that repressed anger to it's maximum benefit at some times.

Now I am going to spend some time looking up ideas for a shoot with a model that I had to reschedule due to time demands from my day job.  I suppose demands is not the word to use, they were kind enough to offer extra work hours knowing I have said I am willing to take any shifts that others cannot fill, but it did mean I called my model to set for a new date.

I have an awesome model for this shoot, rare in that she is willing to do nude and implied nude work without worry that it will become part of my portfolio and might be eventually viewed by others.  Models often choose not to do nudes of any kind because they could be seen by future employers after being leaked, or just do not feel comfortable letting themself be photographed sans clothing.  I do no generally share anything I do with nude or implied nude shoots because it is not what I focus on in my portfolio. 

Akelis Studios Infant Portraits

I also want to continue my work with families and children.  Parents have the right to need to feel that their children are safe; something I completely understand as a mother with a baby that has a modeling portfolio of his own.  Child pornography is something I view as a plague on the world of creative works involving young models.  I usually limit my infant models to being diapered for the sake of my backdrops.  On occasion I will work with a cute baby bottom from an diaperless little monster, though that requires strict posing and editing for appropriate exposure.

This image is a moment where I could have skipped the diaper, but I also know that this little man will get up and run around in the nude.  For those paying attention, this is indeed my little boy.  He is one of my favorite test subjects when I have an idea for lighting or colors because he never has to force a smile.  Our home is filled with framed photos, baby albums, holiday photo momentous, and so many digital images that I could never imagine having them all in film format.

My son being a very cute model.

Have A Plan B... and Plan C... and Plan D

Planning your wedding can seem like it requires an army.  Catering, venues, place cards, invitations, hiring vendors and contacting guests and party members is hard enough... so when the day comes, you don't want to be stressing about missing those great moments.  For that reason, I suggest that brides work with their groom and family to make a list of shots that you absolutely want to have taken on your big day.

Adesso Wedding Guest Book
Sadly, this company closed but some vendors may still have albums to sell.
My personal wedding guest book is from this company.

Make a portrait appointment or secure time prior to the ceremony for bridal headshots once make-up and hair have been finished.  Having that one image of the blushing bride as she awaits those steps down the aisle can mean the world to your family, both the new one being built with your other-half and the one letting go of their little girl.  The portraits can be taken at any time as and place; take this recent beauty as proof.

Taken in the dressing room just before her trip down the aisle, that
solid color backdrop is actually just a darkly painted wooden wall.

Do yourself a favor, go online and start an idea collection that you can share with your photographer.  Make a list of vital people to be sure to include in photos and email the list of names to your photographer, simply saying "oh, I need a picture with my Nana" will be less helpful when the photographer has not met your family and does not know Crazy Uncle Joe-Bob from Grandpa Mark.  Those wearing flowers or dressed in outfits that match the wedding colors will usually stand out, but letting them know who needs to be in a portrait will always speed things along.

Extended family photo of the groom's "brothers" and mother at a friend's wedding in 2008.
For those paying close attention; yes, that is my husband in that group on the left.

Plan the images of bride and groom you absolutely want to have.  Is there something you saw on a website while searching for dresses or looking at venues?  Maybe there was that photo of the bride wearing the groom's top hat, or the idea of a kiss framed against a glowing sunset on the beach... you will want to let your photographer know about those things so they can be sure to pose you for them.  Those moments are just as vital as telling them to make sure you see the center pieces that Great Aunt Louisa made all on her own time.  We want to know what is important to you!

Top of the wedding arch at the most recent wedding.

A tip of the groom's hat from our lovely bride.

Lovely tea rose from a wedding bouquet in 2010.

Lady In Red

The Beautiful Mrs. Abby Wilbur; her photo required no airbrushing.

Weddings are a wonderful part of life.  Expressing love and building a family is something everyone can understand, and when there is a new baby following along on the heels it is even better.

Kissing the baby bump!

On Saturday I had the amazing pleasure of being the photographer for my cousin Abby as she and her lovely man, Nick, joined their lives to make a new family.  Abby was a glowing bride, glowing because that is what mothers do best when they are happy.  Congratulations to you both, and I am so happy to share in your joy.

Abby is anything but traditional when it comes to her style, and the ruby red wedding dress was perfect for her. Nick was handsome in his white tux and top hat, just look at that glowing smile. Simple and beautiful touches made the whole day personal and perfect in the bright summer sun. They are such a fantastic couple with a great sense of humor.

Finsh What You Started

I have spoken at length about doing limited post work on images to maintain the quality of the photo.  I have also spoken about making sure to share only what you love and what most fit's the client's desire.  While I believe in doing limited "fixing", there is something to be said for making sure the best quality of image is supplied.  I rarely give clients a truly unedited look into an session or shoot. 

