Tips from Photographers

If you've ever been in a situation where you've had your photo taken, and you've not wanted to because you know that the result won't be flattering, then this post is specifically for you. I know a lot of people aren't particularly comfortable with the idea of having their photo taken, partly because they dread seeing the result.

So I recently asked some amazing professional photographers to help me with this post, and asked them to contribute a few words to help you when you're faced with a lens pointing at you. Here's their top tips for looking your best in photographs....

Don't wear fake tan. It may look fairly natural to the naked eye but it almost always looks orange on a digital photo! Also, if the ladies wear fake tan and the men don't the difference is obvious on the group shots.
- Paula Anne Brown
www.ollievision.co.uk

A smile is in the eyes as much as the mouth - the better you get to know your photographer before the event the more relaxed you will be when smiling and that will shine through in your photos
- Helen Rushton
www.helenrushtonphotography.co.uk

A photograph taken from above is always best to avoid double chins and also makes your waist look smaller too!! Just make sure your top isn't too low cut or you might get to see more than you bargained for!!
- Kerry Diamond
www.kerrydiamondphotography.com 

I tell my clients, "Think like a swan, swans never have double chins"
- Mandy Charlton
http://mandycharlton.com/

keep your arm away from your body, put it on your hip and point your elbow out. stops flattened arms looking big against bodies 
- Kathy Dunn
http://www.katherineashdown.co.uk/ 

Shimmy and relax your shoulders avoids that hunched-like-a-vulture look. And look up into the camera or at your partner.
- Rosie Woodhouse
http://www.littlepeopleportraitsskye.co.uk

When your arms hang at your sides it makes you look wider so always bend them at the elbow and create that little triangle of light between your body and arm. This is a great slimming trick.
- Robin Owen
http://robinowenphotography.com/ 

I tell clients not to smile because they're having their picture taken but because it's a beautiful day, because they're in love, because they've just married the love of their life. I also tell clients to whisper a compliment in one another's ears or to remind each other of something they noticed about one another on the first day they met, or something they love about one another. When they do this, it always brings natural, genuine smiles to their faces.
- Erika Szostak
www.photomadly.com

Get to know your photographer before the big day, via an engagement or portrait shoot - you will be much more relaxed in front of the camera come the big day and your photographer will have learnt a lot about you and the style you like! (And no red or patterns on clothing at the enagement shoot!) 
- Sally Beard
www.thephotographyboutique.com 

I always get clients to raise the chin slightly. That always seems to sort out the "double chin".
- Addey Kehinde
http://www.facebook.com/pages/Imagery-by-Addey-Kehinde/139728756082158

Kiss the back of your hand to plump up your lips again after you've been smiling for ages and your lips feel all thinned out.
- Hannah Webster
http://www.lifelinephotography.co.uk/

On my shoots I often say "chin up" as it avoids unsightly shadows under eyes (in natural light) and makes people look more attractive. If you are being photographed try to be mindful of your body and posture, (e.g. what you do with your hands, if in doubt hand on a hip always looks good) but don't concentrate on it too much, as long as you look natural and you're having fun the pictures will look good as well.
- Olivia Vitazkova 
www.reverinephotography.com

Always stand with your weight on your back foot and bend your front leg. stand at a slight angle about 45 degrees to camera not flat on unless instructed to do so.
-Emily Walker
http://www.emilyhancock.co.uk

Be honest with your photographer about any concerns you have BEFORE the photo shoot. Do you have a skin condition that you don't want to show on the photos? What about a mole or birthmark that you dislike? It's vital to discuss this prior to the shoot so that the photographer can take action to minimise the appearance of a condition if necessary.
- Paula Anne Brown
www.Ollievision.co.uk
 
Always make sure you get an engagement shoot before your big day. You'd be surprised at the difference it will make to your wedding pics and how comfortable you feel if you and the photographer have built up a relationship and you have experienced the way he/she shoots. It also gives the photographer chance to get to know how you photograph. Try to be yourself and not to do to much 'posing'. The idea is to capture YOU Don't be afraid to chat, laugh and play around with one another as if the photographer isn't there- these make great shots!
- Emma Thwaites
https://www.facebook.com/emmylouphotography?sk=wall 

When you're being photographed try to think of your photographer as a funny friend, not a random stranger. The way you look at a funny friend is very different from a stranger. So your photographer is your best buddy. ;)
- Cathie Heart
http://www.cathieheartphotography.com/blog/

make sure the person with the camera is shooting slightly downwards so that your eyes look bigger, close your eyes for a moment before the click so they are fresh, make sure the light is even on your face and you're not squinting and relax!
- Jo Blackwell
www.joblackwell.co.uk
 
and finally, two tips from me...
If you're short (like me!) ask your partner to put their arm around your waist, rather than placing their hand over your shoulder. If it's on the shoulder, it can end up looking like you're being pushed down further, whereas round the waist makes you look closer to their height.

Ladies, try to avoid holding bouquets/handbags too high. Holding a bouquet under the bustline hides the outline of the waist and can make even a slimline lady look wider than she is. By keeping arms long and relaxed, you elongate your figure. 

I hope you've found these tips helpful... feel free to add any you've picked up or know to the comments box below, and I may do a follow up on this post!  

Great Expectations

I thought today I'd write about managing photographic expectations.

In this digital age, there is a lot that is possible with the use of photo editing software. So much so, that the product Photoshop has entered the cultural lexicon and become a noun, a verb, an adjective... it's used to explain or rationalise images, or on occasion it's a put-down and dismissal of the appearance of images (or the subject).

As a result, people do have expectations of what a photographer can do with this magic wand. (Dare I mention that it actually has a magic wand tool?).

But, there are limitations. Nothing is perfect. I've achieved some amazing results through Photoshop, including removing fences and fence posts, telegraph poles, as well as the usual enhancement of an image to make it pop. However, there are things I simply can't do, and I usually try and explain this to people.

A while ago, I took some photos for a make up artist's portfolio. She'd asked her male model to shave, but he turned up with a couple of days of facial hair growth. At the end of the shoot, as I was packing up, she asked me if I could "photoshop" out the facial hair. To be honest, it would have been quicker (and easier) if he'd shaved there and then, and we'd re-shot the entire thing. Editing an image would mean retouching every individual hair, and even then it would have resulted in looking plastic and unreal. As photographers, we need a starting point. To remove a fencepost can be easy, provided there's "information" around it to give an indication of what it looks like behind. To remove a picture on a blank wall can also be fairly straightforward. However the human face is a complex thing, with contours, shade, skin tone change even in a small space of skin, it can change completely. Think about the difference, for example, between the crease of your nose next to your nostril, up to your cheek, and under your eye. The texture, colour, pore-size, angle all changes completely within that small area.

I have edited model's faces, for photo shoots. However, the occasional blemish is easy, versus removing half a face of hair.

I was also asked about removing a radiator from some photographs. The position of the radiator was at the time, impossible to escape from. It was the only location suitable for the photographs, and suggested by the client. Where possible, I tried to crop it out, but we were shooting in a small space, and occasionally the client had several people in the shot, meaning that even with a very wide angled lens, I was limited to how much of the image I could cut out without cutting out people in the process. Five people take up more width than two, and I had to shoot accordingly. Nor was there anything around that I could use to "fill" the information behind the radiator. It covered the skirting board, and there was no alternative stretch of wall I could clone into place, without it looking like the walls were melting as if it was in a David Lynch film.


A lot of it comes down to what information is around and nearby. If there's nothing to indicate what ought to be in its place, then it's almost impossible to remove an item from an image. If the surrounding information is a tiny piece, then it does depend on the size and scale of what you want to remove. If the thing you wish removed is tiny, and there's lots of information (say, a picture frame on a large blank wall), then it becomes fairly straight forward.

