Notes by Lerissa Broome

DESIGN AGLOW Issue No. 8

the essential issue 1

WELCO ME TO ISSU E N O . 8: TH E ESSEN TIA L ISSU E

Some things are meant to go together: bread and butter; Lladro and three story foyers; creativity and photography. If inspiration is the perfect hand bag, this issue of Design Aglow is the quintessential black dress. In this issue, Kris Rollag takes us through a delicious and in-depth tour of Rialee Photography’s gorgeous studio in one of the most exclusive buildings in North Dakota. Our own American Idol, Jules Bianchi, speaks with us about successful wedding bookings. What are your dirty little secrets? Design Aglow shares dozens of reader-inspired ideas from all around the world, from posing to post production, and marketing to making photography magic. Our very own adorable arbiter of arbitrations, Heather Rivlin, shares in-depth solutions for complex problems plaguing photographers: whether dealing with smack talk or people who want Wal-Mart pricing, Dear Abby has nothing on our own debutante of deliciousness. Katie Nail speaks to Huy Nyugen about one-liners, success and what makes him tick. “Yo mama is so high key”… brilliant mind Kristen Penoyer provides a clever look at an often underappreciated lighting method, complete with clever ways to modernize this “bright light”of a lighting technique. Just who is the girl in the red cowboy boots doing the cabbage patch in the street? It’s high profile cutie behind the camera Jasmine Star, and she’s here to put the ‘fun’ in funky when it comes to the most amazing engagement shoots ever. Who can upsell a single photography session into the kind of capital that makes her an industry leader? Julia Woods turns ho-hum sales into more dazzling figures than a Victoria’s Secret catwalk holds—and she spills all with Design Aglow. Finally, is your saggy camera bag a drag? Our penultimate babe of bling pimps a camera bag in a way that only Kristen Penoyer can: with one-liners, trim and a lot of inspiration. Like the perfect pairing of Manolo Blahniks and the red carpet, we aim to couple your fabulosity, talent and ambitions with our inspiration, divine design and a finish that is sure to have you out the door, and in the black, in no time. Walk with us.

The Design Aglow Team 2

Inside Real Studios: RiaLee Photography

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Jules Bianchi:

Booking For Love

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My Dirty Little Secret

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The E

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Dear Heather:

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Jasmine Star:

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Your Most Difficult Client Issues, Solved

Be Fabulous

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Huy Nguyen: Wants To Make You Think

Jeff and Julia Woods:

Ready, Set, Grow!

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High Key Magic:

A Lost Photographic Style Makes a Huge Comeback

Inspired Project: Pimp My Bag

INSIDE REAL STUDIOS:

Rialee Photography Crisp, clean and fun-filled rialee photography in Fargo, North Dakota, is our featured studio this issue. Ria Czichotzki has turned her passion for children and photography into a thriving business in two short years. From her gorgeously designed loft studio in one of the most exclusive buildings in Fargo, Ria shares with Design Aglow the joys and challenges of business, motherhood and self-fulfillment. by: Kris Rollag

Lofty Dreams Sometimes amazement washes over

was doing with her photography.

even the most seasoned professional. Such was the experience when meet-

In spite of her obvious talent with

ing Ria Czichotzki of rialee photog-

photography, Ria never gave a

raphy. Not only is her photography

thought to pursuing photography

beautiful, heart-felt and soul-captur-

as a career. She was a stay-at-home

ing, but hearing her story of daycare

mom and a daycare provider. This all

provider turned highly sought after

changed for her on a trip to a photog-

photographer in under two years is

raphy studio in Minneapolis with her

enough to make one’s head spin. Her

children in February 2007.

story, her passion and her drive are admirable; her incredible studio loft

While at that studio, she had a

space and pearls of wisdom regarding

thought that would radically change

her burgeoning business round out

her life. “I vividly remember think-

her dynamic success.

ing, ‘Now this is what I should do,’” referring to the cool loft studio in

Ria has been a photographer since she

an old building. With that thought

was a young child. One of her earliest

in mind, she spent countless hours

photography gigs was lining up her

the next week searching the web for

dolls on the front steps and taking

information about starting a career in

photos of them. With the arrival of

photography. In her search she “was

her children and a Nikkormat film

introduced to a whole new world of

camera given to her by her uncle nine

photography: natural light, no back-

years ago, her interest in photography

grounds, bright fun colors, funky

blossomed. Documenting her chil-

crops. I never even knew that this

dren’s lives became a passion for her,

style existed. We sure didn’t have

and it was through this creative outlet

anything like it here [in Fargo]. I was

that people started to notice what she

hooked.”

By June of 2007, Ria had reduced her daycare business to the point of only caring for two children, liquidated her daycare ‘stuff’ and purchased a Canon 5D with 24-70mm lens. She attended an Audrey Woulard workshop and opened for business as a part-time photographer. Working out of her home, she scheduled shoots on weekends or evenings. Demand was high for her style of photography as it was new to the area, and before long she was scrambling to fit everything in. Learning and performing editing during naptime, evenings and weekends was severely impacting family time, so it didn’t take long before thoughts of a studio entered her mind. Separating work life from home life was becoming a high priority due to an overwhelming feeling of not being available for her family. “I was tired of feeling so stretched and unfocused and not present. My kids would come home from school and I was engrossed in my editing and was trying to listen and look at all their stuff with the appropriate nods and ‘Aha’s, but I wasn’t really there, you know?” The search was on for the perfect space, and she found it, thanks to a tip from a client. While killing time between sessions, Ria took a recommended stroll around the building. “I went up to the second floor, walked down a long hallway, and looked in the very last door. It was magical. It was almost like I could hear bells ringing or music playing or something! The floor was uneven, broken concrete. The walls were practically falling in and it was dirty beyond belief, but all I could see was the killer light from the huge windows and the potential for what this space could be.” It was a huge commitment and undertaking, but being a “go big or go home gal,” she signed a five-year lease and went to work designing her studio loft space. Combining her passion and skill for interior design with the blank slate of the studio, she set to work designing the floor plan and choosing flooring, lighting and cabinetry elements. “This part was so much fun for me! The landlord paid for the entire fit-up as part of my renting the space. I also had such a good time searching for all of the furnishings, as I love to shop, plan and design. My studio is a mix of modern, industrial and whimsical.”

The 1100 square foot studio is comprised of two main areas: the office/workroom space (about one third of the square footage) and the guest area/gallery/studio space. The guest area is used to welcome her clients and provides an area for Ria and the children to get to know one another, in addition to discussing clothing and the focus of the session with parents. As the studio is a second floor loft, rialee photography has no street traffic. Because Ria is on an appointment only basis, this lack of interruptions stemming from walk-ins and curious passers by is a blessing. She also likes the feeling of being a little hidden, mysterious and exclusive. The building she inhabits has commercial space on the ground floor with gorgeous million dollar loft condos on the third floor. rialee photography delivers what clients are seeking: the cutting edge, cool style that is hot, mirroring what trendy catalogs are now embracing. Marrying her love for design and the clean, sleek lines of modern-meets-retro, Ria’s digs are at once striking and streamlined. She finds her furnishings and items everywhere, from old, refurbished pieces at antique stores, to the mix of more modern Ikea and Room and Board type furnishings. The small child chairs are very modern and retro-ish. “Then I’ll have an old, industrial milk crate. So it’s a mix of industrial old and modern.” Making use of online shopping, she is always looking for the perfect fit for her gorgeous space. One decision Ria made was to decorate her walls with canvases of all sizes. “I chose to do that because when people see them, they want them, and you can’t beat how great a canvas looks on the wall.” This is of critical importance in relaying the idea that these images are not simply photographs – they are works of art and a canvas simply extends

that vision. “I don’t have anything on display that

isn’t a standout or a canvas because that is what I want people to purchase.”

The Prop Closet Just off of the shooting area is a prop closet full of treasures. According to Ria, she has an addiction to buying baby items, and keeping this closet stocked for infants to toddlers is a joy. “Forever and ever, I have always loved the baby aisle. When I was little and we went to the local dime store, my friends were in the candy aisle picking out chocolate, and I was back in the baby section looking at diapers and bottles.” With her children older and no babies to buy for, she gets her ‘fix’ of baby hats, toys and clothing by stocking her prop closet. Partnering with a local baby boutique for some of the ample clothing supply she keeps at the ready, Ria loves the a mix of trendy duds she can provide for shoots. Pea coats garnered from ebay are must-haves, since so many kids never wear them but once or twice before outgrowing them. She gets scrumptious hats from Etsy and claims to have upwards of 50 hats for her young clients to model. Parents love the looks Ria pulls together from her closet. While a lot of people don’t realize everything doesn’t have to be perfectly matching to be adorable, the props and clothing area is a microcosm, showing how so many different elements in her studio pull together for a fun and vibrant slice of rialee life.

Sharing her office with her part-time assistant can prove tricky, but cubbies help keep the duo organized. When designing the studio, Ria spent time figuring out what she would need and designed the shelves accordingly. Ribbons, boxes, bags, tissue, envelopes, and completed orders all have a designated place. Itâ&#x20AC;&#x2122;s so easy being green: From pens to a pail cleverly housing implements, chartreuse is a prominent eye popping color demanding its rightful place with busy Ria, and it works. A favorite of hers well before it become a trendy color choice, this bright shade of green is a delicious component of her studio space and her stylish brand.

The Shooting Area Compared to the vibrant colors found elsewhere in the studio, the shooting area is nearly barren by design. The Room and Board, white micro-fiber couch takes center stage and is used constantly. Everybody who sees a photograph of a child on the white couch with the white wall instantly recognizes the rialee trademark, and that’s exactly what she wants: that brand, that recognizable look. Still, says Ria,“The couch was a huge splurge. I was nervous because of kids plus the white, but I use it all the time and it cleans right up.”

In stark contrast to the shooting area, her exciting pops of colors in the form of chartreuse, orange and turquoise can be found throughout her distinctive photography and throughout her studio. Flexibility is the key to the shoots in terms of furnishings and props. Once she gets a feel for what her client is looking for, she simply pulls out toys, chairs, or whatever strikes her at the time, and they get to work creating delightful, colorful photographs. While her props pop and her clothing samples sizzle, she doesn’t use backdrops in her work, preferring to simply utilize the brick and white walls.

Ria’s business philosophy and something she often includes in her marketing materials is that “rialee photography is dedicated to giving you an unmatched photographic experience.” To promote this philosophy, Ria has three objectives she wants to meet when a client walks through her door. The first goal is to have them ‘blown away by the cool factor’ when they arrive. She also allows her sleek loft to portray sophistication, something that adds value to her stunning art. Lastly, and most importantly, she wants them to “feel comfortable, relaxed, welcome, and to know that they are going to have a lot of fun.” Clients also look to her for the cutting edge and the cool. Because her studio and photography are totally trendy, Ria is granted the necessary trust to do whatever she wants, knowing her instinct creates the amazing results discerning clients have come to expect and appreciate. Looking at pictures of her studio, it’s not hard to believe that she has achieved her objective. “A relaxed, fun atmosphere makes for relaxed parents and, in turn, relaxed children. I want them to enjoy not only the final product hanging on their walls, but also the memory of the experience that contributed to creating that image.” Ria’s tagline of ‘modern, simple and fresh’ succinctly describes her photography. A quick glance at her work reveals that the child is truly the focus. She uses 100% natural light, both on location and in the studio, no backgrounds, and a minimum of props to achieve her enchanting look. When asked to describe her style, Ria used the words “clean, crisp, fun, natural and real.”

Her specialty is children’s photography. Love of any subject is a critical component of successful photography, and Ria’s love of children is evident. “I just simply love kids. I am drawn to them and they are drawn to me. Anywhere and everywhere I go, babies seem to look at me and smile. I don’t think it’s anything special that I have except for that I notice them – I appreciate them – I have a heart for them.” Her fondness or her pint-sized clients also extends to the beautiful toys she keeps stocked throughout her studio. Ria spares no expense, purchasing quality, modern prop playthings from companies like Oompa. From jovial pull toys in her favorite colors of chartreuse, turquoise and orange, to organic knit dolls, she says, “They’re fun to have for a photo, and I can use them over and over. It lends itself to the look and the feel.” Parents appreciate her knack for knowing what’s cool, and, unable to do anything but surrender to the gorgeousness visually, end up wandering through her loft space like big kids in their own eye-candy store. Crayons artfully arranged on a little shelf in a clear, acrylic container are more than rainbow beauty. While for coloring, the crayons and their placement are part of the overall package, the experience. She wants her parents to be inspired by the way she finds new and innovative ways to display things.

Branding This is an area that Ria initially struggled with simply because of the abstract nature of branding. When developing her brand, she fell back on all those words she wrote down in the beginning when first dreaming about her business. She also asked the questions, “How did I want it to feel? How did I want it to be perceived by the public?” Thanks to her clever stylings and knack for cutting edge design, her brand is recognizable and is working well. Choosing chartreuse and white, Ria keeps those colors consistent throughout all aspects of her business.

Packaging This is a very important area for Ria – not only because it projects her high-end boutique stylings, but because as a member of her target market, she knows what she likes. One of the things she loves is the glossy black and white bag with red tissue paper that Sephora packages their products in. “If an 8x10 came in a plain envelope, would I be willing to pay $90 for it? Maybe not. But if it comes in a box with tissue and wrapped with a colorful bow and a personalized tag? For sure!” From the chic chartreuse writing implements, to the gorgeous ribbons adorning boxes for prints, to the bottled water sharing her logo, Ria goes the extra mile for her discerning clients, showing that even the little details matter.

Marketing With four children and a husband, all of whom are active members in the community and local organizations, getting her business out there has proven to be less of an issue than Ria originally thought it would be. Word-of-mouth has proven one of the best methods of marketing for Czichotzki. Ria is always designing something new and fun for her advertising efforts, and never runs the same ad twice, even in concurrent publications. Another showing of her lauded attention to detail, she not only embraces the added creativity it allows, she partakes in that time consuming aspect of branding with her trademark style.

One magazine that she advertises in caters directly to her market of the upscale business woman and mom. This opened the door to a group of people outside her circle of peeps and gave her more credibility as a professional. It also led to the opportunity to be part of a new section the magazine started which features local photographers. “They chose one of my images to run full page on the last page of their magazine, and I can’t even describe what that felt like. Such an honor and validation! Previously, they had only been using the ‘big shot’ photographer’s work. All those established old school people, and now they were showing the work of little old me. It was awesome!” Covering all bases, Ria also advertises in a local family magazine, an edgy cosmopolitan magazine and a new publication focused primarily on mothers. It’s this new magazine that brings excitement for Ria. “I photograph their cover, which is pulled from the feature story – a mom from our community with a story to tell. They also have two profile moms, and a ‘rad dad’ and a ‘mom-preneur’ in each issue. The magazine has been so well received, and it has been so amazing to be alongside other women going after their dreams and making big things happen.” Because it is important for her to make a difference, Ria is empowered by working with others and helping them reach for their dreams.

â&#x20AC;&#x153;I just simply love kids. I am drawn to them and they are drawn to me. Anywhere and everywhere I go, babies seem to look at me and smile.â&#x20AC;?

Gorgeous Gallery A short walk from the waiting room to the shooting area is a delicious journey. Stunning shouts of color radiate in a clean look. Pure inspiration, Ria shows with flawlessness that one can hang a great photo on a white wall to make its own statement. The pictures, measuring 16 X 24”, are mounted on ¾” lightweight board. Up a quick step from the waiting area, floors are laminate to withstand foot traffic while keeping the area light and bright. Exposed concrete walls weren’t so much a choice, says Ria, but it has such an unassuming feel that it lends its look beautifully, especially when combined with exposed duct work and other industrial elements of the studio. Track lighting carefully chosen by Ria adds to the art gallery feel, highlighting vivacious images while also complementing the cutting edge, modern style of the studio.

Office Play rialee studio, with professional, hip stylings,

furnishings, come from everywhere, and bril-

makes it at once obvious that Ria is able to find

liantly house everything, from push pins to

beautiful balance and symmetry in all things,

papers. “Flea markets, Target, Office Max, The

from the gorgeous visual combination of color

Container Store,” says Ria. “The green binders

and composition in her work space, to the trio of

are from Russell + Hazel. They have cool office

green grassy tufts resting under a quintet of stun-

supplies.”

ning black and white canvasses. Whether moving from color to lack thereof or melding retro

Flea market finds in the form of old, refurbished

with modern, careful consideration is placed into

tin serve as Ria’s inspiration board. From clever

every aspect of her high end studio.

Scrabble magnets spelling out her name, to inspirational cards, to an article telling of her

The work room is located off of the entry area

studio’s opening, everything here has a purpose.

with lusty windows that imbibe the warmth and

A sweet image of herself at aged two or three

light of the sun. The view is industrial, lending

next to her brother is a heartwarming reminder

to the theme of the business, giving the best of

of the cameras purchased at a yard sale by their

all worlds, ample light pouring in giving an even

mother. A business card with one of her major

greater, spacious feel.

breakout photos from her very first ad resides near a couple retro flash cards, sharing her care-

Pretty pendant and cage lighting were chosen

ful composition: words with the words “picture”

(as with other lighting in the studio) from a local

and “office” gently set apart syllables without

lighting company called The Light House. Keep-

emotion, in stark contrast to the color popping

ing the exposed ducts was Ria’s decision. With

knit hat one of her major breakout photos in

its perfect, modern feel, covering the metalwork

business card form.

would have lessened the height of the room, removing some of the best qualities of owning

People can’t help but comment on her collection

the loft in the first place.

of twelve portraits lined in bold chartreuse. “It’s colorful,” Ria says. “Every child is wearing a

A glass table top was discovered at Ikea, and

little bit of a different color, and it showcases my

serves as a barrier between workspace and

love of photographing eyes and making eye con-

where Ria meet with her clients. Paired with

tact.” Black and white canvasses above an Ikea

modern white chairs, says Ria, “It’s a little bit

chest display her four children. “It shows what

more dressy than everything else. I like that it

you can do with photography,” says Czichotzki.

has a little different finish than everything else

“A lot of people see that as being able to go into

with the green glass.”

their own home and have been ordering that canvas set in those sizes.”

Clever and classy organizers, like her

Food For Thought Positive energy and appetites are simultaneously nurtured in this room, touches of chartreuse coupled with white for a serene look. The low walls allow light to cascade from numerous windows. Pint-sized pin-ups are cleverly fashioned by hanging 8 X 10â&#x20AC;? images with a border to emulate Polaroids. Displayed with clothespins and a length of ribbon, art takes on a comfortable look here, while still playful and fun.

One might be surprised at what Ria attributes as her best marketing strategy. “By far my most successful marketing tool is still my blog.” Yes, the 21st century invention of the blog. “I have 400-500 readers daily, and it has been vital in the growth of my business. People can see my new work on a daily basis. They feel like they get to know me through my posts and it just keeps me on their minds. They check in, they tell others to check in. I think it’s addictive for some people!”

Ordering Process Online ordering is preferable and encouraged. In spite of that, about 25% of her clients come into the studio to review and place their orders. Ria finds that 90% of people will go with a collection, which she has organized based upon what the majority of clients were ordering. She posts the galleries online for one week and requires that the order be placed within that week. It helps people make their decisions and also takes advantage of the emotions involved when they see the images

Workflow At this time, Ria performs all post processing herself. She owns action sets from Kutoba, Totally Rad, Nicole Van, Itty Bitty, Eye Candy and Child’s Play, and uses her favorites. Typically she allows herself about a week to post her galleries online, but this can be extended to three to four weeks during the busy seasons.

Photographers that inspire Tara Whitney tops her list, not only because of her photographic work but the “dedication to her family (four kids like me!) and the way she is so uplifting and positive about women!” Also making the list are photographers Barb Uil, Sheye Rosemeyer, Audrey Woulard and Skye Hartwick.

Balancing Work and Home Life rialee studio, with professional, hip stylings one would expect to grace Better Homes and Gardens magazine, makes it at once obvious that Ria is able to find beautiful balance and symmetry in all things, from the gorgeous visual combination of color and composition in her work space, to the trio of green grassy tufts resting under a quintet of stunning black and white canvasses. Whether moving from color to lack thereof or melding retro with modern, careful consideration is placed into every aspect of her high end studio. Balancing work and home life is also an area Ria is continually adapting and perfecting. She is the first to admit she has a way to go before she is satisfied. “I just really find it difficult to strike the right balance. I am such a perfectionist that it is hard to let anything go. I feel guilty if I don’t respond to an email promptly or if it takes longer than expected to get a gallery online. I feel guilty if I don’t volunteer for the party at school or to help with the school play.” Consciously switching gears on the drive home, from business woman to mom, has helped tremendously. Finding the harmony of being the best mom possible, yet giving herself the opportunity to do her best as a business woman is a huge challenge, but if anyone is up for the challenge, it’s Ria.

The future of rialee Photography Something exciting that Ria is rolling out is a program called Photographer Mama, a workshop she’s developed for moms who have little or no background in photography. Ria teaches the basics of photography, supplemented with a focus of telling a child’s story through photography. What a fun-filled weekend of learning tips and tricks is in store for the women who attend this workshop!

Personal Project A trip to Uganda, Africa, is rapidly approaching. While there, Ria will be taking pictures of children in orphanages in order to raise awareness of the need to sponsor these children. “I have such a heart for all children, but especially underprivileged ones, so I am very excited about being able to use my talent and art to make a difference in this way.” Ria Czichotzki is certainly the ‘go big or go home’ gal of Fargo, North Dakota. An amazing woman with an incredible journey, it will be exciting to see where she takes her business and life next. No doubt, it will continue to be a great story.

About rialee Photography Ria Czichotzki is an exclusive children’s photographer based in Fargo Moorhead, where she lives with her husband and four children. She began her journey in the photography field by capturing the ‘everyday” moments of her children’s lives through the lens of her camera. With her natural, artistic style and a combined passion for children and photography, she has been able to turn her hobby into a very successful career. Being in the child care profession for several years has given Ria a unique ability to connect with children of all ages and an amazing amount of patience. By allowing the child to warm up, relax, be themselves and have fun, she is able to provide her clients with images that capture who their child is, not just what they look like. Being a mother herself, Ria realizes that childhood is fleeting and her desire is to deliver her clients breathtaking images that seem to stop time… even if just for a moment. With a style that is relaxed and casual, modern and fresh, Ria photographs with 100% natural light on location as well as in her natural light loft studio in downtown Fargo.

rialeephotography.com rialeephotography.com/blog

Jules Bianchi:

Booking for Love When it comes to domination and promise for the longevity of mankind, booking a wedding might not save the species like Battlestar Galactica, but this petite beauty in flannel pajamas might just make the future a little bit brighter for engaged couplesâ&#x20AC;Ś if the crusade can wait until after noon. by: Jamie Van Eaton

THE CAST: Jules. Obsessed with American Idol, Jules is

Olive. Star of blog and book, this eleven year

mortified to see the 80’s slithering back into

old Shar Pei-Border Collie mix is a lovable ham.

fashion in the form of double belts and retro Pat

Bianchi garnered 2nd prize at an album compe-

Benatar stylings. “The skinny jeans, the leggings

tition at WPPI for her book called Olive Goes

with the spiky heels and the slouching, and the

to Hollywood, an adventure starring the doggie

ruffles. I refuse to partake,” she says. “I told

diva herself visiting all the famous landmarks

Marty I can’t marry until the 80’s fashion wave

in Hollywood with various canine companions.

has passed.” A veteran in the film industry, Jules

Olive loves draping herself across the couch like

began photographing at 12, around the time most

a fabulous furry furnishing and meeting new

girls were still feathering their hair and the origi-

friends.

nal Battlestar Galactica was working its amazing special effects on audiences everywhere.

