Yesterday saw me getting up at 4.30 AM to travel to London to have a quick look at the trade show held during the SWPP conference. I am not a member or did I attend any of the so called classes... I love to learn and arrange these things for myself, I prefer to have one to one sessions with people that I believe I can truly learn something from rather than sitting in a room with 50 other people, attending lectures for the sake of it...
The trade show, in truth was a carbon copy of last years event... nothing there that had not been covered in the trade press...
However, there are were two exceptions that made the trip worthwhile for me...
Firstly, My visit to the Queensberry Album stand cemented my idea that, in 2011, I would limit my album selections to "exclusively Queensberry", and my website Nicholas James Photography will reflect this shortly. This was part of a process that started last year. I had been contacted by Sandy, who works at their head office in New Zealand and through some very brief but informative talks soon realised that their customer service was second to none. I have used their products (via a third party) and have never needed to be convinced of their quality, which in my opinion is second to none. What impressed me, whilst talking to New Zealand and to Jo and Rebecca on their SWPP stand was the companies desire to "get it right". They really do care about the client, the product and their reputation. This mix is a surefire way to drive a company to success.
At this time, Queensberry are at a different level to other suppliers (in my opinion) and one would have thought by continuing in this vein would make the company wealthy, brides happy and photographers proud to be associated with them. As a photographer who, I hope, runs his business on the same principles, my decision to go Queensberry Albums exclusive gives me the reassurance that I am "backed up" by others who take a dedicated and very professional approach to their work.
So in theory Queensberry could simply carry on as they are, maybe adding to their portfolio as fashions change (although they produce a timeless piece of art) and take the business to financial success.... but.... they have decided to take it up a level again, if that were possible.
Enter the queensberry "Musee" collection. It is truly mind blowing what the team down in New Zealand have done.... Price wise it is not for the faint hearted. Had I been quoted the cost for this album without having seen it I might have turned on my heals and run for the hills, metaphorically speaking, because it is not cheap by any stretch of the imagination.... but is the word "expensive" the right one to use? The short answer is simple. Every single £ / $ of the investment in this album is justifiable.
OK, I do realise whilst justifying a cost is not the same as being above or even beyond budget, but for those who can afford the investment, I would simply say "do it".
So, given that you may not have the budget for the Musee collection, should you be disappointed in having to settle for the normal Queensberry Collection?. Not a bit of it. Queensberry have a good, better and best range.... given that their "good" range far exceeds that of their competitors (only my opinion again but I have seen, touched and inspected at close range, all of the main competitors) I don't believe that disappointment and Queensberry albums are words that sit well in the same sentence. I think that Queesberry should actually change this to Excellent, Excellenter and Excellentest... if those word were in existence.
I'm not going to describe the Musee range here, having seen it, felt it and examined it, I could never do it justice but I do recommend you reading about the collection in Queensberry Albums own words. Read it here Musee and find out about it's beginnings, it's design etc and you will see exactly what it brings to the wedding album market place.
The second piece of success from attending the swpp trade show was the purchase of a book. To give you some idea about my reading habit - I buy anything with the words "wedding photography", "portrait photography" or stock photography in the title. Good or bad, I read them from cover to cover. So far this year, all sixteen days of it, I have bought four books that come into this Genre and one of them was at the show. It was Damien Lovegroves - A complete guide to professional wedding photography.
But this book did stand out against others of this ilk. Since the advent of digital cameras, everyone who has been told by a friend or family member that their images are good has decided that they want to make a living as a wedding photographer (thats a whole other question) and most books have been written with this in mind (why not if there is a market for it) and in most cases way to basic for any competent photographer. However Damien Lovegrove has hit the nail on the head with this book for two reasons - it is a good read for competent beginners and for those of us that have been in business for a long time there are snippets of information that are of interest.
So is the cover cost too much to pay for just snippets of information. The short answer is no. I have never rested on my laurels just because I am successful at what I do, I am always looking to improve. In fact there were two pieces of advice in the book that I will steal and use as a foundation - a foundation that with hard work I can improve upon. So basically it will pay for itself in time. Unfortunately, those two ideas also have to pay for some of the garbage that I have read.
I don't agree with the byline on Damien's site that says "Discover how to master every aspect of photographing a wedding" but would endorse it as a good read and worth buying.
Sunday 16 January 2011
Friday 31 December 2010
Thursday 16 December 2010
Putting 2010 to bed
I was once told that if you find a job that you love, then you will never have to work another day in your life. I took that advice on board and as another year is coming to an end I look back and realise what a lucky guy I am.
Running a wedding and portrait photography business is not without its stresses. Like all businesses, I have to keep my paperwork in order, sometimes I am editing images into the wee hours to make sure I deliver them on time and sometimes I feel like a day off but know that I cant afford the time. But this is all small fish when the rewards are working alongside people who are celebrating one of the biggest day of their lives, allowing me to capture their day in images. Sometimes I just cant believe my luck.