Imagine it a bit like reading a sentence. If the sentence was something like:


The man went for a walk to the shops to buy food

and all you had was the first and last word, then you're really going to struggle to "guess" the rest of the sentence. If there are three words missing (for example "The", "went" "walk") you're going to have an easier time to guess and fill those words in. Photo editing software, even at its most sophisticated, is guessing the rest of the information.

It sounds easy, but you'd be surprised how time consuming this sort of thing can be. A single photograph that needs a complicated edit (which people assume is easy) could take around 30 minutes to edit. If I have to do that to 10 photos... that's pretty much most of a day sat at a computer editing ten images, which if it were for a wedding, then I'm looking at a minimum of 200 more photos to edit.

A lot of the time, as every good photographer will tell you, it's simply about getting it right in camera. That's not necessarily just about the settings on the camera, but often about picking the background. I usually scout around looking for a suitable background, even swivelling round 180 degrees can give a completely different vantage point. I also think about the lighting - for example, where the sun is in relation to my subject, or if there's any harsh lighting to avoid. That stuff is pretty straight forward. Getting it right then, is ideal - it takes seconds at the time when it could take hours later on.

Sometimes, there are things which are unavoidable. Sometimes you have to settle for a scene that's 90% perfect, because that's the best situation available. For example, I edited some photographs with some lines on the ground. The lines were pretty unavoidable and bright, and it was the best spot for the photographs to be taken at the time. So I edited them out carefully. Unless you had an identical photo of the "before" scene, you wouldn't realise it had been there, but taking them out made a massive positive improvement to the image. I've also edited out those green exit signs in the background of photos. The telegraph poles in one photo sat right in the middle of a beautiful view of the hills, so I edited it out. All of these things took a while, but afterwards you wouldn't have realised those things were there. You may well have forgotten that they were there.

So what can I do with Photoshop? Well, as mentioned previously, unsightly fence posts (as opposed to thick heavy fences), or telegraph poles are straightforward. I've removed the odd stray beer bottle that guests have taken with them into large group photographs and left standing by their feet (and when you've got 100 people in a photo, it's sometimes hard to realise at the time what every single one of them is up to at the time!). I do general enhancement, to make colours pop a little more, or remove the occasional stray hair that wisps across a bride's face in a small breeze, I remove blemishes that might have occurred overnight - we all get them from time to time, and to be honest, it's usually something you want to forget was there, and until you see a photograph with that blemish in it, you'll probably forget it was there in the first place. I've smoothed crumpled dresses, or creases that occur naturally after a bride has been sitting in a wedding car. I try to keep my photography as true to the reality of the situation as possible though, I'm very uncomfortable with digital "plastic surgery" as I call it (slimming down, pushing up etc), nor will I remove scarring, birth marks, or other permanent features. That's not to say I can't do those things, but I feel that its important to be true about who is in the photograph, rather than an unrealistic "photoshopped" version of the person.

The real trick is to managing expectations of what photo editing software and the age of digital photography can achieve. It's also about making sure you discuss in advance with your photographer what they can or cannot do. If you've got something you're not sure about, and you'd like it to be altered, have a chat with them. It's much better to discuss these things in advance than assume after the occasion that a rogue radiator can be removed where it can't, or making a man clean shaven, when often there's nothing better than doing it before the shutter clicks.

Birds of a feather

There's been an interesting blog story circulating recently, written from the perspective of a wedding photographer. The blog entry discusses the issue of wedding blogs (and yes, I'm aware of how terribly navel gazing this is!). It's actually quite an interesting piece.

Today, I've been reading that, plus other blogs, tweets, and Facebook comments of people responding. It's had quite a mixed reaction, but almost everyone has had a reaction.

http://hindsightbride.com/2011/10/10/open-letter-wedding-bloggers/#axzz1aYNhxLX1

The blog entry addresses some issues which have, to be fair, been addressed by wedding bloggers previously. The main issue, is that wedding blogs, in their quest for quirky, unusual weddings, have effectively become a caricature but also perhaps exclusive from the majority of weddings, brides and grooms. While they go out hunting the peculiar and amazing and off-the-beaten-track, they leave behind them in their wake a tide of brides who either don't have the time, or inclination towards those styles. The focus becomes heavier on the detail, and less about the actual people involved, and if you don't "fit" into that style, then it can feel like a rejection. All of a sudden, you're not going to be part of the new Cool Bride Gang. You're simply too ordinary.

From the photographers perspective, this can be frustrating. The wedding you photograph might not be a bloggers paradise, but as long as it's special to the couple, then that's important. I think we can all agree that blogs aren't as important as the special commitment two people make, in front of all their loved ones. For photographers, blogs are important to us though too - they're fast taking over from wedding magazines as a means of reaching out to potential new couples and a great way of showcasing our work. What's interesting to me, is the reactions. There's been quite a bit of discussion about "who" the target market is, and that it's not actually photographers. There's a truth there, but we want to work with bloggers, wherever possible, sponsor posts, run competitions, you name it, we're in there. We use blogs too, for our inspiration with our work. We recommend your blogs on our Facebooks and websites and our blogs to our couples.

But here's the thing. Who writes blogs? Brides to be, married women, wedding planners, photographers, stationers... we've all got blogs. Most of the blogs though, in fairness, are about looking at "look at this thing I found" "this is a new thing". It's very... magaziney, with lots of people becoming what I'd call experts in the field of weddings, or at least enthusiasts with a lot of useful wedding knowledge and fingers on the pulse. The people who allegedly dictate - the readers, the brides to be - the majority of them don't have blogs. Most brides-to-be have enough other things on their plate, with work, personal life, and wedding planning, to sit down and write an online blog about their experience. There are some, as I've said, but there aren't that many. At a guess, I'd put the number of brides-to-be-bloggers in the tens, rather than the thousands of actual brides-to-be out there. Blogs aren't as ubiquitous as Facebook accounts. So how do they get through to the wedding bloggers what they want? Do they have to sit there, write a response to each post? Should they vote with their mouses and switch off? How do they convey that information? Should they email wedding bloggers and say "look, I'd really like to see more imaginative ways of turning a hotel function suite into a gorgeous dinner reception than look at a cornfield with wrought iron tables and deckchairs and paper lanterns, please"?

The thing that was interesting about that particular blog article, was that as it's written by a photographer, perhaps we're the ones who are actually more in touch with couples on a day-to-day level. We speak to them, they hire us, we are their photographers, we build up a special bond with them, and when you read photographers saying that couples lament that their wedding isn't "blog-worthy enough", maybe we're the ones out there hearing it. They might not be tweeting or writing their own blogs about it, but it doesn't mean they aren't feeling and reacting and saying these things. People say things out loud that they might not feel they can commit to writing. And how do bloggers respond to those brides and grooms if they say "could you write more about X, please?". What are your responses? Sorry, no, it's not my style? Do you turn them away? do you point them in the direction of the "blog description" and suggest they find something more appropriate to their style? Do you take what they say on board? Would you? I understand that each blog has it's own style, and style and taste are a very individual thing. You're bloggers, after all. You're not being run by a publishing company with directors and shareholders. You don't have a sales team pushing to get X thousand sales each month. You weather the dips, and ride the peaks of your readership statistics. It comes completely from within, I understand that. You're creatives, effectively; social media written creatives, self-employed, and you need to stay true to who you are. There are countless bridal magazines out there, with very polished, traditional and contemporary styles of wedding photography, venues, cars, details. You're doing something different because there isn't a "Quirky Bride Magazine" published and sold every quarter from WHSmith, but there is enough for you to have a regular readership every day/week/month. But if you're a blogger claiming that the true compass is the reader, I'm curious to how you're engaging with them, how you're monitoring that, and how much they can and do and are able to choose the direction.