Abigail. Olive’s five year old sidekick and the Marty, Jules’ boyfriend. They just celebrated

socialite cat in the family, Jules booked one of

their one year anniversary of having met yester-

her biggest weddings with Abigail in the groom’s

day. With hours even later than hers (enabler!),

lap. Interests: shiny things and keeping Olive out

this web designer’s talents extend to cooking,

of trouble.

where he fashions his turkey burgers with the skill of a Top Chef final contestant. He loves shopping at 2 a.m. in the morning when the parking is decent. Blythe. The surreal “creepy doll” from Japan that was popular in the 70’s and is enjoying its resurgence in the last couple years. “It’s this funky doll,” explains Jules. “You pull the string in the Jessica, the Personal Assistant. With Jules for the

back of her head and her eyes change color. I

last five years, this actress and all around Renais-

have a couple of them on one of the shelves—a

sance girl was brought in to help initially with

couple Blythe dolls with pictures.” Never caught

tasks around the home. Now she color corrects,

in 80’s fashions, Blythe loves looking intensely

helps with editing and accompanies Jules to

disinterested, sometimes amused and is painfully

weddings—that is, when she’s not surprising her

hip.

employer with new-found grocery store items.

12:13 p.m. Blythe intentions

“I like when people come to my house because they get a sense of who I am as soon as they walk into the door.”

Jules is throwing the blankets back

that necessarily double their use for

from her hip, electric cornflower blue

business as well as living. Cabinets hold

couches. Scuffling around in her flannel

treasured heirlooms and wedding al-

pajamas, she shoos her pooch Olive and

bums. An unassuming coffee table with

cat Abigail away playfully. It’s the crack

a secret drawer holds samples of her

of noon, and, just starting her day, she

work to share with clients. In the family

is full of energy and is already speaking

room, she keeps the television employed

animatedly.

displaying images of engaged couples, or, just as importantly, for enjoying

Working from her two-bedroom apart-

her former guilty pleasure, Battlestar

ment home provides not only comfort

Galactica. One of several cherished

and creativity in tight vibrant quarters,

Blythe dolls on their shelves looks on,

but is packed with beautiful furnishings

bemused, behind blue eyes.

Many come to Jules as client referrals, friends of friends who were introduced to her at weddings and remembered her impressive style, professionalism and dynamic personality. Calling or emailing is the first step. Jules keeps a website, which not only showcases her beautiful photography, but also serves to help provide important information regarding services and pricing. Since most of them are paying for their own weddings, says Bianchi, sharing her rates online give brides a sense of who they can realistically work with in terms of budget. Jules is as bright and energetic as the space she inhabits, sharing the importance of showing clients who she is, both through her home and the art she produces. Bianchi also believes time spent with a couple should be enjoyable, and instills in clients the confidence that what she produces and creates is going to be something they will love and cherish. “Your photographer, more than any other individual at your wedding, has got to be someone you’re comfortable having around. Your cake vendor and florist are going to come, drop off the cake and the flowers, and then leave.” The cake gets mashed into the bride’s face, and the flowers will wilt, but “the photographer is creating something that you’re going to keep forever.” While a lot of people are still enthusiastic about looking through her work in the form of proofs and albums during their meeting, Bianchi knows at that point they come to see her, the meeting is more about knowing who she is. “By the time a potential client calls, they have a very short list. They aren’t going to go visit fifteen photographers and look at books. They’re looking to know that you’re capable, are someone they like, and are right for the job.”

JULES’ RULES: BLOGLICIOUSNESS

While Jules’ initial reason for blogging was for the enjoyment of it, she also doubles its purpose by sharing information for the venues she frequents. She links to and provides positive comments about their services, fostering good will. Another benefit: “Blogs come up in searches because they’re updated regularly and have tons of links. If a bride is specifically looking for wedding pictures at a place she is considering, and she sees you have a wedding beautifully photographed at that venue, it gives her another reason to contact you.”

With literally hundreds of wedding photographers in southern California, Jules reasons that more is truly better. Brides are so inundated with choices, and photographers run together as one big blur after a fashion, Bianchi says. “Once you establish yourself as a certain type of photographer and bring in that quality of clientele, you’ll get more of those types of clients.” As well, she reasons, “clients look for people who’d probably be a friend of yours, whether they booked you or not.”

At the door, most of Bianchi’s

steeped in the exciting world of

come in to offers of a cold drink, a

clients are exuberantly greeted

Jules Bianchi.

price sheet, the contract and a few

as Olive heralds company with

magazines as samples to have in

the kind of excitement only four

There was a time Jules used to

hand. Clients get an immediate feel

paws and a tail can muster. Enter-

place couples in front of the TV

for Jules this way, though competi-

ing Jules’ eclectic domain of vivid

and play a slide show mix of wed-

tion for attention comes sometimes

personality coupled with her easy

dings that shared her images and a

in the form of her celebrity canine

going demeanor, righteous shuffled

sense of her shooting style. “I’ve

companion, Olive. “She has her

riffs from bands like the Killers

gotten out of that habit,” she says.

own book and blog,” explains

and Built to Spill emit from her

“It felt like a weird way to start

Bianchi.

Ipod deck. Clients are immediately

the meeting.” These days, people

2:35 pm

Love at first sit

While Jules and her clients hang out and look at books, the largest portion of that meeting will be spent steeped in history about how the couples in her living room met or were engaged. “Their love and relationship is, for them, the excitement and the drama, so having a great story is important to them. Now I’m in the habit of asking about their engagement stories. It’s really telling.” Actively learning about them while they become acquainted with her, couples share what they are looking for in her photography. “They talk about the wedding of course, which I genuinely ask about. I want to know about the colors and her dress,” she grins deliciously.

“ By the end, I feel that I’ve gotten to know the couple better than if I was just sitting there and showing them my work.”

Because Jules has had experience with myriad weddings, she is able to educate couples so that they will know what to expect and be prepared for on their wedding days. She is also keen to listen for any possible delicate or sensitive issues that may erupt. “A lot of times, this kind of stuff definitely comes up in the consultation. I’ve had brides warn me that their step moms are controlling or that their dads have a little bit of an issue with their moms, or they were divorced and it was ugly.” She continues, “I would hate to say, ‘Let’s get a picture with your dad,’ and find out he died six months ago, so I try to get that information in the beginning. We have a lot of delicate issues, so I understand that it can be uncomfortable when it is a happy day, and yet there are people there who don’t usually spend time together anymore.”

JULES’ RULES: LISTEN UP

It is important to slow down and allow the clients to talk. “That took me a long time, and I’m still struggling with learning to be quiet and letting them tell me what they need. They want to tell you about themselves as much as they want to learn who you are. I ask them, ‘What is it about wedding photography that is the most important to you?” Then I can assure them, ‘Yes, I can do that for you.’” In the end, it’s a matter of showing them that she can fulfill what they’re seeking through actively listening.

Integral to their meeting is the discussion regarding the schedule of the wedding day itself. Jules masterfully ensures that pivotal days go off without any harried hitches while looking to potential needs for the couple. Speaking to the importance and benefits of taking family shots prior to the wedding (usually the same day) frees the happy couple up to enjoy their day and know they got their best pictures, rather than running from shoot to shoot and missing the party after they walk down the aisle. Soon to be wed, Colin and Staci are still on the fence about seeing each other before the wedding for their shoot. Engaged over dinner, they tend to be more ‘low key’ traditional; therefore, seeing the bride in her glamorous gown prior to their “I do’s” might seem a bit like heresy. While understanding their concerns, Jules runs through two potential timelines. “People really recognize that seeing each other for the first time at any point in the day is like seeing each other again for the first time. It gives you more time during the wedding day to be with your best friend and love.” The couple seems happy with this rationalization, and Jules says she can count on one hand the number of people who still choose to not see each other before the ceremony. Photographing prior to the wedding also allows Jules time to document details before the reception commences. “I want adequate time to go

3:12 pm

in there and photograph all of those

To see or not to see

pieces for people. It makes for a better wedding album, too, when you show the uniqueness in weddings and couples through those details.”

JULES’ RULES: RELEASE ME

Every wedding contract contains a model release explaining that Jules can employ the images for use in her business. Clients tend to want to help her because of their friendly relationship. Additionally, “With more than a few clients whose weddings are published in magazines, there’s usually an interview,” says Bianchi, “so they’re well aware of publicity around their images.”

It’s evening, and time for the blankets to greedily swallow the brilliance of the couches again, as the Macguyver-meets-Pier One table is folded back in onto itself like a neatly wrapped sandwich. Jules says she doesn’t pressure couples to book on the spot. “Most people aren’t 100% sure what they want after they sit with me. They want to have a conversation about the timeline, think about how many hours they will need, and what kind of products they really want.” Far from high pressure,

7:12 pm

she sends them home to think about their

Before they say “I do”

wedding package, confident that she will produce the perfect product that will please everyone in the process. A week or so may transpire before Jules hears back, and most of the ensuing conversation will take place via email. Explaining this portion of the process, Jules says, “I’ll get an email from the couple that reads, ‘We want [a particular combination of products].’ Then we break down the contract with their specifics, and the contract is sent with a link where they can use a credit card to securely pay their 35% retainer.” Once the retainer is paid, Jules sends the clients a contract via email with her signature on it. From there, the date is booked.

When handling engagement portraits, the shoot takes place three to six months before the wedding. To get the feel for the couple’s preferred location, Bianchi sends the basic black dress of questionnaires, five to six questions about what some of their favorite things to do together are, and their favorite things about each other. Jules says, “We’re looking for some place that’s different or that can signify them as a couple. I don’t want to always go to the park or to the beach. I like to shoot at their house. They’re in a space or environment that they’ll always remember and has significance.”

JULES’ RULES: VENUE DEBUT

“Create an album and give it to the venue to keep there,” advises Jules. Targeted to brides, a beautiful album showcases with precision the way an event was handled there. “If the bride is going to see a few venues and sees albums at several places, she is going to see your name over and over. This puts you in a position of authority with enough experience to have completed a job, put together an album and put the album into place.” A lot of people have concerns with new photographers: Will they be in business in two to three years? Placing albums helps to establish permanence and trust. Placing at venues doesn’t require oodles of extra effort generally. “Since I predesign all of my client’s albums and they typically keep the design I provide for them, if I do end up ordering two of the same book, they are exactly the way I want them.”

Jules laughs. “People say, ‘You’re such a social butterfly and are so outgoing!’ and I do love being around people, and I love being at weddings—that’s so much fun. The truth is I’m really a homebody. I’m not the bravest person.” One reason she says her business model works for her is because weddings book so far in advance. It is for this reason she could initially muster the confidence to take a job and have six months to get ready. Still, with the burden of that much responsibility on so many levels, Jules secretly almost didn’t want the work in the beginning, almost eight years ago. Giving off a self-protective air that she wasn’t affected whether she booked the wedding or not in those days, people responded with surprising favorability. “The underlying fear of doing weddings benefited me, because it gave this false confidence to people-- that I’ve always been that way. I never gave off the impression that it was that big a deal if they hired me.”

10:23 pm

That’s about it

Now concern has been replaced with friendship and a genuine interest in getting to know the people who come to meet Jules. Not only does her positive, fun personality continue bring clients, but, even in this economy, the raven haired marvel never deals in discounts. While she might be willing to include a couple extra hours or an engagement shoot to give people greater value, she says, “If you discount yourself, you’re telling people you’re not really worth what you say you’re worth. People read into that. That puts you on a slippery slope of people not trusting you, wondering why you’re saying you’re worth one thing and then charging something else.”

Jules’ Tools: “Putting together a package is pretty straightforward.”

Albums Jules works with Leather Craftsmen for its variety, quality and customer service. With 40, 60 or 80 page books available, clients can add extra pictures to their book for $15 per image above the album cost. There are two kinds of parent albums available as well: one is a mini album, and one is a 40-image matted book that can be custom-made. http://www.leathercraftsmen.com/. She has begun offering Couture Albums as well, books with different bindings that are beautiful and sleek. This album rounds out an amazing selection of album options for clients.

Proof book A paperback bound book of all the images of the wedding, the proof book is currently included in every package with her shooting fee.

Keepsake books Hardback or soft cover, these are relatively inexpensive compared to the leather albums. With one image per page, they’re simpler, and clients can include more pictures. “Some will order these for a parent or to have at the office.” Bianchi’s top two packages currently include keepsake books.

Additional photographers “Almost everyone gets two photographers.” While an additional cost, the extra man (or woman) power provides more thorough coverage, more moments and more details captured.

Guest Book Engagement portraits coupled with wide margins are filled with the good wishes of wedding guests, creating a keepsake heirloom for couples. Jules says, “I’ve also added a sleek book called ‘the Modern Book’, which comes exclusively through Pictage, as another guest book option.”

Joy Cam A white roll of paper cascading dutifully from a backdrop with a single light through an umbrella might feel like the stuff of 1980’s high school dances, but the Joy Cam (named for her sister—Joy, not Cam), is a portable studio with high key, black and white images making its debut this year. Invoking goofiness and merriment, groups of partygoers can view themselves as they’re having pictures taken on a computer screen. The cost is additional because it requires an extra employee and post processing, but these are included with all of the other wedding images, and appear on the online gallery.

The moon is making its ascent into the sky, and Jules is in her element. An avowed lover of the night time in terms of productivity, she finds that she will probably be working for the next five to six hours, at least until four in the morning. With no phones ringing, and the sounds of the world quieting, Bianchi and the love of her life, Marty, settle in for their ‘work days’. This is the way the duo prefers it. Explaining her nocturnal hours, Jules laughs. “I am the worst. Grownup. Ever. When you go to bed at 4am, it’s hard to get up at 10.” This is her off-season, though, and the excited flurry of impending weddings will change her hours soon enough, if not her comfy flannel fashion choices. With Marty, forays like 2 a.m. shopping trips take on an ethereal life of their own, and suits her just fine. “The other day I was telling Marty that it’s like having a slumber party at my house every day with him here.” Jules enthuses,

“We made ourselves a cake for our anniversary, and then had cake for breakfast and were like, ‘Only grownups get to have cake for breakfast!’” She almost squeaks those final syllables.

“People say, ‘You’re such a social butterfly and are so outgoing!’ and I do love being around people, and I love being at weddings—that’s so much fun. The truth is I’m really a homebody. I’m not the bravest person.”

As the conversation bounces back and forth like a game of Pong, Bianchi is the first to admit, “I easily distracted. I’m usually caught by the next email, or someone is Twittering something, or I’ll start to edit something.” Jules laments that she easily loses her mental focus, eyes moving from her Blythe dolls to nose-wrenching thoughts of burning meals on the stove. “For safety reasons, I don’t cook very often.” In the end, we part with friendly laughter. The sounds from the TiVo’d final episode of Battlestar Galactica’s quietly mutter, crash and kapow from the other room, framing out the existence of a woman who is so at once disarming and self effacing. Something tells me the people she works with cherish her every bit as much as those photographs she produces for them. “I am nostalgic and I get really sad about the concept of time passing so quickly, moments that are so wonderful but fleeting. I love the fact that we have a medium that can allow us to capture that.” So say we all.

About Jules Bianchi Jules’ father gave her a camera at age 12, and she was immediately taken with the ability to freeze moments in time. Today, Jules’ main focus is wedding photography. Shooting weddings fits perfectly with her outgoing personality, eye for detail and sensibility for genuine moments, but lately she is finding great joy in bringing that same energy to family and pet portraiture. Jules has a home studio in West Hollywood where she often sleeps in quite late because of her extreme night-owl tendencies. If you come by, you’ll experience an exuberant greeting by her fluffy dog, Olive. Thanks to Jules, Olive has become quite famous in her own right now…her book, “Olive Goes to Hollywood,” took second place in the Non-Event Informal Album competition at WPPI 2009. It is an accomplishment Jules is quite proud of. An international award-winning photographer, Jules’ work has been published in magazines such as Los Angeles Wedding Magazine, Bride & Bloom, The Knot, Your Wedding Day, and Ceremony Magazine. Her work has also been featured in professional photography vendor samples from Leather Craftsmen, Willowbooks, Livebooks, Kolo, and Pictage. Jules speaks and teaches other photographers on a regular basis at professional organizations on topics covering wedding photography, inspiration, and photography technique. She has spoken at Pictage PartnerCon, Digital Wedding Forum Convention, and Kevin Kubota’s Bootcamp, just to name a few.

julesbianchi.com For more information, contact Jules at jules@julesbianchi.com or call 323.428.6402.

Jamie VanEaton is a freelance writer from Denver, Colorado, where she lives with her husband, also dislikes 80’s fashion, and waits for the final season of Battlestar Galactica’s release on DVD.

my dirty little secret Shhhhhh! We won’t tell if you won’t. We asked Design Aglow readers to share their deepest, darkest, juiciest, dirty little secrets with the world in this issue’s special feature. Read on to get the best dirt on posing, marketing, Photoshop, and lighting.

T E R

C E PS

HERE’S LOOKIN’ AT YOU KID: D E A LI N G WI T H SU R LY LI T T LE O N ES

One of the biggest class of entries

ma yb e n ot so mu ch whe n i t c ome s t o

we recei v ed were f rom photogra -

getti n g grea t i ma ge s of t he m. O u r

phers that have secrets on how to

b est di rty l i ttl e secr e t : t ri c k ‘e m!

deal with the kiddies during a photo

Yu p, a s we wi l l see, t ri c ke ry, lyi n g ,

shoot. An d wh y n ot? Th i s i s a prob -

and outright fables a r e t h e b e s t w a y

lem we’re sure every photographer

to get the l i ttl e da rl i n g s t o d o you r

has encountered on a regular basis.

b i ddi n g. Here’s the d i rt :

Of course, kids are a blessing, but

Heidi Peters

Heidi Peters Photography La Grange Park, IL, USA www.heidipeters.com

“Q: How do you get a very sma l l ch i l d to l ook mea n i n gf u l l y a t th e ca m e ra? A n d t he n d o i t again? And again?

A: Ask for help.

“Jenny, I need some help with my camera.... will you tell me if you ca n s e e i t b l i n k ?” (Demonstrate with your own eyes how people blink.) “Ok. Are you re a d y ? Lo o k v e r y c a r e f u l l y right here. ” (Move camera up to your face, focus, and tap the front of t h e l e n s w i t h t h e o t h e r ha n d) “Here we go.. .” *cl i ck * “Di d i t work !? Ya y! Let’s do i t a ga i n !” With each success, the child become more interested and more smiley . I o f t e n s a y t o t h e moth er, h ov eri n g n ea rb y, “Wow, Jen n y i s so good a t h el pi n g me! Sh e wi ll b e a g re at p hot og -

rapher.” Then the mom smiles and the child smiles even more. And TH A T i s w h e n y o u g e t t h e wi n n i n g sh ot.”

T H EI R D I R TY LI TTL E S ECR ETS !

Deena Riley

Jennifer Pearson

Deena Riley Photography

JA Pearson Photography

jenniferpearsonphotography.com Toronto, Ontario, CANADA

“Want

Marci Lambert

thoughtful

looks

real

s m ile s from young girls age s 6 - 13?

Manda Townsend

Ask them who their favorite Jonas

Marci Lambert Photography

Brother is... gets those real facial

Manda Townsend Photography

e xpre s s ions EVER Y tim e ! ”

“I h a ve f ou n d th a t tel l i n g a compel l i n g story, or h a vi n g a pa ren t tel l a com -

Pascale Wowak

pel l i n g story (a s i n th i s pi ctu re), ca n produce a lovely natural expression in

Pascale Wowak Photography

a ch i l d. ”

www.fabphotos.biz

“ I p h o to gr a ph a lo t o f pr e -

“I have a fantastic secret

sc h o o l k i d s a n d s o m et i m es

I use when shooting kids.

i t’s h ar d to g et t h e m t o r e -

On my l en s h ood I pl a ce

l ax. I w i l l a s k t h e m a s er i e s

different

o f si l l y qu e s t i o n s , s uch a s

on the edge (I use the

“ D i d y o u b r i n g a s m i le t o

vu l n e r a b l e ,

teen y ti n y rewa rd cha rt

deli g ht e d ,

stickers).

in t o d d l e r s / p r e s c h o o l e r s ,

Samantha Bender

sc h o o l to d a y ?” , “ C a n y o u s e e t h a t b u g o n m y h e a d ?” , d l e ’?” If a n y o f t h o s e d o n ’ t

when

stickers

“To

Sometimes

kids

are

ter f ly i n s i d e my c ame ra

Gen Levy

wh ere’s the b l u e on e? Ca n

preciousthingsphotography.com

m o v e th e i r m o ut h t o m a ke

you find the one with the

Chicago, IL, USA

smi l e .”

“My secret shooting weapon is a fluffy little 4 pound Yorkie nam e d Mr. T.

look

camera...I ask - “Can you

t h ey

c l o se as i c a n g et t o a r e a l

c u ri ou s

www.samanthabender.com

snak e

s n a p p i n g . S o m e t i m e s i t ’s a

eyed,

I t e ll t he m I hav e a b u t -

Precious Things Photography

a h i ssi ng s o un d , I s t a r t

(closeup)

wide

Wellman, Iowa USA

find the red sticker? Now

When

that

having

w o r k , I u s e “ wh a t d o e s a sa y ?”

get

trouble engaging with the

Sb Photography

“ Ca n y o u s a y ‘s n i cker d o o -

color

If a client chooses to come

hea rt?”

an d t h a t w h e n I c l i c k t h e sh u t t e r i t f l a p s i t s w i n g s a n d t hat I wan t t he m t o tel l m e t h e c o l o r o f t h e

It work s grea t

bu t t e r f l y ’s w i n g n e x t t i m e

a n d rea l l y gets the chi l -

I click the shutter. I get

dren to l ook ri gh t i n to

“M y di rty l i ttl e secret? E v eryon e who

TH E B E S T looks u p c los e

photographs babies knows that it can

an d p e r s o n a l w i t h t h i s

be pretty hard to keep their attention

one . A n d t he i r i mag i n a -

for more than a millisecond. That’s

ti on s are g re at b e c au s e

why I keep a brightly colored, smaller

they always p rou d ly an -

stant excitement pops up in the

sized stuffed animal in my bag that

n o u n c e a c olor f or me !”

child’s e ye s . I t als o he lps that Mr. T

makes noise and lights up. I velcro

is s m alle r than m os t of the ir s tuffe d

thi s to th e hot sh oe of my ca mera or to

anim als ! ”

the top of my lens, depending on the

to our studio for kids portraits, then w e alw ays ke e p Mr. T in m ind. Every once and a while a child will have a hard tim e w arm ing up. Whe n w e m e ntion the w ord “puppy” in -

my ca mera !

An d u su a l l y

the expression is right on too...very inquisitive and th ou ghtf u l .”

positioning of the baby...And voila! Th ey ca n ’t ta k e th ei r eyes a wa y!”

