Amkar Promo Video Premiere!

My promo video is finally complete! I'm so excited to share it with you all, and so proud of myself for completing it this year before my baby's birth (due date is less than a week away as of this blog post!).

Concepting began in spring this year, and shooting was spread out between April and August. I recruited my own clients who were excited to model for me, and I enjoyed working with them again! This was such a fun project, and I'm glad they all had so much fun too. They're not actors, and you can see the fun in their faces. This is a glimpse of what it feels like to work with me :). I do hope I'll have a future need to create other videos for Amkar, because this was a great experience!

Thanks so much to all who helped out with production, including my models (Hannah and Brandon Smith, Irene Chou, Lily Van Dillen, Jenny and Aaron Albritton), my assistant photographers (Kara Proehl, Anindeep Kar, Elizabeth Correnti, Joseph Correnti), my venues (Laumeier Sculpture Park, Tower Grove Park, Ameristar Casino Hotel, Peabody Opera House), my florist (Schnucks Florist) and my music assistant (Jonathan Meek). Very pleased with the experience in working with all of you!

16 Questions to Ask Your Wedding Photographer Before Booking

Google this topic and you'll pull up a load of question lists compiled by wedding planners, brides and photographers. I have personally composed this list from my own experience with clients and photogs to assist you in making informed and satisfactory decisions on photographers. These questions focus on what I feel are the most significant "big picture" things to consider when interviewing photographers regarding customer service, artistry, personality and professionalism - all of which should be expected in high quality from The Right Photographer. I've also provided some rationale as to why it's important to ask these questions. This is a long article, but there is some creamy information here.
Click here to read my own answers to these.

Definitive List: 16 Questions to Ask Your Wedding Photographer Before Booking
Consider it a red flag if your photog refuses or avoids answering any of these or does not provide a sufficient enough response for you.

1. How long have you been shooting weddings? It's a simple calculation of experience and allows you to sum your photog's intuitiveness for handling unpredictable situations with management or artistic challenges. However, mind that having shot 5 weddings in 5 years is different from having shot 20 weddings in 2 years. Since "how long" is relative, a better question would be:

2. How many weddings do you shoot in an average year? In a month? In a weekend? A well-seasoned photographer shoots about 15-25+ weddings per year. Narrowing it down to how many they shoot in a month will give you an idea how many clients your photog works with during any given wedding season. If yours is a Sept/October or April/May wedding (heaviest wedding seasons), it'd behoove you to know how many other clients your photog is working with during your season, which in turn may indicate how much personalized time they can particularly give you as a client. Be aware that some photogs are client hungry, and the more clients a photog picks up, the more likely it may cause extreme turnaround times for your stuff, or lack of personalized attention to you. Likewise, if a single photog books more than 1 or 2 weddings in a single weekend for top wedding months, they're more likely to get burned out creatively, hire some other photog to shoot for you, or be less able to manage your images efficiently due to workflow overload.

3. What degrees or certifications do you hold? Although this is a creative business, you're still the Interviewer and your potential photog is your candidate for employment. It's perfectly acceptable to ask corporate style interview questions. Obviously, you're looking for qualifications which relate to photography. These may also include degrees in mass media, filmmaking, art/design or even business degrees. A mixture well-rounds your candidate. All art and no customer service skills can backfire on you too.

4. What's the most difficult challenge you've ever had to resolve when working with clients or wedding guests? This answer will give you an idea how well your photog can effectively manage situations and people (bridezillas!), which is a large part of being an effective event photographer. Find out their goals on customer service and client satisfaction.

5. What's the most difficult photographic challenge you've ever had to resolve? Ever had equipment malfunction? Resourcefulness and problem solving success are top qualities. Ask about lighting with this question, because that's the number one technical issue amateur photogs come up against and often screw up quite easily.

6. What equipment do you use? Do you have backup equipment? It helps if you have a vague idea of professional camera equipment - which models capture best versus which are considered more "hobbyist" models. The backup gear question is insurance for your own paranoia if something should go wrong. All good photogs will be well prepared without any prompt. Knowing what other equipment they use also prepares you what to expect on your wedding day so you're not thrown off schedule by how much time it may take them to set up a lighting ensemble, or so you're not surprised and blinded by a super bright spotlight in your face.

7. What happens if you can't shoot? Do you have a backup photographer? The worst case scenario hardly ever happens with photographers who are truly dedicated to their business. Most problems which would delay any diligent, trustworthy photographer or cause a no show would be extremely few and far between (car accidents, Acts of God, extreme illness). Still, it will ease your mind to know who your photog would have lined up to take his or her place in case something prevents them from covering your event. You have little reason to be overly concerned about this if you trust your photographer, but if you're paranoid, see if you can meet with your photog's backup ahead of time. In a last minute situation, you would not be able to meet the other person and that could freak you out.