I have to admit, I have read blogs who have addressed this previously. It's not new. This isn't some under-current that's just popped up. Of course it's about the bride and groom's big day. It's not a competition for who can have the most peacock-swan-feathered, birdcage, teacups and posies, chantilly lace tableclothed, blackboard, fake mustached, gingham, candelabra, save-the-date-gold-leaf-toilet-paper, cupcaked wedding in the land. I know bloggers know that, and I know there are those that have addressed this issue, and they're lovely about it, and supportive of brides regardless of their personal wedding. But that blog entry on Hindsight Bride did point out a few things that are true. It's stirred debate; it's resulted in some quite polarised reactions, and I think it's one of the few times that's actually happened, to that scale, from my perspective. That's why I'm writing about it.

But personally, I'd be really curious to see a blog post about how to customise a hotel function suite and make it amazing. I'd love to see what a blogger could do with that subject matter. I feel, if I had to, I could turn even a small garden into an incredibly exclusive quirky reception venue pretty easily. I feel rather confident in that, and I've never been married or been involved in planning a wedding. That I could do.

The real challenge would lie in making something that's used every day as a wedding venue unique to the couple. Honestly, if there's a wedding blogger reading this who fancies it I'd love to see what you can produce. Now that, I think, would be a truly unique creative challenge.

Stand and deliver

I've been thinking a lot recently about what it is I'm trying to deliver for my couples, and how I can improve their experience of hiring me as their wedding photographer.

 I think it would be reasonable to say I come from a family where people are important. My grandparents, and great grandparents were very much people-orientated. They helped others, regardless of their own situation. While there wasn't much money on my mother's side of the family while she was growing up, the kitchen was the hub and from the stories I've heard there were always plenty of visitors. Their wealth could be measured by the closeness of friendships they formed and the bonds of strong relationships within the family.

My own parents are people-orientated too. My dad was always more people than money orientated through his work, and actually, he's had a very successful career as a result. He can still remember the names of people he studied with at college, or worked with throughout his career and he's always got a story to tell. It's been interesting growing up with those influences in my life, because it's been made so clear to me how important it is to build good relationships, and that a few good relationships outweigh hundreds of ones where you're just an acquaintance.

I also think about my experiences as a consumer. I think about how I feel when I go into shops what the relationship is like there. About nine years ago, I changed hair salon. I had been going to one hair salon for years, and one day my regular stylist had left, so I had a different stylist. I really didn't like his attitude. He gave me a very distainful look when I arrived; he made comments about my hair which came across as insulting more because of the tone he used; and afterwards I hated his "funky" haircut, which was not what I had asked for. (I should point out, whenever people use the word "funky" to describe my hair, it means its a really bad haircut). So what did we have? Negative facial and body language, curt words combined with a less than friendly tone, and someone who simply didn't listen. I didn't go back. I changed salon immediately, and since then, I go somewhere I genuinely have a good customer experience.  Now, if we were to work that out in monetary terms, if over the space of 9 years (since I changed salons), I actually went every 8 weeks as "recommended", and spent an average of £30, then that works out at £180 a year, or £1620 over the 9 years. That's a lot of money, and all lost by the first salon in the space of a 45 minute negative experience, and gained by my current salon because they know how to make me happy.

My mum bought a new car last weekend, trading in a faithful 16 year old estate for something newer. Actually, the dealership was over an hour's drive north, but some friends had recently been there and bought a car, and came back with such positive stories, that it actually inspired my parents to go there looking for a new car, even though there was a showroom closer to home. Now, it wasn't just a case of handing over the keys, smiling a lot, being a bit friendly. The salesman gave my mum a bouquet of flowers, and a fantastic break-down kit for the car, as well as the shampoo and cleaning set. he was fun, he was pleasant, and where my parents needed a few things done specifically, he was more than happy to help without so much as a deep sigh. It wasn't so much about getting "something", and throwing in lots of extras, but it was all about how special the experience made her feel.

So bringing it back to business. I'm constantly trying to work out, how I can make my couples feel like that.

Even when I started out on my portfolio, I used to send out one print (albeit of my choice) to my couples, as a small wedding gift. I did this because I understand that not all couples actually get round to printing their photos, and I wanted them to have one photo that they could have as a wedding photograph, and have it framed.

I did a survey last year, finding out more about how married couples viewed their wedding photography experiences. I posed the question, that if couples received a disc with the images from their wedding on it, had they printed the pictures afterwards? 9% had printed most or all of the images, 36% of respondees had printed less than half the images from their wedding,  and 9% hadn't printed any of the images at all. I should add for clarity, that 46% of respondees hadn't received a disk at all. This may be because digital photography and burning images to discs is a fairly recent phenomenon. I'd go as far as to suggest digital wedding photography is probably still in it's infancy in terms of what we are probably going to discover over the next few decades.

Getting back to where this began, which is the thinking process. Thinking about how and what makes a good customer experience. And that's why I've been thinking about my 2012 wedding photography package. My aim is to give my couples a really special package, not just full of lovely photos, but also full of good feeling and make it about them. It's that combination of making people feel good, and enjoying their wedding photography and being happy, and focusing (if you'll forgive the pun) on them as people, not just on "wedding photographs". It's what you deliver and how you deliver it that counts. Nothing quite takes the shine off a new purchase like an unpleasant customer experience.

So 2012, I'll be carrying on a few things that my 2011 couples have been happy with.  I've had really positive responses to my DVDs and their presentation boxes, and if you're doing something right, people let you know. However, I'm also planning on bringing in an introductory pack, which will cover all the main things my couples need to consider, for example advice on engagement shoot preparation, photographer's schedules (what, where, when for the wedding day), but also a few extra things, just to make it that little more easier and clearer.

But the question is, what would be the "ideal" package for a couple getting married? if you could add anything to the mix, what would it be? If there were no limitations on getting the experience right, what would make it perfect? What would be the dream scenario? feel free to leave a comment, or to email me directly with any ideas or thoughts.

Reflections

I thought today, I'd write a bit more of a personal blog entry. This is more about life as a photographer, businesswoman.

I formally started my business just over a year ago. Prior to that, I was out getting experience as an assistant, building up my portfolio as well as studying.

Being in Year One has been a huge learning curve. I had a lot of support from Business Gateway, and attended a lot of their seminars and workshops which are designed to help new businesses with aspects such as marketing, book keeping, and search engine optimisation. The thing about being a photographer, is how much time I'm actually "photographing". I do a lot of photography, but with that comes the editing, preparing images for client viewing, archiving, storage, and so on. I also have to think about contracts, legal aspects, book keeping, receipts and invoices, sending out letters, and maintaining my website.

It's all been a learning curve, particularly when a lot of things all happen at once. I consider myself to be fairly organised and good at administrative tasks, which helps. However, there are times when I identify a change required to make things more efficient, and that can be fairly time consuming. All new businesses and projects take a little bit of time - I think you need to go through it once to see what the process is actually about. Even with all the advice I've received, the curve comes from working out how that all impacts upon my business and my clients.

It's also been a good year for identifying things where additional training has been useful. It's been a year of learning how to research effectively too - finding out what products suit my business.

I'm fairly happy with the way things have been over the last twelve months. I've learned a lot about myself, as a person, as a business woman and as a photographer. I've pushed myself, and risen to the challenges set.

I've also been fortunate enough to build up a wonderful client base, who frankly, without them, I'd just be a girl with a business model. The thing that's been reassuring, is how some of my couples have gone from being "client", a person with a need where I fulfill that need (as their wedding photographer), to being people I've become friends with. For me, that's been one of the landmarks to let me know I'm doing the right thing. I think I've been able to attract the right couples by being myself. And actually, since that's how friendships form naturally, I've come away feeling a lot closer to my couples as a result. The thing that has been interesting though, is seeing the amount of similarities between my couples, in terms of traits or personality. It's interesting because it makes me wonder if that's a reflection of me - if I too have those similarities, and I suspect I do.