F R O M T H E D E S I G N A G LO W “ D IR T Y S E CR ET ” H A LL O F F A M E W h e n a l l e l s e f a i l s , r e s o r t t o bribery! So, you’ve “cooed” and “tee-heed” a n d co a x ed y o ur s elf s i lly , b ut you j us t can’t s e e m to ge t that child to coop e r a t e . W e ’ v e a l l b e e n t h e r e . You’ve got a wedding party group organized, p u t i n t o t h e i r p l a c e s , b e a u t i fully staggered and arranged, and you’re ready t o f i r e o f f t h a t f i r s t s h o t . B ut alas, there’s one little thing standing in your w a y - a p i n t - s i z e d o b s t a c l e dressed in a tuxedo. Putting your camera down, t h e n e g o t i a t i o n s b e g i n . Y o u r opponent is tough and doesn’t think having his p i ct ur e t a ke n wi ll s ui t h i s i nte re s ts at the m om e nt. W hat’s w ors e , your op p on en t ’s h e a d lo wer s , a n d his arm s are cros s e d ove r his che s t w ith glow e r i n g fi n a li t y . O n ce t h e “ I ’m not going the re ” s tance is initiate d, you know all h o pe i s g o n e . T h e per fect b r idal party s hot is but a dre am , and you’ve re con c i l e d y o u r s e l f t o t w e l v e s m i ling faces, and one sourpuss. But there is hope. D es pe r a t e t i m e s ca ll fo r d es pe rate m e as ure s , and w he n all child w rangling tr i cks h a v e b ee n d e plo y e d , it’s tim e to re s ort to the obj e ct of unive rs al ap p e a l - m o n e y . H e y , k i d s a i n ’t stupid. Quite the contrary, they can be some o f t h e m o s t w o r t h y n e g o t i a t ing opponents you’ll ever come in contact with. An d l i k e a n y w o r t h y n e g o t i ator, they want to know, “If I cooperate, what’s i n i t fo r m e?” Lucki ly , y o u wi ll b e pr e pa r e d for j us t s uch a s ituation w ith this dirty little s e c r e t o n e o f y o u r f a i t h f u l e ditors learned when assisting at the Miami B e a c h s t u d i o o f R o y L l e r a a nd Associates many moons ago. Roy Llera was h i g h l y s k i l l e d i n t h e c r a f t o f child bribery, and there wasn’t an ankle-biter a r o u n d t h a t c o u l d r e s i s t h i s “shiny quarter trick”. The trick went a little som e t h i n g li ke t h i s : “ H e y t h e r e B o b b y . Y o u ’ r e l ooking really sharp today - nice tie. Hey, I’ve g o t a l i t t l e p r o b l e m , m a y b e you can help me out with it. I’ve got this shiny ne w q ua r t e r i n m y po cket a nd I ne e d s om e one to ke e p it s afe for m e during t h e p o r t r a i t s e s s i o n s o I d o n’t lose it. Do you think you could do this? (Nod) T h e t h i n g i s , t h e o n l y p l a c e I think it will be safe enough is under your shoe, t h a t w a y n o b o d y c a n g e t t o it. Do you mind putting this quarter under your s h o e f o r m e ? T e l l y o u w h a t , if you keep my quarter safe during the portrait se s s i o n , I ’ll le t y o u ke e p i t whe n w e ’re done . (Eye s w ould light up) What do y o u t h i n k o f t h a t ? I t h i n k y ou could buy yourself something really nice for a ll y o ur h a r d wo r k o f wa t ch ing it for m e .” Ro y w o u l d t h e n p l a c e t h e q uarter on the floor, exactly where he wanted the c h i l d t o s t a n d a n d w a l k e d a way. This is when the magic happened. The c h i l d , u n a b l e t o r e s i s t t h e magical shiny object, faithfully executed their p r o m i s e t o k e e p t h e c o i n s a fe, and trotted over post haste to stand upon it. T h e ve r y a ct o f kee pi n g t h ei r s hoe on the quarte r m ade the m com ple te ly for g e t t h a t t h e y w e r e t i c k e d o f f about having to take pictures. Sounds too good to b e t r ue , b ut i t wo r ked e ve ry tim e .

SH OT I N TH E D A R K : S ec r et s i n ever y da y s ho o t i n g

Emily Potts Emily Potts Photography www.emilypotts.com

Carolyn Bright

Jenn Galloway

Carolyn Bright Photography

Day In The Life Photography dayinthelifephotography.ca

Bartlesville, OK, USA

Medicine Hat, Alberta, Canada

“I began my children’s photography career “ I l o ve photographing seniors and we usually

start

shooting

outdoors

just

b e fo r e the s un s e ts . On s om e occa s i o n s , we have to s tart e arlie r be caus e of s c h e d u ling conflicts. In these instances, I us ua lly try to s cope out ope n s hade a n d g et the best lighting available to m e . S ometimes, however, the absolute c o o l e s t location has far less than ideal l i g h t i n g. What to do in this situation? I h a ve m y s ubj e ct thow on a pair of highfa s h i o n s unglas s e s or look dow n. That w a y I a void the dreaded “racoon-eyes” or s q u i n t ing and still get an awesome shot. T h e e x tra- contras ty lighting als o he lps m i x u p their session’s look for products li ke g a lle rie s and album s .”

believing that a sleeping infant was the only w a y to ph otogra ph a n a tu ra l pose.

Yes, I

am referring to that tricky age range between two weeks and seven months that we all struggle with in studio. Beyond two weeks, bab i es a re too a wa re of th ei r su rrou n di n gs to sleep through anything, and yet before seven months they can’t sit by themselves w ithout extra help. For three years I fretted over sessions with wobbly heads, squirmy littl e b odi es, a n d l ots of cryi n g f rom sepa ra ti on anxiety.

I tried draping the backdrop

over bouncy seats, parent’s laps, beans bags, and b oppy pi l l ows, b u t n ev er qu i te f ou n d th e gra cef u l n a tu ra l poses I wa s shooti n g f or.

“My secret is about what seems to be a pretty dull subject... hangers.

There is

n oth i n g more di sa ppoi n ti n g th a n getti n g to th e hou se where the b ri de i s getti n g rea dy, l ook i n g f or th e PE RF E CT pl a ce to get a dress shot - on l y to f i n d i t ha n gi n g (E E E E KKKK!) on a pl a sti c dry cl ea n ers ha n ger! YUCK! So, when we have our consultation, I ma k e su re tha t I men ti on ha vi n g a ‘spe ci a l ’ ha n ger.

I h a v e even ha d b ri des

cu stomi ze them wi th thei r own weddi n g col or schemes, si l k f l owers, etc.”

Then on e da y i t h i t me l i k e a ton of b ri ck s, a si mpl e yet ob v i ou s sol u ti on , b l a ck !

Wh en

scheduling my sessions I began requesting pa ren ts wea r b l a ck . Bl a ck wou l d a l l ow pa r ents to pose their babies while blending in to the background, thus keeping the focus solely on the intended subject matter.

The

parents’ bellies, laps, arms, and shoulders beca me the perf ect prop f or a n a tu ra l pose w i th l i ttl e or n o di recti on f rom me.

It cre -

at es a v ery ti mel ess a n d si mpl e i ma ge. Du r ing ea ch sessi on , a f ter a remi n der th a t th ey are invisible in front of the black backdrop, a miracle happens- parents relax! And when th e pa ren ts rel a x , th e b a b y sta rts to rel a x , s mi l e, a n d coo, l ea di n g to a v ery n a tu ra l moment, and i t is in those special moments w h en pa ren ts f orget I a m th ere a n d a ctu a l l y kiss, l a u gh, or ta l k to th ei r b a b y tha t I ca ptu re grea t l i f estyl e f a mi l y portra i ts.”

F RO M T HE DES I G N A G LOW “D I R TY S ECR ET” A R CH I VES : B LU S H I N G B R I D ES

Take It Wide

W e b e l i e v e p h o t o g r a p h i n g t he bride is one o f t h e h i g h li g h t s o f a n y wedding s hoot. H e r e a r e s o m e o f o u r d i r t y l i ttle secrets for ge t t i n g g r ea t s h o t s a t a n y wedding.

Smells Good To Me

“Use a portrait lens only for portraits? We think not!

One of our favorite dirty

Hey You!

l i ttl e secrets wh en ph otogra ph i n g th e

Looks From Above

bride is to use or trusty 15mm fisheye lens “There are only so many formal poses of the bride you can get before the time com e s for a little cre ativity. A grea t ti me to get a shot of the bride is right after she

“ T h e r e’s r a r e ly a wed d i n g s hoot w he re

re ce ive s he r bouque t for th e f i rst ti me

w e d o n o t g e t a po r t r a i t o f t he bride from

from the florist.

a bo ve .

T h i s i s o n e o f t h e m os t flatte ring

smell the flowers on her own, but if not,

a n g les fo r a n y s ub j ect , a n d w ay m ore in -

w e love to coax he r on a littl e b i t. Wh en

te re s t i n g t h a n a n s t r a i g h t -o n s hot. U s ually

the bride receives her flowers, simply

c a p t u r e d r i g h t a f t e r t h e b r i d e has finished

ready your camera and lon g lens and ask,

m a keup a n d h a s jus t put o n he r dre s s , this

“S o, how do the y s m e ll?” She wi l l u su a l l y

p or t r a i t i s s ur e t o m a ke i t i nto the final

take a big whiff and this is the perfect

a l b um . W h e n we a r r i v e t o a we dding loca -

tim e to ge t this gorge ous sh ot. ”

Sometimes, she will

f or some tru l y u n i qu e i ma ges. Wh en a l l of our bases are covered with traditional shots, we b u st ou t the su per-wi de a n gl e and have some fun! We get down on the floor and shoot up at the bride to get some fantastic shots, taking advantage of the l en s’ b ea u ti f u l di storti on ef f ect. Th e b est shots come wh en there i s some sort of i n teresting shape or background above her, such as this wonderful gazebo.

Always

keep an eye out for opportunities such as th i s wh en doi n g b ri da l portra i ts.”

“A b ri de posi n g secret we u s e all t he ti me, th i s h a s got to b e on e of ou r f av or ites! This shot is captur e d b y i n s t r u c t i n g th e b ri de to si mpl y tu rn he r b ac k t o u s a n d wa l k a wa y. She th i n ks we are p hot o graphing the back of her d r e s s ( w h i c h w e do) but the magic happe n s w h e n w e s a y , “Hey ‘n a me’!” Wh en the b ri d e he ars he r name, she will immedia t e l y t u r n a r o u n d and look right at us. The l o o k w e a r e a b l e to get wi th thi s tech n i q u e i s t ru ly p ri c e less. It is real, soft, and u n s c r i p t e d . H e r eyes tel l a story of h a pp i n e s s an d an t i c i -

t i o n , o n e o f t h e f i r s t t h i n g s we look for is a

pa ti on , whi ch n o a mou n t of p os i n g or d i -

p l a ce wi t h a h i g h b a lco n y o r s tairw ay from

recti on ca n eq u a l .”

w h i c h w e c a n s h o o t f r o m a b ove. Then, we h a v e t h e b r i d e p u t h e r ve i l down over her f a c e a n d l o o k d i r e c t l y u p a t the camera. T h e s h o t i s t r uly pr i cele s s .”

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G O T A N OT SO GREAT BACKGROUND? WE’VE GO T A DI R T Y LI T T LE S EC R ET F O R Y O U !

From The Design Aglow Archives “ I a l w a y s b r i n g a l a r g e p a n e l o f l u s h , b lack velvet to my wedding and portrait shoots. It m a k e s f o r a s t u n n i n g b a c k g r o u n d f o r photographing both accessories and portraits, and gi v e s m e a m a zi n g o ppo r t un i t i es wh en d e s igning m y album s late r on.”

From The Design Aglow Archives

“Sometimes backgrounds just won’t

“We’v e a l l b e e n i n t hi s s i t u at i on b e -

coopera te.

fore:

Th i s i ma ge wa s sh ot, b e -

rea l l y b e a u t i f u l c a k e , r e a l l y

l i ev e i t or n ot, i n a n u gl y pa rk i n g l ot

u gl y b a ck g rou n d . O u r s olu t i on ? T ake

behind our studio.

i t down low!

Obviously, there

SC Massey

was nothing that could be done with the situation.

In times like this, we

simply look for some green!

B y s hoot i n g t he c ake

f rom wa y b e low, u s i n g t he s malle s t aperture

optonline.net

possible,

the

background

When

becomes b e a u t i f u l l y b l u r r e d , a n d a n

you r b a ck grou n d i s hopel ess, spotti n g

i n teresti ng p oi n t of v i e w on t he s u b -

some green shru b b ery, trees, or oth er

ject is cre a t e d .

pl a n t l i f e wi l l come to sa ve the da y.

a l l sorts o f t hi n g s - f lowe rs , c e n t e r-

This can also go for

Not on l y i s green i n credi b l y f l a tter -

“My dirty little secret is similar to the

pieces, an d m e n u s a l s o b e n e f i t f r o m

i n g to the sk i n , i t i s a b ea u ti f u l n eu -

on e posted on you r b l og a n n ou n ci n g

a l ow a n gle .”

tral backdrop that will highlight your

th e con test. Al th ou gh I do occa si on -

subject. We got extra lucky with this

ally use black velvet fabric, I love

shot because there were small yellow

u si n g pa ttern ed decora tor f a b ri c du r -

f l owers throu ghou t the sh ru b th a t re -

i n g my n ewb orn sh oots.

a l l y a dded a k i ck to the scen e. We sa t

i s 5 4” wi de, a n d I b u y 2 - ya rds wh i ch

the bride down on a concrete retaining

gives me plenty of room to drape the

wa l l i n f ron t of i t a n d u sed ou r tel e -

f a b ri c ov er a ch a i r, sof a , b ea n b a g, etc

photo l en s to zero i n .”

. . . i n my cl i en t’s h ome. I on l y sh oot

The f a b ri c

wi th a v a i l a b l e l i ght, so I wi l l of ten shoot with a wide aperture, which gi v es a n i ce b l u r to th e pa ttern i n the f a b ri c.”

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M O RE BA CK G R OU ND BLI S S

Mirror, Mirror on the . . . table ?

Beyond Be-leaf

“ O n e o f t h e c o o l e s t w a y s t o p h o t o g r a p h a small accessory when you don’t have a pretty background i s o n a m i r r o r . T h i s i s wh y we a lwa y s carry a s m all m irror in a hard cas e to e ve ry w e dding sh oot.

“The wedding rings are so much fun to shoot, but sometim e s , I ’ m j u s t n o t

W e s i m p l y p l a c e t h e m i r r o r o n a n e a r b y table and it really makes pictures of the bride’ s accessories

excited about the backdrop. When this happens, I just reach f o r t h e n e a r e s t

p o p ! M a k e s u r e y o u r a p e r t u r e i s w i d e open to beautifully blur the background and make it melt

bouquet. By using the petals and leaves as a background, y o u t r u l y g e t t h e

w i th th e e d g e o f t h e fr a m e.”

most b a n g f or you r b u ck . We l ove wra ppi n g th e ri n gs a rou n d le ave s an d p e t als to help prop them up and add interest, as opposed to just s e t t i n g t h e m o n top of the f l owers.”

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E S OP

Samantha Bender Sb Photography

www.samanthabender.com Wellman, Iowa, USA

Leah Godfredson

“You know how you get amazing clients that love you r work a n d k n ow l ots of peopl e i n you r ta r get ma rk et?

Ever After By Leah

We sel ecti v el y ch oose th ose peopl e

everafterbyleah.com

to carry a walking billboard of our work with them everywhere they go. We pay our clients to do our ma rk eti n g f or u s. Not wi th mon ey b u t wi th gor geous leather photo handbags. Our “Purse-onal

“I’ve seen t h e n u m b e r o f c o m m e n t s t o

Reps” are helpful for our business because we

my b l og ju mp i n re c e n t we e ks , an d t he

don’t have a studio and needed a way to showcase

secret is thi s : Y o u g e t w h a t y o u g i ve ! I

ou r work . Gi vi n g ou r cl i en ts cu stom photo h a n d -

h a v e b een l eav i n g c omme n t s on s ome of

b a gs wa s the a n swer!”

my f a v ori te p hot og rap he r b log s , b ot h lo ca l a n d n a tion al, an d u n e xp e c t e d ly t he y b ega n to rec i p roc at e wi t h c omme n t s on my blog!

I ’v e b e g u n s o m e w o n d e r f u l

rel a ti on shi p s an d had t he p le as u re of meeting a fe w p h o t o g r a p h e r s i n p e r s o n . It really

gi v e s m y b u s i n e s s c r e d i b i l i t y

when I get p os i t i v e c omme n t s on my work f rom o t he r p rof e s s i on als .”

Erin Renee

Erin Renee Photography erinreneephotography.com

“I like to give each client a unique marketing piece. With their first portrait order, I include a set of about 25 business cards with their child’s image on th e f ron t.

Thi s rea l l y en h a n ces the word of

mou th ref erra l process. Try getti n g a mom to NOT pa ss ou t b u si n ess ca rds f ea tu ri n g th ei r ch i l d.”

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107

M A RVELOU S MA R K ETI NG MA VENS

Vicki Look

Emily Potts

Vicki Look Photography

Emily Potts Photography

lookphotography.net

emilypotts.com

Springfield, OH, USA

Bartlesville, OK, USA

“My best clients almost always come from great referrals. One o f m y f a v o r i t e w a y s t o “ I n o r de r t o h a v e m o r e e x p o s u r e within the art buying community, we have paired up

thank my great clients for coming in also serves as a great tool for g e n e r a t i n g r e f e r r a l s .

w i t h a v a r i e t y o f a r t i s t s b y p h o t o g raphing them working in their studios, as well as photos

Cl i en ts who i n v est a b ov e a certa i n pri ce poi n t recei v e a speci a l gi f t . . . a c u s t om p i e c e of

o f t h e i r w o r k s . W h e n t h e y h a v e a show at a gallery we then hang beautifully framed (or

sterl i n g portra i t jewel ry or a mi n i -a l b u m. Thi s wa y I k n ow th ey’l l s how t he i r i mag e s of f

c a n v a s ) p r i n t s a l o n g s i d e t h e i r w o rk. It enhances the show and we get to have our work

and they know how much I appreciate their patronage! If they work o u t s i d e o f t h e h o m e ,

i n a f a n t a s t i c s e t t i n g ! H e r e a r e a few photos from a recent shoot we did with an amazing

I’l l ma i l i t to thei r work f or ex tra wow f a ctor. Th ey h a v e n o i dea i t ’ s c omi n g an d ab s o-

p o tte r . W e h a v e a s h o w t o g e t h er this s um m e r.”

l u tel y ma k es thei r da y.”

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109

T E CR

E S OP

From The Design Aglow Archives “Not a l l su b jects a re l oose a n d rel a x ed wh en ha v i n g thei r portra i ts ta k en .

An d

yes, there is the occasional bride who tn eeds a l i ttl e b i t of hel p. If on e of you r b ri des i s a l i ttl e on the sti f f si de, si mpl y i n stru ct her to ma k e a n “S” sh a pe wi th h er body.

With this visual in her mind, she

wi l l i n sta n tl y ta k e on a su per-f emi n i n e

Sharon Bartholomew Sharon Bartholomew Photography West Wareham, MA, USA

stance that really shows off her curves. The portra i t wi l l b e sen su a l , rel a x ed, a n d l ea ps a n d b ou n ds b etter tha n a tra di ti on a l

“Ok , thi s ma y n ot s e e m li ke e art h- s hat -

stra i gh t-on shot.”

teri n g i n f ormat i on , b u t j u s t t ru s t me - - i t rea l l y work s! W he n p os i n g a s u b j e c t , I as k them to say “y e s ” . S a y i n g “ y e s ” s e e m s t o open up the fa c e i n a r e a l l y r e l a x e d a n d natural expres s i o n , a n d t h e s u b j e c t i s u su a l l y so su r p ri s e d b y t he re q u e s t t hat I u su a l l y get a n e v e r s o s li g ht s mi le t oo!”

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T E LL M E A S T O RY

From The Design Aglow Archives â&#x20AC;&#x153; A gre a t po s i n g s ecr et t o lo o s en up a bride and groom is to place the m toge the r and i nstr u ct t h e g r o o m t o t e ll t h e bride a s tory.

S ounds too e as y, but it w orks like a

c h a r m ! T h e t y p e o f s t o r y t h e groom tells will determine the look you get from the b r i d e . I f y o u w a n t a r o m a n t i c s hot, have him tell her about how he felt on their first d a t e . I f y o u w a n t a h i g h - e n e r g y shot, have him tell her a silly story. You can even t r y a c o m b i n a t i o n o f a b u n c h o f different stories to get a great variety in your shots. Y o u wi ll g e t s o m e g r e a t r ea ct i o n s w ithout having to lift a finge r.â&#x20AC;?

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T E CR

E S P

Rupa Kapoor Rupa K. Photography rupakapoor.com Atlanta, GA, USA

“M y secret i s a DVD sl i deshow wi th a n “a dd ed touch”. It contains 25-30 images from the sessi on set to mu si c a n d i s presen ted i n per son.

The DVD is created like a movie and

From The Design Aglow Archives

con ta i n s “Wa tch th e Sh ow” a n d the SUR PRISE -- a n “Ou t-Ta k es” l i n k ! The “Out-Takes” is 10-12 images which are si l l y, f u n n y a n d goof y th a t I wa s a b l e to ca p tu re “on th e si de”. Cl i en ts LOVE th i s per sonal touch and my revenue has increased by

“We h a v e a gr e at s ale s s e c re t t hat wi ll he lp

$300-$500 with each order (3-5 DVDs sold

you secu re th os e hard t o b ook d ays i n you r

ea ch ti me)!”

slow wedding s e a s o n w i t h e a s e . W e a l l h a v e those weeken d s t h a t s e e m i m p o s s i b l e t o book. Maybe y o u m e t w i t h a c o u p l e f o r h o u r s , showed them a l l y o u r a l b u m s , s a m p l e p r i n t s , a n d sl i deshows , b u t whe n t he y le ave t he y are sti l l on the f en c e . T he s e c re t t o b ooki n g t hat “I’ll have to th i n k a b o u t i t ” c l i e n t i s t o t h r o w some u rgen cy i n t o t he mi x.

We lov e t o of -

f er a f ew l i ttl e i n c e n t i ve s t o g e t t he b all roll i n g.

On e wa y t o s e c u re t he d at e i s t o of f e r

th em 10 % of f t he i r e n t i re we d d i n g p ac kag e , b u t on l y i f th ey c all you wi t hi n t he n e xt t hre e b u si n ess da ys t o b ook. Whe n you r p ac kag e s a re u p i n the t hou s an d s of d ollars , t hi s c an represent sign i f i c a n t s a v i n g s f o r t h e c l i e n t . Another way is t o b r i n g o u t a n o t h e r “ c a r r o t a n d sti ck ” su c h as a c omp li me n t ary mat c hing parent alb u m .

B u t m a k e s u r e w h a t e ve r

you offer as an i n c e n t i v e i s d o n e w i t h a t i m e limit.

The cli e n t m u s t c a l l y o u t o c o n f i r m

their date with i n a s p e c i f i e d p e r i o d o f t i m e . We f i n d tha t t hre e b u s i n e s s d ays d oe s j u s t th e tri ck .”

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T E R

C E PS

Marcia Truitt

From The Design Aglow Archives

inarastudios.com

“Every time I begin a shoot, I look for the best light available. To do this I use a trick

“A wa y we h a v e f o u n d t o make b ori n g li g ht i n g

Jen Bebb taught me last year: hold up the

exciting again is t o a l w a y s m a k e s u r e w e h a v e

pa l m of you r ha n d a b ou t a f oot i n f ron t of

an external flash p o w e r e d u p , a t t a c h e d t o a

you r f a ce a n d mov e i n a ci rcl e sl owi n g wa tch -

light slave, and re a d y t o g o . M o s t o f t h e t i m e ,

ing how the light falls onto your hand. Faces

it’s just an extra N i k o n s p e e d l i g h t w e h a v e

glow in beautiful light! Using this method I

laying around, as i t ’ s v e r y l i g h t w e i g h t , e a s y

found this amazing, all natural, soft light in

to manipulate and c a n b e c a r r i e d i n a s m a l l

a pu b l i c restroom of a l l pl a ces!”

pou ch b y ou r a ssi s t an t . T hi s li g ht s e rv e s as a grea t wa y to a dd “ki c k” t o a p ort rai t b y p ro du ci n g a gorgeou s ri m li g ht arou n d t he s u b jects, a ddi n g dept h an d s e p arat i on . We si mpl y set u p ou r n ormal li g ht i n g , or u s e a v a i l a b l e l i gh t, an d t he n hav e t he as s i s t an t stand behind the s u b j e c t s , o f f t o o n e s i d e , wi th the ri m l i ght s e t t o on e s t op u n d e r ou r main.