8. Can I see some of your client work from one entire event? This is a really good question which will prompt your photog to show you something they haven't sifted out as "home page best" to give you an idea what an average wedding they've captured looks like. Home pages and portfolios can often be deceiving as they are amalgamations of the artist's top work spanning select weddings, select couples, select situations. Not everyone's wedding will look like those, so be diligent and ask to see RECENT work from a wedding which may have similar locations to your wedding day venues. You should also request to see album designs from those "average" weddings too. Trust me, I've seen some amazing home pages alongside some extremely marginal client galleries, so beware!

9. Is this your full time job? This question gives you an idea how much commitment a photog has to their business and towards their customers. Not to say that a photog who works part time doing something else can't also be great and trustworthy (maybe the economy just wasn't kind to them?). But beware if you have a weekday wedding or holiday weekend wedding and they work retail or corporate jobs on the side (hope they can get the day off!).

10. What are your interests outside of photography? If you care to really relate to your photog beyond just expecting some dude to cover your event whom you'll never care to see again, it's good to ask personality questions. When you're considering a handful of great photogs, and maybe they all offer you a great package, sometimes the personality angle will lean your decision toward one over another. It's good to find things you and your photog have in common; it's a "bonding" aspect which makes you feel that this person is a good fit for you and is someone you'll enjoy working with. Mind that your photographer is the one vendor you'll continue to work with past your wedding date!

11. What sets you apart from other photographers? Another personality assessment question, this gives your photog the opportunity to state what makes them unique or what matters most to them in their business. Consider this answer as it applies to what you're looking for. Is their unique factor about the artwork (is your priority the artistry)? Is their unique factor about their astute client attention (is your priority the customer experience)? Lots of things to weigh here. Look for answers that really move you or impress you.

12. What are your turnaround times for images? For products? Good to know what to expect! Ungodly turnaround times, I'd say longer than a month for services OR products, is an indicator that this photog either has too many clients going on at once or is not organized enough to streamline their workflow system. Even if you love their work, this could turn sour for you in the end.

13. How long do you keep my images on file? Most couples barely touch their disc of images after about a year into marriage, but what if something happens to it and you need access to your memories? Losing that information is a scary concept, especially if you're unsure the ins and outs of digital storage. If your photog has time limits on long term storage, make sure you are aware of them.

14. What print quality can I expect from images on my disc? DO ask if images on disc have a  resolution good enough for you to make your own prints. Some photogs are still not hip to giving clients this privilege. Proper resolution for printing 4x6 up to 8x10 should have at least 200 dpi with the long side of an image being 800 pixels or more (the more the merrier). Also ask if there is a watermark that would be slathered all over the center of your image, because that is their method of making you order prints through them instead.

15. What are the most efficient ways to reach you? And hopefully their answer is actually an efficient means of reaching them, rather than efficiently reaching a recording or an email that says they'll respond to you in the next 24-48 hours. Ask if they prefer email, phone, texting, Facebook messaging or online chatting. Everyone's gotta have some one method they prefer best. Might be a red flag if it takes too long for someone to get back to you. You'll probably already figure this out before you even consult!

16. Are you licensed and insured? Being licensed by the city in which your photog does business means that the business is legitimate. Any business owner with a true commitment to their business will be licensed. Ask to see their business license if you'd like hard proof. Liability insurance is significant to you because if your photog is not insured, you may be held liable for damages to a venue or to a person caused by your photographer or their equipment. Insurance is something all responsible photographers should have, but if they are not covered it doesn't mean they aren't trustworthy... doesn't mean they're not accident prone either. However, unpredictable things can happen and you never know what could go wrong on site, so it's good to have a photographer who is insured for that slight possibility that something could go wrong. If your photog seems really awesome and totally trustworthy and you LOVE them, but they are not licensed nor have insurance, it may assist any paranoia you may have by seeking out references in the form of online reviews your photog has received. See if they have a Google, WeddingWire or Knot listing where you can check out client statements made about them.

Prep Checklist for Baby's First Portraits

Baby moments are short lived and best captured with professional photography. For those of you soon to have a little one, this thorough must-read list will help prepare you and your baby for a smooth first portraits session.

Book baby's first portrait session within two months of your due date. Booking a "floating date" gives you and your photog some flexibility around baby's arrival. You will be too busy tending to him after he arrives to remember to make a booking, and he will look his "newborn freshest" within 2 weeks after birth. Babies grow fast! Those tightly crumpled newborn limbs and delightfully squishy face will start changing within just a few days. Don't miss the newborn moments. They only come once!

