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.  

Vintage darlings: Fifties Wedding

As part of my exploration into vintage, I am extremely pleased to present this week’s featured guest, Charlie, who co-writes the blog at http://fiftieswedding.com/.

Charlie‘s blog is very much a mother-daughter collaboration, with her mum Selma writing a regular post every week. Their website features lots of beautiful vintage ideas and inspiration, most noteably paying homeage to Charlie’s icon, Audrey Hepburn.

Their Fifties Wedding blog is a lot more than articles about vintage. Selma and Charlie offer brides (and anyone involved in weddings) lots of useful tips, how-tos, practical ideas and inspiring images, including dedicated inspiration galleries of wedding dresses and wedding shoes. Personally I think it’s a great resource that ought to be bookmarked by any vintage inspired bride in the process of planning her wedding.

Charlie and Selma began writing Fifties Wedding in October 2010, and in the short space of time it’s become very popular, no doubt as a result of Charlie and Selma’s evident passion for vintage and breadth of ideas. I asked Charlie how she finds having such a popular blog since October. Charlie explains “I have met so many lovely people through doing it. I am completely shocked at how popular the blog has become in such a short space of time – I really never thought there were so many 50s inspired brides out there! It’s obviously a great feeling to know that people are interested and reading the blog though! I couldn’t be happier – hopefully it will just keep growing!”

Charlie was initially inspired to start the blog after finding difficulty in sourcing what she wanted for your own wedding. She particularly had problems finding a dress, bird cage veil and shoes, all within her budget. Like many people, although she could have spent hours on Google, what she really wanted was a single website with tips on everything. Charlie explains, “In the end I made my own birdcage veil for example, because I just didn’t know where else to get it! Since doing the blog of course I have found that there are hundreds and hundreds of fabulous small suppliers & designers out there. Indeed many of them I wish I had known about when planning my wedding!”

I asked Charlie about what vintage she incorporated into her own wedding. Charlie replies, “It was a mixture of 50s, vintage, summer & country all wrapped up in one. My dress was 50s inspired – tea length with a petticoat to give it that 50s shape. I wore my mum’s vintage pearls too, and had 50s inspired peep toe shoes with bows on. We hired an old-fashioned style ice cream trike, made lots of bunting to hang round the garden, and put flowers in vintage vases and jugs”.

I wanted to know a little more about what attracted Charlie specifically towards 50s vintage. She says “I love the fashion and style of the era and the glamorous movie star icons (Grace Kelly, Audrey Hepburn). Those full dresses, the red lipstick, the bows, the polka dots…just some of the things I love!”

So why does Charlie think there’s been such an increased interest in vintage inspired weddings? Charlie responds “I think there has been a general acceptance over the years that your wedding doesn’t have to be traditional if you don’t want it to be. The eras of the 20s, 30s, 40s & 50s particularly evoke nostalgia and romance that I think people are drawn to – the black & white movies, the art deco posters, the wartime fashions, the Hollywood actors of the 30s etc. All of these times reflect our history. I also think that there has been a growing interest towards vintage-inspired weddings just as much as there has been a growing interest towards DIY weddings, hippy weddings, weddings in unusual locations and all sorts of other sorts of weddings. With more and more wedding websites and blogs, and more articles in magazines about ‘alternative’ weddings, brides-to-be are encouraged to make their big day personal to them – whatever that may be.”

Of course, not everyone wants their wedding to be completely vintage inspired, and some brides might want to incorporate a few elements that can achieve a vintage feel. I asked Charlie what tips she had for anyone looking for some subtle vintage details. Charlie suggests “Well it’s all about the wedding you want that reflects you. For a touch of 50s glamour it could be anything such as little pearl earrings & gloves, or perhaps an Audrey Hepburn updo. I think flowers in vintage vases and tea cups are a great idea too. I think a 50s style dress of course is very important!”

Since I started this exploration of vintage weddings, one thing that has been apparent is how flattering vintage clothing is on different figures. I asked Charlie if she thought this was part of the appeal of vintage wedding glamour. Charlie answers “I definitely think that plays a part – with 50s styles anyway! That’s why I love the 50s style dresses. Wearing vintage clothing is like wearing a little bit of fashion history too, and if you’re wearing you mum’s cardigan from the 1960s you can be pretty sure no one else will be wearing the same thing! It’s fun to be different!”

And does Charlie have any tips to achieving the right look? She says, “There is no right or wrong – that’s the beauty of it! You can incorporate as little or as much vintage as you like.”

Finally, I asked Charlie if she had anything she’d like to add?

Charlie replies “Only that if you’re getting married, have the wedding your way!”.

With thanks to Charlie for her fantastic answers – her blog is definitely a must-read for any bride to be, or anyone interested in vintage. I'm personally eyeing up the brooches featured in their article 1950s Inspired Thank You Gifts for Bridesmaids & Mums - I reckon they could make a nice mothers day gift!


Follow Fifties Wedding on Twitter @fiftieswedding
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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.

Springness

Ok, so here's the thing: as much as I love the winter, the thing I really love about it is snuggling down and keeping snug. The downside is that it doesn't really inspire me to do all the things I ought to do with my time. I read a lot, I get ideas, but motivation for going outside isn't one of my strong points when we're down to 5 hours of daylight and actually, its just above freezing outside.

