Being busy

So August and September have been particularly busy months for me recently. A quick review of what I've been up to the last few weeks:

• Had three engagement shoots, with three amazing couples; 
• Photographed the Leukaemia and Lymphoma Research annual Glasgow Bikeathon; (my "good cause" work)
• Photographed three beautiful weddings, in Wales, Edinburgh and Glasgow; 
• Had a stall at the Fabulous Wedding Show in Dunblane; 
• Been the official photographer for the Plans and Presents Big Fat Scottish Tweet Up for Scottish wedding suppliers;
• Attended the Chris Hanley Cherish the Dress Workshop near Manchester;

And of course all that photography means lots of photo editing afterwards!

I do enjoy being busy though. It's been an interesting year, and with autumn coming up and the wedding season slowing somewhat, its been a good time to also think about doing some more portfolio shoots. In particular, I've got an especially large portfolio shoot lined up, which should be a good opportunity to exercise my creative muscles a little more.

The other part of my work of course, is the administrative work, which will be getting a strong review in October.

I'm also looking forward to revealing some more exciting things for my 2012 wedding photography packages with the introduction of some new and exciting products, as well as a few little extras specifically for my couples!

Still to blog about over the next few weeks:

• Photographs from the wedding in Wales;
• A photoshoot with Zoe Anderson, wedding dress designer, at Linlithgow Palace;
• Photographs from a contemporary Edinburgh wedding; 
• Pictures from the Chris Hanley workshop;
• and a gorgeous, relaxed Glaswegian wedding. 

Engagement shoot: Steven and Paul

Today I'm pleased to present the photographs from an engagement shoot I did in August, with Steven and Paul.

Steven and Paul met me in March, at the Fabulous Wedding Show, and after chatting to me, decided to hire me as their professional photographer for their civil ceremony this December. We agreed that we'd head to Largs for this engagement shoot.

We were quite lucky when we were in Largs, as it was a gorgeous warm, sunny day, despite having had a week of rain and poor weather. It was a really good opportunity for me to get to know Steven and Paul a bit better, and develop a photographic relationship with them and my camera. 

With this shoot, I really wanted to make sure I captured a strong image of each of them. My couples receive five prints after the engagement shoot, and by focussing on both of them separately, I like to think they can then each have a gorgeous photograph of the other, either for their wallet, or desk at work, or even for their phone. 

I also really wanted to give Steven and Paul a strong contemporary feel to these engagement photographs. Having visited their home, I was aware that they are a very contemporary and stylish couple, and that a strong, dynamic feel to the images would work beautifully on their walls and fit perfectly in their home. 

It's been fantastic working with Steven and Paul, and I'm really looking forward to their civil ceremony later this year.

Engagement Shoot: Tom and Steph

I've been looking forward to blogging this engagement shoot for a while now, and am pleased to finally share it with you!

Tom and Steph aren't just one of my couples - they've also been friends of mine for several years. Tom is actually the chap who has designed my logo for both my Struve Photography and Kristin Mitchell Photography brands. I was so happy for them both when they got engaged, and thrilled when they asked me to be their official photographer.

The theme for the engagement shoot was to show Tom and Steph doing what they enjoy most - exploring woodlands and nature. We agreed on a trip to Loch Lomond for the shoot.

 We took a passenger ferry from Balmaha, on the shores of Loch Lomond, to the island of Inchcailloch. It didn't take us long to get there. The island is covered in footpaths - take a decent pair of trainers and you're fine. It actually has a campsite, if you fancy spending the night there.

Tom and Steph wanted to make the most of the shades of green that August offers. Tom wore a checked shirt with green lines in it; Steph had a green top; even I wore a green t-shirt (although I must admit I wasn't really thinking about it when I dressed in the morning!).

Tom and Steph had also brought along their Japanese teaset, complete with turquoise and green tea cups. The two rings shown here are both Steph's engagement rings. The first is a more fun one with a nautical anchor; the lower one is the official engagement ring. 