2010 has not disappointed. Church weddings by the score. A wedding in a tepee. A celebrity wedding and a wedding at Searcys 40/30 in the Gherkin in London. A great mix and every single one of them has been a pleasure. Every single bride has cried (in a good way) on seeing their images which is always a great testament to my work and gives a deep seated glow in my heart, knowing that I "did my job".
To thank everyone for their support of Nicholas James Photography through 2010 on an individual basis would take too long. But to all you brides (the class of 2010), to all the past brides who have now allowed me to start capturing their growing family's, to all of the professionals (florists, photographers, event organisers etc), to my family and friends (who never get to see me on weekends), and to Tom who is sadly no longer with us, I will sit back over the Christmas period, raise a glass and give you all a toast to say one big Thank You. In fact this may be repeated any number of times as I sit in front of a log fire over the festive period.
I have been criticised over not including enough weddings or portrait work on this blog. It has been mentioned on more that one occasion that I am a hopeless "blogger" because I don't do it often enough. My New Year resolution is going to be to be more active here but will warn you that I'm not very good at keeping New Years resolutions - but I will try.
Have a fab Christmas and a very happy 2011 everyone, I know that I intend to.
Nick
Running a wedding and portrait photography business is not without its stresses. Like all businesses, I have to keep my paperwork in order, sometimes I am editing images into the wee hours to make sure I deliver them on time and sometimes I feel like a day off but know that I cant afford the time. But this is all small fish when the rewards are working alongside people who are celebrating one of the biggest day of their lives, allowing me to capture their day in images. Sometimes I just cant believe my luck.
2010 has not disappointed. Church weddings by the score. A wedding in a tepee. A celebrity wedding and a wedding at Searcys 40/30 in the Gherkin in London. A great mix and every single one of them has been a pleasure. Every single bride has cried (in a good way) on seeing their images which is always a great testament to my work and gives a deep seated glow in my heart, knowing that I "did my job".
To thank everyone for their support of Nicholas James Photography through 2010 on an individual basis would take too long. But to all you brides (the class of 2010), to all the past brides who have now allowed me to start capturing their growing family's, to all of the professionals (florists, photographers, event organisers etc), to my family and friends (who never get to see me on weekends), and to Tom who is sadly no longer with us, I will sit back over the Christmas period, raise a glass and give you all a toast to say one big Thank You. In fact this may be repeated any number of times as I sit in front of a log fire over the festive period.
I have been criticised over not including enough weddings or portrait work on this blog. It has been mentioned on more that one occasion that I am a hopeless "blogger" because I don't do it often enough. My New Year resolution is going to be to be more active here but will warn you that I'm not very good at keeping New Years resolutions - but I will try.
Have a fab Christmas and a very happy 2011 everyone, I know that I intend to.
Nick
Wedding photography at "The Gherkin" in London
The wedding of Rahael Kilby Tyre and Alun Robinson Parry @ Searcys 40/30 at The Gherkin
If you gave the address, 30 St Mary Axe in the City of London, and most people would stare at you blankly. If you said "The Gherkin Building" most people would know exactly where you were talking about. Lets face it, it is one of the most iconic buildings, not only in London, but across the world.
Not only is The Gherkin a fabalous building, it has a second to none venue at the very top (and I mean the very top) run as Searcy 40/30. A comapny that knows what they are doing, why they are doing it and most impotantly, who they are doing it for. Dealing with Oliver, the functions manager was a pleasure throughout and the staff were, without going over the top, brilliant.
But the story starts months before.......
When Rachael contacted me about photographing her wedding, I didn't realise that it was going to be on the same scale as a Hollywood production. Not because of the numbers of guests, about 120, but because each location was so far apart considering the tight schedules that weddings have to run to. The bride lives in the Cotswolds. The groom spends most of the week at his London apartment, the ceremony would be in the City of London, the groom would be in the docklands apartment, the hairdresser was in the West End and the brides suite was...... well, I think you are getting the drift.
A short telephone conversation later and David Purslow, a friend and great pro photographer was on board.
A week later and I had visited The Gherkin as a guest of Searcys 4030 and scouted the location, checking for lighting issues etc. At the same time I had visited a number of locations for a pre wedding shoot which yielded Leadenhall market and Millennium bridge as my two favourites.
Another week later and the dress was announced to me.... you will see from the images why when I heard about the colour my heart soared... a photographers dream, given the Searcys venue.
Another week and I visited the florist, Clare Lee, to see the plans and colour schemes. I came away thinking, WOW.
And before long the weekend arrived. I met David at our hotel early on the Friday to finalise our shooting arrangements. Then in the evening we joined the bridal party for an informal get together. Then to bed early as I had to be across London at the hairdressers by 8am.
The day unfolded like clockwork. I met the bride and stayed with her (joined later by the three bridesmaids. Poppy, Bethan and Evie) until the ceremony.
David met the groom and covered the arrival of the guests.
Our thanks to The City of London Registrars who assisted David and I by allowing photography throughout the service. They really did want what was best for the couple.
So now the day is over but captured forever, please enjoy the images.....Sorry that they are not in order...