Baby MUST be fully fed and satisfied before the session can begin. This is to assist his sleepiness upon your photographer's arrival. Understand his feeding schedule and sleeping patterns before hard scheduling your session. Hungry babies will cry for most of their session, and very few poses will work. If he's sleeping when I arrive, don't wake him. Newborns are nearly un-pose-able when they are awake, but can usually be molded like clay when asleep.

Don't stress about having a clean house for in-home sessions. I know your baby needs more attention than your house does right now. Almost all images I photograph are close ups of you and your baby, so it's not a major travesty if you have a pile of clothes sitting in a corner. The widest angle I'll shoot is a long shot of the entire nursery, so make sure at least that room is looking great. Depending on the space, I may take liberty in relocating some items with your permission.

Keep the dogs away. Nosy, noisy and too-excited animals eat into session planning time and may wake the baby or knock over lighting equipment (liability!). Before your photographer arrives, keep pets outdoors or in a room not near the one being used for photography. Also maintain your fabrics (clothing, blankets, furniture) from pet hair. A baby laying on an unintentionally hairy background tends to communicate a sense of neglect. Animal hair may even cause irritation to a new baby's sensitive skin.

Wear solid or calming patterns that coordinate. Yes, parents, you will be in many shots, and often as an organic background while cradling baby. Dress as though this is a casual engagement session, and be comfortable. Mom and dad should coordinate colors that compliment each other and look good behind baby as he is being held. Do not wear clothing with crazy colors, advertisements, or text of any kind.

Lotion up! Make sure your baby and all her extremities are well moisturized. Many newborns have very dry, flaky skin. Treat your own hands and feet too, as well as dad's... close ups will be taken.

Wipe the crusties! Before the session, be sure to wipe the noses and mouths. Dried mucus is very time consuming to retouch (plus, it's gross!).

Mind baby's skin. Let me know if there are markings you wish or wish not to have retouched from detailed shots of your baby's skin. Newborns commonly have pimples, blotches, birthmarks or scratches all over themselves. I normally leave baby as she naturally came, but if you have preferences, please do not hesitate to let me know.

Have an arsenal of toys, props, blankets or heirloom items available. I style my babies to be as natural and individualistic as they can be, so I do not provide multi-use studio backgrounds, baskets, fairy wings or tutus. I personally cringe at the idea of every baby using materials that a dozen other babies pooped on or spit up on before them. I never style any two babies' portraits the same way. I respect your baby, and I'd like him or her to be a non-cookie-cutter individual. I'd also love your input on preferences too! Share a Pinterest page of styles you like, and we'll discuss a way to make it happen.

Remove baby's clothing which may leave elastic lines on baby's skin an hour prior to my arrival if you want full naked shots. Depending which style diapers you use, this may include removing that too, as bums are often unflatteringly reddish and a little moist right after a diaper removal. Swaddle your naked baby in a cloth you won't mind getting soiled, and we'll shoot the naked photos first. Newborn portraits are most poignantly expressed in nudity: the totally fresh infant before anything worldly has yet affected him. In light of this concept, I don't recommend too many outfits (clothing changes often disrupt baby's demeanor). One favorite outfit or head accessory can be tried later in the session.

Keep the room warm! Babies don't like being cold! You wouldn't either if you just spent 9 months in a warm, fluid cushion of yumminess. Do everything you must to enhance baby's comfort, including nature sounds, music, or this quick lesson on infant massage if it interests you.

It's okay if baby cries. It's part of life, right? Expect the crying shots to be captured too. Take your time in calming him down; the interaction between you two makes great candid moments.

Many aspects of infant portraiture are played by ear according to baby's moods and reactions to stimuli. Patient and well-prepared parents win half the battle when it comes to successful portraits!

Good Works: Locks of Love

This endeavor has been a long time coming! With a skimpy amount of patience, I finally grew my hair longer than it's ever been before to attain the minimum 10 inches required for a donation to Locks of Love. On July 18th, I had just enough for the cut. Doesn't look like it due to my curl, but it's all there!

It was a mini sacrifice; one throughout which I learned to push aside my own vanity in order to do some good for someone in need. Anyone with long hair knows what an emotional attachment it is, and although I loved the novelty of my own lengthy locks and enjoyed the style very much for myself, I often came to empathize with those who not only don't have a beautiful head of hair to brush and style every day, but physically cannot have such a thing. I felt it more significant to empathize with the underprivileged, the young kids suffering of cancer causing hair to fall out from chemotherapy or other diseases preventing normal growth, than to pine over how wonderful my own long hair was.