And what would be the most appropriate thing to drink on an engagement shoot such as this? Green tea, of course!

 Eventually, it was time for us to head back to the jetty, to catch our ferry back to the mainland.

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.

Children of the resolution...

I thought I'd write a post about digital images. Now, that might not sound like the most exciting post, but this is about the resolution of images that people receive from their photographer. Resolution might not always make sense, but it is important. I bring it up following a discussion in a photography group, which has thrown up some interesting stories.

Many photographers offer web resolution and print resolution images, either included in your package or they may have the print resolution images as an optional extra. But why have two copies of the same image? What difference does it really make?

Imagine a photographer provides a customer with a screen resolution image. The image dimensions are 25 by 16 inches. The customer tries to print from that, to the same image dimensions. The image comes out looking pixelated.

Now, the customer can actually print from that file, but as it has been saved to a screen resolution, it has fewer pixels per inch than an image saved at print resolution. Traditionally, a screen or web resolution is usually recommended at 72 pixels per inch (ppi) . Printing resolution is usually recommended at 300 ppi. The image has to be reduced in its physical dimensions to achieve a crisp printed image. In this case, the image would need to be reduced to 6x4 inches.

So why do photographers have a difference between "web/screen" and "print" resolution images? Why not just have everything as one image, good enough to print from at the same dimensions you can see on screen?

By reducing the resolution but maintaining the dimensions, this reduces the actual physical file size. So where a print resolution image might be 16MB in file size, it's screen resolution equivalent might be 4MB. That makes the image file smaller, easier to send via email, it's often faster at uploading to file-sharing websites, and on screen, you won't see a difference in quality. It's perfect for things like Facebook or Flickr. Remember too, that most email hosts have a limit on the maximum file attachment size, Hotmail allows 10MB attachments, while Yahoo and Gmail allow 20MB of attachments.

So want to see what it'll all look like? Here's a photo I took recently in Norway. One is saved at screen resolution (72 ppi), the other is saved at print resolution (300 ppi), both have exactly the same physical dimensions.

Now, they both look the same here. But what would it look like if we printed from them at the same size?

Well, a bit like this. The first is how the screen resolution image would look printed. The second, is how the print resolution would look printed. Both at identical physical dimensions. This is shown at actual size.

Admittedly, it looks like I've sampled the top image slightly further to the left, but the physical dimensions are exactly the same.

If we wanted to print from the screen resolution successfully, we'd have to reduce the physical dimensions. This is the size we'd have to reduce it to make it sharp again.

It can all be a little bit confusing. Screen resolution isn't a bad thing, and not receiving print resolution doesn't necessarily mean you can't print from the images. What it does mean is that you would need to reduce the physical size of the image to achieve a good result. So for the imaginary customer to have a nice print that measured 25 by 16 inches, the screen resolution image dimensions would need to be 104 by 66 inches.

If you're in any doubt, it's always worth checking with your photographer about your printing requirements.

Engagement Shoot: Derek and Joanna

Today I'm featuring an engagement shoot I recently did with Joanna and Derek, who are getting married in a few weeks time in Edinburgh and have hired me as their wedding photographer.

I always invite my couples to select somewhere special to them. Derek and Joanna both love Edinburgh, and wanted to use this as the backdrop for their engagement shoot.

At the moment, the city is in the full throes of its annual festival, which brings thousands of tourists, performers, artists, writers and journalists into the capital. Rather than head to the popular Princes Street Gardens, we headed to Saint Andrews Square, with its recently renovated and very cosmopolitan garden. It was a lot quieter here, which made our photo shoot a lot easier.

We then headed to the Guildford Arms, where the couple first met which is also one of their favourite pubs in Edinburgh. As a photo location, it was a great venue. It has a restaurant upstairs with a balcony overlooking the pub, which provided some great opportunities for some birds eye view shots.

Congratulations to Joanna and Derek - I'm looking forward to photographing them some more on their wedding day.

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/