Helen and Jason
There are always two thoughts that go through a photographers mind when they see a quaint English country church. Wow, what an image and I hope there is going to be enough light inside (especially as in this case where the Vicar has insisted on "no flash photography". With this in mind, I visited the Stanton Church in the middle of the Cotswolds a few days before the event so that some internal shots could be in the bag without worrying myself on the day.
Stanton is a very beautiful Cotswolds village. A village green, a pub (The Mount at Stanton) at the top of the hill, stunning little (and not so little) cottages, in fact a picture postcard village.
Nearing the time of the brides departure (her father had gone to take the car to the church) i was at the house alone with the bride. she getting dressed and I downstairs reading a paper, when there was a scream. I ran to the foot of the stairs and shouted up asking if everything was OK. No it's not, I'm stuck with my dress half on and half off and I cant move..... Thank god for mobile phones, a call to the church and her mother was brought back to assist. All great drama on the day of a wedding.
By this time the groom was getting worried, we were now a lot later that the customary five minutes, in fact, by the time the bride was ready we were three quarters of an hour late. However, the bride calmly posed for photographs outside the church and the record was made. Great to see a bride so unflustered and keeping in mind that she wanted great wedding photographs. The service went without a hitch.
Moving from a beautiful village setting to a beautiful reception venue is perfect, not only for the bridal party but for the wedding photographer too. Helen and Jason had picked well and it was only in the next village.
Buckland Manor I am told has played hot to Michael Jakson, Barbara Striesand and Britney Spears to name a few celebrities. I'm not sure how true this is (the staff are too discreet to mention names) but I could certainly see why they would have stayed here. Not far off the main Broadway to Cheltenham road, but far enough for it to be away from prying eyes. Buckland Manor changed hands on a number of occasions when it was a family home, once the home of Brough Scott's (one of the best known names in British horse racing) family and has played host to royalty. In it's current roll of hotel, they have managed to keep a "family country retreat" feeling to both the house and gardens.
Stanton is a very beautiful Cotswolds village. A village green, a pub (The Mount at Stanton) at the top of the hill, stunning little (and not so little) cottages, in fact a picture postcard village.
Getting the shots of both the bride and the groom getting ready were, for once, simple as they only lived about a quarter of a mile apart. So all morning I was running up and down the lane capturing each stage in each house and if I do say so myself, I became a rather good errand boy.
Nearing the time of the brides departure (her father had gone to take the car to the church) i was at the house alone with the bride. she getting dressed and I downstairs reading a paper, when there was a scream. I ran to the foot of the stairs and shouted up asking if everything was OK. No it's not, I'm stuck with my dress half on and half off and I cant move..... Thank god for mobile phones, a call to the church and her mother was brought back to assist. All great drama on the day of a wedding.
By this time the groom was getting worried, we were now a lot later that the customary five minutes, in fact, by the time the bride was ready we were three quarters of an hour late. However, the bride calmly posed for photographs outside the church and the record was made. Great to see a bride so unflustered and keeping in mind that she wanted great wedding photographs. The service went without a hitch.
Moving from a beautiful village setting to a beautiful reception venue is perfect, not only for the bridal party but for the wedding photographer too. Helen and Jason had picked well and it was only in the next village.
Buckland Manor I am told has played hot to Michael Jakson, Barbara Striesand and Britney Spears to name a few celebrities. I'm not sure how true this is (the staff are too discreet to mention names) but I could certainly see why they would have stayed here. Not far off the main Broadway to Cheltenham road, but far enough for it to be away from prying eyes. Buckland Manor changed hands on a number of occasions when it was a family home, once the home of Brough Scott's (one of the best known names in British horse racing) family and has played host to royalty. In it's current roll of hotel, they have managed to keep a "family country retreat" feeling to both the house and gardens.
For Jason, Helen, their family and friends it was a perfect day.
As a wedding photographer who is based in the Cotswolds, Nicholas james Photography was proud to have been asked to record the day.
Wednesday 22 September 2010
When top interior designer gets....
When top interior designer, Rachael Kilby-Tyre, decides to get married you know it's going to be in style.
Rachael has agreed to tie the knot with London business consultant, Alun Robinson Parry on Saturday 27th November 2010 and what a venue they have chosen.
They are to be married on the top floor of the iconic "Gherkin" building in the city. I am proud to have been asked to record the day.
If you would like to see the venue take this link and be prepared to say WOW. The site takes a little while to load but is worth the wait.
Rachael has agreed to tie the knot with London business consultant, Alun Robinson Parry on Saturday 27th November 2010 and what a venue they have chosen.
They are to be married on the top floor of the iconic "Gherkin" building in the city. I am proud to have been asked to record the day.
If you would like to see the venue take this link and be prepared to say WOW. The site takes a little while to load but is worth the wait.
Thursday 9 September 2010
Microstock Photography
I have watched and listened with great interest over the last few years about the ever growing microstock phenomena. Most of the professional photographic magazines have covered the subject, which generally means that the subject is still up for debate. So should we still be discussing this issue? Hell yes, at least until I've had my say on the matter.