Normally I will remove blurry, under-lit, or otherwise poor images and crop some when there is something out of place.  I believe in deleting without mercy when it comes to making the call on what should stay after a shoot with a model.  Their portfolio is what will get them work, and anything that is in the portfolio is a reflection of my thoughts and process.

This is a perfect before and after of images done with a lovely model just last month.  She sat with me after the shoot and we selected out favorites while removing those that did not make the grade. Out of 73 images shot, we had just 23 that made the final selection to see what would be done in editing.  From those 23, 17 made a final debut on the CD emailed to her for adding to the portfolio she worked to compile, and I believe five are currently on display.

I wanted to talk about this because of the recent release of images or the American Olympic Team.  These were taken at an event with a limited amount of time to work with each subject, but I feel that much more could be achieved if simple technique and a little editing was applied.  This is the article from Solstice Visuals that I first viewed when a fellow photographer posted it on a forum for industry professionals and hobbyists.

Outrage Over The Photographs Of The United States Olympic Team

 This "outrage" from the photography industry came from the awkward posing, off putting cropping, poor backdrop choice, and just blogging choices made in posing and details.  When viewing the first collection I believed perhaps this was taken by a student or amateur photographer and displayed without time for editing.  At this time, I believe that there was inexperience and a lack of post work.  There are signs of a dirty lens, poor alignment, poor lighting, and very little care for the backdrop that could have been solved by just pulling down more of the paper roll after ripping became evident.

For comparison I wanted to include this second link, with images from the same person (image #6) other photographers taken at the very same event.  While obviously not all fit the same aesthetic, a huge difference is visible in the lighting quality and time taken to create a finished product.  Even the final image, one that is in a very unfinished format, shows some real promise as a "behind the scenes" moment.

Olympic Portraits, Part I: American Athletes

From this second group I see images that have been polished and finished without an overload of retouching  to remove the quality of the image.  I try to keep a similar quality, but understand the desire to prove that post work is not always needed.  What needs to be focused on is keeping images pleasing and avoiding sloppy work.

Photography as an Art

Hiking purgatory chasm in 2007 while at JWU - taken with my pocket camera by a friend.

I remember being a teen, well some of it.  I remember thinking my parents knew nothing about the world, and that I was always going to be as cool as I was in high school.  And then I grew a brain and moved on.  I was told I could not march with my class at graduation because I had taken too many alternative courses for home schooling and did not meet the number of requirements for a diploma from the high school that had once told my parents I had no hope of ever going to college.

Macro Photography of college landscaping post rainstorm - my "artistic" period in 2005/06.

Three months later I started college and held a 4.0 GPA and a part time job in a huge city.  I relaxed by taking photos with a little P&S (point and shoot) at the school stable.  I excelled in business classes and learned skills that make running the studio much easier, but never really thought much about photography beyond taking some fun images.  I remember thinking that the exhibits in the art school across the street where a joke at times - I still have no idea how a toilet seat with a sledge hammer wedged in it is supposed to make me "feel" something or than confused.

I take my photography seriously only in how it is something that can always be improved upon.  I don't claim it needs to be an expression of the world, just that it should capture something worth a second look.  I certainly don't feel the need to go ruining perfectly good toilets just to make a pretty picture.  

I say this because I think there are some pieces of "art" that are not always worth sharing.  I don't think it is fair to go charging a person hundreds of dollars for images of their family taken with a pocket camera that you claim makes you a professional.  I also feel that there is something to be said for trying to hone your craft before going to charge.  I may not used the most advanced camera out on the market, but I do use advanced lens attachments and take the time to practice with them before using them on paid shoots.

Macro Photography from the New York Botanical Gardens in 2010.
This was taken as part of the test images for my back-up camera.

I enjoy taking photography of the natural world to relax.  On occasion I even sell prints of the rare shots that I am comfortable sharing with others.  I take portraits seriously though.  If I am paying a model, or being paid to make something that a client will hang on their wall, it had better look like it was worth the money they are paying for my time and services. 

I write this today as part of a a warm up to my next post concerning the photography of the American Olympic team that has been covered on Reddit and other major sites.  I will post an analysis that I have been working on later, but this is partially based on those images, and partially on a comment from a friend on her social media about how it seems becoming a "photographer" is the new thing to do.

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”.

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.

Why My Answer Is No

In the last few weeks my boudoir photography has taken off and finally had some real response.  Sadly, this has brought on the matching tide of requests from those with a less than wholesome level of intent.  I work very hard to bring out the best in boudoir.  I want to help people understand how it is NOT pornography, and is not something intended to offend.