So I am pretty darn happy about springtime being here. I'm not big on summer, but I do like transitional periods of the year, and spring pretty much does that.

This spring, I'm looking forward to a number of exciting portfolio based photoshoots. All on location, and my little head has started ticking away with ideas and things to do. The downside to the photoshoots is the organisation. It's not that I'm useless at organising (sometimes I even surprise myself at what I can produce) it's just that I never really relax about something until the end of the shoot, when it's all done and dusted. That's when I take a chance to reflect and enjoy what's happened.

I enjoy the portfolio shoots for the fact that I have a chance to exercise my skills. The way I see it, there's no point in putting down the camera between paid work. I need to keep doing things, and my portfolio is constantly a live project.

The thing I enjoy about this time of year is how I feel more naturally motivated to do something, probably to do with the clocks and the amount of daylight, and all the lovely fresh smells. This spring in particular is much milder than last year, which is good for making me want to spend a little more time outside.

Hopefully, at least one photoshoot will be complete this time next month, and I'll have something new to show you; the others I'm hoping can be done soon too. I think the big thing is how impatient I get to produce the idea sitting in my head into an image.

Vintage darlings: Flossy and Dossy

all images courtesy of Flossy and Dossy

As part of my on-going exploration into vintage themes at weddings, I'm extremely pleased today to present talented Glasgow based dressmaker Wendy from Flossy and Dossy. I first met Wendy in September 2010 when we collaborated on a photoshoot. I was instantly drawn to Wendy's beautiful vintage inspired clothes - cute little summer dresses and ladylike floral print tops that wouldn't look out of place at a vintage tea party. What struck me most was the beautiful attention to detail and care towards vintage design.

Wendy started dressmaking and knitting initially as a hobby, making her own unique vintage inspired clothes. She started receiving compliments from friends as well as from strangers on her stunning creations and the requests started to come in from friends wanting her to make clothes for them. Wendy's confidence in her ability began to grow steadily along with her understanding of garment construction, however she knew she was onto something a little more special when her sister asked her to design and make a wedding dress.

Wendy began Flossy and Dossy in 2008. So where did the name Flossy and Dossy come from? Wendy explains "I wanted to pick a name that was fun, a little twee and playful, and after considering a few ideas I liked how it reflected my design concepts. It's also something that seems to stick in people's minds". Wendy was mindful of the importance of a good name and carefully selected a name which suited the market and brand of her business.

Wendy discusses how her business began, "I started off small, taking stalls at handmade vintage fairs such as those run by Made in the Shade, and dipping my toes in online selling, and it's all taken off from there. I also discovered early on how important it is to get good photographs, to show off my clothes in their best possible light."

I asked Wendy about where she gets her inspiration, and the personal appeal for her of vintage. Wendy says "Ever since I was little I've adored old movies, and I've always been fascinated by the how almost every actress carries herself with such poise and sophistication.

If it wasn't for Audrey Hepburn I doubt that Flossy would exist; I've always adored her impeccable, individual style. Hers is the playful sophistication that inspires all of my clothes, from the ballet pump/ full skirt look of Roman Holiday, to the glamour of Breakfast at Tiffany's. 


Behind all of Flossy's designs is a great deal of research; not only on the technical aspects of, for example, frock design, but also how a certain look is constructed. I ask myself what makes a Hitchcock Blonde so distinctive? Therefore one of my greatest influences is Edith Head, who designed wonderful gowns for Hollywood films for over forty years. She was nominated for the Oscar for Costume Design an astonishing 35 times, and the list of actresses who wore her designs is a who's-who of cinema.

When I'm designing frocks I'm mainly influenced by the 50s. I love how full-skirted designs flatter every figure and make the wearer feel feminine. When I'm working on my knitwear I'm mainly influenced by the 40s. I love the nipped-in waist and wide shoulders of knitwear from this time."

We move on to the topic of vintage at weddings. I asked Wendy why she thinks vintage has had such an allure at weddings. Wendy responds "I think that the main reason interest has been growing in vintage-inspired weddings is that people want something that's a bit more personal, and that the flavour of the whole day, from the bridal and bridesmaid frocks right down to the invitations and favours, can be elegantly themed. At a recent wedding I attended, the table decorations were handmade by the bride's mother and involved lovely little floral sprays set into vintage teacups - touches like that are wonderful.

There's also an increasing amount of inspiration on the web, from Offbeat Bride to the Etsy Wedding Blog. These websites have great style tips, and have examples of things you can make yourself which look better than the generic wedding stationery or table decorations."

Of course, vintage can go wrong. So what advice does she have to avoid the pitfalls, and how to get the look right?

Wendy replies "I think the main thing to remember is that finding vintage accessories can take time especially if you're on a tight budget. It's also sometimes difficult to blend vintage and modern and you might have to bear this in mind when picking the venue. I've seen a lot of lovely vintage style weddings which are slightly let down by the hotel decor (especially in Scotland with the trend for tartan carpets!) To get round this I'd make sure you pick out a main colour and carry it through the whole wedding; if the hotel has a blue tartan carpet make sure you pick up the blue in the groomsmen's ties, the buttonholes or a sash on the bridesmaids dress that helps tie the whole look together."