There seems little point in writing an "article" on microstock when much better writers and thinkers have done the job admirably. So what I intend to do here is look at some of the questions raised and statements made in articles that I have read and give my (as a working pro) perspective on the opportunities that exist. Yes I did use the word "opportunities". I believe that this area of the photographic industry is in it's infancy and not saturated as some doom and gloom merchants would have us believe.
So who am I to give the following opinions on the microstck photography industry. Well I'm a nobody in the world of microstock photography but I have been monitoring it's progress carefully leading up to my involvement and the part that I want it to play in my future. As you will see from my blog, I am a professional wedding photographer - a photographic world away, but I do believe that my opinion is as worthwhile as some of the so called experts in the field. I'm just providing another facet for people interested in getting into this arena to consider. What you should do is be as aware as I am that this is only my opinion.
So onwards and upwards, the questions and statements that I have come across in articles that I have read are followed by my take on things.
The price charged by microstock agencies has devalued our work.
For me it is about earning an income not about me as an artist. I am never going to be in the bracket of photographic superstar. That's not me being humble, it's just a fact. Selling an image for £5000 is hard work and quite frankly for most of us it is impossible. However, selling an image for £1 5000 times over a period is more realistic. Some may say that selling an image 5000 times is not possible, but were they not the ones who want to charge £5000 for it. If it is worth, in real terms £5000 them I am positive that 5000 people will be willing to give you one measly pound. To me, the value of one of my images equates exactly to the difference it makes to my bank balance. Many online businesses (an example) start in a back bedroom somewhere. The owner of that business can more than likely afford to shell out £1 for an image for his/her website. There are very few who require a unique image costing a huge amount more and even less willing or able to pay for it. These start up and established businesses with a limited budget run into the millions across the globe. Given that my cash flow is imperative to my business success I feel much more comfortable following this route to market.
In a nutshell, I am unwilling to hawk my images around the ad agencies when I can simply put it into the hands of a microstock agency whilst I spent my time producing even more saleable images.
It's true that at dinner parties, it is less glamorous to say £1 when asked "How much does your work go for" than answering £5000. I'll say £1 and point to the car outside any day over saying £5000 and then leaving on a bus.
There are too many amateur photographers putting out work through microstock sites.
This may seem to contradict an earlier post on the virtues of a professional wedding photographer over an amateur photographer but as I mentioned earlier, the two disciplines are worlds apart in photography terms.
On the wedding side it is a capture (correctly) now or lost forever scenario and with microstock it isn't. It's as simple as that.
There are some fantastic photographers out there who don't make their income from photography but have captured a number of images that are very saleable. Should they just leave them to rot on their hard drive? I think not. Would they be confident or have the back up equipment to cover a wedding. Who knows.
With no pressure on having to produce an image we are left (amateur and professional alike) with only one question. Does it sell?
I would suggest that the person who made the above statement is more than a little worried about talented competition over whether a person makes a living out of photography.
If you are an amature photographer, please do not be put off by such statements, they can only be born from jealousy or jobs for the in crowd. The simple rule of thumb is if it is accepted by the agencies it is good and if it is not accepted go look at doing it again until you get it right.
Can I make a living out of microstock photography?
How the hell should anyone be able to answer a question like this I don't know. Unless of course they are a big player in the industry and happen to have an intimate knowledge of your work.
Should I go exclusive with one agency?
What are the best agencys to work with?
What sort of images sell?
There are too many images online for anyone person to make a living out of microstock.
There seems little point in writing an "article" on microstock when much better writers and thinkers have done the job admirably. So what I intend to do here is look at some of the questions raised and statements made in articles that I have read and give my (as a working pro) perspective on the opportunities that exist. Yes I did use the word "opportunities". I believe that this area of the photographic industry is in it's infancy and not saturated as some doom and gloom merchants would have us believe.
So who am I to give the following opinions on the microstck photography industry. Well I'm a nobody in the world of microstock photography but I have been monitoring it's progress carefully leading up to my involvement and the part that I want it to play in my future. As you will see from my blog, I am a professional wedding photographer - a photographic world away, but I do believe that my opinion is as worthwhile as some of the so called experts in the field. I'm just providing another facet for people interested in getting into this arena to consider. What you should do is be as aware as I am that this is only my opinion.
So onwards and upwards, the questions and statements that I have come across in articles that I have read are followed by my take on things.
The price charged by microstock agencies has devalued our work.
For me it is about earning an income not about me as an artist. I am never going to be in the bracket of photographic superstar. That's not me being humble, it's just a fact. Selling an image for £5000 is hard work and quite frankly for most of us it is impossible. However, selling an image for £1 5000 times over a period is more realistic. Some may say that selling an image 5000 times is not possible, but were they not the ones who want to charge £5000 for it. If it is worth, in real terms £5000 them I am positive that 5000 people will be willing to give you one measly pound. To me, the value of one of my images equates exactly to the difference it makes to my bank balance. Many online businesses (an example) start in a back bedroom somewhere. The owner of that business can more than likely afford to shell out £1 for an image for his/her website. There are very few who require a unique image costing a huge amount more and even less willing or able to pay for it. These start up and established businesses with a limited budget run into the millions across the globe. Given that my cash flow is imperative to my business success I feel much more comfortable following this route to market.