She holds i t u p v e r y h i g h ( s o m e t i m e s

standing on a cha i r o r s t e p l a d d e r ) a n d a n g l e s th e l i ght down to t he t op of my s u b j e c t s . The effect this pr o d u c e s i s w o r t h e v e r y e x t r a secon d i t ta k es to s e t u p t hi s li g ht i n g . I n s t e ad

Wen Chang Wen T Chang Photo

of a dra b , a v era g e p ort rai t , I g e t a s u lt ry, hi gh -f a shi on l ook t hat wows my c li e n t s e v e ry ti me.”

wentzu.com Los Angeles, CA, USA

“F or portra i tu re, I l i k e to set my ma n u a l ex posu re to +1 to +2 over n orma l ex posu re. It work s i n 99% of si tu a ti on s to open u p the sha dows, n o ma tter wheth er you a re ou t side with 12:00pm sun, or the dark indoors. It crea tes a h i gh-k ey, sof t l i gh ti n g on you r su b ject, a n d who ca res a b ou t wa sh ed ou t ha i rl i n es when you r su b ject i s th i s wri n k l ef ree pretty?”

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T E R

Carolyn Bowles

C E S

Carolyn Bowles Photography www.carolynbowles.com cincinnati, OH, USA

“Here’s a con f essi on : I l ov e Photoshop a cti on s. An d yes, I ha ve l ots of t he m! S o whi le e d i t ing I spend (well, used to spend) a crazy amount of time locating m y b e l o ve d c o l o r p o p o r my equ a l l y del i ci ou s v i n ta ge wa sh. Th a t i s, u n ti l I l ea rn ed th e secre t of org an i zi n g my ac ti on s. Now come i n a n d rea d cl osel y b eca u se th i s l i ttl e secret wi l l save you b i g on t i me ! Create a favorites folder to gather your most treasured actions in o n e s p e c i a l s p o t . F o l l o w th ese 5 si mpl e steps a n d you ’l l go f rom scrol l i n g throu gh a myri a d ac t i on s t o hav i n g e x a ctl y wh a t you n eed f or processi n g i n on e l i ttl e ha n dy set cu stomi ze d j u s t f or you !

1. In your actions palette, locate the button with little lines in the r i g h t h a n d c o r n e r . W e will call this your actions drop down menu. Before you begin, ma k e s u r e y o u a r e n o t i n b u tton mode, b u t ra ther the l i st mode. 2 . Go to you r a cti on s drop down men u a n d cl i ck on n ew set. Ti tl e i t “f av ori t e s ,” an d hi t okay. 3 . Ch oose you r f a vori te a cti on s a n d ma k e a du pl i ca te copy of ea ch on e . T o d o t hi s , g o t o you r a cti on s drop down men u a n d sel ect du pl i ca te. 4. Highlight each action copy and drag into your new favorites fold e r . 5 . E n joy su per-speed edi ti n g! You ca n ev en cu stomi ze more b y a ssi gn i n g col ors, i mpl emen ti n g s hort - c u t ke ys , an d ar ranging the order based use during workflow. This has all cut do w n o n m y e d i t i n g t i m e tremen dou sl y. Now, the on l y thi n g I ha v e to do i s get u sed to h ow qu i c kly I c an e d i t a s e s si on . I sti l l ca n ’t b el i ev e i t!”

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The above photo was taken by Carolyn during a session, and processed using one of her favorite color pop actions. The steps: 1) Eyes Have It 2) Add Catchlight Under Pupil And Darken Lashes 3) Add Highlights To Cheekbones 4) Instant Mood, Just Desaturate

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aga images

From The Design Aglow Archives

“I call it the “lazy girl” touch up. For m i l k y sk i n to n e s , cli p t h e wh i t es us i n g c u r ve s a n d r u n y o u r f a ve c o l o r p o p p i n g

“If you only have a few minutes to do some retouching, an incredibly e a s y w a y t o q u i c k l y a d d p o p

action. Takes seconds as opposed to

to any portrait is by using only your trusty old dodge and burn tools i n P h o t o s h o p . T h e p o r t r a i t

f u l l f a c e r e to uch i n g .”

Jennifer Gentry

b el ow wa s retou ch ed i n u n der three mi n u tes b y a l tern a ti n g b etween on ly t he s e t wo t ools .

It’s

amazing what can be accomplished with just a touch of light here and a t o u c h o f d a r k t h e r e . W e

Mesmerizing Moments Photography

first used our dodge tool to pop out the irises of the eyes, and add a b e a u t i f u l , s o f t h i g h l i g h t t o

www.mesmerizingmoments.com

the cheekbones and eyelids with a very large, feathered brush on a v e r y l o w s e t t i n g .

Haymarket, VA

Then, we

switched to our burn tool, also feathered on a very low setting and bur n e d d o w n t h e b a c k g r o u n d , hair, eyelashes, nostrils and slightly around the mouth. Last, we dar k e n e d h e r s h i r t s l i g h t l y t o draw more attention up to her face. We consider this the absolute best w a y t o r e t o u c h a n y p o r t r a i t . “I fake my creamy delish backgrounds with newborns! In the image I attached, the original w as croppe d j us t above the baby’s a rm. To do this , I firs t s m ooth out the backgrou n d u si n g a low opacity clone stamp until it is creamy. Then I e xte nd the canvas s iz e up, and use the ma rquee tool to select as much of the background of the photo I can without getting the baby or the extended canvas in it . Next I use content

This is because instead of changing the portrait via softening and cloni n g t e c h n i q u e s , w h i c h m a k e th e portra i t a ppea r l ess “rea l ”, th i s techn i q u e l ea v es th e tru e l ook of th e p ort rai t i n t ac t , whi le j u s t a ccen tu a ti n g wh a t i s a l rea dy th ere. Thi s wa y you a voi d th e “pl a sti c” l ook s ome re t ou c hi n g t e c h niques can cause. With the “dodge and burn” way, the final changes ar e s o v e r y s u b t l e , b u t m a k e a h u ge di f f eren ce.” (Dont’ like the dodge and burn tools? Don’t worry! Our favorite dodge a n d b u r n a c t i o n h a s b e e n included in your Issue No. 8 goodie bag. All of the beauty of the dodge a n d b u r n t o o l s , w i t h o u t a l l th e wei rd col or sh i f t.)

aware scaling to drag it up and fill the canvas! Finally, touch up w ith clone s tam p! ”

BE F ORE

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AF TE R

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Johanna Sophia

Johanna Sophia Photography Inc, www.johannasophia.com/blog

b ri desma i d h ad a las t mi n u t e i s s u e , i n -

East Williston, NY, USA

stea d of h u n t i n g d own t he we d d i n g p lan ner or making a t h o u s a n d p h o n e c a l l s , w e “I include a little note on my product pri ce l i st rega rdi n g 5 x 5 ca rds (a n n ou n ce ments, etc.), alerting my clients to the fact that the post office charges more postage for this size card. Most clients don’t care a b ou t the ex tra posta ge, b u t th ey sti l l a p preciate the notice instead of the shock at th e post of f i ce, or worse, b y getti n g them retu rn ed to th em u n del i v ered.”

si mpl y h a n ded he r on e of ou r ki t s . I n s i d e th e k i t we i n c lu d e d a b ot t le of c le ar n ai l pol i sh f or pa n t y hos e ru n s , a s mall mi rror and comb, bob b y p i n s , s a f e t y p i n s , n e e d l e and thread, a t r a v e l s i z e d e o d o r a n t , b r e a t h mi n ts or gu m, t i s s u e s , s t ai n re mov e r, a certain ‘femin e n e e d s ’ p r o d u c t , a s p i r i n , i n di gesti on re li e v e r, a s mall b ot t le of wa ter, sma l l b a n d ag e s , an d a t rave l s i ze hai r spra y. Wh en a b ri d e n e e d e d a li t t le he lp , we presen ted he r wi t h a b e au t i f u l t i n f u ll of all the essen t i a l s . W e i n c l u d e d a s t i c k e r on th e f ron t t hat s ai d ‘ E me rg e n c y B ri d e Ki t - Compl i me n t s of O u r S t u d i o P hot og raphy’.

All o f t h e s e i t e m s a r e a v a i l a b l e

i n n i f ty l i ttl e t rav e l s i ze s f rom you r loc al drugstore. Yo u h a v e n o i d e a t h e l o o k s w e would get whe n w e h a d o n e o f t h e s e r e a d y to go f or a n y b ad s i t u at i on . I t was s ome wh ere b etween ‘Have I j u s t s e e n an an g e l?’ a n d ‘If i t wa sn ’ t s o i n ap p rop ri at e , I ’d ki s s you ri gh t n ow ’ . N e e d le s s t o s ay, you r c li -

From The Design Aglow Archives

en t wi l l NE VE R f org e t you r n ame whe n re f erri n g h er f rie n d s !”

“A secret tha t wi l l ma k e you the cen ter of your client’s world is a little thing we l i k e to ca l l th e “E mergen cy Bri de Ba g”. We started making up these little gems a f ew yea rs a go when we wi tn essed on e too ma n y b ri da l b rea k down s a t ou r weddi n gs. Af ter sta n di n g b y hel pl essl y f or ri pped pa n ty h ose, messed u p h a i rdos, b rok en dress

straps,

boo-boos,

loose

threads,

wi n e sta i n s, a n d, a hem, n ot so dry u n der arms, we decided to do something about it. That’s when we took matters into our own h a n ds a n d sta rted b ri n gi n g a f ew of these life-savers to every wedding.

With

ju st a f ew dol l a rs per set you ca n a l l evi a te the dra ma a n d get b a ck to th e b u si-

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n ess of ta k i n g ph otos.

When a b ri de or

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E S OP

N Koester

N Koester Photography nkoesterphotography.com Elizabeth, IL, USA

“I have a dirty little secret that helps me k eep tra ck of drea ms tha t I u se a s i n spi ration for my shoots. Every time I wake up from a good dream that makes me think, “That would be a great photoshoot!”, I write it down in my Inspire Journal (that’s

From The Design Aglow Archives

what the big wooden “I” stands for on the front cover). I hand crafted this journal and it comes in quite handy. One dream th a t stood ou t wa s a b ou t a gi rl ru n n i n g th rou gh a f i el d wi th a red b a l l oon !

“We have a great d i r t y l i t t l e s e c r e t t h a t m a n y photogra phers may n ot hav e t hou g ht of i n t he pa st.

Wh en you r e d i t or was s hoot i n g we d -

dings full time, e a c h a s s i s t a n t w a s t r a i n e d to not only carry c a m e r a b a g s , s e t u p l i g h t s , and organize flas h c a r d s , b u t t o p o s e , p r e e n , a n d ha n dl e the s u b j e c t s i n t he p hot os .

coi n ed th e ph ra s e “p hot o c oord i n at or” t o d e scribe the assista n t , b e c a u s e b e f o r e t h e y e v e r attended a wedd i n g , t h e y w e r e p u t t h r o u g h a long training pro g r a m o n h o w t o p o s e b r i d e s and grooms, larg e g r o u p s , a n d c h i l d r e n . T h e y were a l so ta u ght t o look f or “p rob le ms ” i n scen es b ef ore th e i mag e s we re t ake n , s u c h as wrinkled or bun c h e d u p s h i r t s , s t r a y h a i r s , flipped up dress e s , a n d “ o b j e c t s ” s p r o u t i n g out from anybod y ’ s h e a d . Le t ’s f a c e i t , w h e n th e hea t i s on , an d you are i n t he mi d d le of a whirlwind form a l p o r t r a i t s e s s i o n , w i t h n o t ev en a secon d t o s p are , you c an mi s s t he s e l i ttl e th i n gs tha t wi ll c au s e t he mot he r- of all-headaches lat e r o n w h e n y o u a r e p r o o f i n g . When you r a ssi s t an t s are p rop e rly t rai n e d t o look for these th i n g s , y o u i m m e d i a t e l y h a v e a secon d set of eye s t hat are ab le t o s p ot p o tential issues in y o u r p h o t o s . S o o u r a d v i c e i s to ta k e the ti me t o t rai n you r as s i s t an t s t o b e much more than a n o t h e r s e t o f h a n d s , m a k e th em a n oth er set of e ye s as we ll.”

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M US I C T O M Y EA RS :

Mary Kate McKenna Mary Kate McKenna Photography MKMKcKenna.com Frederick, Maryland, USA

Hannah Suh Photography

Hannah Suh

jennyleephotography.com

Jenny Lee

hannahsuh.com

Jenny Lee Photography

Los Angeles, CA, USA

San Francisco, CA, USA

“I have had the absolute best luck with meeting my couples in bars. I b o o k a b o u t 9 5 % o f t h e weddings where I meet them in their favorite local watering hole. Yes , i t ’ s l o u d , i t ’s d a r k , a n d i t doesn ’t a l wa ys h a v e th e b est sea ti n g, b u t I thi n k i t work s b eca u se t he c ou p le has a c on n e c ti on to th e pl a ce. .. i t’s a grea t sta rti n g poi n t f or a con v ersa ti on a b ou t t he i r re lat i on s hi p . A n d I find the less talking I do, the better. Most of my couples have alr e a d y d o n e t h e l e g w o r k -

“Before

every

engagement

session,

I a s k m y c o u p l e s w h a t k i n d of music th e y li s t en t o a n d t h en I cr e a t e a Play l i s t f o r m y I p o d w i t h a f e w of their f a v o r i t e s o n g s , a n d a f e w o f my own. T h e n I b r i n g m y I po d a n d s m all port a b l e s p e a k e r s w i t h m e o n e n g agement sh o ot s a n d b la s t s o m e fun t un e s w hile w e ’re s h o o t i n g . I t ’ s a g r e a t wa y to ge t p e o ple i n t h e m o o d , lo o s e n up, and f e e l co m fo r t a b le m o vi n g t h eir bod i e s i n f r o n t o f t h e c a m e r a . E veryone ( i n c l u d i n g m e ! ) e n d s u p s i n g ing and

they’ve seen my website, seen my pricing guide, they’ve read my blog , a n d m a n y o f t h e m h a v e “Most of my maternity shoots are at my client’s home. Usually it’s quiet and the tire d pre gnant m om i s n ot ‘i n that m ood’ and alw ays a bit sti f f . I’v e started to load up my iPhone up with a s pe cial “Playlis t” for diffe re n t moods. I play the specific playlist on speaker. Mus ic fills the aw kw ard s ile nce. It a l -

already asked lots of questions through e-mail. Once we get to the me e t i n g s t a g e , a l o t o f t h e m are just picking personality. So meeting in a place they know and a s s o c i a t e w i t h e n j o y a b l e ex peri en ces i s a pl u s. With couples tightening their wedding budgets, it’s more important th a n e v e r f o r m y m e e t i n g s with potential clients to go really well and for them to click with m e . I ’ v e f o u n d t h a t w h i l e meeting at a coffee shop, my office, or in their home might be more tr a d i t i o n a l , t h e y f e e l m o r e a t ea se meeti n g i n a f a v ori te pl a ce.”

w ays he lps bre ak the ice fo r sh y cl i ents when there is music. Plus, 90% of all photogs own an iPhone now. Works w onde rs .”

d a n c i n g a n d h a vi n g f u n . I t ’s a great w ay t o b r ea k t h e i ce !”

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Karen Bonar Heartland Photography

heartlandphotography.org Wichita, KS, USA

“ I a m s i c k o f l o o k i n g a t u g ly plastic hangers with wedding dresses. I tip my brides off and tell them to be o n t h e l o o k o u t f o r a f u n o ne. In case they don’t find one, I have an emergency hanger I keep with me. It lo o ks a LO T n i cer t h a n t h os e plas tic one s ... plus I ’ve had a fe w plas tic hange rs BRE AK on me whi l e I’m shooting. M y s eco n d s e cr et i s t o ke e p one of thos e te m porary hooks handy. I find the re a re SO M ANY l ov el y l oca t i o n s , b ut fe w h a ve s pa ce t o hang w e dding dre s s and m ake it look nice .”

Johwanna Alleyne tobeinpictures.com

jalleynephotography.com Edmonton, Alberta Canada

“Veils can be a great way to get a lead line and drama into a pr i n t , b u t t h e b r i d e doesn’t always have a dramatic veil - the solution? Bring your o w n ! F o u r m e t e r s of tulle is a cheap purchase and light and easy to carry along . T h e r e s u l t s a r e tota l dra ma when you n eed i t. Ju st pi n i t i n . I’m a mpi n g i t up - I j u s t b ou g ht some h ot pi n k tu l l e a n d I’m l ook i n g f or a b ri de hot en ou gh to han d le i t .”

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The Dirtier, The Better! N o , i t ’ s n o t h i n g li ke unrave ling the thre ads of s candal as o n l y J e r r y S p r i n g e r can, and no, people in PTA meetings w o n ’t w h i s p e r w h e n you walk by; nonetheless, those little s e cr et s a lwa y s h a ve a w ay of finding the light of day. W h i l e o u r s a r e m e a nt to inspire the kind of greatness not fo un d o n t a b lo i d t e le vis ion, the re s ults are cle ar: fabulos i t y co m e s i n s m a ll, dis cre te s te ps , ove r the cracks in the c o n c r e t e , a n d t h r o u gh the fissures of cleverness. Unlike t h o s e r a t t l i n g s k e l e tons in the wardrobe closet, whispers d eli ci o us ly b et r a y o u r inne rm os t thoughts and de s ire s . A ny t h i n g b u t d e s t r u c t i ve, these soul spillings are sometimes the b e s t t h e r a py . A n d l e t ’ s f a c e i t - - i t costs less than a mocha frappelappe at J a v a b u c k s , a g o o d s hrink, or a spa day. D o y o u h a v e a d i r t y little secret niggling at your soul? I t ’ s y o ur t ur n t o s pi ll your glam orous gab to us at contact@ d es i g n a g lo w. co m . We prom is e to tre at you ge ntly…

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Dear Heather... While Heather Rivlin is known for her black and white images, not everything in terms of customer relations is black and white. Rivlin shares this wisdom with Design Aglow and shares everything from dealing with naughty children to the [sometimes naughty] clients themselves. by Heather Rivlin

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Let’s face it :

we’ve all had “that” client. You know the one. The client who makes you question why you ever bothered going into business in the first place. The client who’s sapped more of your time and energy throughout your most recent interaction than your last ten clients combined. The client who, despite your best (and most tactful) efforts, seems impossible to please, and has made it their personal mission to sap more of your time and energy dealing with their demands (did I say “demands”? I think I meant “needs”).

The key to communicating with clients is to communicate in such a way as to:

• Genuinely respect client comments and concerns. • Respect your business and its bottom line ($). • Respect and preserve your integrity and self-esteem.

Yes, “that” client. Do you have one of these? If you don’t, chances are you will. The simple reality is that all business owners have them. They are a function of doing business, and learning how to manage them is an art.

• Acknowledge your errors and seek to improve.

In the end, be thankful for the difficult situations that arise, as even the most tenuous scenarios act as springboards for change, and serve as an opportunity to further refine our business, our policies and our communications.

What if we could take some common scenarios that befall photographers, and examine them each in turn, providing sample responses to client queries and problems to assist you in learning to artfully reply to some of the most difficult scenarios we face as photographers? It can be a very valuable exercise, because, after all, cameras come with manuals, but clients don’t.

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Over the years, I’ve developed a method of respond-

ing to difficult client scenarios that honors the four points above, simply by building my responses accordingly: • Thank them genuinely for taking the time to bring this issue to my attention and explain to them how their feedback is valued. • Address their statements head-on with detailed explanations for how or why the situation arose. • If I am able to do something to remedy the situation or their feelings, I offer it here by providing tangible solutions. If I am not, likely because their requests are extraordinary or go against studio policies, or ask me to do or provide something which compromises my business, I explain to them why it is that I cannot do as they have asked me to do, quoting any policies if necessary as back up. • If on point 3 above, I was unable to honor their demands, I will typically offer something in its place as a concession. • Come full circle and thank them again for bringing this issue to our attention, and reiterate once more how I value their business, their feedback, and this opportunity for discussion.

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Some people refer to this layering of statements as the “goodbad-good”, or “sandwich” approach, simply because one is layering the bad news in between the good news, starting sweet and ending sweet with a dose of reality in between. It is best to never leave the client with a bad taste in their mouth, so end on a sweet note whenever possible. It is also worth mentioning to avoid the use of the word “you” when replying to clients. Saying things like “you said” and “you did” imply blame, and can be misinterpreted as hostile and defensive. Instead, use “I” statements and words which illustrate that not only have they been heard, but that their feelings are understood. Here are some common scenarios that we’ve likely all encountered at some point in the life span of our businesses, and some of the ways in which I would address the situation, or reply to clients on these points.

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Dear Confused, It sounds like this was an emotionally charged scenario that left you feeling beaten up, undervalued and undercompensated. The first step, I imagine, would be to analyze what happened at each stage of your interaction with this client to produce this result. Why did she treat you terribly? Is it possible, if you honestly assess the situation, that you may have said or done something without realizing it? Is she simply a difficult personality? Were her expectations appropriate, and did you guide her on what to expect from the process?

Dear Heather...

If we assume that you had crossed all your T’s and dotted all of your I’s, then we will also assume that this is the client’s problem, and will likely repeat itself in future interactions.

I had a nightmare client who wants to work with me again. Last time we worked together her kids were awful, she treated me terribly, and her order was low. I do not want to work with her again, no matter what! How can I get out of it?

As the owner of your business, you are in the unique position to make decisions regarding your business, and that includes the kinds of clients you choose to work with. Clients whose interactions cause you to exchange a great deal of time, effort, and energy for little return are compromising your business’ profitability, and are monopolizing the time that you could be investing in other clients who will respect you and your workplace, and compensate you appropriately. I believe in always being respectful to clients, but I also believe in respecting yourself, and not compromising yourself or your business. As a result, I see nothing wrong with letting the client know that you don’t feel you are a good match.

Sincerely, Confused in Connecticut

Try This! “Dear Client, Thank you so much for your email inquiring about available dates to book another session for Emma and Adam. I am flattered that you’ve once again thought about our studio to capture these memories for you. Some time has passed since you were here last, and recollecting our experience together, I recall that you felt dissatisfied with our studio policies, our product line, and the way in which we structure our pricing and packages. Our business practices have not changed, and our product line is relatively similar to the way it was last year. As such, I am concerned that our studio may not be the best fit for your needs. If you’d like, I can provide you with some names and websites for some of my esteemed colleagues whose approaches may be more in line with what you are looking for. I welcome the opportunity to provide you with these names in my continued efforts to offer you the very best. It is always a pleasure to hear from you, and I thank you for being in touch! Wishing all the best to Richard, Emma and Adam as well. Sincerely, Your Photographer”

Yours Truly,

Heather 138

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Dear Misused, Being asked to work for less compensation with the promise of future referrals is a very common scenario. I hesitate to call it a tactic or a ploy, but the truth of the matter is that these scenarios rarely work out to your advantage. Once the client or the business has been provided with their discount, they no longer have your business interests at heart, and are no longer motivated to hold up their end of the bargain. The fact is that we can’t rely on people outside of our business to nurture it. To that end, we need to establish relationships and cooperative efforts that serve both parties equally such that no one feels taken advantage of.

Dear Heather...

In the above scenario, I would offer a session for free only if there is a display opportunity involved. If this boutique/salon wishes to have your artwork hanging, then I would consider a free session in exchange. That way, you are receiving a fair exchange that honors both parties from the start. Make sure you stipulate how long the images can be on display, have a contract stating who the images belong to, who the hardware/frames belong to, and whether you can display promotional materials at their register. You might even ask the owner if their staff could slide your promotional materials into the shopping bags of each client that spends over a certain dollar amount.

A magazine, clothing com’ pany, venue, boutique, salon, etc. wants me to do a shoot for them for free and promises lots of referrals. Should I do a shoot for free for possi’ ble exposure, or is there a better way for me to spin the deal so that it is fairer to me upfront in case no referrals ac’ tually happen?