I asked Wendy if she has any advice for anyone looking to take the plunge into slipping into something a little more vintage, how to find something that works for them. Wendy explains "Vintage style clothing can flatter all shapes and sizes, Its all about picking the right accessories and being confident about what you wear. Lots of my customers have been reluctant to wear the full 50s skirt as they think its going to make them look larger than they really are, but once they've tried it on they realise the shape actually shrinks the waist it will give you an hourglass silhouette whether your slim and boyish or large and curvy. Every woman should own one."

Finally, does Wendy have any predictions for what vintage inspired clothing is going to be popular in the near future? Wendy replies "I think full skirted 50s dresses and skirts will always be popular but I do think there's going to be a rise in 40s style dresses from cotton tea dresses to glamorous evening wear. There's been a big increase in 1940s styling on the internet with lots of video tutorials showing you how to style your hair in victory rolls or how to do pin curls."

Many thanks to Wendy for sharing her insight into vintage clothing and her beautiful designs from Flossy and Dossy. Time to get practicing on those victory curls!

Follow Flossy and Dossy on Twitter: @flossyanddossy
Flossy and Dossy website
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Vintage darlings: Vintage Scoops

So as part of my "lets talk about vintage" theme, today I'm pleased as punch to be showcasing the wonderful Vintage Scoops.

all images courtesy of Vintage Scoops

A year after the death of her mum, Hayley announced to her husband that she'd had enough of feeling sad, and had decided to purchase a vintage ice cream van. The ice cream van in question was a 1973 Bedford, and was named Betty after Hayley's grandmother.

Hayley had help restoring Betty from her husband and a good friend who is a mechanic and spent his apprenticeship working on Bedford vans. Together, they restored Betty to her full glory, refitting the floor, fixing the electrics, and respraying, and with the help of their friend they ensure that they keep Betty maintained and on the road. Hayley started trading in May 2010.

As her business grows from strength to strength, Hayley was chosen as overall winner by the Country Homes and Interiors 'Run Your Own Country Business of the Year” competition last autumn. Having started trading only a few months previously, this was clearly a wonderful accolade for someone during their first year of business. Hayley received a phone call telling her that she'd won on the last day of her full time job.  Hayley explains "It felt so right, like it was all meant to be. I couldn’t believe it! I was literally running round at work jumping for joy! I am pretty sure my lovely Mum had a little helping hand from heaven! She would of so enjoyed this journey I am on….. Winning the completion was such a huge boost and more than anything was reassurance that I was doing the right thing and was not totally mad!"

When I asked Hayley what inspired her to have a vintage ice cream van, she responded "I just wanted to be doing something where I could be me! Smiling and happy and an ice cream van festooned with bunting screams happiness to me. It evokes childhood memories, I sell all items, sweets and drinks that have a nostalgic feel to them".

When she's not serving ice cream from Betty, Hayley enjoys shopping and searching for vintage treasures at boot sales and flea markets.  "My own style at home is quite eclectic. That’s what makes us English girls so unique though I believe. I love colour, 50’s vintage fabrics, old cups and saucers, old glass jelly moulds, all those things that remind me of my Grandma and my childhood. To me it’s about enjoying the simple things,  things that are quintessentially English, fun and jolly. I surround myself with things and people that make me smile. Losing my mum who was only 53 has made me appreciate more than ever that life is too short for regrets."

I asked Hayley why she thought vintage has seen such a resurgence. Hayley explains "I think people are enjoying returning back to the simple things in life. In times when things are quite tough economically. We are all yearning and appreciating simple pleasures. Afternoon tea, garden parties and so on".

And Hayley's philosophy? "You only get one chance and life is for living. Follow your dreams..........."

With a van like Betty, I think Hayley's got us all dreaming of summer!

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Vintage darlings

So today I thought I'd start writing about the growing love towards vintage inspirations at weddings.

Vintage is quite a broad topic - it'd be impossible to write about it in a single blog entry, which is why I've decided that this will become a recurring theme. During my blog entries, my aim is to explore different elements that couples can incorporate to add a vintage flavour to their wedding. I'll have articles about services with a vintage twist, and their thoughts about the meaning of "vintage".

I also want to look at different eras - the word "vintage" can inspire a lot of different ideas of what it constitutes, which if not discussed could lead to some very crossed wires. I'll be looking at examples of genuine vintage photography, and comparing modern takes on vintage photography.

So what is vintage? what does it mean when we say "vintage inspired"? Is it better to have replica vintage items, or does it make a difference to have genuine sourced vintage items at a wedding?

Moreover, I'd love to hear from readers about your opinion on vintage weddings. Is this a passing fad? Is it a flash in the pan or is it here to stay? Have you been involved as a supplier or guest at a vintage inspired wedding? Or have you got a vintage wedding planned? Do we have a shared definition of vintage - would something from the 80s or 90s or even the start of the 00s be considered vintage?

Quite simply: why is there such an interest in vintage weddings?

Please feel free to add your opinion in the comments below; or if you're willing, please email me about your thoughts, for possible inclusion in a future blog entry.

Fabulousness

So the end of 2010 was pretty frantic for me. I landed a rather wonderful photography job and had very little time for anything else, I ended working right up to Christmas Eve and then spent much of the New Year playing catch-up with other work which needed some finishing touches. But now I'm busy working on my 2011 plans, and have been gradually working away in various areas which needed a bit of tending to. So, here we are, it's Springtime and I've got a chance to do some blogging again!