In a nutshell, I am unwilling to hawk my images around the ad agencies when I can simply put it into the hands of a microstock agency whilst I spent my time producing even more saleable images.
It's true that at dinner parties, it is less glamorous to say £1 when asked "How much does your work go for" than answering £5000. I'll say £1 and point to the car outside any day over saying £5000 and then leaving on a bus.
There are too many amateur photographers putting out work through microstock sites.
This may seem to contradict an earlier post on the virtues of a professional wedding photographer over an amateur photographer but as I mentioned earlier, the two disciplines are worlds apart in photography terms.
On the wedding side it is a capture (correctly) now or lost forever scenario and with microstock it isn't. It's as simple as that.
There are some fantastic photographers out there who don't make their income from photography but have captured a number of images that are very saleable. Should they just leave them to rot on their hard drive? I think not. Would they be confident or have the back up equipment to cover a wedding. Who knows.
With no pressure on having to produce an image we are left (amateur and professional alike) with only one question. Does it sell?
I would suggest that the person who made the above statement is more than a little worried about talented competition over whether a person makes a living out of photography.
If you are an amature photographer, please do not be put off by such statements, they can only be born from jealousy or jobs for the in crowd. The simple rule of thumb is if it is accepted by the agencies it is good and if it is not accepted go look at doing it again until you get it right.
Can I make a living out of microstock photography?
How the hell should anyone be able to answer a question like this I don't know. Unless of course they are a big player in the industry and happen to have an intimate knowledge of your work.
Should I go exclusive with one agency?
What are the best agencys to work with?
What sort of images sell?
There are too many images online for anyone person to make a living out of microstock.
Sunday 15 August 2010
Dear Alfie
Just an experiment, trying out the service from Blurb. The family concerned have recieved the proof copy and are over the moon with it. Blurb have done a good job, not excellent but good. This is a much cheaper version of a coffee table book but is something that anyone can produce. If you are on a budget, it is an alternative that you may want to consider.
Saturday 7 August 2010
A change for the better
Do I, as a professional photographer, use photoshop (R) or airbrush my images to enhance their overall appearance? Yes I do!
There is a video on you tube entitled "Would you let your wedding photographer do this". Well before I go on, I think you should take a look.
Whilst the title suggests that wedding photographers do this, the video is actually of an advertising shoot, probably costing thousands of pounds for the one photograph. So where the title comes from, I have no idea.
Yes it is over the top, but that's what the advertising world is all about. Should it put you off having a little enhancement work done on your wedding photographs, no it should not.
I believe that a small amount of photoshopping can enhance an image. It does not mean that you are creating an unreal image.
Here is an example:-
This first image is what is commonly known as a grab shot. A shot taken randomly during the early part of the reception to catch a moment.
The problem with grab shots is in the name. It is a moment in time that has to be grabbed or it is lost for ever.
As you can see from this image, there are a number of problems. Firstly the exposure was off and secondly the lady on the brides right shoulder is unsightly. Normally with an informal shot, guests are part of the scene, if she had not been drinking at that precise moment I may have elected to leave her as part of the background.
AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA
So as you can see from this image, I have taken out the person behind and also bumped up the exposure to improve the brides skin tones.
You may also notice that after altering the exposure, the details on her dress have blown out but I considered this a minor thing seeing that this was a "moments" shot and not one taken to highlight what was in fact a gorgeous dress.
AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA
Finally, I also made a black and white conversion, so that the bride and groom had choices
There is a video on you tube entitled "Would you let your wedding photographer do this". Well before I go on, I think you should take a look.
Whilst the title suggests that wedding photographers do this, the video is actually of an advertising shoot, probably costing thousands of pounds for the one photograph. So where the title comes from, I have no idea.
Yes it is over the top, but that's what the advertising world is all about. Should it put you off having a little enhancement work done on your wedding photographs, no it should not.
I believe that a small amount of photoshopping can enhance an image. It does not mean that you are creating an unreal image.
Here is an example:-
This first image is what is commonly known as a grab shot. A shot taken randomly during the early part of the reception to catch a moment.
The problem with grab shots is in the name. It is a moment in time that has to be grabbed or it is lost for ever.
As you can see from this image, there are a number of problems. Firstly the exposure was off and secondly the lady on the brides right shoulder is unsightly. Normally with an informal shot, guests are part of the scene, if she had not been drinking at that precise moment I may have elected to leave her as part of the background.
AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA
So as you can see from this image, I have taken out the person behind and also bumped up the exposure to improve the brides skin tones.
You may also notice that after altering the exposure, the details on her dress have blown out but I considered this a minor thing seeing that this was a "moments" shot and not one taken to highlight what was in fact a gorgeous dress.
AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA
Finally, I also made a black and white conversion, so that the bride and groom had choices
So with this simple, and probably more normal use of photo manipulation we can see that images can be enhanced without going over the top..... simply ask your photographer for some examples of his work.... then concentrate on having a fabulous day.
Sunday 1 August 2010
Our New Service
We are very excited to announce that, at no extra cost to our clients, we have added another service to our wedding photography portfolio. this includes those clients that have already booked.
We will take a portrait of the Bride and Groom. This will be printed (on site), Framed (chosen before hand by the B&G), and gift wrapped. Then during the speeches (or some other relevant time) the Bride and Groom can present them to their parents (or someone else) instead of giving them flowers or something else just as drab...... Only the Bride and Groom will know that this is going to happen.
The plan had been to trial this service at a number of weddings this year and add it to our portfolio of services next year if it were a success. However, having produced these gifts at just two weddings and seeing the success first hand, we have decided to implement with immediate effect.
Saturday 31 July 2010
Why do you do it?
I have just recieved an email from a photographer friend who has been keeping an eye on my blog.She asked the question, "I have noticed that whilst other wedding photographers are your competition in business, you promote their websites by placing links to them in your blog posts?"
The answer in my mind is simple. Why Not?
There are a great many fantastic photographers out there. I hope that I am one of them and Yes, I would like any brides who happen to read my blog to look at my website and allow me to photograph their wedding day.
But there are a number of simple truths about the wedding photography business.
The first is simple. There are thousands of brides looking for wedding photographers. I only take on 40 weddings each year. So why not point brides in the direction of my peers, they then have a list of photographers from a professional wedding photographers perspective.
Secondly, brides have a very definate idea of the type of results they want. I appreciate that any photographer worth his salt can take and produce the album of a brides dreams. By pointing the bride in the direction of other websites she may see something on each of three websites that she wants included and can discuss with me at a meeting. If I am not capable or comfortable with the ideas suggested I will always refer them to a photographer that I believe is suitable.
It's another case of communication is key. There are other photographers out there, the bride is aware of this and I am aware that she is aware. So why would I pretend on my blog that I am the only one.
Thursday 29 July 2010
If money were no object
I asked experienced photographers the question "If money were no object, who would you have photograph your wedding?" There was not a huge response but here are the answers that I received. Even though they were categorically asked to name just one, a few have given me more names that they would consider.
From David Purslow no slouch of a photographer himself - Ed Pingol
For Bev Downie (half of the very talented Barrie Downie Studio team) it was Gordon McGowan
who together with her husband Craig run Segerius Bruce Photography
had to choose two. Jose Villa and Ben Chrisman
could not get the hang of the choose one theme and chose five. Polly Alexandre, Jonas Petersen, Elisabeth Messina, Jose Villa or Max Wanger
When Steve Shipman replied I felt sure he would only pick one, I was wrong, he chose three. I quote, "Jonas Peterson, followed at quite a distance by Jasmin Star, not because she's a great photographer, but she's such a character. Jerry Ghionis"
And how about my own choice, for me it has to be Yervant
From David Purslow no slouch of a photographer himself - Ed Pingol
For Bev Downie (half of the very talented Barrie Downie Studio team) it was Gordon McGowan
who together with her husband Craig run Segerius Bruce Photography
had to choose two. Jose Villa and Ben Chrisman
could not get the hang of the choose one theme and chose five. Polly Alexandre, Jonas Petersen, Elisabeth Messina, Jose Villa or Max Wanger
When Steve Shipman replied I felt sure he would only pick one, I was wrong, he chose three. I quote, "Jonas Peterson, followed at quite a distance by Jasmin Star, not because she's a great photographer, but she's such a character. Jerry Ghionis"
And how about my own choice, for me it has to be Yervant
Friday 23 July 2010
Wedding photography prices
There are two sides to this coin - on one side we have the Bride and Groom (who probably don't have in infinite budget) and on the other we have the wedding photographer (who in line with all wedding suppliers) has to make a living. So I am trying to see this question from both sides.
The confusion that can be caused by websites is generally down to the individual photographers pricing structure. The price quoted is often not the price that is paid. For example - Wedding photography for £600 but when we delve a little deeper we also need to pay for an album, then extra photographs then this and then that. To keep this confusion to a minimum for my clients I simply quote the whole price. obviously there has to be some movement in that to allow for brides wishes but I try to keep this to a minimum.
People often say to me "I've seen the prices you charge, you're not doing badly for yourself, for only working Saturdays". Well, like all businesses things look different from the inside. What these same people don't realise is that I (like most full time professionals) spend about 60 hours on ONE wedding. I only use the best albums (they cost money), I bring in other professionals to design the albums or for post production work. I have a studio, telephone bills, fuel charges to pay for, tax etc etc and all of the time this is coming out of the price that is seen initially (by some) as the money that I am making. I am not moaning about these costs, all businesses have them, but it needs to be said.
I also think that clients need to look at the cost of things going wrong on their big day.