I keep some basic rules on who I work with and what I shoot because it is part of building a legitimate business.  My models have the right to requests a shot or say no to a pose.  I reserve the right to keep my images about equal with a PG 13 rating.  I agree that the human body is appealing, but also know that not everyone has the same feelings about what is appropriate for public viewing.

I am not a difficult person to work with on a professional level.  I am not a hard person to get along with when you take the time to make conversation before, at, or after a shoot.  I even have a habit of making friends with my models.  So I want it to be known that if I ever tell "you" no about a shoot, a subject, or a request to buy images from my portfolio there is a good reason.

If I choose not to answer a question about my personal life, it is because I have that right.  If you choose not to answer something I ask, I will accept that and move on.  But please don't ever assume that my silence means your suggestive behavior or comments is something I will put up with for long.  This goes for absolutely everyone; models, potential clients, escorts, other photographers, people viewing my portfolio at public events where I market my business.  I want it to be clear that I put up with much, but a lack of professionalism is something that will see you banned from my business. 

Perhaps it is just that I have a clear set of ethics that I use as my guide, but I am not in the boudoir world to cater to creeps.  I get annoyed when my models and my work are viewed as nothing but pornography.  This is not something made for "self gratification", it is a beautiful expression of how every body can be attractive and everybody has the right to enjoy who they are.

Model Behavior

Yes. I called this “model behavior” because this is geared to understanding the rights and needs of our models... even the paid kind.

I'm not shy about the fact that I was a model years ago. I feel that time on the other end of the lens has given me insight that some photographers will just never understand. I also have been uncomfortable with my surroundings, something that every woman can tell you is all too common an occurrence when any form of even mildly sexual topic is involved. It is from this perspective that the following post was written; I am posting it in the “raw and unedited form” that I want you to witness.

In the last few weeks there has been a good deal of chatter between myself and one of my favorite models about the concept of “escorts”. No, not the kind that wealthy business partners pay for while on a trip so they can have arm candy. I'm talking about the kind that are there as an assistant and a bodyguard for the model while they are on location for a shoot. And I am going to be completely clear here... I SUPPORT YOUR RIGHT TO BRING AN ESCORT 100%.

I will ask that they take a seat in my waiting room while shooting any subject 18 and over. This is because I work in a small studio space, and there is a big risk of tripping over equipment cords or distracting the model. I keep parents in the room with children, and if the model is not there for a boudoir shoot or actively changing, the door stays open so there is no feeling of a threat. I usually suggest that the escort be the same gender so they can assist with outfit changes or even hair and make-up application in some cases.

What I do not support, is an escort that is a significant other or highly distracting friend. I will ask anyone with lewd or offensive language and behavior to remove themselves from my studio. I do this because it is my right to keep a clean and welcoming atmosphere for myself, my clients, and my landlord (and fellow renters). I will not allow an escort to sit in on a boudoir shoot because that is a very personal situation that requires the model be able to stay serious in what can often be an uncomfortable situation; but I also take the time to talk to my clients about what they can expect from a session so there is never anything they feel pressured to do.

There are behaviors I will not support from a model or an escort because they are unprofessional and speak to the lack of respect held by that person for the photographer and their business.

I do not support models or escorts who feel it their right to make a mess. I am not your mother. I have my own family to clean up after. If you or your escort want to bring a drink or a snack, that is fine. I just ask that you recycle your bottles and cans, toss your food wrappers in the garbage, and act just as you would on a job interview. Consider me your potential boss, and know that I do not give recommendations lightly. You will need to earn my respect if you want to receive future offers for work when I have paid shoots and need to find a model for hire.

I do not support having an escort come in and babble on their cell phone while in the room. Actually, I require that clients turn their phone to silent or completely off while we are shooting because it is a distraction. I have gone so far as to turn away sittings because a parent refused to turn off their phone or even put the device down. I know that turning away business seems counter intuitive, but I will do it because I believe in running an ethical and focused business.

I do not support models or escorts who feel the need to complain, argue, or generally cause problems when I am giving direction for a pose or an outfit. I have a rough picture in my mind before I ever walk into the studio. I will listen to requests for poses or image types. I will listen to a model who says that pose is uncomfortable or needs help with body placement to achieve the right look. I will never force a model to be nude, pose suggestively, or do something that makes them feel unsafe in some way.

What I will not support is a model that thinks they have the right to make things harder on others. I'll make it very clear right now, if you want to throw a fit and storm out because you are not being pampered, I will not be hiring you on as a model. Divas don't get rich just by behaving badly to those around them, they get rich because they have a look we can sell even if they make others miserable in the process. Models have to understand that the photographer knows what they are doing (or should if they are any good at their job). If we ask you to drop your shoulder, turn your cheek slightly, shift a hand up or down slightly... chances are it is because we see something that doesn't look right. We might need to make a few changes or moves before things come out just right; this means we are doing our job well.