I've also had a chance now to update my design of the blog with my fantastic new logo, by Tom Holmes. Tom was fantastic - it was a bit like those moments when I go to the hairdresser, and say "I want this, this, with this here, and this off, and no shorter than that", and wait patiently, hoping that whatever they translate that into isn't going to be a mullet. Then they produce a fantastic haircut, and I spend a week checking it out in every reflective surface. Well, Tom was able to take my "directions", and translate it into a fantastic design that I couldn't have even dreamt of. Not a mullet in sight.

Last week, I attended the Fabulous Wedding Show at Glasgow's Hilton Grosvenor Hotel on the corner of Byres Road. Leading up to that was a bit frantic with preparing all my samples. I've got two splendid wedding albums now to show off, both from Loxley Colour. I was really pleased with the result of them. (Photos to come!)

I think one of my biggest Achilles is making decisions when faced with lots of good options. That was certainly the case with these albums - trying to decide the cover, the size, the style. However, I was really over the moon when I got them. As a photographer, I have to make sure I have complete confidence in my samples, both with albums and portfolio. I love these wedding albums - they feel so sturdy; the images are printed onto the page, rather than having an aperture window mount, which just feels so refreshingly 21st Century, this lovely storybook feel to it. Plus, it means I can produce an image across a double page spread, much like a fashion editorial, or an art photography book.

The albums have a gorgeous brushed aluminium cover with the names of the couple and the date of the wedding engraved on the front. I've produced two sample albums - a smaller one (which I think would make a gorgeous parents album, or just a small mini album for the couple if they wanted) at 7x5 inches; and a large, landscape 14x10 inch album which really looks gorgeous. I went with a 40 page album, which is the minimum page number I'm producing. I felt that 40 pages was just enough to tell the story of the wedding. A good story needs to include the details - it should be rich and vibrant with setting the scene, and 40 pages covers that comfortably.

My next wedding show is this Sunday, at the Thistle Hotel on Cambridge Street, Glasgow. More details can be found on the Fabulous Wedding Show website.

Last week's wedding show was amazing - I met lots of lovely couples, and lots of lovely fellow vendors. I'm also running a special offer for couples who come up and say hello at the wedding show, but you'll have to come along to find out what it is!

A story behind every photo...

This is a photograph from a recent photo shoot I did for a make up artist. I liked this photograph most of all so thought I'd post it to my blog. 

The story behind this shoot, was that the make up artist (Joanna) runs an online retro-vintage clothes store. All of the pieces she sells are unique one-off items, and she had a few which needed photographing for her site. This particular item was a pussy-cat bow blouse. 

We decided to theme the shoot. I like to make little stories about photo shoots, I've always been interested in stories since I was a kid. Before I got into photography, I used to spend a lot of my spare time writing, so I'm driven by plots, narrative, and characters and that's something I try to bring into my photographs. 


The theme of this shoot was to create four different personas for each of the outfits. We decided that we'd go with different card suits for this. The pussycat bow was teamed with a pair of killer heels and a black leather pencil skirt. This was the Queen of Spades look. Our Diamond queen wore leopard print leggings, a shiny quilted clutch bag, and a black bodysuit. Our Jack (or Jill) of Clubs went for a clubber look (of course!), with a MC Hammer pink t-shirt, black leggings, and a wild sequins boyfriend blazer. Finally, the Queen of Hearts was dolled up to look like a 50's pin-up girl.

The thing I enjoy about these sorts of shoots, is that I have this chance to get quite experimental. It's hard work - but half the hard work really comes through the non-camera based work. 


Before I started really getting into photography, studying it, when I was taking photos for pleasure and starting out, I didn't really consider the volume of work involved behind the picture. However, when I started to take photography more seriously, I noticed how things changed. If I'm honest, I probably took less photos the more seriously I took photography. 


A shoot like this involves a lot of ground work before the button is pressed. Researching the idea, buying a background (B&Q, if you're interested), looking at what had been done before, and deciding to model the cards on 1970s style novelty playing cards, agreeing on how the photographs ought to look, what we'd do, what we wanted and didn't want. I even made a mock-up to see what I'd need to consider before I took a photograph. And that's not even the whole story as it only covers my involvement. 


After the shoot, I got to work on editing the photos. 


Although I don't take a machine-gun approach to my photography, I do make sure I take as many as I can. My approach is about getting the set up right first - so there are always test shots for exposure, particularly when the model changes clothes as different fabrics might need different lighting adjustments to make the photo work. Then we get into the actual shoot itself. 


We worked on different poses - what suited the model (Romy) best, what angles showed the clothes off to their best advantage, and what portrayed the character we were trying to create. Romy was great in this shoot - she really embraced the different characters and what we were trying to do, offering poses and suggestions and being pro-active in front of the camera, which was really important for me. 


I'll be honest, I'm a bit of a liar when it comes to a shoot. I usually say "just one or two more", and will fire off more than just the one or two I request. I can't help it: if something's working well, I take full advantage while I can.


Editing always takes time. I'll compare images carefully, and narrow down my selection. I divide my photographs into groups. I've got a pretty good idea of exactly what I'm looking for in a photograph, but I like to give my clients options, selecting the top cuts from each group. I also try to be aware if the client made any special requests as to shots they specifically wanted. In this case, Joanna wanted  a close up photograph of Romy's face to showcase her make up artistry - the photograph shown at the start of this entry. 