Two of the main reasons (apart from cost) that the Bride and Groom make a decision on hiring a particular photographer are 1. They like the photographs in the photographers portfolio and 2. They like them as a person - and if I may say so, very valid reasons. But there should be more to this process of thought.
Here are some of the things that I would ask:-
Are you a full time professional?
Are you fully insured against public liability and professional indemnity?
Do you carry back up equipment including spare cameras, lenses and lighting?
What exactly would happen if you were taken ill on the day?
The reasons for these four questions, to my mind, is simple.
A full time professional does this week in and week out. They have a work pattern that is aimed at producing "The Album" which to my mind is the future family heirloom. This takes experience. There is only one chance to get all of this right. Miss that vital moment and the moment is gone forever. The person who does this part time or as a Saturday job (the weekend warrior) maybe a great photographer when they are not under pressure and have all the time in the world to take a photograph, but weddings happen at a pace and there is no pause or rewind button. They may be confident that they can get the job done, after all they did their cousins wedding - are you that confident? I also mentioned that a professional will spend around 60 hours on your wedding - could someone who holds down a full time job give you that sort of commitment.
Being fully insured shows the photographers attitude to working in a professional manner. It gives you piece of mind knowing that you will not be liable for their actions and if the worst does happen there will be some sort of compensation.
Someone telling you "I have a really good camera" or "I've never had equipment break down on me before" is simply not good enough. Take the attitude that if it is mechanical or electronic (cameras are both) then they can go wrong. A photographer should carry at least two cameras, better if it is three. An array of lenses that can be used by all of his cameras and adequate lighting. You should never put yourself in the position of hearing "I'm sorry I only recorded the first hour of your wedding day because my camera wouldn't work".
If the photographer is taken ill on the day, another photographer should appear seamlessly. I would always want to know before the day - who that photographer would be and also see work from their portfolio. Things could be a little hairy should the photographers neighbour turn up to take your photos on the big day, because they have not planned for every eventuality.
Now, as with most things in my life, I like to look at things in a balanced way.
It would seem from above that I am against new photographers coming into the business. I am not, there are some extremely talented people out there who by virtue of being new to the business don't necessarily have all of the equipment yet, let alone back up equipment. And whilst they are talented, they also possess a certain business sense that allows them to think outside the box (ie I have a wedding, so I'll make sure I can borrow a spare camera). Try looking at Dashas site to see an example of someone who is new to the business but can be trusted. She is constantly working to improve and appears to invest in her future by buying equipment when she can. As with all businesses there are others that buy a camera and see wedding photography as a way to make a quick buck. There are a group of individuals on a photography forum site called The photography Parlour that are worth looking at and more importantly perhaps talking to. The reason that I say this is because they all admit their limits and are hell bent on improving. Try the site out and sit back and watch what is being said - If you like what you hear from someone simply click on their link to see some of their work.
The confusion that can be caused by websites is generally down to the individual photographers pricing structure. The price quoted is often not the price that is paid. For example - Wedding photography for £600 but when we delve a little deeper we also need to pay for an album, then extra photographs then this and then that. To keep this confusion to a minimum for my clients I simply quote the whole price. obviously there has to be some movement in that to allow for brides wishes but I try to keep this to a minimum.
People often say to me "I've seen the prices you charge, you're not doing badly for yourself, for only working Saturdays". Well, like all businesses things look different from the inside. What these same people don't realise is that I (like most full time professionals) spend about 60 hours on ONE wedding. I only use the best albums (they cost money), I bring in other professionals to design the albums or for post production work. I have a studio, telephone bills, fuel charges to pay for, tax etc etc and all of the time this is coming out of the price that is seen initially (by some) as the money that I am making. I am not moaning about these costs, all businesses have them, but it needs to be said.
I also think that clients need to look at the cost of things going wrong on their big day.
Two of the main reasons (apart from cost) that the Bride and Groom make a decision on hiring a particular photographer are 1. They like the photographs in the photographers portfolio and 2. They like them as a person - and if I may say so, very valid reasons. But there should be more to this process of thought.
Here are some of the things that I would ask:-
Are you a full time professional?
Are you fully insured against public liability and professional indemnity?
Do you carry back up equipment including spare cameras, lenses and lighting?
What exactly would happen if you were taken ill on the day?
The reasons for these four questions, to my mind, is simple.
A full time professional does this week in and week out. They have a work pattern that is aimed at producing "The Album" which to my mind is the future family heirloom. This takes experience. There is only one chance to get all of this right. Miss that vital moment and the moment is gone forever. The person who does this part time or as a Saturday job (the weekend warrior) maybe a great photographer when they are not under pressure and have all the time in the world to take a photograph, but weddings happen at a pace and there is no pause or rewind button. They may be confident that they can get the job done, after all they did their cousins wedding - are you that confident? I also mentioned that a professional will spend around 60 hours on your wedding - could someone who holds down a full time job give you that sort of commitment.
Being fully insured shows the photographers attitude to working in a professional manner. It gives you piece of mind knowing that you will not be liable for their actions and if the worst does happen there will be some sort of compensation.