What can I say to a client who wants to book a session and only needs a “big” 8x10 print? I don’t want to invest the amount of time that goes into a session, post production, etc. for such a low order. Just like there are all sorts of photographers out there, there are also all kinds of clients, and sadly some will think an 8x10 is a massive size. Thankfully, there is always a match to be made somewhere, and there is a photographer out there willing to do this work, but it sounds to me like you are not the one. Few will want to invest their time and effort for such a small reward. In order to avoid this question in the future, you may wish to institute a minimum order policy which guarantees you a predetermined base-income for each job. What your minimum order amount will be will depends on what your bottom line is, and what your business needs you to earn from each order in order to run a profitable business.

Sincerely, Misused in Maryland

Try This! Dear Client, Thank you for your interest in my work, and for your desire to book a session with our studio. Thank you for letting me know in advance what your needs are. This is really important in being able to ensure that we can provide for you exactly what you are looking for. You mentioned that you require one 8x10 print from your session. Given that your needs are very specific, I am not sure that a custom boutique studio is the best option to suit your needs. When you work with a custom boutique studio, you are paying a premium fee to receive several hours of undivided attention, multiple combinations of images featuring varying backgrounds, clothes, and family members to ultimately provide you with a vast variety of images from which to choose. Most clients who opt for this type of experience are looking for a wide variety of images in order to create custom albums or wall galleries. If your needs are for one image, I would hesitate to recommend that you invest your time and money into this high-end experience. It sounds like your needs would be better met by a studio with a smaller session fee and time commitment. If you would like some recommendations, I would be pleased to offer you some suggestions to help you. Please let me know if this would be something of interest to you. I wish you all the very best, Your Photographer (or not, in this case)

Yours Truly,

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Heather

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Dear Broke, This is a very tricky situation indeed, but one that is easily remedied if you have your policies in order, and run your business according to the policies which you have set. As photographers, we institute order deadlines in order to ensure that we are compensated for our work in a reasonable timeframe. Some photographers will institute order deadlines which state that images will no longer be orderable beyond a certain date. Other photographers will institute policies which state that clients are eligible to receive percentage discounts off their total when their order is received in advance of the deadline. Still others impose penalties for late orders such as an online gallery reposting fee, an archive retrieval fee, or higher print fees after the deadline has expired.

Dear Heather...

What is the best way to handle clients who have had an order deadline expire and have not placed an or’ der despite very clear studio policies?

However you choose to impose your deadline, the decision is yours. The bottom line, though, is that you need to stick to whatever policy you choose, and not waver.

Sincerely, Broke in Boston

If you say that you are discarding images after 30 days, and your clients will no longer be able to order from their session, you need to be very clear about this, and stick to it. Sure, you may miss out on an order entirely when a client fails to place their order on time, but this one lost order will prevent future lost orders, and I will tell you how. If you tell Client A that she has 30 days to place

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an order, and she calls on day 45 to place her order, and the images which were supposed to be discarded are magically” still available, Client A takes away the message that your policies aren’t firm, and that your ordering deadline is bogus, and not really a deadline at all. Client A will invariably refer her friend Client B because she likes your work, and she loves the fact that you let clients order whenever they want. You can be sure that Client B will be in no rush to place her order because you have indirectly led her to believe that you have no ordering policies. The flip side to this, of course, would be to honor each and every order that you receive, whenever you receive them, but given the likelihood that one of your clients will know another one of your clients, you would be setting yourself up for future angst when this situation slowly starts becoming a trend. Policies are policies because they help our business to remain profitable so that we can continue doing what we love. If you aren’t able to honor the policies that you have set for your business, you needn’t have any; nonetheless, they do help to protect you and your business and are a good thing to have in place, so long as you follow what you’ve set up for yourself and your clients. Yours Truly,

Heather 143

Dear Uncertain, During times of economic uncertainty, businesses which provide luxury items like ours will often feel the result of the downturn. After all, we aren’t providing a product that caters to a ‘need’, we are providing a product that caters to a ‘want’, and scarcity in the economy means cutting back on our ‘wants’ and focusing entirely on our ‘needs’. This leaves many photographers out of their clients’ minds for a while.

Dear Heather...

Desperate times lead to desperate measures, but this doesn’t mean that you need to look desperate. Perception is a strong force, and we need to continuously project an image of success if we are going to be successful. Lowering your prices, giving discounts, and compromising your bottom line for the sake of a job will only work against you, as clients will see the act as one of desperation, which tells them “This photographer has no business,” which means “She isn’t very sought after,” which means “I don’t need her either.”

I am worried that my studio is not as busy as last year at this time. How can I bring in clients without looking desperate and having to lower my prices or give discounts and compromise my brand and image? Sincerely, Uncertain in Utah

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If the ultimate goal is to bring clients into the studio, we are always better off offering valueadded incentives before discounting. A value-added incentive is an item which you provide your client which has great value to them if they were to buy it at retail cost, but which costs you very little. An example that we can all relate to is a studio that runs a promotion that offers each client who books

their top tier session a complementary mini-bragbook, and an 8x10 print. If purchased, perhaps that mini album and print may reflect a $300 value to the client, but for us as photographers results in a $9.00 investment. We invest $9.00 in order to secure an $1800 session, saving our clients what appears to be $300.00. Value-added incentives are incentives to book a session which add value to your current offering but which cost you very little to produce, and don’t detract from your bottom line the way that discounting your prices do. What’s the difference, you ask? A discount cuts into your bottom line. A discount takes your profit and hands it back to the customer, while a value-added incentive allows you to retain your full profit with a small investment on your part. Never discount anything, but always offer a value-added incentive. Not only is it better for your bottom line, it also has a very different perception attached when you offer a client something of value when they book, as opposed to lowering your prices, leaving clients to wonder how much you value your own goods, and how much profit you’ve apparently built into the product that you can afford to lower it this much. It’s all psychology. Yours Truly,

Heather

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Dear Worried, Situations like this are annoying, to say the least, but they are easily avoided. The right answer to this question will depend on the nature of the problem, since a defective print needs to be fixed, no questions asked. A client who changes her mind, however, and decides she no longer likes that image is another story.

Dear Heather...

Clients are often excited to place their order and receive it in their hands. Once there, it may take months to get motivated to frame and hang the prints that you have provided, so they may not have taken a “good look” at the images for many months after the delivery. You may want to institute a policy which requires that clients “sign off” on their acceptance of the order at the time of pickup. An “order verification agreement” would ask clients to sign their names to the fact that: •All items that were ordered are accounted for in the order. •All items meet with their approval.

I received an email from a client who bought por’ traits several months ago, and she is now claim’ ing she is not happy be’ cause one is not right and she wants to discuss t h e o p t i o n s .

Knowing that your client has seen and approved the image leaves no question in either party’s mind about whether you provided them what they were expecting. Your policies on the matter need to be clear, so you will also need to indicate a deadline beyond which you will no longer honor any requests for changes to a completed/delivered order. Of course, you will want to build in exceptions which protect your clients in the event that a product is defective and presents itself as defective only after a delay, such as if a print begins to peel or bubble from the material to which it is mounted, or if a mounted print begins to warp or bend. Obviously cases like these are rare, but represent defects in the quality of the item, and are usually easy to reprint through your lab who will often fix such problems without penalty. In that case, pass the lab’s generosity to reprint without penalty onto your client. They will appreciate it, and it will further enhance for them that you stand behind your work.

Sincerely, Worried in Washington

Yours Truly,

Heather 146

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Dear Violated, Of all client issues that arise, the issue of breach of copyright is one which seems to cause photographers the most discomfort. I find that interesting since it is the one policy in your business which is not arbitrarily set by you, but one which is clearly defined by law, and the one for which you have the most backing. The bottom line is that your client broke the law, and your business has suffered a loss of income as a result of her not buying the holiday cards through your studio. Because your client has signed an agreement, you have physical proof of her agreement to not copy and scan, and yet you have witnessed this transgression firsthand. It behooves you to say something; the question is how to say it. Letâ&#x20AC;&#x2122;s see if we can work that one out.

Dear Heather...

Yours Truly,

Heather

Try This!

At a party, I was shocked to see a holiday card with one of my images that had been scanned and printed out by a client of mine. This is a violation of copyright and my client signed an agreeâ&#x20AC;&#x2122; ment which clearly states that no images will be copied. What should I do?

Dear Client, I hope that you and your family are doing well, and have survived the holiday season unscathed. I often wonder how such a joyous season can result in such chaos year after year, and how we all manage it! Speaking of the holiday season, I wanted to send you this note to let you know that I have recently been made aware of a holiday card that you had created using one of the images from our session. If you recall, when we had your session, you signed an agreement with the studio that acknowledged that the studio owns the copyrights to the images, and that you understand that you do not have the legal right to scan, copy or reproduce the images that we have created for you in any way. Doing so represents a breach of copyright, and is not only a violation of studio policy, but is against the law. Because the issue is a legal one, it behooves me to let you know that infringements in copyright are serious, and can be subject to penalties in excess of $150,000.00 per infraction. I have no interest in pursuing legal action for this, as I believe that we can settle this situation amicably without the need to proceed to anything further. Your decision to have my image printed elsewhere means that our studio has not been appropriately compensated for the work which you so obviously treasure.

Sincerely,

My studio provides digital files to clients at a cost of $250.00 per file. Since you have essentially created a digital file by scanning the image provided to you, I would ask that you please remit to our studio remuneration in the sum of $250.00 for use of this image, so that we may consider this matter closed. I would then happily provide for you the full resolution digital file, since this is obviously a very cherished image that you may wish to use again in a legal way.

Violated in Vancouver

As an artist who earns a living from my imagery, I take copyright infringement very seriously, as it undermines the integrity of my work, and takes away from the livelihood of my family. I would very much appreciate a response detailing how you wish to proceed so that we may consider this matter closed. Sincerely, Your Photographer

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Dear Fed-Up, Clients can’t be expected to know the ins and outs of our businesses, nor can they be expected to understand the degree to which their rescheduling causes our business difficulty. If this is an ongoing problem, it is important to share with your client the reason why this is difficult for you, so that this can be avoided in the future, and institute a policy which you have in writ’ ing for clients, so as to avoid this scenario moving forward.

Dear Heather...

Yours Truly,

Heather

I have a client who chronically reschedules her appointments, and I am getting fed up! What can I do so this behavior does not continue and she respects my time?

Dear Client,

Try This!

I received your message today that you once again need to reschedule our session for Mark. Thank you for calling to let me know. As a mother myself, I understand the scheduling challenges that you face, and how the kids’ schedules so often conflict with other things that are going on. It is often a wonder us mothers can keep it all together! (Show the client that you can relate, and meet her on common ground. This is always a great way to open any communication.) Unfortunately, the ongoing cancellations and rescheduling of this appointment are causing me/my business a great deal of difficulty. As you know, the studio is booked by appointment only, and because I work with other parents whose personal lives and children’s schedules are very busy, last minute cancellations like these means that I do not have adequate time to fill your space. This results in a wasted session opening, and represents a financial loss to my business as I’ve staffed the studio accordingly in preparation for you.

Sincerely, Fed-Up In Florida

It is for this reason that we have instituted a policy at our studio that we require a minimum 48 hour notice of cancellation or the session fee is considered forfeited. Please let me know what you ultimately decide about our session date, as I would like to be able to honor both of our needs. Sincerely, Your Photographer

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Dear Heather...

Dear Hurt,

least 24 hours.

This is the kind of situation that makes us red under the collar and desperate to send a nasty email telling her what kind of a terrible client or person she is. Don’t. Resist the temptation to reply immediately, as you will likely be inflammatory and not productive. Instead, jot down some notes for yourself in point form, and come back to a response in at

I firmly believe that situations like this require face to face communication, since email is already a poor medium for expressing tone, emotion and feeling. If you can arrange to meet up with this client, I would recommend it so that you can clear the air. Perhaps send the client a little card with a $5 Starbucks card that reads, “Would love to

meet up with you for coffee. Give me a call so that we can arrange something,” and leave it in their court. If you hear from them by phone, try addressing the situation over the phone since voice communication of any kind is better than email, and also avoids that awkward meeting. If they don’t respond (and let’s face it, people who badmouth are usually pretty cowardly in the first place), follow up with a note.

Try This! Dear Client Some time has passed since I last saw you, and I hope this letter finds you well. I know that the last time we spoke, you were in the midst of moving, so I hope you are all settled in, and have found your footing again. I had sent you a little note card last month with a loaded Starbucks card along with an invitation to join me for coffee. I know you’ve likely been very busy, so perhaps I can share with you what I had hoped to discuss over coffee. It was recently brought to my attention that you had been publicly sharing your dissatisfaction with my services to several people around town, and making disparaging remarks about me and my business. I understand that you may have shared a story which indicated that [insert the fabricated story here]. Obviously, we both know that these events did not occur in this way, and I feel the need to address these facts with you, since your decision to make these statements public damages my reputation and the integrity of a business that I am very committed to.

A client and I had a misunderstanding and I just found out she is badmouthing me all over town. The issue was actually her fault, but she fabricated a story to save face and it is completely untrue. I am not a confrontational person, what can I do?

I do acknowledge and understand that we did have some misunderstandings in our business dealings, and I would have preferred the opportunity to work things out with you in a way that is mutually respectful. I welcome the opportunity to discuss these matters with you further such that we can clear the air and discuss possible solutions for you. I personally feel that all situations can be remedied when each person takes the time to truly listen and understand the position of the other. I am completely committed to doing that for you in an effort to remedy this together, and hope that you are equally interested in clarifying what went wrong. I am committed to providing you with my very best at all times, and welcome this chance to work with you towards a solution. Sincerely, Your Photographer

Sincerely, Hurt in Halifax

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Now, some of you may be thinking that the above response is too kind considering her ‘evil transgressions’, or that offering to resolve this with her is an acknowledgement of responsibility on your part. This is one of those scenarios where you need to be a bigger person and show that you care about her and the situation because you need her behavior to stop immediately. This doesn’t mean that you need to agree with her, but it does show your commitment

to providing the best. Bad feedback does a lot of damage, so taking this step, although it may feel painful, goes a long way towards saving future business loss as a result of her verbal rampage. If you do end up meeting for coffee to discuss, be open and listen, but also be firm in your presentation of your facts as well. Be prepared for some differences in opinion, and don’t expect the situation to neatly resolve itself. The goal isn’t

necessarily to convert her to your side, but to show her that you cared enough to listen so that she stops badmouthing. You likely won’t agree, and there will be some tension, so make sure you order the coffee ‘to go’ so that you can easily walk away if necessary. It would, after all, be a shame to waste a perfectly good cup of coffee over this person. Yours Truly,

Heather

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Dear What-the-heck?,

can’t compete with these photographers on price, we can rest easy knowing that:

I especially love this question, not only because it is becoming increasingly more common, but because I just had the same situation arise at my studio last week.

• T h e y w i l l l i k e l y n o t b e a b l e t o e a r n a decent living at this in the long haul, and will likely close shop. • W e n e e d t o g i v e c l i e n t s a r e a s o n t o s e e

Dear Heather...

Our industry is changing, and while I could go into a huge spiel about how I personally feel about the shoot and

that there is a difference, and showcase

burn photographers, and how I don’t feel that we all need to be sucked into

eyes of the consumer. • W e n e e d t o u n d e r s t a n d a n d r e s p e c t t h a t

it and reverse all of the work we’ve

there is a market for this everywhere, and

invested over the years towards increasing the perceived value of professional

the presence of these photographers is not going to put you out of business. Their clients are their clients because they

our work based on its quality and craftsmanship, earnings its value in the

photography, that wasn’t the question that was asked.

couldn’t afford or didn’t want what you offered anyway, so they aren’t taking your

For the new photographer just starting out, clients are hard to find, and the new photographer thinks that by offering an

clients away. These clients likely wouldn’t

appealing package at cut-throat rates, she will be making up in volume what

As photographers, our skills do not only come into play at the time of image

she could otherwise make in high quality

capture, but continue long after, as we

orders. What her inexperience doesn’t allow her to recognize is that she is attracting a clientele who doesn’t value

prepare the image as a finished product. We invest in state of the art post

fine photography, and that she is helping

enhance aspects of the image to maximize its beauty. We also invest a great deal of research into the highest quality imaging

foster an attitude that photography doesn’t have a great deal of value, and

All of the newbie photographers in my area are super cheap and giving away high resolution files with a session. I am now getting inquiries assuming that I give the files as well, which I do not. How can I compete with this new type of “shoot and burn” mentality?

have been yours anyway.

production software that allows us to

that a photographer is only worth his time, not his art.

materials and labs to ensure our clients

Clients who have shopped around will undoubtedly have come across

Yours Truly,

the best possible final product.

photographers who shoot and burn CD’s of images for a very low price (some as low

Heather

as $40 for the session fee with CD). While we

Try This!

Dear Prospective Client,

Thank you very much for your interest in my work, and for your desire to book a session with our studio. We are keenly interested in working closely with you to ensure that we can provide for you exactly what you need. I understand, from your message, that you’ve done some research into other photographers, some of whom provide a session and a CD of high resolution images for a very low cost. It is understandable that you would ask whether we provide a similar option at our studio, and the answer is that no, we don’t. We are a high end, custom, boutique studio, and as such we are eager to provide you with only the very best finished product. I understand that I could easily shoot a session for you and sell you a CD of the images, leaving the rest of the work up to you, but as an artist, I simply couldn’t do so in good conscience.

Sincerely, What-the-heck? in Walla Walla

I am invested in providing for you fine artwork, not simply digital files which are mere representations of what the final image could become if handled with professional imaging know-how and care. As an artist, I earn my living by providing for clients the very best, and only I can place a value on what I think my artwork is worth. I could easily put all of my images on disk and sell them to you at a low cost, but what would I be saying about the degree to which I believe my art has value? Knowing what goes into making an image a stellar piece of art, I feel my prices are a true reflection of the value of the finished product, and I will not allow anything to leave my studio bearing my name if it doesn’t reflect my personal standards for quality and craftsmanship. Please let me know if we can be of further assistance,

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Sincerely, Your Photographer

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Dear Ripped-Off, This is an all-too-common scenario, and is unfortunate, and yet so incredibly ironic. Here are photographers, representing themselves as artists, as creative professionals who offer something new, something different, something fresh, and yet are ripping of the ideas, concepts, wording, styles, branding and studio promotions of other photographers because they are either too lazy, or simply too uncreative to come up with these things themselves.

Dear Heather...

While the copyright laws for things posted online are less clear, it is often obvious that you’ve been copied. There exists online a webpage archive which takes snapshots of pages from each website out there throughout history, providing you with a timeline of websites over the years. If you visit www.archive. org and then enter a site’s URL into the text box that says “Way Back Machine”, you will be taken to an archive for that site, and how it has looked over the years. Using this tool, you can see when a site was redesigned, and when the current pages took effect, essentially providing you with some proof as to who had the idea, color, and wording first. Not that knowing this information bears any legal weight while the internet powers-that-be try to catch up in the arena of copyright enforcement, but it does give you a bit of proof for when you confront your scammer.

Another photographer in my area has copied my website, my pricing, and a recent promotion of mine. What should I do? Sincerely,

I’ve personally been copied more times than I can count. At one point, I was copied so much, I drafted a form letter I created that I could easily send at a moment’s notice to those I felt had taken my wording from my site. It was simply becoming too time consuming to recreate a letter each time from scratch. I once had someone take my entire HTML layout, change the colors, even steal my testimonials, but swapped my name out for his! There exists an online tool called Copyscape which looks at the text on your site, and compares it with text on other websites and then lists them by the degree to which they match. (www.copyscape.com) If you feel you’ve been copied, and are fairly certain that you had the idea first, it is up to you whether you decide to contact the person whom you feel has copied you. The likelihood is that if you do, they will feign ignorance, cast blame on their web-designer, and then promise to have the issue resolved as soon as possible. The issue becomes more serious when the offending photographer is in your area and is compromising your ability to provide something unique to clients by offering the same thing, leaving prospective clients to question who is copying whom? Yours Truly,

Heather

Try This!

Ripped-Off in Richmond Dear Colleague,

As you are likely aware, we are both professional photographers working in the same catchment area, with the same target client base. It has recently come to my attention that similarities exist between our sites, some of which are subtle, and some of which are strikingly similar. Addressing the latter, I find it hard to believe that these similarities are coincidental, and feel that it compromises the unique brand that I have established for myself when a competing business offers the same pricing structure/packages/specials. I hope that you will agree that it benefits us both to have sites which are visually unique, and which represent our unique studio offerings in this saturated photographer-market. I welcome the opportunity to discuss with you how these similarities may have come to be so that we can avoid them in the future, and discuss ways in which we can co-exist in a collegial way to each offer unique products that appeal to different segments of our respective clientele. I hope to hear from you soon, and welcome the chance to meet you as well. Sincerely, Your Friendly Neighborhood Competition

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Dear Nickel-and-Dimed, This is an issue which has likely plagued every artist since the dawn of man. You possess a great skill, and everyone wants what you have to offer. Those who don’t know you are willing to pay for it. Those who do know you are brazen enough to think that they can ask you to do the same for them without payment. No one will undervalue you, underappreciate you, and question the worth of your product more than your friends and loved ones. Don’t get me wrong. They love you, they just can’t see past who you are as a friend to what you are worth as an artist, and that disconnect is what feeds this ongoing saga. As for those referrals, they are a nice thought and a kind gesture, but I’ll be blunt and tell you that they are never going to h a p p e n -- a n d i f t h e y d o , t h e y l i k e l y won’t be your target market anyway.

Dear Heather...

I don’t work with friends unless they are willing to see me as an artist, and work with me as a client.

Everyone I know seems to want a discount on my services. I am busy enough with clients, but I feel bad charging friends and a c q u a i n t a n c e s f u l l p r i c e . Should I just give in and charge them my cost, hoping I will get some referrals from them?

I love working for friends. I love the looks of excitement and joy when they see their images for the first time, and know that they were created by someone who cares a great deal for them. I love giving my clients images for free, and I love offering them something amazing at a discount. I love doing all of this when it is of my own volition, my own choice to do so.

Sincerely, Nickel-and-Dimed in Nantucket

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We find it hard to charge family and friends, so we offer discounts, shoot for free, and devalue our time and our businesses as a result. If you are busy enough with clients that you don’t need the additional work, taking friends and family into your workload and not being compensated appropriately means that your business will suffer needlessly. In the time it takes you to create these images for friends and not be paid, you could have worked for a client who appreciates and values your services and pays you handsomely.

As photographers, we seem to place a value on our product, but never on our time. We count each 8x10 unit and determine its worth, but we don’t do the same for our own personal units of time – each hour that we spend. Each hour that we spend doing client work, whether for friends or family, is time that we lose from our children, our spouses, ourselves, and so one needs to determine their hourly worth and charge for it accordingly. I firmly believe that we can offer discounts to our friends and families, if we want to (we don’t have to), but our time should never be discounted because there is no profit built into our time that we can afford to give away. You may want to come up with a family and friends discount (full price session fee and 35% off prints) or provide deeper discounts during your slower months (when you can use family to try new techniques, vary your equipment, experiment with new lighting). It is a matter of explaining to clients that you are running a business, and that providing images and sessions at no cost takes your time away from clients who will. They will only respect you and your business more if you illustrate that fact. As for those referrals, my best friend talks me up all over town to anyone who ever discusses photography. She routinely tells people about me, and raves about the work I do. I was lucky enough to be within earshot the last time she talked me up, when I heard her say to a co-worker: “Oh, my best friend Heather is a professional children’s photographer (then cups her hand next to her mouth as if to tell a secret). She’s really expensive.” Thanks, friend.