I suppose editing might seem like the easy bit, or that things can be automatically fixed by Photoshop. Photoshop has many wonderful features, but it can't make a silk purse out of a sow's ear. 

The idea through research and planning, is to help make sure that as much goes right before taking the photograph. There's no substitute for getting the photograph right in camera. Editing afterwards should be about enhancing what is there and removing what couldn't be avoided, for example pylons surrounding a location where there's otherwise a beautiful vista.

Sitting in front of a computer for hours, painstakingly editing photographs is hard work. Its a bit like sitting writing a business report, or analysing statistics in a spreadsheet for hours on end. You end up poring over details, cross-checking to see whether you've kept things consistent. I'm doing the same thing as I would in a darkroom. Admittedly, I'm not getting a sore back from standing over an enlarger in a darkroom, my eyesight trying to focus on something that's dimly lit and negative, my clothes stinking of chemicals from fixer and developer agents. However, much like staring at numbers on a spreadsheet, after a while, I do get cramps in my hand and need to get out my chair and stretch (it's usually around then that someone might call and ask "have you finished yet?"). I have to admit however that I enjoy editing photographs - if the hard work involved was demotivating and soul-destroying, I don't think I could continue in this line of work.


When I'm booked by a client, it's not just my ability to hold a camera that they're paying for. There's a lot of work that goes into each of those photographs before I've pressed a button, and after I've put my camera away. You've probably heard of the Pareto principle, and I suppose in this case the physical act of photographing only accounts for 20% of the work involved - the remaining 80% is image research and editing. 

Every photograph has a story to tell, including its own story of how that photograph was created from start to finish.

In the gardens

It's been a while since my last blog post, on the basis I've actually been very busy lately! In the past fortnight, I've had three separate shoots, which means three lots of editing of photographs afterwards. 

This particular post is about a personal project I've recently completed. The reason I'm writing about these photographs is basically because I really like them, and also because I like to keep working on all sorts of photographic projects whenever I can. Sometimes the influences from a shoot like this can end up being used for a bridal or portraiture shoot. I like to keep working at my photography, whether someone else plans the shoot, or its one I create myself. At any rate, personal projects keep me out of mischief. 

This photoshoot has been on the cards for a while now - it's something I've wanted to do, and as with all my most successful shoots, took a fair amount of organising, planning, and researching before I could even click the button and take the first photograph. I must admit, I was hugely nervous about this shoot. Why? Because of all the people involved, the planning, and organising, and even the weather, absolutely everything had gone perfectly right. When everything else goes right it does leave me to get on with the photographic side, and I always reserve a little nervousness for something going wrong during the shoot. I think it's simply because I care about what I do - I want to get it right, I want to exceed my own expectations, and I want to deliver success back to everyone else involved in the shoot.

 Outdoor photoshoots in Scotland can be hit or miss, in terms of the weather. Autumnal photoshoots are never a certain thing, and I spent the best part of ten days leading up to the shoot watching the weather forecast online, much like watching the lottery to see if your numbers appear. As it happened, we were exceptionately lucky. The entire week was blighted by bad weather on and off, but our shoot happened on the one day in weeks when we had unusually good weather. Being in Scotland, I do have to come prepared for a shoot. So I had some lovely colourful brollies in the event of a shower, and some nice fleecy blankets to keep the girls snug between shots.

The dresses and all the clothes used in the photoshoot were provided by Wendy from Flossy and Dossy. I was keen to work with Wendy when I saw her clothes, as I had a particular shot in mind that I wanted to create. I thought that they would be perfect in this setting.

As with any shoot I work on, I usually end up with more props than I end up using - but mostly tools and props that I can and do end up using again.

I was working with Kathryn Hughes the make up artist. I've worked with Kathryn quite a few times previously. I must admit, when I find a great make up artist, I make a point of working with them again. Kathryn and I started by comparing ideas and research as to the look we wanted for the shoot. I'm inclined to leave more of it in her hands, mostly because I know she delivers a good quality service and I trust her. But also perhaps because I occasionally have a tendency to see every idea and think "yeah! lets do that!", and if we actually went with every idea, the girls' faces would end up looking like they'd been dragged through a make-up counter backwards. 

My assistant for the day was Laura Hughes (no relation to Kathryn), who I know from my student days as a fellow photographer. Working with other photographers enables me to have someone to bounce ideas off, and someone who understands how the kit works, and can see the things I'm trying to create. 

The lovely models are Lainey Virginia Brown, and Melanie Long. Although this was my first time working with them, they were both very professional in their work, despite the long day! 

Without a committed team, I don't think the shoot would have gone as well as it did. I felt afterwards that the photographs produced met exactly to the original plan, and if I'm honest, I feel they've exceeded my own expectations. 

These photographs are currently featured (alongside more photographs) on my commercial photography website: 

http://www.kristinmitchell.co.uk in the fashion section.

Viewpark Gardens was a fantastic venue for this shoot - although now closed to the public for the winter, it's still available for bridal parties throughout the year. I think it makes a wonderful wedding photography backdrop particularly where the budget might not match the cost of a country mansion with beautiful grounds to wander round in.