 This comes a lot into my branding - my branding is all about being me. Sometimes I think we all have an ideal as to how we want our branding to be perceived, but maybe it's not true to who we are as people.  Sometimes there's no better way of identifying your own brand than having your clients and friends as a mirror to your personality.

I also don't get too upset at "not" getting every booking. Not all people are well-suited together. I know those brides and grooms will find someone better for them, more suited to them. My personality and their personality may not be compatible, and that's not something anyone wants to discover on their wedding day.

On a slightly soppy note, I do love seeing my couples getting married. I love being there. It's an amazing thing to see two people make a life-long commitment, in front of a room of people at a formal ceremony. The idea that one of those two people decided one day that being in that relationship was what they wanted. They decided one day, that this was the person they couldn't live without, that they wanted to spend the rest of their life with. This was their life partner. And so they asked the other person to marry them, and the other person felt exactly the same way - this was who they wanted to be with, this was the right person for them, they felt so happy, so loved, so in love, and so secure that they wanted to continue with that for the rest of their life. Being asked to photograph and document that for them to have for the next fifty years of their joint lives together, that's special. We always think about royal weddings as being historic moments, but actually, every wedding is an historic moment in the timeline of a family. And photographs are the keepsakes, the treasures, for generations of family to look back and see. By the time I get to the wedding, I've gotten to know the couple enough, and I genuinely want them to be happy. It's also lovely to meet their friends and family. Every one of my couples has got an amazing friend and family base around them, people who approach me at the wedding and tell me how special the couple are. Things that actually, I can't capture on a camera. The compliments your guests say when you're not even in earshot, to the photographer... that's pretty fantastic to witness too. It's wonderful to go to a wedding and see couples who love each other, but who are so loved from their guests. When you've got that sort of love and support around you, you really can conquer the world.

Wonderful Welsh Wedding

On Friday, I photographed an amazing wedding in Wales. A little off my normal beaten track, but it was worth it.

I met Jenny and Rob last year, when I was photographing a wedding in Kilsyth for friends of theirs. I got chatting to them and quickly found how well I was getting along with them. We kept in touch, and in the springtime, Jen asked if I was interested in photographing her wedding.

Given I arrived back from a long drive from Wales on Saturday evening, and spent the entire day on Sunday at a wedding fayre in Dunblane, the images are still in the early stages of editing and clearly not yet ready. But I thought I'd write a sort of diary about all the work I put into each wedding. You might be surprised to hear it starts before the actual day itself!

Tuesday - Three Days Prior to the Wedding
A very busy day, workwise. I have a promotional shoot for a charity I work with. It's in Glasgow, and so I have to charge my batteries and prepare my equipment. I've also got a note of my brief and the details about where I'm going and who I've got to see. After the shoot, I head home. I need to edit these images quickly, to be issued with a press release later that day.

I'm thinking about the wedding at this point. I've got a checklist of things to take with me in my camera bag. I've also ordered extra memory cards, just in case. Batteries and memory cards are one thing that I don't think I can ever have too many of. Not as exciting as some purchases, but absolutely crucial. I start recharging my batteries for my flash guns, and also my camera. In addition, I'm also charging the batteries of my spare back up camera.

Jenny and Rob have also approved a "new" thing I thought I'd use for this wedding - a moodboard. Given the distance, and lack of face-to-face contact, I felt it important to communicate my ideas through images as well as text. They are happy with the ideas of inspiration, which is good. I can then think about planning my images appropriately.

Wednesday - Two Days Prior to the Wedding
Another busy day! I'm driving down south, and staying with my grandmother half-way, overnight. This enables me to break the journey up, and means I'll not feel tired the day of the wedding because of trying to drive all the way to Swansea in one go. My bags are packed, and I've double checked everything. I've even got a range of clothes, as it's warmer in Swansea than it is in Scotland. I've also got a map to my overnight accommodation in Wales, and all the relevant contact numbers and details. I also take some photography books and magazines, and my trusty notepad. My notepad is full of badly drawn stick figures, for ideas of composing images. Its small enough to take with me, and quickly reference at any occasion. Most of the time though, it helps me get composition ideas stuck into my head before the wedding, it's simply a method of memory aid. I leave in the evening, after rush hour.

Thursday - Day before the Wedding
I arrive in Wales, and check in to the Inn I'm booked into for the next two nights. It's only three miles away from the wedding venue. After a shower (it's been a very hot day!) I head over to the venue, where I meet Rob and Jenny who are staying at the venue and have invited me to meet them that evening. Its a gorgeous location - a proper (haunted!) castle. I'm introduced to their family, and afterwards I take a wander round the grounds on my own. It's a new venue, and this time I've not had the opportunity to see it in advance. However, a wander round helps me see places and opportunities for interesting photographs. While Jenny and Rob head out with their family to a local restaurant, I head out for the evening to socialise with some friends in the area. In the evening, I return, and I relax and head straight to bed.

Friday - Wedding Day
Jenny and Rob meet me together - they're not superstitious at all about seeing each other before the wedding! We have a wander, and I take some photographs of the couple at the castle, in their normal clothes. This is just a little fun spontaneous extra we've decided to do. The castle is gorgeous, but there are some places I simply wouldn't ask Jenny to stand while wearing a white dress - however, its a little easier with jeans on.

Everything is set up for the day. The couple are getting married in a theatre in the castle, and the cake arrives. I head with Jenny and Rob to their shared room. Although they don't want preparation shots, I do want to photograph the dress and shoes. Their room is gorgeous - a huge bed with drapes and a canopy. I can't resist photographing the dress hanging over the bed, I think it's a photograph that Jenny will love. She sees what I'm doing, and I think she realises exactly how good it will look. While Jenny and Rob get dressed, I head to the conservatory. I photograph the room where the tables are dressed and set for the wedding breakfast. I take the opportunity to photograph the details, the bride and groom's name plates, the favours, the glasswear, and of course, the cake. It's a good room for light, but I also note that there are certain things I want to avoid in the background, and certain areas where a little extra flash might be required. Although we're surrounded by windows, when it comes to cutting the cake I'll have to use a little flash to avoid the couple becoming a silhouette against the window.

Afterwards, I meet the minister who is conducting the blessing. He's fantastic. I've been very lucky with ministers, vicars, priests and registrars at the weddings I've photographed, and this is no exception. I ask what his policy is on the use of flash, and also where is acceptable for me to be when I'm photographing the couple. His answer is that I can go wherever suits me, and he's fine with me using flash. He's very accommodating and friendly. He realises this is all about Jenny and Rob, and he's more than happy for me to go wherever I can to get the best possible photographs for them. I take some test shots, working out the best settings for light.

The guests start to arrive. They gather into the theatre where the ceremony is being held. I find my spot, and Jenny arrives with her father. She walks down the aisle. I've got two cameras round my neck, each with a different lens. This means I don't need to change lenses half-way through the ceremony, and most importantly, I won't miss a vital shot. Jenny looks incredible. Rob's chest puffs out and he has a broad smile on his face. I move around, but I do my best to avoid getting in the way, or blocking the view of the guests. As the ceremony comes to a close, I take my cue to head back up the aisle, and photograph the couple leaving.

Once outside, I have a few photographs with the couple under a bridal arch before the guests come out. I suggest that perhaps some of the guests might also want to capture that moment too, so Jenny and Rob invite the guests to photograph them. I know it will make a lovely photograph for the guests to have.

