the bride's guide to wedding photography: how to get the wedding photography of your dreams

T H E B R I D E ’ S G U I D E TO

Wedding PhotographyT H E B R I D E ’ S G U I D E TO

Amherst MediaPUBLISHER OF PHOTOGRAPHY BOOKSKathleen Hawkins

Wedding PhotographyHow to Get the Wedding

Photography of Your

Dreams

Copyright © 2003 by Kathleen HawkinsAll rights reserved.

Front and back cover photos by Jeff Hawkins.

Published by:Amherst Media, Inc.P.O. Box 586Buffalo, N.Y. 14226Fax: 716-874-4508www.AmherstMedia.com

Publisher: Craig AlesseSenior Editor/Production Manager: Michelle PerkinsAssistant Editor: Barbara A. Lynch-JohntEditorial Assistance: Grace Smokowski

ISBN: 1-58428-094-8Library of Congress Card Catalog Number: 2002113004

Printed in Korea.10 9 8 7 6 5 4 3 2 1

No part of this publication may be reproduced, stored, or transmitted in any form or by any means, electronic, mechanical, photocopied, recorded or otherwise,without prior written consent from the publisher.

Notice of Disclaimer: The information contained in this book is based on the author’s experience and opinions. The author and publisher will not be held liablefor the use or misuse of the information in this book.

DedicationThis book is dedicated to my knight in shining armor, my wonderful husband. Jeff, I want to thank you for being my best friend, my encourager and my

strength. I could never have accomplished the things I have without your love and support. I do cherish you. I love you with all my heart and always

will, from here to eternity!

Introduction . . . . . . . . . . . . . . . . . . . .5

1. PHOTOGRAPHYTHAT SUITS YOU . . . . . . . . . . . . .7

Types of Photographers . . . . . . . . . .9Traditional Photographers . . . . . . . .9Photojournalists . . . . . . . . . . . . . . .9Combination Photographers . . . . .10

Avenues to Explore . . . . . . . . . . . .10Web Sites . . . . . . . . . . . . . . . . . . .10Magazines . . . . . . . . . . . . . . . . . . .13Bridal Guides . . . . . . . . . . . . . . . .14Bridal Shows . . . . . . . . . . . . . . . . .14Referrals . . . . . . . . . . . . . . . . . . . .16Previous Clients . . . . . . . . . . . . . .18

2. THE SELECTION . . . . . . . . . . . . .20The Consultation . . . . . . . . . . . . . .20Personality . . . . . . . . . . . . . . . . . .20Budget . . . . . . . . . . . . . . . . . . . . .21

Costly Mistakes . . . . . . . . . . . . . . .21The Best Scenario . . . . . . . . . . . . .25

The Retainer . . . . . . . . . . . . . . . . .26The Contract . . . . . . . . . . . . . . . . .29Name and Contact Information . .29Complete Date andCoverage Time . . . . . . . . . . . . .29

Itemized Prices . . . . . . . . . . . . . . .30Payment Policies andCancellation Clauses . . . . . . . . .31

Hidden Charges . . . . . . . . . . . . . .31Film Limits . . . . . . . . . . . . . . . . . .31Proof Policies . . . . . . . . . . . . . . . .31Product Pricing Clauses . . . . . . . .31Album Order Guidelines . . . . . . . .31File Ownership . . . . . . . . . . . . . . .31Model Releases . . . . . . . . . . . . . . .32

3. PREPARING FORYOUR PHOTOGRAPHS . . . . . . .35

Appearance . . . . . . . . . . . . . . . . . . .35Exits . . . . . . . . . . . . . . . . . . . . . . . .36The Reception Décor . . . . . . . . . . .40Reception Displays . . . . . . . . . . . . .40Image Reflection Displays . . . . . . .40

Thank-You Gifts . . . . . . . . . . . . . .41

4. BEFORE YOURWEDDING DAY . . . . . . . . . . . . .43

The Engagement Session . . . . . . . .43Scheduling . . . . . . . . . . . . . . . . . .44Clothing . . . . . . . . . . . . . . . . . . . .44Props . . . . . . . . . . . . . . . . . . . . . .44Location . . . . . . . . . . . . . . . . . . . .44Ideas . . . . . . . . . . . . . . . . . . . . . . .45Bring a Friend . . . . . . . . . . . . . . .45Fun . . . . . . . . . . . . . . . . . . . . . . . .45

TA B L E O F C O N T E N T S 3

Table of Contents

The Formal Portrait Session . . . . .48Location . . . . . . . . . . . . . . . . . . . .48Dress and Veil . . . . . . . . . . . . . . . .49Flowers . . . . . . . . . . . . . . . . . . . . .51Assistants . . . . . . . . . . . . . . . . . . .52Communication . . . . . . . . . . . . . .52Hair and Makeup . . . . . . . . . . . . .52