Beautiful locations: Viewpark Gardens

Recently I took a brief trip to Viewpark Gardens as part of a recce for a photo shoot. As photographs go, these were snapshots. I took a point and shoot approach to these photographs, simply to act as a memory jog and to help inspire me with my research.

The gardens are run by North Lanarkshire Council, and open to the public. They're also available for brides and grooms to hire for photoshoots; which is perfect if your venues aren't quite as picturesque as you'd like.

When I went on my recce, there were four sets of bridal parties arriving. Fortunately, while covering a fairly compact area, the gardens are diverse enough to accommodate more than one bride without any risk of accidentally appearing in one another's photographs. The gardens are divided into several smaller sections, all joined through corridors, but each is secluded enough to allow a group to enjoy a photoshoot without being distracted (or even aware) of anyone else around.

 I think as a location, it is perfect for creative photography, and with such a range of space, it can work well with almost any wedding theme. Whether you've been inspired by the grandeur of the Georgian period; you want the vintage style of Versailles;  you want strike a pose like a Vogue fashion shoot; or whether you're a queen of hearts with a bouquet of red roses; then Viewpark is a fantastic location to work with your wedding photographer.

My personal favourite section was the checkered floor. It's not a huge area, but through the clematis-clad trellis, it leads to a beautiful winding little path, taking you deeper into the garden. 

It's perfect for brides who might be trying to keep to a tighter budget, and can't quite afford a location with the soft rolling vistas across Lanarkshire but would still like somewhere beautiful for their bridal photographs. North Lanarkshire Council do request a payment of £37.90 (which includes VAT), plus you must book 21 days in advance, in writing, to use the gardens for wedding photography. 

Strike a pose....

So today I thought I'd write a post offering six tips about being in front of the camera.

Everyone reacts differently when there's a camera in front of them, regardless of whether its a friend or a professional they have hired. A lot of people don't like having their photo taken, and will wince at the sight of themselves not looking quite as Angelina Jolie as they would like.

However, there are things you can do, to make what you have look great. I suggest you actually try doing them as you're reading them.

Make the most of who you are, play up to the camera with your own special virtues, and you'll end up with a photo that Angelina Jolie might wish for.


1. Hold your head
A lot of the time, when someone takes a photo, the person in the photo will often pull their head back. It's an instant reflex, where we somehow manage to think the room is only 1 metre wide, and we need to pull our face back as far as possible so we fit in through the lens. To paraphrase Jamelia: Stop!

If the photographer is too close, then either step back, or get them to step back. But don't push your head back. I call this the turtle look, where we look like turtles retreating into our shells, and our chin remarkably evolves into folds of neck. The other danger is tilting your head up, so everyone gets a lovely shot of nostrils. Great, if that's the look you're going for, but normally people aren't aiming for that appearance.

So here's the tip: stand tall - you know all those tips about posture and invisible lines pulling you up? This will lengthen the neckline. Now, you don't want to do the whole ladies finishing school thing of pretending to balance books on your head, because usually that means your chin is tilted upward.  Gently tilt your head forward, and downward at the chin. Keep your neck lengthened, and your chin tilted down slightly, as if you're resting it on the edge of a table. Voila - goodbye multi-chins and volcanic looking nostrils, hello graceful, defined jawline!


2. Stand at an angle
A camera effectively flattens a three dimensional scene into two dimensions when it takes a photograph. It makes everything into height and width, and it can miss the more subtle nuances of a person. I rarely stand straight on in a photo, because I end up looking like a podgy cut out. This is because the camera creates the image from what is in front of it, which if I'm straight on, is from left to right, my widest part across my hips and tum. 

 The two dimensions however can be used to your advantage. By standing at an angle to the camera, anyone can look instantly slimmer in a photograph. You will need to practice this in the mirror first of all though, but it's fairly easy to do when you've worked it out. Protractor is optional.

First of all, imagine the camera is right in front of you. From where you're standing now, turn your body 45 degrees from the camera. Don't go the full 90 - you will end up looking like a police mug shot.
 
Rest your body weight more towards the leg farthest from the camera. Point your closest leg (and foot) towards the camera, about 10 degrees.

Now twist your head and shoulders back round towards the camera, without moving your hips or feet. Don't turn your head straight on to the camera though - keep it at a slight angle (10 degrees or so). It's the left-right thing again - keep it at a slight angle if you want to slim the shape of your face a bit or show off your cheekbones.

This is the lovely Alison from Plans and Presents, posing for me.  She gets the pose spot on. Flick through any magazine or newspaper and look at the stars on the red carpet. 80% of them will be striking exactly the same pose (the other 20% tend to turn round and show off their backs, but that's another story).

3. Smile!
Sounds daft, but it's something people seem to forget to do! Don't go for the full-on cheesy grin though, but a relaxed, and content smile. I've seen people pouting quite a lot in photos. Pouting can be hit or miss really - you only really know when you finally see the photo and either feel content with it, or it makes you cringe. Safest bet is to smile. And smile with your eyes too! Take a deep breath, and exhale slowly and calmly, and let a smile creep gently on your face. I find this usually makes people's eyes smile a little bit more.

4. What to do with the hands?
If you're following my advice so far, then you might be wondering what to do with your hands. Well, in the photo above, Alison has elongated her figure by placing her hand on her thigh. As I said before, the camera turns everything into two dimensions, seeing everything as left to right. If you've achieved the 45 degree turn, then you're showing your figure at its slimmest angle. Let your arm relax (without slouching the shoulder), and it'll accentuate length of the body.