I allow Rob and Jen a bit of time to socialise with their guests. Then we all head to the adjoining garden. Although I want to get the castle into view, I also want to make sure my setting is appropriate, and the garden has a gorgeous stone wall with flowers and climbing plants, and a lawn, with the castle still visible just behind it. We set to work on the group shots. I start with the larger group shots first, and gradually work through them until we're left with the main wedding party. This stops people from getting restless, and means when their photographs are finished, they can head to the bar! Due to the informal, relaxed nature of this wedding, we make the group photographs fit this. There's very little formal posing. I break all the "rules" for this particular wedding. People aren't organised into uniform lines. I don't mind them not looking directly at the camera. I don't mind them standing in whatever way feels most natural to them. Jenny and Rob were enthusiastic and positive when I discussed this with them. It's all about them being able to look back over the photographs in 50 years time, and recognise the personality of their friends and family in the photos, through the way they naturally hold themselves, it's not about recreating the stand-up-straight-tuck-your-shirt-in-button-up-your-jacket-brush-your-hair school photographs. Everyone seems relaxed and happy and appear to enjoy it. There's also nobody hanging around behind me (that I'm aware of), taking photographs and distracting the group shots.

I then head with Jenny and Rob to the local country park, for our intimate couple photos. They're very giggly and need absolutely no encouragement from me to kiss for the camera. This takes about 45 minutes, and then we really need to head back to the castle for the dinner. Jenny and Rob have kindly organised a seat at a table for me, next to the couple who I photographed last year. I photograph people during the speeches, but otherwise, I don't touch the camera while people are eating.

Afterwards, it's time for cutting the cake. Jenny and Rob stand perfectly, and we get the best possible shot. I turn around, and see some people holding cameras up from their seats. I invite them to step forward and take some photographs and we have a little paparazzi moment!

I continue to photograph details throughout the evening. I go outside, and photograph the front of the castle, in both daylight and later on, when it's dark and lit up.

Later on, I leave the castle, thanking Jenny and Rob for the honour of photographing their wedding. I've really enjoyed this wedding, and they're a great couple to work with. It's been a pleasure for me to be a part of their big day, and to witness them getting married.

I head back to my overnight accomodation, and head to bed. I'm thoroughly tired!

Saturday - Day After

Time to head home! No lie in today though, I'm driving straight back to Scotland today, which will take me between 7 and 8 hours, dependent on traffic. Bags are packed, and I have a good breakfast to see me through the long journey.

I stop off, en route, to visit my grandmother. Eventually, I arrive home at dinner time. I instantly decide to upload my images. Tomorrow, I'm exhibiting at the Fabulous Wedding Fayre in Dunblane. I've also agreed to photograph the bouquet toss, so I recharge some batteries and my camera and make sure I have my kit and memory card ready.

Practically Engaged...

Today's post, I'm writing about the practical side of engagement shoots, things for the couple to consider before they head off to their engagement shoot with their photographer.


Clothes
Whenever I do engagement shoots, I advise couples about clothes to wear on the day.

A lot of the time, we want to instantly jump into wearing whatever we love most, for a photo shoot. However, I advise all my couples against wearing clothes with big logos, text, or graphics on them. The reason I advise against people wearing logos, big text, or graphic images on clothes is that it has two negative effects. Firstly, it instantly draws the eye away from the face in the photograph. Wearing a simple top means it doesn't compete for attention. I think certain patterns are fine, for example, bold checks, but a busy Paisley print, or high contrast fine stripes might not be such a good idea. What you (and your photographer!) also want to avoid, is the moire effect. That occasionally happens when you wear a very fine weave or patterned fabric, and makes it look like there's an optical illusion strapped to your clothes. There are techniques for removing it, but its easier to avoid it altogether. Photoshop has its uses, but its so much faster to get things right before the photo is taken! Nice, plain block colour clothes are great.

The second reason for advising against logos, text, and graphic images, is that it dates the photograph very quickly. Want proof? Look through any old photos you have. Those with text or graphics or a logo might be much more identifiable with a certain fashion at the time, than plain clothes. Plain clothes are much more timeless and classic for professional photographs. It is good to mix up the colour a bit, so a blue shirt with black jeans is fine.

Try to also think about what you're both wearing. Think about coordinating both with colour and style. So for example, if you're both going for crisp shirts, maybe think about the colour - if one wears a black shirt, the other might want to wear a contrasting complementary colour. If one of you wears a pale blue shirt, then a bright magenta pink top might not work so well. When Prince William and Kate Middleton got engaged, their engagement photos showed them both wearing complementary warm neutral coloured long sleeve tops - he wore a mocha brown knitted sweater, and she wore a gorgeous champagne blouse.

You could also think about wearing layers, so that you have different "looks".

But most importantly, wear clothes you feel comfortable in, and that you love. Clothes that make you feel good. If you don't have an outfit that fulfills that "feel good!" factor, then it's a good excuse to go shopping.



Location
You can be as creative as you like with your engagement location. While a wedding budget and availability might curtail options for venues for the actual wedding day, engagement shoots are a chance for you to go somewhere a bit different. You'll probably be thinking of somewhere that you find aesthetically pleasing, making it suitable for photographs. Speak to your photographer about the location. Do be aware though, that not all indoor light is flattering on the face. Indoor venues are fine, but it might be an idea to see if there's a room with lots of natural light, or at least a large window, to give your photographer options.  However, this is all dependent upon the style of photograph you're after. If you want something dramatic, perhaps quite urban and gritty, then strong lighting that casts shadows could look amazing.

From a practical perspective, also consider the location of the shoot. Your photographer may ask you to pay extra travel expenses (and potentially overnight accommodation) if you're wanting to shoot somewhere a bit further than their normal area. Even some photographers who advertise themselves as being "UK wide" may charge extra if you want them to travel to Mull for an engagement shoot when they are based in Leeds.

You also need to consider whether permission is needed in advance. The last thing you want is a member of security escorting you and your photographer off the premises. Railway stations are romantic, for example, but you still need to seek permission in advance as they are private property. Some venues might also ask for a small payment, and you need to consider whether you're willing to pay for your favourite venue. Establish with your photographer in advance who's responsibility it is to attain permission in advance.

Don't worry about asking for permission! I've had to phone lots of venues to ask permission for photo shoots in the past. Most people I've spoken to are helpful, some are even slightly curious (after all, it won't be every day they sit at their desk, working away, and receive a phone call asking them about a photo shoot!), and everyone I've spoken to has been friendly. Phoning is always better than emailing. It is a bit more nerve-wracking, but relax, try to sound cheerful and pleasant and perhaps slightly bubbly (even fake a smile while you talk - they can't see you, but it'll make your voice sound happier!). Emails are fine if you need to follow up with written information with the request. You might also want to make sure you're asking to speak to the office or venue manager, as letting out a big long spiel to the first person who answers might mean you find you have to repeat it all a few minutes later. The worst thing that anyone can say to you is "no", so just relax. Some venues will also have stipulations, for example, no flash (particularly inside historic venues with light-sensitive artifacts); that the photographer has public liability insurance (so the venue won't be sued if a member of the public trips up over a tripod); that you don't expect them to close an area off to the public for your shoot (asking them to do so might involve charges for loss of profit); or they might ask you come early, or late in the day, or during the week when the venue is at its quietest. Timing and insurance are definitely things you want to check with your photographer.


Light
I mentioned light before, but this part is about daylight. A lot of people think that I need strong, bright sunshine to make the most of my photographs. It's not strictly true. I did an engagement shoot recently in the seaside town of Largs, on the west coast of Scotland. We had glorious sunshine, and that was fine, because it suited the location perfectly - seasides and sunshine go well together. However, I also love cloudy days. Cloud can be surprisingly lovely in a photograph. It means the light is softer, there's no harsh shadows, and I can use my own flashes if I want to. I also don't have to worry about whether I'm casting a shadow in my photo, or which direction the sun is in. I like cloud for portraits. From a photography perspective it's the biggest softbox with the most powerful light and it's completely free.