Yours Truly,

Heather

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Well said! Client scenarios like the ones listed

refrain from responding to emotionally

above are an inevitable part of dealing

charged communications immediately, and

with the public. Rather than fearing

instead let them sit for a day, two or more.

these interactions, or looking upon

Give yourself some time to reflect on the

them with distaste, look at each one as

situation, and take the time to explore

an opportunity to further refine your

your options, and your responses. If you

communication skills, and to put into

are one who is easily caught off guard, or

place policies which may help avoid such

if you feel a little jittery, take some time to

scenarios in the future. Signed contracts

rehearse what you wish to communicate,

and policies are there to help both you

in order to hear how it sounds, and refine

and the client define clear boundaries and

your response.

delineate clear expectations. Many of us went into business because My approach when dealing with clients

we love the technical and creative sides

is a personal one, and each of us will

of taking pictures. Most of us are not

approach situations a little differently.

well trained in interpersonal relations

I maintain very casual and friendly

and conflict resolution. Learning skills to

relationships with my clients and do not

help ease your mind when entering these

wish to throw off a “business is business

tenuous scenarios is well worth it, and will

vibe”. Instead, I maintain what I call a

increase your confidence when dealing

“firm but friendly, and friendly but firm”

with such matters. I mentioned it earlier,

approach. I am very accommodating,

but it is worth repeating - clients never

flexible and eager to please, but not at

come with a manual. Even if they did,

the expense of my time, my children, my

however, none of us ever REALLY read

livelihood and my business. Whatever

those anyway.

your personal style, it is a wise idea to

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About Heather Rivlin Heather Rivlin is a portrait photographer in Toronto Canada, specializing in portraiture for newborns, babies, and maternity. Heather works 100% in studio, and 99% in black and white. Formally trained in interpersonal psychology and social work, Heather developed a love of writing at an early age, and puts her background in interpersonal relations to good use when managing her business. Using a â&#x20AC;&#x153;firm but friendly, friendly but firmâ&#x20AC;?, business philosophy - Heather believes in providing maximal flexibility within clearly marked boundaries that honors the needs of both the client and the business. Heather is the founder of PhotoSpa: Workshops for Professional Photographers (www.photospa.ca)(website under construction) which offers two very popular in-studio workshops for photographers; Be Inspired which showcases photography skills, marketing, and sales for portrait photographers, and Fresh, a series of workshops dedicated to the art of photographing newborns. Heather also provides online mentorship to aspiring photographers on a one-to-one basis.

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HUY NGUYEN

wants

think

tomake

you

Small bite-sized morsels of wisdom make for big results. And so it is with Huy Nguyenâ&#x20AC;&#x2122;s photographic talents. Coupled with chicken soup wisdom for the photographic soul, he shares with Design Aglow the beauty of wisdom and the wisdom of beauty. by Katie Nail

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A L W AY S F U L L O F O N E - L I N E R S

Huy Nguyen doesn’t like to mention his awards. He hasn’t listed on his website that he was named WPJA’s 2005 Photographer of the Year, or that he has just been named one of the Top Ten Wedding Photographers in the World in 2009 by American Photo Magazine. He says simply, “I’m honored that my photography is appreciated through numerous awards from different organizations over the years, but I don’t like to rely on them as vindication of my work.” The fact that he doesn’t like to talk about awards doesn’t mean he doesn’t like to talk. Actually, talking is one of the things he’s known for. Like his photography, his approach to talking is different than most people. Instead of explaining something to death or enjoying the sound of his own voice, he likes to make people think.

“I’m a member of online [wedding photography] forums and always end up kind of saying short things,” he says. “Some are funny. People find them humorous. I want to say things that have meaning. I’m known as the guy with the one-liners.” Those one-liners are not limited to the internet. When asked for advice or during one of his regular conferences, Huy teaches using these brief statements. Shockingly, when we asked Nguyen for insight into the genius behind his photos, his words of wisdom came as one-liners. He was nice enough to expand a bit, and what he said has given us a lot to think about.

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what

trust me

i don’t know

i’m doing

In any business there is a certain amount of effort spent convincing the client you’re the right person for the job, so Huy’s first statement caught us a little off guard. It seems like the opposite of good business. Certainly for paying clients, it was not the first thing we would think to admit. However, Huy explained it’s not so much about what you don’t know as what you do. “Imagine I am a professional jigsaw puzzler,” he explained. “You come to me to put together a jigsaw.

All the pieces are laid out, and you look at it and say, ‘Where are the pictures?’ At that moment, I can’t see the pictures, but I know they’re in there, and I’ll do what it takes to find them. You have to trust me that I’ll find the pictures.” “When I say I don’t know what I’m doing, I want my clients to trust me. This allows me the freedom to photograph their wedding day celebrations with my vision and ‘style’. I make lots of mistakes, but I also get a lot of winners. In the end, it’s the number of winners that count.”

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not

i’m

asian

This type of confidence sounds borderline narcissistic, but Huy explained that as a photojournalist he would be given an assignment and not know how he was going to capture the image requested. “To capture the image, I had to know I’d go in and get it done. I had to trust myself. This is extreme confidence. Confidence is extremely important. Fearful photographers don’t make great images. Anyone can get lucky here and there.” Probably one of his most cryptic statements, Huy is, in fact, Asian, was born in Vietnam, and lived there until he was 10. However, clients bring stereotypes with them, and Nguyen is all about overcoming those misconceptions. “When I’m working, I want my subjects (and

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everyone) to see me as a visual reporter. I don’t want them to see me--an Asian man. I want them to see a visual reporter who has a job to do. This mentality is how I access intimate situations to make revealing images that the public seldom sees.” For photographers this doesn’t just apply to race. It applies to anything that could keep a client from being truly comfortable with you. “Instead of Asian, I could say that I’m not male. I’m not a guy,” Huy explained. “I photograph a lot of women getting ready. I can make them uncomfortable if I’m a guy. I take on the photographer persona so I can take those shots.”

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“Fearful photographers don’t make great images. Anyone can get lucky here and there.”

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clichés

shoot

your

own way

All weddings have similar activities and situations, which is why wedding clichés are so easy to stumble into. But outside of the obvious first dance and throwing the bouquet, recognizing clichés can be difficult.

recently won an award for cake cutting. Everyone thinks of the bride and groom’s hands cutting the cake, but I got a shot of all the different servers cutting the cake.”

Huy says he can recognize a cliché. “In my mind I’m being pulled to an image because of past associations: a shoot at sunset with the couple looking at each other, or a current cliché would be a brightly colored wall with the bride against it.”

Sometimes photos are so good they create clichés of their own. While Huy was one of the first to shoot the couples’ wedding bands in interesting ways, now it seems everyone is looking for something other than hands to shoot the bands on.

When he feels that he is being pulled to something, he immediately goes in the opposite direction.

Huy came up with the idea when he was online. “I was looking at this photographer’s work, and he had rings on different flowers. It was cool to look at, but around the 25th picture of a ring on a flower, I thought, ‘They don’t have to be on flowers.’ So now I shoot them with anything other than flowers or hands.” 174

“I cautiously try to get myself to stop thinking about it in that way and force myself to do it differently,” he said. “For example, I

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what can

i do

that no other

photographer

can do?

One of the goals for any photographer is that their images stand out, that they don’t get lost in the crowd, and that people would recognize them as their own. As a photojournalist, Huy constantly challenged himself to create better images than the many photographers standing next to him. He brings that same competitive mindset when shooting weddings. “It’s a constant competition,” Huy said. “I’m very competitive. I love games and I try to ‘out do’ people. In photography you constantly compete with other photographers’ work.”

For Huy, the idea of doing more than anyone else doesn’t stop at the images. For him, doing more applies to all areas of working with clients. Nguyen says, “When working with my clients I think, ‘I want to do this for you where other photographers cannot.’ For example, if there are a small number of guests, about 50 or 60, even if the client doesn’t ask, I will get all the guests together and do a big photo with everyone. I don’t have to, but I want to do it for them.” This type of service results in many happy clients who go on to refer Huy. They also tend to buy more.

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if you

think,

don’t

you won’t understand

Huy is the founder of the Foundation Workshop, which is held annually in Dallas, and he is a coteacher during the Ying Yang Workshops. This may be why he described the above one-liners as “his own personal rant.” “People go to conferences and just swallow; they don’t think along. You will not understand anything on a deeper level if you don’t think. They glaze over and go yeah, yeah, yeah.” “People don’t think critically about what they’re seeing and hearing. They are not truly ingesting the information or experience. When I teach seminars and workshops, I want my students to challenge the ideas and concepts that I

am putting across. People have to think about the relevance of the information as it pertains to them and their circumstances, skills, limitations and fears.” It may also offer insight into why he likes one-line statements. “The reason why I write one-liners is because I want people to think. I don’t want to lead them from a to b. I just want to write b. I want them to find their way there.”

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{everything}

overrated/ is

beauty is

As photographers, our job is to capture images. Hopefully our goal is to capture beautiful, striking, relevant images that make our clients happy. Nguyen is the first to say that he loves photographing beautiful people, but challenges photographers that there is more to wedding photography than beauty. “Beauty’s overrated. Pageantry is overrated. Formals are overrated. Glamour is overrated. Typical wedding must-have shots are overrated,” Huy says. Instead of focusing on the external, Nguyen wants to capture something ethereal, but explaining that to a bride can be a challenge Huy likes to remind people that the most important person at the wedding is not himself, but the make-up artist. “The hair and make-up artist make you look pretty,” he said. “I photograph life.” For Huy this mentality works out. Across age groups and personalities,

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not

physical

Nguyen’s clients are looking for more than physical beauty. “For a lot of my clients, the most important part of their wedding is not looking good but capturing the happiness and connections.” Clients often look and feel their best when they are relaxed and not worried about how they look. Huy strives to capture images of people who are not concerned with their outer beauty but the glow that comes from within. He explains that photographers get so caught up in the physical beauty that they don’t make time to see the inner. Much like falling in love makes a partner blind to the other’s physical appearance, the photographer should see their clients as beautiful no matter how they appear.

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if you don’t

look for it,

you won’t

see it Every photographer has had those rare moments of extreme luck when the right light coincides with the perfect pose and everything seems to click. Huy doesn’t believe in waiting for those moments. Instead, he feels that every photographer should train themselves to see those “moments of life.” According to Huy, moments of life are “decisive moments when something magical happens and you have the right angle and the perfect light. I search constantly for moments of life.” Nguyen insists that these moments are something you train yourself for and are not just coincidental. “If photographers don’t look for these moments,

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they won’t see them. They see what their mind is focused on--most of the time, it’s beautiful people and laughing people. My mind and all my senses are open to the possibilities of moments that may happen. I need to be in the right places to photograph them with the best light, composition and timing.” Simply by being aware of what is happening outside of the “normal” wedding shots, a photographer can capture unexpected images. Huy insists that by “training yourself ” to look for the moments, anyone can capture stringing images.

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you!

anything for

Perhaps one of the most challenging aspects of wedding photography is the client. Everyone wants their client to be happy, but often we end up feeling taken advantage of. Characteristically, Huy has his own approach. He feels that by giving the customer anything they want, he gets a lot more in return.

“I need the clients to love me because I may make mistakes. I take a lot of chances. They may not work out. I may not get a picture of the cake or I might knock over the flowers.”

“I tell my clients ‘Anything for you’ when they want something, and that’s what I want to hear when I want something from them,” Huy said. “I give them all I can, and they give me freedom, trust, and a sense of well-being.”

However, what he ends up with are award winning images. By giving the client what they want, Huy is able to get what he wants. Since he has worked to ensure the clients happiness, he is confident he will get the freedom and trust he needs.

This give and take is important for Nguyen, who views the client-photographer relationship like a family. For family, you will bend over backwards, knowing they will do the same for you.

“Even if what I am trying to do doesn‘t work out, they will still get a pretty decent set of wedding photos.”

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“I’m very competitive. I love games and I try to ‘out do’ people. In photography you constantly compete with other photographers’ work.”

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ABOUT HUY NGUYEN

Huy Nguyen is married to Joy with three kids and lives a peaceful life near a quiet lake in Dallas, TX. Between the daily bustle, he enjoys the morning cup of coffee, late night glass of wine (and occasional poker game) and his children’s silliness. In his past life, Huy has worked for a few major newspapers, the most recent being the Dallas Morning News. Now, he is focused on rocking with wedding world with strange notions, challenging ideas, and innovative projects. Huy is honored to be recognized as the WPJA Photographer of the Year 2005 and one of of American Photo Magazine’s Top Ten Photographers in 2009. Huy is the founder of The Foundation Workshop and its photographers’ forum, and the The Yin Yang Workshop. He is also available for private workshops and open to requests for teaching seminars. All of Huy’s activities can be found at

www.huynow.com www.f8studio.com

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High Key Magic: Could an underappreciated photographic style make a huge comeback? We certainly think so. Weâ&#x20AC;&#x2122;ll explore a lost, yet beautiful, lighting style and show you that thereâ&#x20AC;&#x2122;s more to high-key than you may have thought.

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A Beautiful Light Who would disagree that a high-key lighting setup, with it’s refreshing simplicity, could be outdone by any other lighthing style? There is truly something special present in a high-key image we can’t exactly put our finger on. Perhaps it’s the way highlights fuse together with barelythere shadows to produce portraits worthy of a page in a fairytale book. Maybe it’s the way eyes brighten up and skintones melt into a surreal, milky tone. Whatever the reason, the high-key portrait style has certainly captured our eyes and hearts as of late. With all the reasons to love highkey, we seem to see less and less of it present in the portfolio of the modern photographer. With the move of the majority of upscale boutique studios to natural light only portraiture, the traditional, studio-lit portrait has seemingly been pushed aside, strobes left to collect dust, and a dictionary now required to tell us exactly what a light meter is. While there is certainly a place for natural light in portraits, we long for the days when a photographer was much more than an artist with a fancy camera. The days when a photographer was a “light-writer”, a molder and shaper of light, and would create a portrait that would make even the old masters green with envy. Yes, your editors did fall into the same “natural is better” mentality for quite some time, but a recent desire to get back to our roots left us yearning to dust off those neglected strobes and give the ol’ studio shoot another chance. What better way to work off the rust than with an oldie but goodie, a high-key shoot? “How boring” you may be thinking. “High-key. It’s so plain, so easy, so... ‘Olan Mills’.” Au contraire, mes freres! This ‘ain’t your mama’s highkey. In this two-part seminar, we’ll introduce (or re-introduce) you to the magical world of high-key, Design Aglow style. We will be combining the traditional high-key lighting style with some modern twists that just might bring you back to the “dark side” of studio shooting. See what is possible when the beautiful simplicity of high-key is fused with modern digital technology and snappy graphics. Who knows? We just may succeed in turning “traditional” on its head.

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Let the magic begin A lighting style that’s been around since the dawn of the photographic arts, some associate high-key lighting with cheap mall portraits or high-volume studios. This is because high-key lighting is the tool of choice for photographers that want an “everything” lighting setup. High-key is suitable for literally any age, any group size and any pose. It will hide virtually all imperfections on the skin, and is arguably the most flattering lighting style one can use. (We happen to agree with this.) If one is photographing an extremely large volume of portraits, there’s no better way to go than high-key - you just set it up, and, as the Italians say, “Fa-get about it”. We can see why the style has a bad rap, but we believe that it can be used by even the snobbiest of boutique studios to produce stunning works of art for the most discriminating client. Used in the right ways, high key can be a tremendous artistic tool for any studio to implement and, as we will prove later, the post-processing artistic opportunities are endless. We will go through a brief introduction to high-key, for those who have never given it a thought, a high-key lighting setup (complete with fun diagrams), conducting a high-key portrait shoot, processing and proofing your high-key session, helping your client dress for a high-key shoot, and finally, the piece de resistance, some graphic treatments of high key portraits.

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What Is High Key? Most professional photographers are already thoroughly familiar with high-key lighting, but for you whipper-snappers out there, we’ll briefly introduce you to its almighty power. The answer to the question “What is high-key?”, like many things, will vary depending on who you ask. Some say it’s any image with an overwhelming presence of extremely light tones, including skin tone, clothing, and background, and very few dark tones. With this definition a high-key image could be almost any image with virtually no blacks. Others will tell you that a high-key image is one with an extremely low lighting ratio that completely eliminates any shadow. In other words, a lighting ratio as close to 1:1 as possible. We aren’t going to squabble over exactly what the textbook definition of high-key is, but for this article, we will be using the second definition...that is, an image with a lighting ratio as close to 1:1 as humanly possible. And no, your subjects do not need to be dressed in all white in order for your image to qualify as high-key. Heck, we don’t think you even need a white background to be in the high-key camp. We’ll go further into detail about this a little later. As we said before, high-key lighting has been around since the days of the dinosaur. It is widely thought that the lighthing technique was used in early motion pictures to deal with the fact that the very first films did not have the ability “see” more than a few stops of light. This makes sense to us, but as a bonus, high-key lighting may be the reason old-school movie stars looked so absolutely fabulous!

6:1

A “low-key” image where subject’s details are virtually invisible, hidden in deep, rich shadows.

5:1

4:1

3:1

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2:1

1:1

A “high-key” image. The lighting ratio of 1:1 means that the subject is bathed in bright, 201 clean light and there are no low shadow areas.

Why High-Key? Yeah, yeah, it’s as oldschool as puffed sleeves and Z-Cavarricis, but we just love the look of high key, especially in the images we will be showing you that have been reworked and modernized for the pickiest photographic eyes. You may be wondering what the fascination with this lighting style is. Well, here’s just a few reasons we’re hooked on high-key:

High key is the most fl attering light source on the planet! We know what you’re thinking: that’s a mighty bold statement! But, alas, we believe it to be true. No other portrait lighting setup flatters the subject quite like high-key. By opening up all shadow in the image, there is no where for imperfections to hide! Not only are wrinkles banished to the underworld, but high-key does something to the eyes of a subject that is beyond compare, by opening up the eye socket area and giving that super-flattering half-moon shape to the irises. Skin tones take on an otherworldy look and instantly become porcelain.

High key is super clean There is nothing like a high-key image when it comes to simplicity in one’s work. It is a lighting style for the minimalists among us who desire an image that is clutter-free and fresh as a winter day. All attention is automatically drawn to the subject in a high-key portrait, leaving nothing else around to distract from it. Isn’t that what we all strive to create in our portraits anyway?

High-key gives us so many opportunities for creativity in post-production Although there are so many ways to add creativity to an image in post, high-key takes the cake! Because of the blank background and cleanliness of the image, adding in graphic touches to a finished high-key image is a breeze. As we’ll demonstrate later in this seminar, there are literally limitless opportunities for creativity after your high-key shoot to add both spice and personality to your client’s images.

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Typical High-Key Setup

Lighting Is Everything Because lighting is everything in a high-key image, getting it right requires some basic photographic equipment. Don’t worry, everything you will need you probably already have.

1. WHITE BACKDROP AND BACKDROP STAND Any white seamless backdrop will do. We generally prefer a paper backdrop because paper has a highly reflective surface, doesn’t have any trouble with wrinkling, and is very easy to keep clean - when it gets dirty, just bust out those scissors and cut off the bad stuff. Paper will also store very easily in long rolls and is very affordable. If you have canvas or fabric, those will work just fine as well. The backdrop should be wide enough to allow you a wide range of posing options and group sizes (we prefer 10’ wide paper seamless backdrops) and long enough to pool onto the floor away from the backdrop stand by at least 6 feet. 2. BACKGROUND LIGHTING: TWO STROBES WITH LARGE UMBRELLAS To light the background you will need two fairly high-powered strobes fitted with large umbrellas (we use 46” white umbrellas). The umbrellas need to be large in order to scatter the bright light over as large an area as possible. If you only have softboxes, these will work just fine as well. 3. FOREGROUND LIGHTHING: TWO STROBES WITH LARGE UMBRELLAS The foreground lighthing will be exactly the same as the background. Your strobes should be powerful and your umbrellas as large as you can get ‘em. 4. A LARGE SILVER OR WHITE REFLECTOR This is really optional, but we find that placing a very large reflector on the floor, pointed up at a 45-degree angle to the subject, greatly enhances the shadow minimizing effect we are going for. 5. AND LAST, BUT NOT LEAST, YOUR TRUSTY LIGHT METER Yup, dust that pup off ! We’ll be needing it to make sure our light is just perfect before we begin our shoot.

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Let’s Set Up! It’s time to begin the set up for our high-key shoot. We like to set up and meter our background first, and then add our foreground illumination. But before we set up a single light, we’ll need to figure out what our exposures will be. Generally, the F-Stop you choose when producing high-key portraits doesn’t matter much, as the lighthing is controlled and your F-stop will serve mainly to control the level of depth-of-field that you desire. Because depth-of-field is both determined by your aperture and your lens’ focal length you will need decide it for yourself before beginning. Generally, we like to shoot high-key portraits at F-11 to preserve as much depth-of-field as possible while limiting the recycle time on our lights. It is very easy to achieve F-11 on our subject as the lights are located quite close to him or her, so we’ll stick with that. Because our foreground is set to F-11, we’ll want to make the light on our background at least one stop brighter. This will ensure that our background will be blown out to a pure, delicious white and that we won’t have any annoying gray spots to deal with later. Again, you may want to experiment with lighting ratios between your foreground and background to get the best result. You may have to bump our background up another half, to full stop, depending on its color and reflectivity. So, at this point, we’ll stick with F-11 on our foreground, and between F-16 and 19 on our background, and possibly go up to F-22 if we need the extra white washout. Be aware that the brighter your background is in relation to your subject, the greater chance there will be for a light “spill”. We’ll get into that in just a minute and go over ways to minimize it. Here are the steps: 1. ASSEMBLE YOUR BACKGROUND Place your backdrop on a background stand assembly and roll out the paper seamless so that you have a nice curve from the back to the floor. We like to aim for a nice, smooth “U” shape between the two. This will assure that there will be a clean transition between the two and light will hit them evenly in full-length images. The stand should be tall enough to allow for a variety of

full-length portraits and for those where the kiddies may be jumping around or have their arms up (a good rule of thumb is between 7 and 8 feet from the floor.) Use sandbags on the stands if your background stand exhibits even the slightest bit of wobble - safety first!

A top view of our backdrop with our umbrellas feathered inward A side view of our backdrop with the nice “U” shape

When your background is where you would like it, place tape on the bottom of the backdrop to secure it to the floor. Tape Here

2. PLACE YOUR BACKGROUND LIGHTS Now, add in your background strobes. We place ours between 4 and 6 feet from the backdrop, depending on it’s width. You may want to experiment a little bit with the distance of your lights from the background to find the perfect coverage of light. Remeber, the farther away from the backdrop your lights are, the greater area the light will cover. Each light and umbrella should be off to the side, with the umbrellas feathered inward. The feathering will ensure that there are no “hot” areas on the backdrop closest to the lights. The feathering will spread the light inward, toward the center of the backgrop, ensuring a lovely, even coverage. We’ll also want to place our lights up high, pointing slightly downward. This will ensure that we get the same bright light on the “U” shape of our background and part of the ground behind the subject. We want the whole background scene to be a consistent, pure white color. 3. METER IN AN “X” PATTERN It’s time to meter our background to make sure that we get the most even light possible across the entire backdrop. We will do our metering in an “X”, taking a reading of the top left, top right, center, bottom left and bottom right. The goal here is to get the light as close to F-16 as possible on the readings. At first, the readings will undoubtedly be different. That’s just fine. If you are getting a hotter reading near the edge of the backdrop, simply feather the umbrella further inward to smooth out the light spread and balance everything out. You may also want to raise or lower your lights to balance out the top to bottom readings as well. Don’t forget also to meter the “U” portion of your backdrop and the floor where the seamless rests. All the readings should be consistent to provide the brightest white possible.

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Make sure all of your readings are as close as possible

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Now that our background is all set up, it’s time to add in our main lights. We will place the main lights in much the same way we placed the background lights, about 45 degrees from camera center, and feathered slightly inward. However, the placement of our main lights will differ slightly from that of our background lights. They will be placed lower to the ground and as close to the subject as possible without

1. PLACE YOUR FOREGROUND LIGHTS Our lights will be 8 to 10 feet from the background with the strobe part of the light placed about 6” above the subject’s eye level. The reason we do this is to give an extremely small downward direction to the light, giving a beautiful highlight to the cheekbones, while at the same time keeping the light flat, which will completely fill in the subject’s eyes and open up

appearing in our shot. Placing our lights as close to the subject as we can will ensure we get the softest, most feathered light possible, completely eliminating any shadow that may be present.

nearly all shadows under the chin. We’ll incorporate our reflector in the next step to knock out the rest of the shadows under the chin.