Place your hand over your hip, or thigh, and your hand will automatically look bigger than your body (without being a giant, out of proportion hand).

Try to avoid folding your arms - unless you're doing a slightly comical angry pose. Folding the arms tends to cut the body in two and can be a little less flattering.

5. Turn to the light.
Maybe, like me, you're a bit of a fan of America's Next Top Model, in which case you'll have heard Tyra instructing models to "find the light", shortly before they get ousted. Unless you're going for a particularly artistic photograph and your photographer is going for slightly dramatic, then my suggestion is to face the light source. The reason for this, is that you'll reduce any harsh shadows across your face. I don't mind my nose, but if the light is at the wrong angle, it does turn my face into a sundial. Light can catch anything - including wrinkles, and cast shadows. Turn your face towards the light and you reduce those shadows, and keep your skin looking much smoother.



6. Avoid the light!
Yeah, I'm going to contradict myself here. But this isn't about any light. This is the sun! If you've ever had someone take a photo of you outside only to look at it and hate it because your face is scrunched up, then here's my top tip - turn away from the sun. Ask your photographer to turn on their flash, and take the photo. You'll be able to relax your face a little more, and your photographer will get a much better photo.


Hopefully these tips will help you get the most out of being in front of the camera, and you'll end up with more beautiful photographs than before.

If you've got any questions or want any advice and you'd like me to write about in my blog regarding photography, feel free to email me!

Plans and Presents - the photoshoot

So I thought I'd write a blog post today about my photoshoot last week with Alison from Plans and Presents.

I really like working in the West End of Glasgow because it does offer such a wide variety of locations in a small area. I like places where locations are within short walking distances. Partly because I don't really want my clients to feel tired from being marched around, but also because I usually have a considerable amount of equipment to haul. While the weight isn't always an issue, it's usually the awkwardness of bag shapes that can be the problem. If you've ever tried dragging large cumbersome suitcases around, you probably have a fair idea how you always end up a magnet for people to walk directly towards. Same thing happens when I've got a long tripod bag over my shoulder.

Following my reccie I knew I wanted to use the cloisters at Glasgow university for this shoot. I also had a pretty good idea of something I wanted to do with the lighting. I prefer keeping my lighting as simple as possible, something I've gradually learned over time that too many lights can spoil a photo.

Alison started her business over a year ago, and in that short space of time she's become an influential figure in Scotland for weddings and event organisation, clear proof of her hard work,  determination and passion for providing a good service to her clients. She's also incredibly friendly, something I daresay has helped her to succeed with working with people towards their weddings.

Alison was keen to have some professional photographs taken which were more current. I was more than happy to do this, and I felt that she would suit a classic contemporary image.

To me, portraiture is a bit like clothes shopping. One size doesn't fit all, one style doesn't always suit all people either. You need to get a feel, an idea for what would and can work. Poses, lighting, and post production are all important factors to consider with the end result.

Alison came wearing a lovely cerise top with smart black trousers and shoes, looking very professional and smart. Combined with her raven black hair and dark eyes, I knew I wanted this to be very much about colour and keeping everything about the photographs striking and bold.

We started the shoot at the Cloisters, and moved round the campus to a large wooden door which had gorgeous warm tones and texture and I felt this would work in a photograph.

After leaving the university, we walked over to Cranworth Lane - which I consider perhaps the equally attractive but lesser visited cousin of Ashton Lane. I felt this gave a lovely cosmopolitan setting for the next set of photographs, and the black and white exteriors really worked well as a simple monochromatic backdrop to Alison's bright top.

Finally, we headed to the Botanics. I decided to give Alison a more relaxing pose to assume, and asked her to lie down for me. While the weather is good, I wanted to take the chance to do something a little more summery.

Those fluffy white clouds, blue sky and green grass won't be around much longer, so here was a chance to take full advantage of them as a backdrop.

While studios are great places to work with portraits (especially if its raining or you want a change of clothes, or space to be more experimental), I do enjoy shooting on location much more. I think this is because I find it so much more versatile. Also, working outside means I get to use one of the most powerful lights I can - the sun. No batteries or wires and so powerful to use and easy to manipulate to work with a portrait.

Working with Alison was an absolute pleasure for this shoot. A good shoot to me is as much about chemistry and people enjoying it, as it is about the photographs at the end. The best photographs usually show a good rapport between the subject and the photographer, something you get when both parties enjoy the shoot. Alison is naturally friendly and easy to talk to and I think she bonded well with the camera. Relaxing and enjoying yourself are integral to a successful shoot, feeling tense or frustrated tend to come out in facial expressions or body language very quickly and any subconscious behaviour can be impossible to control, so it all gets picked up by the camera.

That's why I think it's so important to meet with wedding photographers before you hire them. If you don't click off camera, the images might not click on your big day.

Previewing locations

So this week, I had a portrait photoshoot with the wonderful wedding and event planner, Alison from Plans and Presents.


Alison was one of the first wedding suppliers to make contact with me and that's something I hold in high regard - friendliness is what you practice.