Time
Engagement shoots won't last as long as your entire wedding, but they do take a bit of time. Depending on the location, I usually take a couple of hours. That's longer than I'd expect to take for "private shots of the couple" during a wedding. It's usually a good idea to just block out a morning or afternoon from your diary. People always run a little late; traffic jams, parking, buses not turning up on time, someone calling just the minute you're about to lock the door... things that are often beyond our control can make us all late from time to time. The last thing you want is to be running late and then have to dash away again because you're meeting someone immediately afterwards. 


Props
Finally, let's get onto something a bit more fun! Don't be afraid to talk to your photographer about the idea of using props. You may have some, your photographer may have some. Fake moustaches and chalk boards are very popular props to make an engagement shoot more fun, and add some silliness, frivolity, and playfulness into your images. The benefit with props is it gives you something to hold, you can play around, and a couple being silly together can usually get some fantastic expressions. Don't be afraid of what other people think! Even if you're naturally quiet and reserved, silly playful props can be great. I believe that when you and your partner are old and grey and looking back in years to come, you'll find yourself reliving and giggling about the engagement shoot with the props. If you don't want to be silly, then a small bunch of flowers, balloons, bubbles, a bright umbrella, some colourful wellies can work just as well.

Is there anything you think I've missed from the practical side of engagement shoots? Have you had any personal experience - good or bad - involving the practicalities of engagement shoots? Feel free to let me know using the comments form below!

Engagement shoots

So today, I thought I'd write about engagement shoots. There's two reasons for this: 1. at the time of writing I'm taking a break from editing some engagement shoot photographs; 2. I recently read this article from Smart Bride Boutique listing of reasons why couples ought to take advantage of engagement shoots. So it's definitely something on my mind that I thought would explore it a little further.

I love doing engagement shoots. Engagement shoots are extremely beneficial to both the photographer and the couple for a lot of reasons, but the reason for writing this is perhaps aimed at people who aren’t really sure whether they want an engagement shoot. I think there’s a potential for misunderstandings as to what an engagement shoot involves. I know some people want to “opt out”, but I like to encourage people to reconsider, and this blog entry is about why engagement shoots are a good idea.

Lots of photographers, including myself, offer engagement shoots as part of their complete wedding photography package. Within my package it’s a complementary part of the complete service, and it’s really useful for me when I’m working with a couple.

I think one of the misconceptions is that because you’re hiring a professional photographer the engagement session will be as formal as traditional wedding photography. It’s not. Engagement photo shoots are a slightly different creature. You don’t have to get dressed up, you can wear exactly what you want and unless you’re really into formal poses, most engagement photo shoots tend to be very relaxed and usually shot on location. Actually, engagement shoots offer a wonderful opportunity for a couple to get a little creative with their photographer, do things you really don’t want to do when you’re wearing smart clothes and surrounded by friends and family and have hundreds of other things to think about. It’s about having photos which are about you looking lovely, but also much more every-day. Think of it as lifestyle rather than ceremony. It’s all about exploring your personality outside the wedding environment.

So what are the benefits then? First of all, I encourage my couples to see it as a rehearsal. It gives them a chance to see exactly what its like being in front of my camera, relax, play, and really build up a photographic relationship. It takes away the “what do we do?” factor. It’s a warm up, so that by the time the wedding day comes, my couples feel relaxed, happy and much more confident in front of the camera.

The second benefit is that it’s an opportunity for me to work with my couple, so that we can build on what we produce from the engagement shoot. With their feedback, we know whether we want to do more of a certain thing; or if there’s a pose that they just don’t feel works for them. It’s an opportunity to identify the stronger and weaker images and that can all feed into how we work on the wedding day.

Thirdly, engagement shoots give you an extra photo session, an extra range of professional images you can use.  It makes it a bit more versatile; you have an extra range of photos to use to show people who you are. You can use them as your online profile picture, in print, as a gift for a relative, or for a wedding website for your guests. It also means you’re not waiting until after your wedding before you have lovely photos to show people.

Fourthly, consider the engagement shoot as your pre-wedding treat. When you’re planning your wedding, you spend a lot of money on things that won’t be used or seen until the wedding day. Your daily budget might also be a bit more constrained as a result; you’ve cut back on the luxuries or at perhaps feel a little guilty when you spend when you’re meant to be saving.  The engagement shoot is a chance to be a little more self-indulgent. If it’s included in your wedding photography package, then you can enjoy it without the guilt factor.

Finally, it gives you the chance to have their photograph almost anywhere. Perhaps there’s a stately home with gorgeous grounds that doesn’t cater for weddings but could be used as a backdrop for your engagement session. Maybe you went somewhere on a first date and want to use it for your engagement shoot. I say almost anywhere – remember to factor in traveling distance, and also seeking prior permission from any property owners. 

While I hope this blog entry has perhaps persuaded any engagement shoot sceptics, I'd love to hear from readers on their thoughts and experiences of engagement shoots. Did you have one? If not, do you wish you had?  Or have you got one lined up and how are you feeling about it? Or have you got anything you think ought to be added to this list of reasons why?

 

In my next blog article, I’ll be talking about the practical issues involved in engagement shoots.

Knickerbocker Glorious!

So today, I thought I'd blog about a shoot I did in Largs with Alison Tinlin from Plans and Presents, hair stylist Gail Rankin, Make up artist Sophie Edwards, with accessories provided by Wedding and Baby.

We went to Largs with the intention of doing a slightly kitschy, vintage seaside photoshoot. I wanted something that was a proper traditional seaside resort without the tackiness. Largs was a great location. From a photographic perspective, its a neat town, with very little litter or graffiti, not too many people, and plenty of wide open space to get the sky in and lots of details from it. We sought permission from Nardinis to use their interior as a backdrop for some of the photos (and they were very lovely about it all).

I've done plenty of location shoots before involving gorgeous dresses (including the bridesmaid shoot I did with Flossy and Dossy a few months ago), but I wanted something slightly different here. This shoot was less about being a fashion parade, and more about the individual - in this case, Alison. It was actually easier than some of the shoots I've done previously, as there weren't lots of outfit changes to incorporate into the timing.

I think the hardest thing I find is defining what I think my "voice" is. I have a particular style to my photographs, but sometimes when I'm up so close to the photos, I can't quite put my finger on what exactly it is. I know I like to have photos that have an element of pop - I want people to come out of the picture, to get an essence of their personality just jumping out of the image.

I wanted to get more of that from Alison. It's easy a lot of the time for people to shrink in the photographs, and a lot of people do. Camera comes out and people become shy and like wallflowers. Or, alternatively, they start throwing very awkward poses that they've seen in magazines and "think" I want from them.

What I really want, is to have fun photographs. I want fun, I want natural, candid, but most of all, playful. I don't want a fixed grin.

I think sometimes it's a bit like having a conversation with someone for the first time. I want to get beyond the small talk, the "what do you do/ where are you from" stuff, and right into the bit where there's a connection, the bit where the conversation just rolls and people start really revealing themselves. Years ago, a friend of mine referred to it almost as being like layers, numbering each layer. So small talk was layer one, then the bit where you start digging out information from the small talk is layer two, and then the really good stuff, the core, that's layer three. He'd smile when we got into a deeper level of conversation, the bit where we started to forget where we were and just got completely lost in our own world, and he'd remark "now we're here, this is the third layer". It's not necessarily about baring your soul and getting the skeletons out of the closet (or wherever else you keep them), it's just about figuring out who the person in front of the camera is, getting rid of your labels (mother, wife, girlfriend, husband, father, brother, son, daughter, work colleague...) and being all the wonderful bits of you.

So yes, that's what I want from these sorts of photoshoots. And I'll pretty much do anything I can to get people to that point. I'm not looking for the secrets, the dark stuff, I'm just looking for the playfulness, the humour, the light hearted, happy, lovely side, the bits that attract people to you as friends or romantic interests, the bits that make people care, and the bits that should make you realise how truly wonderful you are.