If you want to be taken seriously as a model I suggest you keep the things I covered here in mind. Always ensure that there are specific terms and they are clearly hashed out before you ever agree to a session and/or any money changes hands. You have the right to say “no” when you are asked to do anything that violates your agree upon terms or makes you uncomfortable. You do have the right to bring an escort to private sessions, but in the case of large shoots with a crew you may want to skip it because they will end up being in the way of those working. Both the model and their escort must agree to behave as guests and respect their host's property both physically and verbally. There is much to be said for professional behavior in the modeling business... practice it and you will be far more successful than the self important divas that never took the time to learn the words “please” and “thank you”.

The Art of Seduction (Visual Lesson)

In the words of Jessica Rabbit, “I'm not bad, I'm just drawn that way.” I believe that this could perfectly describe the reputation of boudoir work; remember that this is not pornography even though there is an influx of those images. Just as the famous burlesque dancers and performers of old vaudeville are a class above today's topless pole dancers... boudoir is not soft-core, but in a class all of it's own.

Now I will take a moment to talk to the models and brides out there who might be reading this before we go any farther...

Please, please, please... visit every one of the sites I have listed and remember to do your own research before you shoot or pose. As a client, you must be absolutely comfortable with your photographer and your settings. Expressions will not come across the same and shoots will fall apart if there is no flow between photographer and model. Never agree to a session if you feel pressured or have that “creepy” feeling. I say this with love and experience, you must put your emotional and physical safety first, and remember that this is meant to be a fun experience.

Long before I was a photographer, I worked as a model. On one occasion while I was in college, I took some paid work doing photos for a company promoting a new night club opening up near the school. Thankfully the shots were clothed and had a good group of models and assistants. But there was one particular assistant photographer that gave off that unsettling vibe. Everything was professional and perfect, but I would never have stayed to shoot if it had been a smaller crew or a private session with him.

All of the photographers I listed in this posting have a record of professionalism, and so do most of those who continue to get work. You should look for a studio or a person with good reviews and who is willing to communicate with you before the session so that you can get a feel for them and their business. And remember that you always have the right to say no.

Boudoir Photography has an undeservedly bad reputation thanks to the common mixture of explicit poses and obvious pornography that are often passed off under that label. For this reason I am going out of my normal pattern by using images found through a search on Google simply using the key words “boudoir photography poses”. Here again I state that this is an adult topic and should not be shown to those under age because of the suggestive nature of some of the images.

Each image has a credit to the photographer and a link directly to their site for those interested in their work. I am not affiliated with any of these sites or photographers, and have made all effort to credit them under the requirements of fair use. Remember that doing your own research on each of them is highly encouraged because no photographer knows everything, but we can learn much from the work of others. I have only included images that are clothed or implied nudity, but remember that this is all about seductive pose and tasteful expression.

Blinkabella

Notice the lovely lines and curves in this pose. Though the model's face is not included, the whole image just flows with seduction. This studio actually has a lovely comment about making sure that shots are not completely contrived, but rather have a bedroom feeling through the thought put into backdrop and the use of natural window light. Visit them in San Diego, I would if I could!

Persimmon Images

Here I find that color and flow are just lovely. This pose lets the eye find points of sharp focus on the beautiful blue eyes of the model even while the brilliant red draws you deep into the frame. Bravo for a lovely outfit selection on this entire set, but this red works wonderfully to get the point across even while being beyond the focus point. This studio is located in the Seattle, Washington area; look them up for weddings, portraits, and boudoir!

Simply Bloom Photography (Blog)

I adore the classy feeling of leg and shoe images and this blog is rife with them. The use of space and spread are wonderful in these shots. Again I must complement the lighting and angles, wonderfully creative while clearly done without contortion acts on the photographer's part. I suggest their services to anyone in the Savannah, Georgia area and their blog to everyone who adores beautifully shot photography. These are some masterful works.

Raw Photo Design

As I have said many times, nobody knows everything, but I wish I had even half the talent and color knowledge that appears in some of the fantastic work on this blog. If you are in the Hartford, Connecticut area, these are the people you want shooting your scintillating sessions. The image above is one of my favorites, not for color, but because it is just a perfect example of the flirty feeling that can be captured when model and photographer have that moment of perfection and coordination.

I know there are just a tiny sample of studios and poses here, but to place everything I love on this blog would take a year. Do your own searches and remember that there is no substitute for experimentation. Thanks to all of the studios listed here for having been an inspiration for some of my work, and for their contributions to the artistic world as a whole.