The downside with any shoot in Scotland is our weather climate. Arranging a photoshoot in advance by more than a few days is a bit like a photographic roulette. A week prior to the shoot, I was constantly checking the BBC online weather, which predicted heavy showers throughout the day. This meant that I needed a plan B, with potential indoor locations sourced.

I managed to find a couple of fall-back locations, who were willing to help out.

Normally when I'm organising a shoot, I have an idea of where I want to go, and start sourcing potential venues and locations almost immediately. Reccie's are an important part of my photography - making sure that a location is usable. I usually try to go a few days before, but no more than a week in advance. In the space of a week, anything can happen, including building works, scaffolding, repairs, which can transform a gorgeous location into a less photogenic building site.

Indoor locations are occasionally harder than outdoor ones - simply for seeking permission to use premises, and trying to fit around any busy periods. Some locations might request something in exchange, money, photos, services. Others might allow a photographer to work there, but forbid flash photography, or the use of tripods. Depending on the location, I might forgo flash, but in those circumstances it's near impossible to work without a tripod. 

In the end, I didn't use them, as it turned out the BBC weather forecast, even on the day of the shoot, had been hopelessly wrong about the weather. No rain, those high winds were little less than a gentle breeze, and a blue sky just glowing with sunshine and small fluffy candyfloss clouds.

The above photograph is taken from the reccie in the cloisters at Glasgow University. This location is very popular with wedding photographers, the combination of those lovely arches and pillars and vaulted ceiling with a bride in a white dress and floaty veil usually works beautifully, creating a gorgeous classic combination, worthy of canvases on lounge walls.

This was one of the locations we used during Alison's portrait shoot - it works well in any weather and any season. The sunshine poured between the arches, creating large pools of light across the floor, adding to the drama of the location.

Within a small area, the west end of Glasgow is a rich oasis of photographic locations, which is mostly why I chose it for this particular shoot. Want a wild countryside look? Head to the river Kelvin and walk along the banks under trees. Want something a little more tame? Botanic Gardens is a perfect location with its manicured lawns. For an urban setting, wandering around Byres Road and Great Western Road offers a wealth of options; for cobbled streets and artisan craft shops, Cranworth Lane is an outstanding location.

I'll post some of the photos from Alison's shoot later in the week when she's had a chance to view them (and hopefully she'll like them).

Summers end

Kerry and Stew's wedding, originally uploaded by Kristin Mitchell photography.

So here we are, start of September, and I'd say it's the start of Autumn. Almost.

I really love Autumn. It's my favourite season in the year. I love the colours associated with Autumn; I love the clothes and colours and fabrics that come with autumnal fashions; I love the smells (aside from when the fields are being sprayed - do not like). I love waking up and seeing a proper dawn, and feeling like I've actually woken up at the start of a new day. I love the light mists across the countryside; I love the smell of burning wood and bonfires. I'm possibly also slightly biased, as Autumn is my birthday season, and I'll be honest, I really like the cake, presents, and excitement about having a birthday.

When I was a child, I was quite happy to go back to school at the end of summer. Back in those days, there was of course a bit of me wishing for a slightly longer summer holiday, with flexible bedtimes and a distinct lack of homework. However, I did enjoy going into a new classroom, a new teacher with no idea about me, new jotters and books needing covered, new everything, including school bag and school uniform. All that newness appealed to me. Within a week however, the novelty would have worn off, but I still enjoyed the Autumn term, with two mid-term holidays (September weekend and October break which occasionally fell right after my birthday), and drawing and making things for Halloween and Guy Fawkes Day.

Last week felt very much like summer's last stand. I like summer (aside from when its too hot or when I've got hayfever), but Autumn feels special. It feels like a celebration, or a fireworks display of colour before the night of winter arrives.

So with my thinking cap on, I'm in the middle of trying to come up with some more autumnal flavoured photoshoots. I really want to take advantage of the season of colours. More than that, it's about taking advantage of the change of light. Autumn feels so fleeting, but it's a really beautiful month, so a perfect time to go out and be a photographer.

Hello!

Well, I thought I'd start off with a little hello from me, Kristin. I am a full time, professional photographer and Struve Photography is my wedding and family portrait photography business.

I'm based in Livingston but very flexible with traveling around Scotland.


I've got a website - http://www.struvephotography.co.uk where I keep my portfolio, but the purpose of this blog is to show some of my sources of inspiration, which in turn might inspire other people too.


I don't just get my inspiration from looking at photographs, but from a whole raft of sources, often the things I'm into in my spare time end up giving me ideas for my professional work. For example, I love knitting, and I'm fascinated by the whole world of D.I.Y. crafting and craftiness. In turn, that inspires the things I look at when I'm taking photographs, what I spot through the view finder, all the little details like buttons and bows. It also influences the way I treat photographs and present them, thinking about lovely vintage pastel washes, or bright and vibrant contemporary colours. 

So this blog is about all of that. It's about watching old movies or modern day classics, its about D.I.Y., its the wishlist of things I would love to have or do, a place for thoughts and idle dreams. And in among that, there are the things that I want to bring to the mix, to add as my contribution through my photography.

I hope you enjoy reading my blog. Before I sign off though, a request in advance - if you ever think about getting in touch, leaving a message, dropping a line, or simply saying hello across the internet, please do! It's always good to hear from people, even if you're not necessarily looking for a photographer (or maybe you are one yourself).


Regards,

K x