So, here for your delectation, the photos from the shoot.

Sophie prepares Alison's make up

Inside Nardinis

Knickerbocker Glorious!

Flying the flag

at the piano

bouquet courtesy of Wedding and Baby

Our generous host

Kicking it up in Largs

the most wayward balloons!

Alison and Largs

Bouquet

over to Cumbrae

The Wonderful Nardinis

shoes!

The team:
Shoot Organisation/Model - Alison Tinlin - http://www.plansandpresents.co.uk
Photographer - Kristin Mitchell - http://struvephotography.co.uk/
Hair - Gail Rankin - http://www.gailhardie.co.uk/
Make - Up - http://www.sophieedwardsmakeup.com/
Hairpieces/Jewellery - http://www.weddingandbaby.co.uk/
Gown/Shoes - courtesy of - http://angelfins.co.uk
Venue (inside shots) - http://nardinis.co.uk/

Seeing Past the Photograph

Today I thought I’d write about looking at photography.

Whenever we log on to the internet and look at people’s websites and galleries, its easy to be blown away by a slick photography website, and overlook what we’re actually considering. If you went into a car showroom, and saw a lovely, shiny new car, complete with the new car smell, lovely wet look black tyres, the reflection of lights dazzling on the bonnet, its easy to get the wow factor just looking at it. It might be a car you actually don’t like very much, that doesn’t meet your needs, you might not even like the colour – but the showroom surroundings make it look great.

Looking at an online gallery is a bit like a showroom. The hardest bit is actually looking properly at the images and deciding whether it meets our needs, whether we think it’s a good photograph. Is that a photograph you’d want in your home, or are you being dazzled by the showroom effect?

Photography is an individual taste thing. I can’t tell you what to look for. I don’t even advise looking at whether it “fulfils the rules of composition”, because some photos don’t adhere to the so-called rules and look great; and anyway, rules are made to be broken.

What you need to look for is whether you can you see yourself in that photo; do you want to be that person in the photo; is that a photograph you would want to have on your wall or in your wedding album for the rest of your life?

To help though, I’ve written a few things I tend to consider when I’m looking through other people’s work.

1. What's going on in the portfolio?
Most photographers have their work broken down into different categories, different galleries. I look at each category gallery as a portfolio. Look through each portfolio carefully, and see what they’re including in it. Also consider what they’ve not included though – have they included images of details, the flowers, table decorations, cake, rings? They may have chosen not to include it in their portfolio, but by considering what’s included – and what’s not included – can help inform you, and you can always ask about this if you choose to contact them.

2. Size and variety of portfolio?
I've learned to try and edit my portfolio down to the very best images I have, the ones I feel proudest of. I might have four or five similar photographs but editing is important, so I'll find the strongest image of those four or five and will only use that image in my portfolio. A portfolio with lots of similar images for example, a bride from a slightly different angle, but in the same location, same pose... to me, its a bit like watching the same advert three times in a commercial break. It can work as a diptych or triptych as a sequence to tell a little story (where two or three images are placed together on one page). One thing that's always been ingrained to me is that its better to have a small portfolio of 10 fantastic images, than 20 images where 10 aren't so great. I've always been reminded I'm only as strong as my weakest photograph. In terms of variety, that's a personal choice. I actually have different portfolios for each category of work I like doing. So my wedding portfolio consists purely of wedding work; there's no portraits or non-wedding related photographs in the selection. I like seeing portfolios that stick to one category of photography. I'm less keen on portfolios with two garden flower photos; three bridal images; a slick city building; two of cars; four of children in a studio... I like photographs to stay relevant to the subject of the portfolio. It doesn't matter if the portfolio is small, as long as it’s the best work the photographer has to offer. I think of it like a chef showcasing their food - they don’t serve a starter, main course and dessert all on the same plate at the same time.

3. What do these people look like?
Nobody is perfect, everyone has their flaws. A good photographer though should make the viewer completely overlook the flaws. It shouldn't be the first, second or third thing you see. The mood of the photograph should be the thing that catches your eye first – are these people wearing fixed grins, or are they genuinely having fun? We've all seen photos of ourselves that we hate, ones that show off a double chin, look right up the nostrils, make our bodies look larger than we need reminded of. A good photographer should be able to avoid this. Sometimes photographers will ask someone to drape their body over something – a car, a tree, a bench. Think about how these people look – whether their pose looks stiff and uncomfortable, or whether it looks relaxed and natural.

4. What am I looking at here?
This is a bit like no. 3 – look at what the photographer has seen; or maybe look at what the photographer hasn’t seen. Taking a good photograph involves more than pressing a button – the photographer should be looking around before they take the photograph. It’s about the attention to detail in the image. So look around the picture. When we pose for photos with our friends, we might find the tidiest location to take the photo, or we select a nice view in the background. Has the photographer thought about this?

Some details can be edited out, but it should be noted that Photoshop and other photo editing software isn’t a failsafe, fix-all. There are things I will edit out of the image, which are easy to take out, and might be unavoidable, for example a bright green exit sign in the far background of a photograph; dead leaves lying on a lawn, even fence poles between my subject and a great view.

Ideally a photographer should get everything right in camera, rather than rely on Photoshop to fix it. Some things simply can’t be fixed in Photoshop, and a good photographer should manoeuvre to try and get it as right as possible.  Look around the image and see if the photographer has achieved that.

5. What effects have they used?
There are so many effects now, but you still need to look beyond the effect to see the actual image. The effects a photographer might employ include: sepia or cyanotype toning; spot-saturation (one item is colour, the rest is black and white), soft, hazy effects, turning the camera at a 45 degree angle.

Personally, of all those listed above I dislike the black and white with spot saturation effect most of all, as I find it distracting and overused. I also think its an effect that is already starting to go out of fashion, and it’s going to date the image quickly, although its something I think most people will experiment with at some point.

Sepia and cyanotype (blue toning) can be quite nice, as an alternative to black and white, but it depends on the situation. Certainly, their roots are in traditional darkroom techniques.  The 45 degree angle will give an effect of being candid, suggesting that it’s been “shot from the hip” and unposed – but you’ll have to look carefully to decide whether its actually posed or not. 

The most important thing to decide is whether these effects are appropriate for the actual content of the image. A vintage wedding car might look good with a sepia tone; a modern wedding car however might not.  Equally a black and white image of a bride with spot saturated blue eyes or red lips may end up looking a bit too supernatural or ghoulish.

I remember years ago at a portfolio review in London, a photographer asked me why I’d put an image into black and white when the rest of the set were in colour. I replied, “I thought it looked good when I tried it out”. The photographer advised me that I ought to think about what I was going to do with the image before I took the photograph rather than as an afterthought. Ever since then, effects have been a pre-thought rather than slapping it on an image afterwards to see what happens.  I’ll take the image with an idea in mind about how I want to present it. If an effect looks a bit odd, then I tend to assume the photographer hasn’t planned or considered the image first. I love photograph where the effect complements the subject matter perfectly.

These aren’t hard and fast rules for analysing photography, but its important to remember this is something you need to love once it’s come out of the showroom. There’s nothing worse than a photograph depreciating in its value to you when you take it home.  

Society girl

One of the things when people are looking for a photographer, is to check their credentials. This means different things to different people. It could be what courses they've undertaken - checking whether its a part-time, full time college or university course; whether they've had a class as part of a wider study; whether they've attended weekend classes run by professional photographers  - and if so, who they are. It can also be their reputation- whether previous couples had a positive experience; it can be their photographic background; but it can also be whether they're a member of a group, society, or organisation, and that's what I'm going to write about today.