We know where the lights will be located on the sides, but how far from the background should they be? This is a great question, and an important one. Because of that “light spill” we spoke of on the previous page. Basically, the “spill” manifests as a bright halo around your subject, generally appearing on his or her jawline or arms, and is, except in cases personal artistic ideas, something we want to avoid. At times the spill will add a cool looking effect, but it can cause your subject to “disappear” into the background by eliminating the crisp line separating him or her from the background. Because we want to minimize, and hopefully eliminate this spill, we will have to take that into consideration when placing our foreground lights. Generally, there are two ways we can eliminate light “spill”: we can simply move our subject farther away from the background, or, if we are tight on space, we can incorporate “flags” into our lighting setup to block the light from the background.

Add in your reflector for an extra kick!

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2. METER YOUR FOREGROUND LIGHTS Now, we’ll meter our foreground lights, one at a time, to make sure that they are giving off exactly the same amount of light. When the exposure of our strobes is exactly the same, we’ll power them both up and take a full reading, which, combined, we want to be F-11. 3. THE FINISHING TOUCH Now that our foreground lights are in place, we will add in our reflector to further soften and brighten the light on our subject. The reflector can be placed at the bottom of your backdrop a few feet in front of the subject, and propped up to a 45-degree angle with a small stool or any other sturdy object. We are now ready to do a test shot to check our lighting and see if there are any last minute “tweaks” that are needed. If you don’t have an assistant that can be a stand-in for your test shoot, you can try using any other large object you have hanging around your studio. We have a large stuffed animal with several tones that we keep nearby just for times like this!

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A Useful Tip This super time saving tip was originally a part of our Inspire Guide: Silhouettes semainar, but is equally relevant to shooting high-key images. After you have set up your high-key lighting for the first time, take a moment to grab a tape measure and note the placement of your lights, background, subject chair, and any props on a little diagram like this one (right). Once you have the setup and lighting perfect, there’s no need to reinvent the wheel for future shoots. Simply refer to the diagram and put everything into its former place. That way all you will have to do is plug in and perform a quick meter reading and you are good to go!

Note the distance between each object in your lighting setup

Also, don’t forget to write down your camera’s ISO, aperture, and shutter speed - these matter too. A copy of this diagram is included in your Goodie Bag folder. Not into the measuring thing? If you don’t mind giving your floors a little “character”, another great time saver is to mark the position of each light with a little bit of tape. At your next high-key shoot you will simply place each light on top of its mark and avoid measuring altogether.

Don’t forget to note the settings of all your equipment to make for a speedy setup in the future

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Anatomy Of A Perfect High-Key Image Open, highlighted eye area with bright illumination in the lower iris

Lovely oval highlights on the cheekbones

A pure, clean, ctystal white background with no gray areas

A clean, sharp line of separation between the subject and background

Beautiful, soft and even skin tones with a touch of barely212 there shadow

When analyzing your test shot you should look for a few things. First and foremost, you will want a lovely uniformity on your background, with pure white and no weird gray areas. If you do see gray spots, you can either adjust the position of your lights or pump them up a notch to blow out the gray areas to pure white. On your subject you will want to look at the cleanness and evenness of the light. If there are some shadows, that’s just fine. They should be subtle. If not, you can readjust your main lights or move your reflector closer to your subject. Also, there should be a clean line of separation between your subject and the background, without too much of the “light spill” we spoke of earlier. If you see spill again, move your subject away from the background, or incorporate light eliminating flags to the rear and sides of your subject. This should knock most of it out and provide a gorgeous outline.

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A High-Key Session Now that we have our lighting perfect and have taken and analyzed our test shot, it’s time to have some fun! The high-key portrait session can be anything you want it to be. You can experiment with different posing, lenses, wardrobes, and portrait themes. We will now introduce some fun techniques on how to get the most from your high-key portrait shoot. First, the boring stuff. Before we ever click the shutter on our high-key shoot, it’s very important to plan ahead for our post-production and retouching work. One of the most important, time-saving things you can do before you begin to shoot is, you guessed it, set your white balance. Why is a perfect white balance so important? Well, other than giving you the most crisp, real, beautiful color possible, it will shave hours off your postproduction proofing time. Whether you are using a program such as Lightroom, or just good ol’ Photoshop, to perform your post-processing, a correct white balance will ensure uniformity and lighning fast retouching. If you don’t already know how to white balance your camera, it’s time to learn. You will thank yourself a million times over when your computer time is kept to a bare minimum with proper planning.

Doesn’t she look happy ?

Instead of using only the method of white balancing on a piece of white paper, we have a slightly better way to guarantee perfect color. Without getting too technical, you may already know that even though your lighting is controlled, you may have to adjust lights during the course of your shoot. If tiny adjustments are made, this may, however slightly, change the light falling onto your subject. Instead of re-balancing your camera for each change, we recommend simply using the “gray card” method to get the perfect color from your images. We’ve all seen a gray card before. It’s just a, well...piece of cardboard or fabric filled with a perfectly neutral 50% gray. When the card is photographed in the scene with the exact lighting you will be using, it will only take one click of a mouse in post to transform the entire image into its natural color glory. If you don’t have a gray card, don’t worry a bit. In fact, don’t even bother buying one. In this issue’s “goodie bag” you will find our high-tech color secret weapon. It is a modified gray card with not only gray, but also a block of black and white. We’ll show you why it’s important to have these present as well. Simply open the file entitled “gray card” and print it out on your inkjet printer using only black ink. For a few cents you will have a tool that will save you hours in the “digital darkroom”.

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To use this terribly high-tech and confusing item, simply do a quick white balance on a white piece of paper and lock it into your camera. Then, have your subject hold the card in the scene and snap off a quick shot. This will be the shot we will use later to get the perfect color out of our entire shoot. Remember, if your lighting changes even slightly, put the gray card back into the scene and snap off another shot, just to be sure that the color will remain precise throughout the proofs.

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Some Other Stuff A high-key session will basically be just like any other studio session, with a variety of poses and shots. Of course, it will be up to you to determine the best poses depending on who your subjects are, the time you have, etc. However, we believe itâ&#x20AC;&#x2122;s important to get at least three different shots when doing a high-key session: a few basic head-and-shoulders, a quarter-length, and of course, a full length. A variety of shots will ensure that we have lots of good stuff to work with later during the design portion of our portraits. Another nifty high-key tip we employ at times is to slightly over expose our subject. This over-exposure, of between 1/2 and 1 stop will work wonders for skin tones by deliciously blowing out any remaining shadow under the subjectâ&#x20AC;&#x2122;s chin and in the eyes, and leave us with a bright, lovely image with accentuated facial features.

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Until Next Time Well, we’ve certainly crammed a lot of information into this exciting first half of our seminar, so you should be left with a lot of inspiration and ideas for your next high-key shoot. But don’t get comfy, we’re not done yet! Stay tuned for Issue No. 9, where we will continue our journey into the “New High-Key” and tackle what we believe to be the best part of all: digitally designing our portraits. So, far, we’ve learned what high-key is, what equipment we will need for our high-key shoot, how to set up our lighting, how to save time by perfectly white balancing our images, and what makes a great high-key image really great. Next time we will delve into all things post-production including a complete high-key workflow, some great props to use in your sessions, how to batch and edit our images, the art of retouching a high-key image, and best of all, some fun ideas of how to knock your client’s socks off with beautifully designed high-key custom portraits. We’ll see you then, and hope that, in the meantime, you will begin amassing some great highkey images to turn into stunning works of art.

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Jasmine Star:

Be Fabulous She is only 28, but she has already been to law school, nursed a mother with brain cancer, married the man she shares her life with, and adopted their Maltese, Polo. Jasmine dances in the street for her camera-wielding friends and has an obsession with canned tomato sauce. by Jamie Van Eaton

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It is an unusually rainy spring day in California, and Jasmine says she is used to miracles and blessed events. From her mom, inexplicably well enough to walk her daughter down the aisle, to finding her first photography mentor, David Jay, on page 67 of a Google search while seeking her own wedding photographer, Star’s rising star took her from law school to briefing clients in the court of being fabulous. With permission to make mistakes and possibly fail from her husband so long as she loved what she was doing, Jasmine shot her first wedding in 2006 (and booked two more that October). By the end of the next year, she had already documented close to 40 weddings. “I’m not sure that people book me for my photos,” says Star. Residing in the “Mecca of amazing wedding photography,” Jasmine is unsure that putting her pictures next to someone else’s pictures, she would come up the Prada in a world of knockoffs. But combine her personality with her pictures, and this humble harbinger of haute has more than a fighting chance. Equally engaging, whether she is discussing law school or her obsession for cans of tomato sauce, Jasmine Star has taken the industry by storm. So much so, only a scant two years after picking up a digital camera for the first time, this cowboy boot wearing phenom of photography is already in demand as a star speaker.

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So Engaging It’s a match made in Vanity Fair. Her demographic are the fab and the fashionable, younger couples between the ages of twenty five to thirty five who shop where Jasmine shops, get their inspiration from the same fashion magazines Jasmine reads, and even enjoy the same things she enjoys talking about. “I do own too many shoes and probably spend too much on a pair of jeans, so I think I attract the kinds of clients I would be friends with in real life.” In addition to emulating magazine styles in her photography to help attract her hip, chic clientele, Star builds from architecture and takes a canvas from the Renaissance painters, placing her chic, clad clients in interesting places within the frame. She is adept at drawing the eye where she wants it to be with the same success as Botticelli or Donatello, were their subjects so W magazine mod and trendy. Planned four to five months prior to the wedding, engagement sessions are included with every collection Jasmine offers—and for good reason. The shoot allows her to know the couple before the main event, where the bride dons her Jimmy Choos to say her I Do’s. “An engagement session is an opportunity to be fabulous,” Star says. This is also a time the couple gets to know her as their wedding photographer. “I don’t want them to see the camera on the wedding day.”

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Filters and Sunlight

it’ in front of a camera. They’re

sometimes like, ‘Who does she Want to be a Star? In Jasmine’s world, a well-written email not only shares

think she is?’ If guys see the slide-

her personality, but helps equip couples for the best engagement sessions

the whole goal is to make them look

ever. The essential skinny for fabulous clients follows: SUBLIME AND ON TIME. Star asks clients to please show up as scheduled, allocating time for fashion emergencies, traffic delays, and bad hair days. As a natural light shooter, it is important her clients know that the sun will dictate how long a shoot lasts. “If you show up 30 minutes late, the session doesn’t extend an extra 30 minutes,” says Star. “People really get that point that it’s super important for them to be on time.” CHECK IT. It is important for couples to check out the location beforehand and make sure it reflects who they are as a couple. Jasmine, the eternal bubbly brunette, never sees ugly in any spot chosen by couples; and she’s shot everywhere with panache, from dumpsters to graffiti walls. SIT. STAY. Star asks clients to sit and watch two to three of their favorite engagement slide shows. Sharing a link to her sessions online, Jasmine has a very real reason for this request. “Guys are less likely to ‘work

show ahead of time and know that good around their pretty bride to be, they’re like ‘A’ight. It’s cool.’” PROPS TO PROPS. Because Jasmine views every photo shoot as a potential fashionista funapalooza, she wants to see couples cutting loose with items that reflect who they are, either individually, or as a couple. Whether they’re toting cameras or matching iPods, Jasmine sees props as a part of the overall picture for the couples who want to use them. DO THE ‘DO. While professional hair and makeup are not a necessity, feeling oh so pretty helps cut back those inhibitions for the camera shy. Says Jasmine, “In my experience shooting engagement sessions, girls want to feel pretty and confident, and sometimes spending a little extra time getting ready achieves just that.” Sending an email with this information enables clients to show up, ready to go, and helps stave off any issues that might otherwise hinder the otherwise flawless, fabulous experience. As always, her energy shines through from her tips to her motto: “Be yourself. Be real, and then we’ll have fun.”

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Show Up Location, location. Couples know who they are best, so Jasmine has them dictate the destination for the engagement session. “If they’re not mountain going folks, I wouldn’t suggest going to the mountains.” Even with that kind of freedom, a lot of times clients blow her mind with their choice of sweet spots for their shoots. One couple bought an empty loft in Los Angeles and wanted their pictures taken there. Another opted for a carnival backdrop. Whether she is documenting her deliciously diva couples at their favorite coffee shop or poised atop a septic tank, her mantra is still the same: Where are you comfortable and feel fabulous? Some clients would fly Star to the moon for a chance to work with her. Whether jet setters travel to Jasmine for their engagement session or send her to their location, half of her cool clients end up booking online as destination weddings, taking her with them.

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Early bird. “We get there, and a lot of times and it’s a new location. That makes it my responsibility to show up early and familiarize myself with the area.” It’s easy to suggest spots, but she likes going where the cliché shots aren’t taken. No bleached beach scenes or meandering meadows at the park, tomorrow she’s shooting on a trail at a freeway underpass—and she couldn’t be happier about it. “I always bring up the fact that two people can be placed in any kind of situation, and as long as they’re in love, the pictures are going to be amazing.” Humbly dispelling that it’s not really the photographer, if the location means something to a couple and gets them involved, they take ownership and love the end product that much more. Unique boutique. Lending to boutique photography and giving each couple a truly unique experience, Jasmine never approaches couples the same way. The engagement shoot is also the first time she will have spoken to the couple since their initial conversations. “I watch them for the first ten minutes, and I notice things: Are they open? Do they share public displays of affection? Are they shy? Laughing? Flamboyant? All of that goes into how I photograph them. By the time the wedding comes around, I know who they are and what they’re about.”

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O h no s he d’iunt ! The beautifully bodacious Jasmine Star is known for more than her stunning, fun-filled fashion-styled photography and her signature cowboy boots. As a popular blogger, she brings in hundreds of comments per post, and is garnering readers across the world faster than a fashion boy can shake a Creative Reaction shoe. A Design Aglow exclusive, here are some of Jasmine’s very own Kisses and Disses:

Have fun While the shoot lasts about 90 minutes, Jasmine makes sure couples know her entire day is for them, and goes so far as to schedule a day in between sessions to drive the point home. “I never shoot two clients in one day.”

KISSES:

Clothes-minded: One hundred percent of the time, couples are dressed in regular clothes people wear naturally. “You don’t wear a wedding dress everyday,” jokes Jasmine. “Some ask if I recommend a stylist, or if I choose their outfits and I have to tell them, ‘No. I’m not that cool.’” Regardless her self professed ‘cool’ factor, Star knows that people choosing their own clothes establishes who they are from the very beginning-- and that’s important.

∙ To photographers who wear cowboy boots ∙ To photographers who arrive on time ∙ To photographers who laugh at themselves ∙ To photographers who make others laugh ∙ To photographers who drink Pellegrino ∙ To photographers who have fun ∙ To photographers who have freckles

DISSES:

Hair-Praising: “Girls get hair and makeup professionally done, and they plan out their outfit in advance. They’re looking more for that reassurance,” she says. “They show up looking beautiful, and I always want to make sure that my bride knows that she looks amazing.” Jasmine’s use of constant conversation helps to break down walls and allows couples to relax. “I don’t want them walking away from an engagement session thinking, ‘I wish I would have done this differently.’”

∙ To photographers who are sarcastic ∙ To photographers who don’t like cowboy boots ∙ To photographers who don’t blog ∙ To photographers who insist their way is the best way ∙ To wearing white shirts and jeans at the beach… it is so 1987 ∙ To shooting with flash during the day… you don’t have to work so hard ∙ To photographers who like to cook and clean... they make me look bad ∙ To photographers who are skinny...they make me raise my pint of Ben & Jerry’s with fury

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Posers Allowed: Jasmine knows that her clients, while fashionable, aren’t models every day. She deliberately calms people and measures them up with thorough checks of her photo equipment, among other wily tricks of the trade. When she says to a client, “Can you just stand there for a second while I check my camera?” Jasmine is actually assessing body language in a non-threatening way. Do they stand there with their arms to the side? If that’s the case, she knows she’s going to have to coach a bit more. “If they immediately throw arms around each other, they’re truly at peace together.” As couples drop their guard throughout the shoot, Jasmine takes a step back and lets them hug, nuzzle or laugh as it becomes comfortable to them. Talking a lot from behind the camera, Jasmine says, “If I feel they’re slightly uncomfortable, I’m talking to them. There’s nothing as nerve wracking as someone who is totally silent. I’m talking to them, and we’re laughing all of the time. It makes the shoot so much better.” Groom and Doom: There is sometimes the grumpy GQ guy, and Jasmine smacks that action down from the beginning, setting herself up for success through positive and playful interaction. When there is the occasional Y-chromosome client who might be a little too ‘cool for school’ during a shoot, Jasmine takes time to become genuinely interested in her client, and miracles occur: the minute someone starts talking about himself and she is actively engaged, Star not only can not only begin to relate to him, she is able to joke around as well. “It’s my job to make him like me; otherwise the pictures would come out bad, and then he would think I sucked.”

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Be fabulous In addition to leaping tall feats of photography, and with more fashion than Hot Topic, Jasmine easily shoots in excess of four hundred images in a single engagement session. She’s quick to say she probably overshoots, since the client sees closer to sixty pictures. “I shoot as much as I do because we’re talking while I’m behind the camera.” While she shooting, she is looking for honest emotions to memorialize: the laughter that registers as a result of the conversation. But really, “a lot of the pictures are discarded because they’re truly heinous.” Because her goal is to make sure her couples look their best, photographs that make the cut are individually, and minimally, processed. “The photos look very similar to how they look when I shoot them out of the camera. I don’t really do a lot of post processing.” In Photoshop she’s primarily checking skin color, maybe adding a little saturation, but nothing “gnarly crazy. I might run an action on the photos, but that’s about it.”

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Products she offers incorporate the pictures she shoots from the engagement session, and are as trendy and fun as this photographic charmer herself. Jasmine uses photos for the guest sign in book, which takes the place of the traditional one with lines. The album, with its large white margins and spaces for the guests to sign, acts as an heirloom of engagement photos plus well wishes. It has become such a musthave that 90% of clients are ordering them. Using professional photos from their shoots with Jasmine, even the most seemingly mundane items become personalized keepsakes of the couple. Aiming to please in more ways than one, one couple went into a photo session with numeral cards which, Jasmine soon found out, were to be used as clever table number photos for the reception. â&#x20AC;&#x2DC;Save the Dateâ&#x20AC;&#x2122; cards and wedding announcements are another necessity for many clients, employing her art with their personality to great effect.

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Star Light, Star A’ight Through the years, Jasmine has earned a lifetime of experience, both behind and in front of the camera, garnering her much positive attention as a veritable go-to girl in the photography world—and for good reason. Her knowledge is not only hers to grow from, but her willingness to share with others hoping to better themselves through the kind of wisdom that only a very hip temptress of talk could share (while wearing the loveliest lipstick ever) makes her a high demand commodity of cuteness. “When I was first beginning and really didn’t know how to work my camera, I wasn’t doing the types of images I wanted to do in my head. I didn’t know how to make them happen in real life.”

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Jasmine advises photographers to have fun and just go with it, no matter the skill and level of personal concern. “What impression do you want clients to walk away from their engagement sessions with? What happened on the day of the shoot really sets the tone, even before clients see their pictures. If the photographer is visibly stressed or frustrated or panicked, that’s what the client is going to walk away with.” The mood set during a shoot will reflect upon their photographs later. Says the ever clever Jasmine, “Don’t take yourself too seriously. Put away the thin cigarette and the beret.” Jasmine ultimately developed her “lifestyle photography for fabulous people” techniques through practice, the permission to fail, and through learning from other photographers. While a part of her natural light shooting, she is coaching others with an upbeat step in her boogying boot; still whatever happens organically is documented for the ages. “I want to capture who people are. I love people, and it shows up in their pictures.”

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ABOU T JA SM I N E STA R Jasmine Star is an international wedding photographer based in Orange County, California. A rising starlet in the industry, Jasmine just completed her second year in business with 80+ weddings under her leather belt, completed a national speaking tour sponsored by ADOBE and Showit Sites, and loves to shoot people. With her camera. Jasmine lives with her husband and fabulous dog, and at times struggles to determine who is her favorite. She loves to eat chocolate, run on the beach, and spends too much time writing on her blog. Jasmine hopes to take the wedding industry by storm. Or learn how to make pot roast. Whichever comes first. For more information regarding photography services, please contact her through her website jasmine-star.com or email her directly at jasmine@jasmine-star.com.

Jamie VanEaton is a freelance writer from Denver, Colorado, where she lives with her husband, and four children. She keeps a pantry filled with cans of black olives.

Like the graphics in this article? Make them a part of your next album or design project by clicking HERE.

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ready, set, grow

Jeff and Julia Woods:

Photographer and businesswoman Julia Woods is to sales what Oprah is to daytime talk shows. She shares her tips for success with Design Aglow. by Jamie Van Eaton

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hen she’s not busy home schooling four children in her swank, 3,000 SF, Washington, Illinois, Portrait Life studio, Julia Woods is caring for clients in one of its modern meeting areas. No, clients don’t necessarily walk in the door ready to open checkbooks and sign away the amount of a small car instinctively, but they always come back yearning to have what Woods is offering. There was a time that Julia wasn’t commanding top dollar for her distinctive art, but those days are long gone, as her booming business feels surprisingly little sting from the questionable economy. In fact, compared to where she was a few short years ago in terms of time and profit, it’s obvious her model has been a stunning success. In the beginning, our sales were terrible and we were making no money, says Julia. From 2001-2003, we found out that we were at a negative six percent profit. We were getting $100-200 sales-- nothing that was really able to sustain us. With a family to care for and educate, the amount of time necessary to work with clients who were easily overwhelmed by the choices was causing a tailspin of frustration, and with few sales to show for it. For Julia, extremely organized in terms of time management, there was dissatisfaction in the road blocks popping up. A client would have to come back for another appointment, and I knew the sales by that point were a lot less than what they would have been had they originally ordered. Looking for answers, Woods turned to photographers with experience in making high-end sales. Workshop speakers were, at that time, successful selling oil canvassed prints, but these were more traditional than the modern stylings the Woods tended to embrace in their business. With a flair for the new and hip, and a penchant for Pottery Barn, Julia not only was deliciously in tune with the current trends in home décor, she cleverly chose to incorporate them into her business, marrying the success of other photographers with her own style--and with tremendous results.

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the right farm of mind In 2003, Julia began pre-selling her product and photography concepts prior to the photography sessions rather than in the sales room, sharing different options offered and the concepts that most interested them. Supplying pieces that marry a client’s home with the Woods’ stunning art comes with a necessary price. Still, regardless the price of items offered, there is always going to be a moment of cost concern for any client. The “throw up factor” is the term Julia uses to describe the initial sticker shock that tends to accompany white knuckles on the price sheet. Introducing that factor in the sales room is a terrible place, because at that point clients are too overwhelmed with decisions and images to be able to deal with the big figure. While it is important to maximize sales for better time management, there is a proper way of making clients aware of the investment. Large sales require time for the client to process and become ok with, says Woods. They can’t just do that on a whim. It typically requires a family meeting, and that’s not going to happen in the sales room. Julia formulated her groundbreaking and lauded concepts through years of working with clients, and over time she began to realize that it’s “a lot like farming.” Now, with Julia’s process lasting about three weeks, from the planning session to the portrait review, her sensationally savvy farming techniques for ‘sales free’ sales are intuitive, intelligent and as easy to follow as falling off of a bale of hay.

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step one: plant the seeds The first step of the process is the pre-sales consultation. New clients are greeted by the Woods’ receptionist, who then guides them to a fun and vibrant consulting room reminiscent of Jeff and Julia’s own energy and personalities. Depending on the type of session the client is seeking (the Woods’ talents extend to seniors and weddings as well), a slideshow displayed on a large screen plasma television is indicative of the style of photography and samples of images for which the Woods are known.