Throughout my growth, I consistently had the mindset that my locks were just temporary. I appreciated people's comments on how beautiful it looked long, but I knew this was also a materialistic and temporary thoughtscape; a concept which would never physically last forever.

I constantly thought about those underprivileged kids with diseases. Adolescence is one of the most difficult times in a person's life, and all a kid wants is to be "normal" and fit in with her peers. I understood that losing a suitable hairstyle for me who can easily regrow my own hair was a justifiable process in order to provide some child looking at a bald head in the mirror every day with a curly, strawberry brown prosthetic for her to fling around and style any way she wants. Although I won't get to see that child getting excited about wearing the hair I've donated to her, the cause still excites me endlessly.

I've been inspired. I considered consistently growing out and cutting my hair for Locks of Love throughout my life, but I simply don't have the patience to grow it that long again. Instead!, the motion I've decided to work through Amkar Photography is this. For a donation of at least $25 per portrait session, I'm now offering "before" and/or "after" portraits for those who wish to donate their tresses to Locks of Love (or other similar charity). Portrait proceeds (100%!) will be donated to St. Jude Children's Hospital for cancer research.

I hope we can transform vanity into charity and help some kiddos in need! Please check out my charity page for information on donating and setting up a portrait session.

Charge of the Light Brigade

As an example to a point made in my earlier post about whether or not you need two wedding photographers regarding the subject of venue lighting, here is one scene that stands as the epitome of challenging lighting venues. In this case, a photographer's assistant is required in order to get the more dramatic side spot lighting as seen in these sample photos. These images were shot in the James S. McDonnell Planetarium at the St. Louis Science Center.

Similar lighting challenges would also be met if your venue has dark ceilings higher than 9 feet, is an outdoor nighttime reception, or if the lighting in your space is simply awesome being dark (for instance, entirely candle lit) and flash would just totally ruin the effect. You may want to consider the creative side spot lighting. If you're not sure about your venue, ask me and I can scout it for you and give you some pictorial samples as seen here.

Click images for larger detail.

The Planetarium is unique in that it has a super high domed projection screen as a ceiling. The point of this venue is darkness, so nighttime and planetary effects can be admired. The challenge to photographers is that we need light to record anything! 

Note the above images of my lovely model and sister, Beth. Flash lighting floods that projection screen and whites it out, completely obliterating the "sunset" effect of the orange rim lighting around the room. The side spot lighting highlights only the floor space where subjects are interacting and allows the beautiful ceiling projection to show.

There's a particular quality to light held at the side of a subject which gives more dimension and mood to subjects, as shown above in this portrait. With no ceiling close enough for flash to bounce properly, flash lighting tends to be flat and less dynamic. Boo on that.

Notice in the above composites of a "guest" sitting at her table that the sunset rim lights create a wonderful red glow when flash is not used.

The image above mocks a creative posing opportunity I had with the actual bride and groom when they gave me a moment to pull them away from their reception to do some portraits. I had Beth pose against some wall decor in the buffet area to showcase a more creative display of the differences in light quality between the ambient room lighting, flash lighting, and side spot lighting. Notice the soft roll off of left side shadows in the side lit photo.

Other things Of Note

To be fair to my clients, I can't proclaim the awesomeness of creative spot lighting without also mentioning one operational drawback. The spot light is VERY BRIGHT. It's a 6 inch LED circle that definitely draws attention to itself in a dark room. I don't recommend looking directly into it. It's also a continuous light, which means it's on all the time when in use (doesn't flash only when a photo is taken as with flash lighting). Also noted when I shot this actual reception, those giving toasts were not prepared to be so "spotlighted" and I think they were thrown off guard by the brightness. Heads up, bridal party!

If your venue is small or over-crowded (not a problem at the Planetarium), usage of the spot light by my assistant may be less effectual. My assistant will pretty much need to be glued within a 30 degree angle from myself to project the light properly on subjects, and if he or she can't get around, missed opportunities may arise. The spot also needs to be fairly CLOSE to subjects too, for best lighting. Be prepared to share your intimate moments with a ball of light!

Another cool thing (depending on your location) is that you can purchase the use of my creative lighting assistant for only for a portion of your wedding day. This saves you the cost of hiring a second photographer for the entire day, and just gives you the benefit when you need it most. (Partial day second photographer services are not available for out of town locales.)

I have fun doing these lighting tests. Bring em on! As the artist here, I obviously hope clients will get stoked for what looks awesome in these dramatically lit venues. I'd sure like to capture these spaces in their intended Most Awesomeness. Yup!

