Pinterest Ate My Soul

Oh the horror!

I have avoided joining Pinterest in a non-business aspect for as long as I could.  I'm obsessed with looking up wedding gowns if I'm not in the studio or at a wedding, so I've taken care to avoid the easy way to feed that need for flowing girly gowns.

Unfortunately, I am once again on bedrest after giving my doctors a heart attack by almost having a heart attack while in for what should have been a routine exam.  A friend sent me a note suggesting I check out "that site with the pictures" because I was fretting over how to plan a combined nursery for the toddler and newborn... and so I have fallen into the void of Pinterest.

I promise to come up for air and share things now and again, including the super cool news that we have a new camera on the way!  (this is almost as exciting to me as the new baby)  I have had to admit my poor darling has outlived her use as a primary shooter for weddings, and so she is being retired to the hands of my second shooter to live out her days as a studio and occasional wedding clicker if something goes wrong.

I am also happy to be the one back at the keys doing the emailing.  When you request info or contact us for a consultation, it is now "Akelis" herself answering the emails.  Normally it is Tanya doing this while I am out in the studio or running off to photograph a bride, but when all I have to do all day is edit images and play on Pinterest, it makes sense I be the one you hear from.

Models and local brides looking to perhaps do something a little different should check back at the end of this month for an open casting call.  I will be updating and creating new gallery displays for images in the near future.  Boudoir subjects can expect to hear from me soon if we want to share your lovely shots and had not previously obtained approval.  Couples booking for the up coming season of weddings can expect to be splashed all over the web as I find new ways to get your lovely mug out there.  And as always, recommendations from friends about using a photographer are always welcome as brides have so much to plan and do!

-Jeannine-

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.

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.

Some Light Landscaping

Akelis Studios Photography

I am ecstatic tonight.  For the first time in about two months I am getting requests for weddings; I had a two month break from inquiries that worried me for a while.  Not just the orders are picking up, but so is my mood.

I placed my order for a new lens this morning after much consideration and anticipation.  It should arrive by Monday evening, giving me time to play and practice before the next wedding out in the White Mountains of New Hampshire.  I am itching to shoot some lovely wedding images in the brilliant autumn colors, and this will give me a new tool to expand my repertoire so clients can benefit. 

This week was taken up with a ton of studying on better panoramic techniques.  I used an older and less reliable method because it was what I had been first instructed with as a second shooter.  The woman who took the time to teach me was lovely, but I agree that the results are vastly different when using this system.  I will also get the chance to cut down the time spent on editing as it will not require so much intensive "stitching" to achieve the same look.

Akelis Studios Photography

I love getting the chance to shoot something a bit different, a bit more artistic, at times.  I adore the riot of colors that comes at this time of year and love spending a little time having the chance to imagine how hose colors will appear.  There is something so alive in this time of year as winter closes in, the harvest time for the northern hemisphere.  Apples, pumpkins, and hundreds of other delicious colors and flavors of farm stand foods have taken over my kitchen and my brain.

I also love panoramic wedding images.  I simply don't shoot them as often because I feel that the method I use is prone to gaps or compression problems when prepared for printing.  This may well have to do with how I edit things, and I am sure it could be fixed buy raising the cost of my services to clients by outsourcing the digital work.  I refuse to raise costs to my clients because it will cut out how much they are receiving for their money, that is poor business behavior and a poor way to treat customers who should be your first interest.

I will share more wedding images and some of the test images in the next few days.  Hopefully you will all see what I mean in the clear difference from these images, one taken while I was in college and learning more skills to put to work in my art.  While I do not want to insult my teacher or my old work... one can only improve or become obsolete.  I plan to improve!

Time to Do Some Fixing

You might have noticed my recent absence.  I am sorry for the radio silence, life has been a tad unkind to my business interests lately.  The studio has been closed while I focus on dealing with some issues that have seriously limited my ability make it a success.  I am limiting work to on location boudoir and weddings while my family and I work on making the best of a less than ideal situation.

Trying to think that things are looking up!

To try and keep this dream of mine from falling into oblivion, I will be forcing myself to do some serious work on the blog, website, and marketing through any channel I can find.  I ask that you all send positive energy while this revamp of business and life occurs so we can present you with the beautiful rebirth of a wonderful dream.

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.

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.

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.

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.

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.

How Much Is Too Much (Visual Lesson)

Well darlings, it is time for our second lesson on editing. I am sorry it was posted a little late tonight, I had social obligations that were just too much fun to pull myself away. I hope you can forgive me. Just have a cold drink and a long read...

To edit things well is a skill I do not lay claim to in the least. I am fairly good at smoothing skin tone when redness appears. I can brighten, balance lighting, and fix backdrop issues. I can even clone out problem spots and heavy make-up lines when there was no way to pose around the problem. But I also know when to call in a professional.