SHARE THE PRODUCTS. SHOOT TO THE PRODUCTS. Having viewed the showing of the photography the Woods skillfully produce, Julia takes time to become acquainted with the clients as well as with the reasons behind their photography session. Julia and Jeff create custom art pieces for the homes of their clients, so it is imperative at this point to understand how the images will be used. In the past, clients would have viewed their images in the end sales session and were often overwhelmed, both by the amazing photography and the choices of products Julia carried. Not only that, says Julia, but people would come in to view their images, and we hadn’t really talked about what display options they wanted before the session. Many products the Woods offer require a particular style of photography to create the concepts. If they decided they wanted the shelf with the set of images, and we had just photographed the family, and hadn’t done the variety of the kids and the parents individually, then we didn’t have what it took to create that. Now, as Julia gives clients a guided tour through the hallway after the initial image presentation, she shares the different concepts and products offered prior to photographing. From the Versailles (three, 16X16” framed art pieces that find a rightful place above a sofa), to the Tuscany (five gallery wraps brought together with custom artwork), to other beautiful and unique displays, including a six foot shelf with seven images inspired by modern design, her offerings are as stunning as the images she creates to go with them. By asking which concepts they like most while viewing the products offered, Julia enables clients to take first ownership of those items. Helping envision where the piece will be placed within a home is the integral next step.

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create ownership An important part of this process is to connect the art to the client in a very concrete way to establish ownership, Julia says. A customer may fall head over heels with her Versailles concept. Woods might say, OK, you like the Versailles. Where is it going to go? Upon contemplation, a client would reply, Why, it’s going to go in the living room over the sofa. With this in mind, Julia designs every aspect of the session with the Versailles’ placement over the sofa. And if the customer is considering the Tuscany grouping to reside over the pool table in the family room, that’s ok, too. Back in the casual, fun atmosphere of the presales room, Julia plans the photography session around pieces and products in which the client has shown interest. One popular product, the six foot shelf consisting of seven images, requires a different approach in photography than the Versailles or the Tuscany. While Julia shares 30 pictures with clients at the end of the photography session in the coming weeks, it is extremely important to plan around special art pieces like the picture shelf now, which will require various shots of family members. Planning how those pictures will be taken and incorporated is based on the number of family members, how they interact, and their individual personalities, all considerations easily made prior to the shoot itself.

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Once the products have been discussed, Julia asks if the different concepts they had seen so far are understood, handling any questions as they arise. Seated next to the client, Julia doesn’t merely plop a price menu into waiting hands. Instead of overwhelming the customer, Julia continues very conversationally, maintaining ownership of products the client has shown an interest in. I simply say, ‘This would be the Versailles we discussed today.’ Julia points to the amount for that product on the price sheet. I don’t say the figure. I let her look at it with her eyes instead of hearing it with her ears. ‘And this is the Tuscany we talked about having go over the pool table. Do you have any questions?’ Julia says that, in her experience, eighty percent of the clients will be satisfied with the information. It’s that majority who, according to Woods, will follow through with exactly what they planned in the session. Although cost is usually an initial concern for clients, Julia expects this. What I realized is when the client comes into the planning session, and once I show them the concepts, they will be overwhelmed by the price. They leave the studio thinking, ‘Oh my goodness. I don’t think I can spend that much on photography.’ Still, what time does for initially concerned clients, it also does for its crops. You have to plant the seeds, you have to give the seeds time to grow, and you have to give the client an opportunity to become ok with the investment. If you do those things, when you get into the sales room, the harvest is there, ready to be taken.

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step two: fertilizing As the date is booked for the photography shoot, clients go home with seeds planted. The week between the shoot and the photography session is not one without its quiet, contemplative effort on the part of the client. Wandering past the pool table, the homeowner will now visualize the Tuscany. Taking respite on the sofa in the living room he or she thinks, Wow! That Versailles would look great there. But thereâ&#x20AC;&#x2122;s just no way I could spend that kind of money. While the cost issue is still a substantial one at this point, clients are already thinking about the possibilities while picturing the art work in their home. In the photography shoot, the actual fertilizing takes place, says Julia. The planting of the seeds took place a week ago in the pre-sales consultation. Now, the client comes prepared, knowing the photography session will be specifically tailored to the concepts in which they showed interest. Through warm and engaging interaction with both Julia and her husband, Jeff, during these shoots, clients are seeing, first hand, not only the attention to detail carried over from their first meeting, but their own fun family interactions taking place during the photography session. Laughing and enjoying themselves more than they may have for some time, Julia says, When you see those things happening with your family, it makes clients want to preserve that moment. That is the fertilizer. The harvest is now being actively cultivated through those joyful moments as the family returns to their home, visualizing and embracing the day in the form of the Versailles and the Tuscany concepts. As a client wanders past that same pool table and sofa that caused some trepidation only days before, now she thinks, We had such a great time. What better investment to make in this home than in my family?

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step three: cultivating the harvest The portrait preview and sales presentation take place approximately two weeks after the photography session. When compared to the consultation room clients entered just a few weeks earlier, the mood in the viewing room is noticeably different. More reminiscent of a home environment, clients are better able to visualize the concepts within a reasonably comparable space to their own homes. Libations and finger foods further welcome settling in, while quiet background music sets a calming tone. A projector in this room shows up to 40X60” images on the wall to focal music, composed specifically for the Woods. At the end of stunning preview, Julia next projects the images beautifully crafted as the concepts based on their prior discussions. Here is the Versailles that we designed to go over your sofa, she says. And here is the Tuscany we designed to go over the pool table. At this point, there isn’t much selling involved. Clients in past weeks have already sold themselves on the products and don’t ask to see the price list again. It’s created a very simple process. I don’t even realize most of the time that I’m selling, Julia says. Far flung from the stresses and roadblocks Julia encountered years ago, the light-hearted discussion that ensues is rarely oppressed by the burden of indecision. Julia has redesigned the process through time to remove those obstacles of old, establishing, instead, simple solutions in the form of pre-planned products and photo shoots. And what of the leftover images? I learned early on that overwhelming the client is my greatest enemy in the sales room. They’ve got their big pieces out of the way; the rest is minor. Usually of the 30 images presented, there are always going to be some which still plead for placement within a client’s home. Most opt for an easel with six or eight matted images. Not only does this option not require a lot of space, it’s a way to incorporate other pictures they like. Framing and installation of collections in the client’s home are all included in the price. That’s really the concept of what we do, and has continued to grow and grow over the years, explains Julia. I’ve been doing it for over six years this way, and I have never ceased to be amazed at how simple the process has become. We’re getting orders from clients that I know in the past would not have spent near that amount of money, but when they can take ownership of things and justify it in their own mind, it really is wonderful.

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â&#x20AC;&#x153;You have to plant the seeds, you have to give the seeds time to grow, and you have to give the client an opportunity to become ok with the investment.â&#x20AC;?

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protecting your crops Projection, explains Julia, is the format of allowing a client to view images online or receive them through proofs outside of the sales room. A lot of photographers think it’s so much faster and easier to put images online and let people order them that way, Julia says. The problem is that photographers don’t always understand what we’re in the business of selling. While most feel they’re selling art to clients, Julia knows that ‘art’ only means something to the people in the images. You understand what enables people to get those positive feelings are the comments their friends and family make, says Julia. When the client’s mother sees the images and says, ‘Oh my gosh. You look amazing,’ that is what builds those incredible emotions in them and gives the pictures their value. This is why they’re willing to spend so much on those photographs. The Woods photograph in a way that makes clients feel beautiful and in love with the person in the pictures; as such, allowing the images to leave the studio prior to purchase grants the client all those things without having paid for them. If viewing images online, clients send the link to everyone they want to see the images, and they’re getting all that positive feedback without having to pay for it, Julia explains. Then when the photographer does go to take the order, the client doesn’t wish to purchase much because they’ve already gotten what they need from the images. Because the Woods sell confidence, self esteem and relationships to their esteemed clients, it is advantageous to allow customers to only take from the studio what has been purchased. It’s not easy in this unsteady economy to act as both art creator and dealer, but Julia’s business acumen has ensured that she is weathering the storm, even with the current financial state of the union. You can’t live in this country and not be told almost every day that you shouldn’t be spending money without it affecting everybody across the board in some way. Clients are sometimes affected by that guilt. By helping her clientele understand that even in a recession, the kids are still changing and the family is still growing, Woods is able to establish value for her stunning art. You have to take the opportunity to capture them while you can. Age and growth do not wait for time.

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tips for maximizing your harvest from the woods’ almanac IN-HOUSE FRAMING. It’s what 90% of clients want, so framing is a huge part of our business, says Julia. If you’re looking to deal with high end clientele, they’re going to want a studio to do it all. They don’t want to pick up their images and take them somewhere else to have them framed. LEARN FROM CLIENTS. Clients mention in passing what they like, so listening is key. Julia puts a great deal of effort into understanding clients and which sessions perform the best. Families are currently Portrait Life’s largest income bracket because of the greater need and desire families have to place those images throughout their homes (the Woods also masterfully photograph other subjects, including children and weddings). THINK OUTSIDE THE BOX. Julia says, Four years ago, when iPods were becoming very popular, we thought, ‘How can we incorporate that into a session?’ As they worked to fashion something unique for each age bracket, the Woods did the toddler thing with the View-Master, and wanted something for the middle aged child. They’d love to have the MTV style movie with photographs, and being given an iPod with their movie is a thrill. GET A BUSINESS EDUCATION. Jeff and I are perfect examples of not knowing what we were doing for seven years, says Woods. We kept thinking it was all about the photography, and if we could become better photographers we’d make more money-- but it wasn’t true. Once they sought a business education, the Woods were able to remove the pressure side of making ends meet. As a result, creativity could soar at a much higher rate than when the duo was stressed out. It makes a big difference for photographers who can think about business early on, and they get to do what they love a lot quicker. YOU DON’T NEED A STUDIO TO BE SUCCESSFUL. Our business was very successful in our house, says Julia. We did over a half million dollars a year out of our home. This process I started, I started there and did just as well as I do here at the studio. Because the Woods largely perform destination photo shoots, they use the same, exact process with a studio as they did without one: I simply photograph these pieces, bring them home, and place them in a nice 10X10” mat. So when I’m sitting with a client, I can go through the concepts with them from these photographs with the same exact process. My heart breaks for the photographers that went out and got in debt because they felt that having a storefront is what is important to make them successful. BE YOURSELF. Woods says, We learned the hard way: the more we could stay true to our own contemporary, clean and simple style and do what we wanted to do, the more successful our business would be. I wasn’t willing to change our style in order to fit with something that would simply make us more money.

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The Woods continue to attract a client base looking for something unique and different, and who favor a great amount of attention to detail. Photographers we educate don’t have to create the kind of products we’ve created. The aspect of planting the seeds and getting the client to think about their investment works no matter what your style is. It doesn’t have to be about customized art pieces. It can be just about whatever it is you want to sell. It’s leading the client to the investment you want them to make.

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About Jeffrey and Julia Woods Featured as a Canon Family and the “Canon Explorers of Light”, Jeffrey and Julia Woods have had their work featured in publications like Martha Stewart Weddings, In Style Weddings, Modern Bride and Elegant Bride Magazine. They have received prestigious awards from Kodak and Fuji, and won the PPI International Wedding Print of the Year. The Woods host workshops, including The Need to Change, which covers the whole business side of photography. Woods’ Workshops in person--and now on DVD--incorporate everything from pricing to planting seeds, cultivating and harvesting, marketing and branding. While each business will look different, owners learn the components to make it work for their model.

theneedtochange.com While Julia shoots, edits sessions and handles client relations, Jeff handles photography and artwork, and has recently begun wedding consultations. Both photograph together and run a wildly successful business that is mirrored in their close relationship. Now the duo run the ONE Conference, a place people can come together and say, “We were willing to draw a line in the sand, and our business will not take our family or marriage.”

sidebyside247.com Portrait Life is located at 108 N. Main in Washington, Illinois. For more information, contact the Woods at info@jwportraitlife.com or call 309.444.8514.

Jamie VanEaton is a freelance writer from Denver, Colorado, where she lives with her husband, herds children and pets, and raises only dust bunnies.

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Inspired Project:

Kick that old, boring camera bag to the curb! In this issue’s Inspired Project, we’ll show you how to arrive to your next shoot in style with a great new bag you customize yourself.

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BEFORE

AFTER

BOOOOOO! (No offense to Canon’s bag designers)

YAAAAYYYYY!

So, you’re getting to the point where you need a new camera bag. Your old bag is worn, threads are popping, seams are wearing, and it never really had enough space. The first thing you may do is jump online and start your search. The bags you see are nice, sure, but they are either too big, too small, too clunky, too bulky, don’t have wheels, and, let’s face it, they ain’t much to look at. And then you see the prices. Yikes! They range from $150 for a simple fabric bag with inside separators up to over $500 for a sophisticated rolling case. Granted, you get what you pay for, but none of them are exactly what you are looking for. We believe that where there’s a will, there’s a way. So why not find any bag that suits your needs and then outfit it with a few simple steps? This is exactly what we’re about to demonstrate. A while back we were out shopping at a local designer outlet when we spotted a really cute piece of luggage. It was unique, colorful, and just the right size for housing our gear. “Hmmmm,” thought we. “How could this bag be modified into the perfect camera case?” Being ever so determined, we began sketching out ideas. After a while, we realized that with just a few very simple supplies, and a few hours of time, we could definitely make this work.

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WHAT TO LOOK FOR IN A NEW CAMERA BAG

Before you begin your search, there are a few considerations to keep in mind. SIZE First, and foremost, is space. You’ll need to look for an item that will safely and snugly fit all your gear without crushing anything or putting your stuff in harm’s way. We did an inventory of our gear and noted the approximate interior space our new bag would have to have. We realized that we would probably be adding to our collection in the future, so we looked for a slightly larger bag than was necessary. EASE OF TRAVEL Wheels were an absolute necessity! Our gear can get pretty heavy, and after lugging around a shoulder bag for several years, we knew that our new bag would have to roll. Luckily, rolling luggage is extremely easy to find and comes in a vast array of shapes and sizes. We loved the fact that our bag also had a handle on the top to assist in getting up flights of stairs and in and out of the car. STORAGE While we wanted our bag to be pretty plain, we just love the fact that it has some separate pockets on the inside, as well as the outside. These pockets can come in very handy for easy access to flash cards, synch cords, and other little goodies. LOOK Yes, our bag is pretty loud, but at least it’s not likely to get lost at a shoot. We definitely wanted something non-traditional with some color, and it looks like we succeeded in that. The bag has a funky pattern, bold colors, touches of silver, and even a fun snake skin pattern adorning the bottom. BUDGET The price was important, but not the most important thing affecting our decision. Luckily, we found this beaut for about $70, which is way below what it would cost for even the simplest traditional camera bag. We spent another $50 (give or take) on the craft supplies we needed to customize the inside. So, all in all, $120 for a brand new, unique camera bag works for us! 278

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WHAT WE’LL NEED

1. A good fabric glue. We like the Aileen’s brand, but any will do. Make sure that the label says that it will bind to fabric as well as foam. 2. A white fabric marking pencil. You can easily find these in any sewing section of your local craft store.

3. Velcro squares. These are going to be pretty important. You’ll want to find the strongest Velcro possible as it will be the thing that holds our dividers in place. These squares are great because they come with a sticky back, making placement a breeze.

4. Large piece of foam board. This will be what gives our bag structure and will hold our padding in place. Foam board is about 1/4” thick and can be found in the paper goods section of your local craft store. Think 5th grade science project.

5. Large piece of soft fabric. This will be the lining of the inside of our bag. We chose a color that compliments the outside of our bag. This particular fabric is a soft, flannel-type material, but any thick, sturdy fabric will do. We love flannel because it is extremely soft and spongy and will protect our delicate equipment from scratches.

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6. A standard tape measure. This one is 60” long and can be found in the sewing section of your craft store. 7. Small pieces of foam. These will make up our bag’s inserts to separate each piece of equipment. They are about 1/4” thick and can be found in the general crafting section of your craft store. They are called “foam sheets” and come in packages of six. We think they are commonly used for childrens’ projects to cut out fun shapes, but for our project they will be shock absorbtion and protection for our stuff. 8. A glue gun. We use a hot temperature gun because it is easier to re-position before drying. 9. A regular permanent marker. This will be used to mark our foam when designing the padding for our bag. Additional items not pictured: A large roll of 1/2” thick foam. This can be found at almost any craft store in the fabric/upholstery section. Optional: A couple of boxes of upholstery tacks for decoration. They are very inexpensive and are available in upholstery supply shops as well as most craft stores. Let’s begin!

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STEP 1: MEASURE, MEASURE, MEASURE!

The first thing we will need to do is thoroughly measure our bag to make our inserts. We need to measure the width, length and width and note them on a piece of paper. Our bag was a little tricky because of the wheel and handle elements running through the bottom. We will have to adjust our template to allow a cutout for the bottom panel to run around the wheels.

STEP 2: DRAW A TEMPLATE

Now, from our measurements, we will begin making the padding inserts for the bottom and sides of our bag. We will mark our foamboard with a pen and trace the lines using a straight edge ruler.

STEP 3: CUT THE TEMPLATE

We’ll now take our knife and cut the shape out of the foam board. The cuts don’t have to be perfect as we’ll be covering this piece shortly. Just get as close to the lines as you can.

STEP 4: MAKE THE SIDE PIECES

We’ll repeat the above steps for the side inserts. Notice that our bag’s sides are not completely square, but rather rounded up into an oval shape near the top. This makes things a little more challenging, but as long as we carefully measure, it’s not a big deal.

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STEP 5: CHECK IT

When our foamboard pieces are cut out, it’s important to place them in the bag and make sure that everything fits. The pieces should be quite snug, but not to the point where they buckle. This is important because they will be providing protection to our gear and support to the bag. If the pieces are too large, it’s very easy at this point to trim them with your craft knife.

STEP 6: MAKE THE PADDING

Now we’ll make the padding for our inserts. Take each foamboard piece and trace it onto your 1/2” foam with your permanent marker. Cut each foam piece out with scissors and set aside.

STEP 7: ATTACH INSERT PIECES

Apply a generous bead of fabric glue to your foamboard pieces and stack your 1/2” foam on top. This will need to dry for about 30 minutes before we can continue. To ensure adhesion, we placed weights on top of the foam while the glue dries.

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STEP 8: TRACE SHAPE

When your padding pieces have dried, lay them out on your fabric and trace around them with your white fabric pencil. You should leave about 2-3” all around to allow for overlap.

STEP 9: CUT OUT FABRIC

Cut out your fabric pieces with scissors and pair each one with its respective padding.

STEP 10: LAY OUT FABRIC AND PADDING

Lay each fabric piece on a flat surface and position the padding directly on top, foam side down.

STEP 11: ATTACH FABRIC

Now, using your glue gun, begin gluing the fabric to the padding by folding it around the foam board. You don’t need to be particularly neat about this step as the underside of the padding pieces won’t show. Just be sure to tuck in all bulky pieces as closely to the edge as possible and secure them with glue. Use the glue liberally to insure a strong bond to the board.

STEP 12: INSERT PADDING

When your padding pieces are finished, place them again inside your bag and check to make sure that everything is snug as a bug. Because we made the pieces very snug to begin with, we won’t need to attach them to the bag in any way. The force of the piece up against the outside and underside of the bag is enough to keep them in place. Still , if you would like, you may use some of your Velcro or some hot glue to attach the pieces to the bag. We left them loose because it will be much easier to replace them later if the pieces ever become ripped or stained.

STEP 13: LOAD YOUR STUFF

Before we continue we’ll briefly insert our gear into the bag so we know how many inserts we need to make. This is a great time to decide placement of your things to optimize space. Our bag is really looking great. Let’s move on to making our inserts.

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STEP 14: MAIN INSERT

We want to make two main compartments in our bag, with space on each side for gear separated by smaller inserts. This center insert will provide yet more structural support for our bag and protect our gear with a double layer of thick padding. We cut another piece of white foam board the lengh of the bag, making sure it’s extra snug against the edges, and made it tall enough to reach the very top.

STEP 15: MAKE PADDING FOR CENTER INSERT We’ll make the padding for this piece the exact same way we made the bag’s side and bottom pieces, by tracing its shape onto our foam and cutting out two identical pieces.

STEP 16: ATTACH FOAM

Apply fabric glue to both sides of the foamboard and attach the foam pieces. Apply weight while it dries for 30 minutes.

STEP 17: ATTACH FABRIC

Also same as before, we’ll attach our burgundy flannel fabric to the center insert. This step will vary slightly from the bottom inserts in that the fabric will be visible from both sides, so we’ll need to be a little bit neater about nicely finishing the edges. First, we secured the fabric to what will be the bottom of the insert with hot gue, overlapping it slightly. The rest of the fabric will be attached in much the same way you would wrap a gift. Tuck in the edges and then neatly glue the excess fabric to the insert’s edge. Trim off any eccess fabric when you are done with a pair of scissors.

STEP 18: CHECK IT

When our insert is done, we placed it into our bag just to make sure it fits snugly as before. Again, we are not going to permanently attach the insert to the bag because we will want to be able to move it around freely to accommodate new gear.

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A FINISHING TOUCH This is a completely optional step, but you may notice that your center insert appears a little â&#x20AC;&#x153;rough around the edgesâ&#x20AC;? when viewed from above. To remedy this, we decided to add a trim to the top of our center insert. We purchased some very inexpensive upholstery tacks in a matching silver, and simply pushed them into the top of the insert. They are held in place by the soft foamboard beneath. You may also want to try some decorative ribbon or cording.

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WRAPPING IT UP STEP 19: PREPARE THE VELCRO FASTENERS

Our smaller inserts will be attached to the center insert with Velcro squares. We’ll mark our center insert with a permanent marker, making marks 2” apart down the length of the center insert. You can make the marks closer together, or further apart, depending on how modular you want your inserts to be. The closer together the Velcro squares are, the more flexible the placement of your inserts will be. We find that 2” is just about right. It will allow space for our smaller items, such as strobes and light meter, and our larger items such as lights, camera bodies, and lenses.

STEP 20: PLACE VELCRO

We now attach the Velcro squares on top of the marks we just made. While the Velcro comes with an already sticky surface, we want an extra tight hold, so we’ll apply a pea-sized portion of hot glue to each square before placing. Repeat this step on the reverse side of your center insert.

STEP 21: MAKE SMALLER INSERTS

The final step to our custom bag is to make the smaller inserts that will separate our individual pieces of equipment. For this, we will use the foam sheets we discussed before. These are absolutely wonderful. Not only are they extremely inexpensive, they provide just the right amount of cushion and shock absorbtion for our gear without taking up a whole lot of space - they are only about 1/4” thick. They are also very flexible, which is something we really wanted for our inserts. They will bend and flex around equipment and move with the bag while it is in transit.

STEP 22: ATTACH VELCRO

We wanted our inserts to come up not quite to the top of the bag, so we measured them to be about 1” from the top. This will make it easier to grab equipment out of the bag. Measure each insert and draw the shape onto the foam sheets. Cut out each insert and attach the fuzzy portion of the Velcro square by wrapping it around the outside, placing them the exact distance apart as the ones on your center insert. You may want to make extras at this time and keep them handy for when you reorganize your equipment in the bag.

STEP 23: PLACE INSERTS IN BAG

The last step is to place our inserts into the bag and add our equipment to see how everything fits. You may decide to cover the foam in fabric, or buy a color that matches the inside of your bag. We chose to keep ours white because it makes them easier to see in low light, such as when at a wedding reception. Well, here we are! All that’s left now is to add our gear and get the placement of items figured out.

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TAH- DAH! Well, our bag has been pimped! As you can see, there’s no reason you have to settle for anything less than the perfect camera bag. When the time comes to trade up to a new house for your gear, hopefully you’ll remember this article and really go all out with a simple customization. Just make sure you don’t want to let your camera bag outshine your photos.

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The End See you next issue!

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