Location Crusade: Indoor Downtown St. Louis Backup Spots

Sometimes we must face the music and realize that ideal spots chosen for a shoot day just may not work if it's devastatingly hot and humid or raining or snowing. I commend those for taking chances though, even if it means double-sleeved groomsmen must sweat their faces off. However, Mother Nature doesn't have to be a Debbie Downer. We can stick it to her and still have wonderful backdrops to our photos!

I can provide indoor backup ideas for any area of the city, but as downtown St. Louis is a popular shoot spot (especially for bridal parties in between wedding events), I've done some downtown scouting for locations where management won't kick us out. I've provided some imagery and admission costs to each (if applicable). Mentions of paying for parking will not apply if you are a wedding party traveling via bus or limo. (Click images for larger detail.)

Union Station Train Shed (free admission, pay for parking)

Technically the train shed is outdoors, but in snow or light rain, the covered panels may be just enough to shield you from the elements. This location has something of a harbor feel, with a seafood restaurant in the rear and the Hard Rock cafe near the parking area (not pictured). There's also a quaint bridge going over the pond. It's a good option for a covered yet outdoor vibe. Virtually peopleless on a weekday afternoon. Pretty chock full of passersby on a weekend, including paddle boaters on the pond.

Union Station Marriott Hotel Lobby (free if you're sneaky, $250 if playing by the rules, pay for parking)

The Marriott's hotel lobby is a little taboo regarding professional photo sessions, but since it's such a fantastic spot, I'm sharing my two cents on it. I call it taboo because the hotel never used to charge for venue usage on portrait sessions. Apparently they've been charging the $250 fee since 2008, and I've done at least 3 shoots in there with no fee paid and no one giving us hooey about it. Just ONE time (engagement session) the hotel manager caught us and said we couldn't shoot without having paid the fee to use the space. So if you don't pay the fee, I view this as a hit or miss location if you can dodge the manager (which wouldn't be difficult on a busy weekend). That said, the images above in the top row are in the actual lobby of the hotel. The lower images are beneath the lobby at the main entrance. If you're iffy about dodging management in the upper lobby and don't want to pay that fee, shooting at the fancy staircase down below is a safe bet! Technically it's not in their lobby (it's near the entrance to the mall part of Union Station).

The Old Courthouse (free admission, street parking meters)

There's really not much eye candy in the Old Courthouse besides this one shot of the circular dome, and perhaps another angle looking straight up into the dome. This would be a great scene for a large bridal party. A bride and groom could pose on the second level if they hustle up one of the side staircases. Allow extra time for the shoot if you go on a weekend or other peak tourist time such as holidays. Extra time may be needed to clear tourists out of your shots. Call Rose at 314-655-1613 a few days in advance for best coordination (she'll send you a letter of authorization, which may grant you easier access). The Courthouse is open 8-4:30pm every day.

Hilton Hotel Lobby at 400 Olive Street (free admission, street parking meters)

Fancy hotel lobbies are pretty sweet options for classy portraits. I haven't once had a member of management shoo me away from shooting at this location nor the next one listed. If you've been to any other fancy downtown hotels, chances are they'll be okay to shoot in. Union Station just has to get all huffy about it *hands on hips*.

Chase Park Plaza Lobby (free admission, street parking meters)

Chase Park Plaza is so classy. Technically it's not downtown, but it's near enough to head there if you can, on the way to or from downtown.

City Museum ($12 admission per person (plus $5 per person roof access), free parking)

City Museum can easily suck up an entire day of one's life. It'd be great for an engagement session or senior portraits. Children will get too easily distracted by all the activities to be able to sit and have portraits taken, or you'd have to recruit your photographer for extra time in order to follow all your kids around getting shots of them in action. If you're taking a bridal party here, it'd be quite a hefty admission fee for the average mere hour or so you'd have available between wedding day events. Despite, there sure is a lot to see, and a plethora of exotic, weird, fascinating and fun textures and backgrounds.

I hope these location ideas provide some do-able options for anyone considering indoor shoots in downtown St. Louis. If these ideas helped spark some ideas of your own for locales I hadn't thought of, I'd love to try out what you have in mind.

Please inquire if you need insight on other areas of St. Louis for photo shoots, indoors or out!

Worst Case Scenario Wedding Day Survival Guide: Thunderstorms & Power Outages

We all like to expect that a wedding day will go as smoothly and as close to our dream as we'd hope it would, and for the majority of what I see, wedding days are mostly awesome with no issues. However, there always exists a scrap of worry that something may happen which would throw the whole dream off kilter, especially when outdoor events are planned and atmospheric conditions cannot be controlled.