Truth is, I'm not a member of any photography organisation. I'm currently weighing up the value of each, as there are a few, and each offer different memberships and conditions of membership. I often see a chain of letters after photographers names, and in some cases this indicates a membership of an organisation. As a photographer, I am trying to work out a number of things, which I'm going to write about today:

• what are the benefits to me as a photographer for joining;
• what is the entrance requirement to join;
• what are the qualifications or distinctions within the organisation, and what's required for these;
• how well respected is the organisation perceived to be by members and members of the public;
• what's the quality of members work like.

The societies and organisations I've been looking at are:
The Society of Wedding and Portrait Photographers (SWPP)
The Royal Photographic Society (RPS)
The British Institute of Professional Photography (BIPP)
Master Photographers Association (MPA)


Benefits
First of all, the benefits. This is particularly important. Photography organisations need to offer something to me, as a photographer, more than just having my name listed alongside a hundred other photographers for the cost of membership. Photography organisations can cost upward of £100; and they don't guarantee any client that their experience will be somehow better than a non-organisation member. Lots of great photographers aren't members of photography organisations. It's certainly not compulsory. I was formerly a member of an organisation (although I won't name it), and I personally felt the benefits were very poor, so I let my membership lapse. Year on year, they began withdrawing the benefits but the cost stayed the same. To me, it was a bit like having a gym membership but watching as they removed the equipment and classes and still expect to pay the same. So don't expect every photographer to be a member of an organisation when you speak to them. Not all of them will feel that the benefits of any of the organisations matches their individual needs as photographers. The benefit for the photographer has to be more than giving a client peace of mind (which you shouldn't take purely on the basis of the photographer being an organisation member). For the same amount of money, a photographer could pay for flyers, an advert on a reputable wedding website, or in a magazine.

Entrance Requirements
After assessing the value to the photographer, next comes the requirement to join the organisation.
To make it a little easier, I've basically listed from the various websites of the organisations listed as I understand it. There are also page links to where I have sourced this information. The organisations listed all have different levels of entry. I'd advise reading through these (and read the websites) and familiarising yourself with what the entry requirements are, and the qualification options. In some cases there are also student membership options, however I have not included these in this list.

Some photographers may have joined an organisation purely by making a payment; others will have filled out an extensive application form and submitted photographic work for review by a panel to attain membership. You should be aware that not all organisations have the same entry requirement.

The Society of Wedding and Portrait Photographers (SWPP) - no formal entrance requirement to join, to become a member, you pay the membership fee. http://www.swpp.co.uk/join.htm

There are however qualifications that members can apply for after they have joined. To attain a qualification, the member must submit prints of their work to be judged by a panel. The levels of qualification are: Licentiate; Associate; Craftsman (wedding only); and Fellowship. More information on the criteria required for members to attain these qualifications can be found here: http://www.swpp.co.uk/qualify.htm

The Royal Photographic Society There is no entry requirement to join the RPS. This is open to anyone with an interest in photography to join, more information can be found here: http://www.rps.org/membership-introduction/Join-The-Royal-Photographic-Society

 The RPS has three level of qualification (or distinction, to use their word). These are Licentiateship, Associateship and Fellowship, and the portfolio is judged by a voluntary members panel. More information can be found here: http://www.rps.org/distinctions-introduction

The British Institute of Professional Photography (BIPP) - This organisation has various levels for people to join. The first level is as a "friend", and requires no formal entrance requirement. However members at friend level aren't allowed to promote themselves as BIPP members or use the BIPP logo. Secondly, there's qualifying membership and qualified membership. Qualifying membership allows photographers to work towards a qualification (although they can't advertise themselves as a member or use the logo until after they have qualified). Qualified membership is for more experienced photographers, for example those who require less assistance with attaining a qualification; or people who have previously been members and are rejoining. More information can be found here: http://www.bipp.com/Default.aspx?tabid=105

There are three levels of qualification: Licentiateship, Associateship and Fellowship. Members need to complete an application form and submit work to a judging panel to attain their qualifications. More information on qualifications can be read here: http://www.bipp.com/Default.aspx?tabid=95

Master Photographers Association - Membership to the MPA is restricted to full time professional photographers. To join, the photographer needs to submit references, which after approval the membership is accepted at probationary status. Candidates only receive full membership after completing their Licentiate and Diploma in Photographic Practice, and only after that can they advertise themselves as members and use the logos. More information is available here:
http://www.thempa.com/joining-the-master-photographers-association.php

The qualifications available are Licentiate, Associate, and Fellow. These are attained through submission of a portfolio of work, although the type of portfolio required depends on the type of category (e.g. wedding, portrait, fashion).  More information can be found here: http://www.thempa.com/master-photographers-association-qualification-grades.php

Is the organisation well respected?
On a personal level, I assess this by talking to people who are currently members. I like to get a feel from them from the inside as to how they view the value of their membership. Whether joining it has been a regret, or whether they recommend it. Sometimes, it's not until you join that you get an honest feel for all those benefits offered originally.

Everyone has their own opinion, their own idea and own story to tell. How compelling the story is though influences my opinion of the respectability of the organisation, and adds to how I'm presently trying to assess which organisation, if any, I want to join.

Ask around, speak to people who've hired photographers previously who were members of an organisation. Did they feel it made a difference? Were they satisfied with the quality of work they received from that photographer?  Remember, portfolios can consist of a small selection of images from a wide range of photographic shoots, sometimes over a number of years.

Quality of members work
Now this is something I definitely can't answer. My best advice here, is to look at the portfolios, exhibitions and galleries of members work. Do you feel overall, that the members galleries are consistent with what you like? Do you look through them and spot fantastic images constantly, or is it more sporadic?

What should you be looking for in a photographer's work? Again, that's an individual taste thing. Ultimately: can you see yourself in that photo; do you want to be that person in the photo; is that a photograph you would want to have on your wall or in your wedding album for the rest of your life?

Work out how much you like the photos, whether the styles appeal to you; whether they cover work which fits with the sort of photography service you're after. Don't necessarily expect someone who specialises in landscapes to be as strong, or as interested in wedding photography. A studio-based high fashion photographer might make a model look great for five photos in a half-day session in a studio filled with professional lighting equipment and careful post processing, but may lack the skill for timing, posing, and fast acting required for a reception filled with normal people and no fancy lighting set ups. Don't assume all photographers can do any type of photography. We all have strengths and weaknesses and we all have specialist interests. Think of it like a shop - some shops sell shoes, others sell clothes, others sell food, some sell cosmetics, others specialise in electrical equipment, some sell pet care. Ultimately, they all sell a product from fixed retail premises, but their specialism and individual knowledge can be quite different.

Look at the portfolio, see what they do, what they excel at, what interests them. Critique them honestly, be totally brutal about the worst things in their photos. Are those worst things really something that would destroy that image if it was yours? Is that worst thing a deal breaker? Or is it something that's so minute, so tiny, so small, it barely dents your overall opinion of the image? Remember, that image represents the highest standard the photographer has to offer.

Hopefully, this entry today will have given you some things to think about when you're selecting a photographer and the importance you place on organisation membership. Personally speaking, I'm hoping to make a decision soon - I'll let you know soon enough which organisation I apply for pending any necessary approval.

All of the text is based on information I've attained through research; as I'm yet to reach a personal decision I'm not sharing any personal opinion on the value of any of the organisations I discuss. However, if after reading this entry, you've got something you want to clarify (or if you know I've said something that's completely wrong and you wish to correct me), please feel free to do so via the comments or by email. Equally, I'd love to hear from people and their personal experiences, or opinions. Feel free to email me directly to tell me what you think and how you perceive photography organisations.

Coming soon, I'm going to write a piece about what I look at in photography, how I see a photograph that I wish I'd taken or I dislike totally. I'll also write about my own process of creating a portfolio and what it means to me.