When it comes to large shoots and orders I will often select a few items that I feel are the strongest candidates for making a real dazzling image with a little technical TLC. Even with weddings, I don't edit every image, I just ensure that I take out the ones that have no business in an album and make sure there are some true gems for the bride and groom (and family) to display. The rest get a once over to make sure they are not too dark, too light, or too blurry to be of any use.

Why am I pointing these things out? Because the very first rule of editing well is this:

KNOW YOUR LIMITS

The worst thing you can ever do as a professional is promise perfection. Those creamy skinned models with the pouty lips and big dark lashed eyes, they don't even look like that with full make-up and hair. There is a massive amount of work put into the ads we see, and a massive falsehood behind those same ads. As photographers, we should not be trying to feed into those visual lies; it only makes our jobs harder.

If you are good with lighting and poses but not always fantastic with editing, that is alright. There is a huge sub-industry of digital editing gurus willing to help reduce your time spent on each shot, and who have honed their skills to perform the final touch-ups. I suggest finding a good retoucher as a fall back for when you are in a seasonal crunch or have a large order to complete. Weddings are something I use outside assistance for, and I do not feel it detracts from the work I do even in the slightest. Clients receive their proofs or prints faster, I am free to shoot more sessions in the following weeks, and my business sees benefits rather than costs.

This cost/ benefit portion can be seen in the next rule as well, though in a slightly different area:

UNDERSTAND HOW TO SAY NO

I am a people pleasing kind of person. I go out of my way to make others comfortable with my studio, my work, and do everything I can to ensure they get the outcome they want... everything within reason, anyway...

When an older customer (and even some younger ones) come in I always try to get an understanding of how they would like to look. As I said before, I am no expert when it comes to editing, but I also know that there is a line that does need to be drawn. You need to understand that saying no does not make you unreasonable; rather, it makes your clients have to question what it is they imagine themselves looking like in the end.

A client once had me do a sitting for her and requested I shoot her posed at a specific angle and in an unflattering outfit. She was not an unattractive woman, but she did have some extra weight and was a had a noted jowl-line. She also explained that she had to see everything before I edited or deleted “the best ones”. After expressing my concern at how the images might not turn out to her liking or that I would only delete items not at all suited to framing or printing, I was told in very firm terms that those were the things she wanted. Because this was one of my first sittings as a self-employed photographer and money was a driving factor, I took the shots. To this day, I am not proud of that session. After uploading everything, fixing the problems from poor lighting, and cleaning up the edges of some shots it was time to show her the preliminary results so she could choose what she wanted. She insulted every one and complained that I had made her look fat and old. I took the abuse, spent almost four hours editing her choices down to show a slender (which she was not) woman with just a few scant laugh lines and a light weight to the jaw to show she was aging well. Even after all that work, she called me to complain that she looked old and ugly. I am sure now that nothing short of removing 20 years or so would have pleased her. When I brought her prints out to her home to drop them off I did notice a very telling little sign; all her other photos only showed her prior to being married or having children. From her comments in our consultation, she had been widowed after nearly thirty years and had three grown children living scattered around the country and was sending these prints to both them and her college aged grand-children.

I still have the photos from that session stored on my back-up drives. I keep them to remind myself that there are limits, and then there are impossibilities. I also keep them to remind myself that there are times we need to remember to say no.

No, I will not give you blond hair and blue eyes if you are a brunette with browns. No, I will not inflate your chest to supermodel proportion if you are under age and cannot supply a very good reason. No, I will not use my non-existent magic wand to make you into a person that is not real. No, I am not a therapist; but I will do everything in my power to make you like or even love who you are and how you look without having to resort to a computer-age lie. Yes, I believe that honesty in photography is best.. and that there is such thing as “beautiful ugly”.

This brings us to the last point I will make tonight.  And yes, this is the one with pictures:

STAY TRUE TO YOUR STYLE

I am not a fan of overly enhanced eyes. This is a trend lately in magazines and popular photography that I just cannot find it in myself to like. For this reason, my style does not show intense eye colors. I have dabbled in this style, done a bunch of training and some testing, but I think the results are just not up to par with what clients have come to expect from me.

I work very well with unique lighting and color contrasts. Years of painting, working with stained glass, and sketching with oil pastels finally paid off when I became a photographer. I learned how to pair bold and muted colors with specific skin tones for an exotic look. I used a blend of light and bright hues to help play tricks on the eye to tailor a shape for seduction. I figured out hundreds of fun ways to work a single remnant of patterned silk into newborn photos that captured just the right combination of warmth without being over-powering. I even learned how to fake my way around a horrible fake tan and turn it into a summery bronze glow.

I also know when something should remain untouched. This last skill to far longer to learn, and involved many failures along the way. It is a simple fact that on rare occasion, perfect in already there, and all we need to do in snap the photo. In those moments, I feel most like an “artist”, and less like a photographer. Nowhere is this more obvious, than in the photos I take of my own family, most of all... my son when he was a newborn.