In my 4.5 years of shooting weddings, the first a weather related fiasco happened was on April 28th this year. I must highlight the couple, Andrea and Patrick, because they handled thunderstorms and on-and-off power outages so well that I came to note how they handled it as a guide for How Not To Worry. Here's a list, in order of significance, on how to prepare yourself to handle a wedding fiasco if you fear the worst. Hopefully this guide will settle the minds of over-worrisome brides and help them know there is no reason to worry!

1. Most Important! You are marrying the person you love. If this is key (and it should be!), even the end of the world can't keep you two from getting married. Enjoy being rained on or being blown away as a unique set of crazy events and challenges that didn't stop you from tying the knot.

 2. Keep calm and roll with it. If you lose power in a windowless room, smart phone flashlights work like a charm. In a pinch, I harnessed usage of a bridesmaid's phone light to snag a few portraits in the dark. Spot lighting quality wasn't half bad!

3. Notify guests to prepare for weather conditions. Anytime a ceremony or reception is held outdoors, guests should always be prepared with umbrellas or a nearby indoor or tented area for retreat. A mention about preparing for weather can even be stated in the invitation.

 4. If the power goes out, get creative and play it by ear. Delegate tasks to your service providers or event coordinators to improvise if loss of power means food can't be served or music can't be played. Prepare to transform a sit down dinner into cocktails and h'ordeuvres, or even an order of pizza for all your guests. Something is better than nothing, and your guests won't mind if they're hungry. (Luckily the power came on and stayed on just in time for Andrea & Patrick's reception.)

5. Use your bouquet as an umbrella! Simple resourcefulness goes a long way.

Preparedness is your best prevention!

Say NO To "Say Cheese!"

This post is not a proclamation to parents to wean them off telling their children to say "cheeese!" for portraits, although in hindsight I think we can all agree that when kids have to consciously run their "smile file" it's going to be a pre-processed robot grin. If not that, then a smirk or grimace or downright frown. This post shares my own intrigue into child psyche, and observations on how to really snag great smiles out of them.

After formal portraits of these sisters I had them roll in the grass for a while

Lo and behold, kids don't really like doing what parents tell them, do they? It's no different for portraits. Most kids dislike the chore. The key from my angle as a photographer is to make them feel like they're playing, not like doing a chore. I normally take a few "standard" shots of children to figure their chemistry before finding out what intrigues them playfully.

A note to parents: Once formal shots are taken in all the pretty clothes, let them play. Let them roll around in the grass, let them touch a pile of dirt, let them pick dandelions and throw them all over the place. The majority of my shoots with children of any age involves simply playing with them, and they usually get a kick out of it. I bring bubbles or balloons, or encourage parents to bring a mini birthday cake for first-birthday smashing reenactment. All my children's portraits are done outside because I've yet to see a kid who doesn't love being outdoors, and children so love to interact with nature. It's a lost wonder I suppose.

Although this cute little ring bearer had an adorable frown, he only smiled when I told him not to... and then he got embarrassed about it! The above range of emotions happened within about a minute. Kids are bipolar, true story.

What parents unknowingly love is a laughing-his-head-off type shot of their child, not a constipated Olan Mills smile forgery. They want to see a punch of emotion. It's quite hilarious to learn on site what sorts of invented smiles kids have come up with after years of being trained on "say cheese!" Some have perfected the Sarcasm of Smile so well they actually start making terrible faces at me, assisted by fingers pulling mouths down and such *eye roll*.

Every baby has the "extremely entertained by something" face. Often with tongue hanging out. He was laughing at bubbles.

Toddlers and babies are up to their own wills. They want to be independent, so let them explore and interact with things. Don't be discouraged when a 2 year old wants to keep bolting away from the chair you want her to sit in. Smiles are optional for babies. Drooly dropped mouths of wonder are just as priceless as huge crazy grins. Some kids smile when you tell them not to and some kids need a round of applause to get them clapping and laughing. These tactics are short lived because young kids have very short attention spans.

Heck, I have a very short attention span. Next toy! Let's run this way! Punch my balloon! Smack my hand! Pop those bubbles! Kick your shadow! If they're not doing something different all the time, I'll get bored too!

Best Daylight for Outdoor Portraits

Being a Natural Light preferring photographer (and I'm not talkin' beer), I'm often at the mercy of the solar landscape. Whatever daylight decides to do on a shoot day is what I have to work with, and I have to be versatile. I view outdoor photography as Ideal but also up to God's decree. Which is kinda cool. Roll with nature!