Someone telling you "I have a really good camera" or "I've never had equipment break down on me before" is simply not good enough. Take the attitude that if it is mechanical or electronic (cameras are both) then they can go wrong. A photographer should carry at least two cameras, better if it is three. An array of lenses that can be used by all of his cameras and adequate lighting. You should never put yourself in the position of hearing "I'm sorry I only recorded the first hour of your wedding day because my camera wouldn't work".
If the photographer is taken ill on the day, another photographer should appear seamlessly. I would always want to know before the day - who that photographer would be and also see work from their portfolio. Things could be a little hairy should the photographers neighbour turn up to take your photos on the big day, because they have not planned for every eventuality.
Now, as with most things in my life, I like to look at things in a balanced way.
It would seem from above that I am against new photographers coming into the business. I am not, there are some extremely talented people out there who by virtue of being new to the business don't necessarily have all of the equipment yet, let alone back up equipment. And whilst they are talented, they also possess a certain business sense that allows them to think outside the box (ie I have a wedding, so I'll make sure I can borrow a spare camera). Try looking at Dashas site to see an example of someone who is new to the business but can be trusted. She is constantly working to improve and appears to invest in her future by buying equipment when she can. As with all businesses there are others that buy a camera and see wedding photography as a way to make a quick buck. There are a group of individuals on a photography forum site called The photography Parlour that are worth looking at and more importantly perhaps talking to. The reason that I say this is because they all admit their limits and are hell bent on improving. Try the site out and sit back and watch what is being said - If you like what you hear from someone simply click on their link to see some of their work.
Thursday 22 July 2010
I have always.....
I have always made it part of my wedding photography business strategy to mingle with other photographers. I attend seminars relating to photography and when there always make a point of striking up a conversation or two with my fellow togs. When I get the chance, I will go to get 2 gethers that occur within the industry (the latest I wrote about on this blog - The Photography Parlour G2G in Bristol), all of which I have learnt from and all of which I have enjoyed. Add to this, I have met a great number of wedding photographers whilst attending courses and over the years have made many long standing friends.
Today was slightly different. Following a chance comment on a photography forum, I met up with a Birmingham and Worcestershire based wedding photographer called David Purslow. For no other reason than to have lunch together.
When I mentioned to my wife that I was having lunch with a fellow tog, that we were meeting in a pub and that I would be leaving my car at home - she feared the worst.
She was wrong to fear for my safety - we had a simple, sober lunch that was in fact just the catalyst for a really good conversation between two photographers.
We talked about everything that related to our businesses and a lot more. David told me about attending a course with Yervant, I believe that Nikki McLeod was on the course too. He gave me some great ideas that he was using in his business, and was willing to share them, we talked about websites, blogging, pricing... you name it - if it was related to wedding photography, we talked about it.
So from a point of view of meeting a fellow photographer on a one to one basis, as far as I am concerned it was a success. I know that I have benefited from the meeting, in fact I hope to have more of them, and I hope that he benefited too.
When you meet a fellow tog like this, it goes to show that we need not be cagey about what we are doing... I was open to suggestions and I believe that he was too. I was honest with him, telling him often "I'm going to use that idea" and trusted him enough to show him the exact location of a project that I have up my sleeve. I hope that some of my ideas were of use to him too.
The only fly in the ointment was that David is going to a seminar with Joe McNally in London tomorrow and I'm jealous that I can't make it.
So the point of this blog post is?
If you are a photographer, pick up the phone and arrange to meet a peer and do it today. You will both benefit immensely.
Today was slightly different. Following a chance comment on a photography forum, I met up with a Birmingham and Worcestershire based wedding photographer called David Purslow. For no other reason than to have lunch together.
When I mentioned to my wife that I was having lunch with a fellow tog, that we were meeting in a pub and that I would be leaving my car at home - she feared the worst.
She was wrong to fear for my safety - we had a simple, sober lunch that was in fact just the catalyst for a really good conversation between two photographers.
We talked about everything that related to our businesses and a lot more. David told me about attending a course with Yervant, I believe that Nikki McLeod was on the course too. He gave me some great ideas that he was using in his business, and was willing to share them, we talked about websites, blogging, pricing... you name it - if it was related to wedding photography, we talked about it.
So from a point of view of meeting a fellow photographer on a one to one basis, as far as I am concerned it was a success. I know that I have benefited from the meeting, in fact I hope to have more of them, and I hope that he benefited too.
When you meet a fellow tog like this, it goes to show that we need not be cagey about what we are doing... I was open to suggestions and I believe that he was too. I was honest with him, telling him often "I'm going to use that idea" and trusted him enough to show him the exact location of a project that I have up my sleeve. I hope that some of my ideas were of use to him too.
The only fly in the ointment was that David is going to a seminar with Joe McNally in London tomorrow and I'm jealous that I can't make it.
So the point of this blog post is?
If you are a photographer, pick up the phone and arrange to meet a peer and do it today. You will both benefit immensely.
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