I've put together some daylight samples of what light looks like at different times and how best it can be utilized for portraiture. Often my portrait subjects are not available at the best lit times of day (sunrise or cloudy midday), so other measures must be taken to avoid too-harsh direct sun which is present for the largest chunk of a person's active daytime. These images were shot in springtime at correct exposures with no digital retouching. Quality of light will vary according to season, altitude of local hills/valleys and atmospheric precipitation. Huh! I became a weatherman for this job.

The Hour Surrounding Sunrise

Sunrise lighting is very fair and gentle (though no one wants to get up early enough for it!). Lighting is warm, diffused, and soft on facial features. Light will remain this quality until the sun passes the horizon.

Midday Clear Skies (Full Sun)

Squinty-face equals poor portraiture. When the sun is at high angles (in spring, 8am through 5pm), it gives subjects that horrific "raccoon eye" effect. Eyes become minimized, shadowy and triangle shaped. Good portraits demand good eye communication from subjects, so in harsh light I always take them into shade. Locationally, this limits you a bit. If there is no shade available, I will choose another location.

Midday Overcast

Some will find clouds too dismal, but the overcast outdoors are an absolute dream to a photographer. Clouds are natural diffuse screens; shadows are not so harsh and lighting is soft and lovely. Clouds also make dramatic sky textures too. This day was on the bright side of overcast (thin clouds), so a little bit of a squint is still present but the raccoon eyes are diminished.

The Hour Prior to Sunset

Sunset lighting is golden and fabulous, and also well diffused as the sun gets closer to the horizon. It's tricky though to deal with a time constraint as you're slowly losing light versus slowly gaining it (as is the case with sunrise). Work quickly to snag the light before it goes!

After Sunset (Off-Camera Flash)

Not my preferred lighting, as bright diffused daylight just brings out the freshness and vitality of a face. For loss of light after sundown, flash is required. It does look much more dramatic, which can be a cool noirish effect if you desire it.

To sum, the choicest time of day is sunrise or cloudy midday. Although planning around what the atmosphere is doing is not something we have any control over, it's good to note that a cloudy day is not such a bummer, even if you miss out on blue skies. If you can't dodge being photographed in harsh midday sun, tactics will be taken to keep you in shade. The best option for the latter without being spatially confined to patches of shade is a lush green forest! Forested areas provide a great canopy, and if you don't mind a little bushwhacking they also make excellent and supremely romantic spots for lovely portraits. Consult with me to locate a primo forest near you!

Turn Engagement Photos Into Guest Books!

Shooting on average 20 weddings per year, I get some pretty hefty exposure to changing trends in wedding styles. On the topic of guest books and other means of collecting signatures and well wishes, I've seen everything from signed notes hung on trees to a family member mulling about with a video camera asking guests for candid statements. Those are great ideas, but how are they preservable? If I had a stack of note cards, I'd want to put them into a book anyway. If I had a video of verbal comments, I'd have to dig up the video from a buried Facebook feed or its disc from some trunk. The key to a keepsake is something you'll enjoy revisiting and something easy to access. I personally like books :).

Even in our advanced digital age, the good old fashioned Book still stands the truest test of time. Interesting, hm? Those who want guest books have long been tiring of traditional lined books with the frilly "Guests" inscription heading each page. And so, I've analyzed some trends in photo guest books and designed my own as you see in two samples here. Images from engagement sessions or pre-wedding bride/groom shoots work great for these! It's like a pre-wedding album. See more album layouts in my portfolio.

Design is collage style and fully customized (including a full front/back photo wrap cover) and designed by myself, taking cues from the atmosphere of the shoot. Guest books are created as an Art Book style album. Collage design means no guest is bound to lines. They can get creative with their personal statements. Paper can be chosen in plain, pearlized or linen textures. Designs are prepared strategically and spaciously with room for signatures and messages. Lighter and half opacity backgrounds are designed for dark colored marker pens and darker backgrounds are designed for metallic pens. Art Book albums lay flat when left open and stand a bind-tight test of time with acid free pages that won't yellow or degrade.

Your guests will be so floored and intrigued by your fabulous photo rich guest book, you'll need to put up a sign telling them you intend for them to sign it. (Because they won't think it's ok to sign fabulous images, you will have to remind them!)

Atmospheric Style

As the epitome of the Creative Person once said, "Creativity is an abstract which becomes someone, but which they cannot concretely translate for another to define or quantify." That creative person was me. And I just said that. (Made it up on the spot.)

In my perusal of articles from Professional Photographers of America, there is always one about defining style as a creative professional. The usual components which define a photographer's style involve light usage, adherence to digital effects (colors, filters), innovation of angles, personality or approach to subjects, and prop color coordination (attire, backgrounds). I get inspired when I read what other photogs say defines their style, but after the inspiration I come across a personal conundrum.

What is my style? Can it be defined? Does it need to be defined? Is there more to it than that?

The answer is: There's more to it than that. When I ask my clients what they like about my images, they usually say things like the quality of lighting or the naturalistic posing and atmosphere choices. Those are things I inherently look for in scenes, but I wouldn't say they define my style because every atmosphere and every subject is different.

The cookie cutter photographer feels the need to define her style so that the client has a preset idea of how her own images will look based on how she has shot other clients. Fair enough. The photog would also use that style definition to design her branding (look and feel of the website and products) so the client can relate colors and styles with emotions. I like that. It's a tactile way of relating to people when they know nothing about you. But setting one's style to a preset doesn't cater personally to each individual client. I like personal catering!

What I often tell clients is rather more like this. My style is quiet, natural and observant, but I cannot truly define it for you because you define it for me! Ha! So there. I do direct you according to atmosphere, but your locations define the style. Your attire defines it. Your colors and personal chemistry define it. I can't say all events look the same, and I can't say all babies have the same personality. This is my take on photojournalism. The style comes from atmospheric specifics unique to my subjects. We're talking metaphysics here! Moods and atmospheric elements that only exist the day I shoot and never recur the same way ever again. Did you know that the atmosphere is literally changing by the minute? There are no two same sunsets ever in the history of the world!

I like diversity. I eat it up. I like the fact that even if an event plays out the standard roster, there will still be something different and unique about it every time.

Some photographers feel they need to rejuvenate their ideas by looking at other photogs' work. I take that with a grain of salt. I don't want my ideas to look like someone else's. That doesn't mean I won't agree to do a requested shot a client has seen done [a million times] somewhere else. Innovation doesn't come from imitation. It comes from stepping aside and allowing my brain to come up with something rather than xeroxing it from somewhere. I'm more inspired by scenes I can experience first hand. I want my work to shine on its own without being borrowed from someone else. That's chain store stuff ;).

Albums Like No Other

Page spread from 10x10 Flushmount album, featuring floral composite.

Sometimes I wonder what happens to my clients' images if I haven't been commissioned to publish them into an heirloom quality album. I envision them inserted in a DIY low quality photo book template... or worse, logged away on disc in some box waiting to be unearthed by a future child who tries to view them on whatever technology is available, only to get disc misread errors. I can only guarantee that a DVD will last as long as the technology I'm aware of; I can't read the future. I mean, what could we fathom of 2012 when our high school mix tapes that spoke our passions were stored on 8-tracks?

As time attests, our most treasured heirloom images are best preserved in printed materials. Sounds old school, but who knows what could happen to the abstract "digital soft copy"? At the end of the world when the magnetic poles shift and we lose all our wifi's and databases and electricities for gosh sake, what will we do?

The spatial landscape, with portraits.

I'd like to plug in the value of professionally designed photo albums. I know that a lot of wedding clients asking for packages without albums are in the end making photo books themselves *hands on hips*. That's all a fine practice if you like templates and cheap book binds that come unglued after a couple years, but over here in the world of art and narratives, we don't like to make photo books. We like to make Storybooks. We want them to A.) documentarily mean something, and B.) last forever (or at least for a hundred years, and that's a pretty nice chunk of time).

You'll notice in these examples how intertwining event details really brings forth the vigor of the moment. The designs are totally different for everyone because the particular shapes and colors of their images physically determine the layout of that particular page. Space is an artistic cruciality; larger images and more open space make greater statements than a page filled with a bunch of little squares.

"First Look" composite with vineyard fauna and reception table card

I love the dynamism of The Composite (a.k.a. the collage). No template can do this for you, and I don't even want to fathom trying it with non-digital design methods (i.e. your parents' wedding album). It's fully an artistic digital design, like painting. The eye and skill for this is what you get with professional graphic design services.

If clients are not making photo books or wall decor, then images are sitting on a disc somewhere collecting time. Or they're sitting on Facebook being pushed down by updates. Is the internet the new 'attic treasure box'? Really? What happens to it in my End of the World scenario?

Individual images can make bold statements. Put them on your wall. Groupings of images can make bolder statements. Cluster them on your wall, or publish them into an album. One image is like one word. You can't always tell the full story with one word. Lots of words make a story. Lots of pictures make a storybook.

I want to be your historian. I'd love to archive some things for your museum. Ponder the value of that!

Outtro page, 10x8 Flushmount album.