The Planning Session . . . . . . . . . .55Time Frames . . . . . . . . . . . . . . . . .56Private Time Schedule . . . . . . . . .56Traditional Schedule . . . . . . . . . .61Post-Reception Photographs . . . . .71Photo Lists . . . . . . . . . . . . . . . . . .73The Final Step . . . . . . . . . . . . . . .75

5. THE WEDDING DAY . . . . . . . . .78Ready Yourselffor Beautiful Images . . . . . . . . . .78Bouquet . . . . . . . . . . . . . . . . . . . .78“The Turtle” . . . . . . . . . . . . . . . .80Shift Your Weight . . . . . . . . . . . . .80Catch Phrase . . . . . . . . . . . . . . . . .81Posing During the Ceremony . . . .81Have Fun . . . . . . . . . . . . . . . . . . .82

Five Tips for PerfectWedding-Day Images . . . . . . . . .84Don’t Be Late! . . . . . . . . . . . . . . .84Be Flexible . . . . . . . . . . . . . . . . . .85Enjoy Your Day! . . . . . . . . . . . . . .85Do Regular Touch-Ups . . . . . . . .85Relax . . . . . . . . . . . . . . . . . . . . . .85

6. PROOFS AND ORDERS . . . . . . .86Paper Proofs . . . . . . . . . . . . . . . . .87CD Proofing . . . . . . . . . . . . . . . . .88Video Proofs . . . . . . . . . . . . . . . . .90Online Ordering . . . . . . . . . . . . . .91

7. ALBUM DESIGN . . . . . . . . . . . . .94The Design Consultation . . . . . . .94The Classic Album . . . . . . . . . . . .95The Digital Montage Album . . . . .96The Image Box Display . . . . . . . .97

The Design Process . . . . . . . . . . . .97

Closing Thoughts . . . . . . . . . .102

About the Author . . . . . . . . . .103

Thanks! . . . . . . . . . . . . . . . . .104

Index . . . . . . . . . . . . . . . . . .107

4 T H E B R I D E ’ S G U I D E TO W E D D I N G P H OTO G R A P H Y

The biggest day of your life is aboutto arrive. Visualize the perfectflowers, a long, flowing dress and

your prince charming waiting for theentrance of his beautiful, radiant bride.This is something you have most likelydreamt about since you were a little girl.Hiring someone to document this

important day is one of the most signifi-cant decisions you will face. (Well, thatand, of course, who you will marry!)However, finding someone who can takethe perfect pictures is only half of thedilemma. Arranging pre–wedding daymeetings, choreographing wedding daydetails and selecting the post–weddingday products are all fine points to consid-er, though they are often overlooked.This guide will help you find a pho-

tographer whose style and personality is

I N T R O D U C T I O N 5

As you begin planning the details of your special day, take the time to educate yourself on all theimportant considerations that must go into hiring a qualified photographer. Photo by Andy Marcus.

Introduction

the best match for you. After all, you willprobably spend more time with the pho-tographer than any other vendor; thelimo driver, the caterer, the baker and theflorist all come and go. The photogra-pher will be there from the beginning tothe end. It is important to follow yourheart and have the peace of mind thatyou made the right decision.


LEFT—Follow your heart and choose a wedding photographer who will capture the day the way youwant to remember it. Photo by Deborah Lynn Ferro. ABOVE—In the end, your cake will be eaten, yourguests will have gone home and your images will become your memory! Photo by Jeff Hawkins.

You are getting married, and youhave a lot to think about. There’sthe dress, the venue, the guests—

and the photographer. You will need tofind a talented artist to capture youremotions and document every detail ofyour perfect day. Since you can neverreenact these important moments—thetears, the laughter, the joy—the endeav-or to find the perfectly matched photog-rapher must not be taken lightly. Findingthis person is part serendipity and parthard work and research.So, where do you begin this quest to

capture your picture-perfect day? Wheredo you search to find a photographerwhose style is appealing to you, whosepersonality meshes with yours and whooffers the products and services that youdesire?

P H OTO G R A P H Y T H AT S U I T S Y O U 7

Whether it is laughter or tears of joy, thedocumentation of your emotions for theyears to come makes your images price-less. Left photo by Ken Sklute. Photo aboveby Andy Marcus.

1. Photography That Suits You

This book will guide you in selecting aphotographer who’s a perfect fit. Youwill learn how to locate a photographerwho can produce the cutting-edge ortime-honored, traditional images thatyou’ve always wanted. You will learn howto orchestrate a time line to ensure thatthe photographer gets all of those price-less images. You will read about retainersand contracts, and will discover how tocreate a color story that will make everyaspect of your photographs work togeth-er in perfect harmony.There are many things to consider

when selecting the right photographer—it’s not as easy as opening a phone bookto hire a repairman—and it shouldn’t be.The search may take some time. Typic-ally, you should begin your search a min-imum of eight to ten months prior to thespecial day. However, photographersStewart and Susan Powers add this bit of

caution: “You can never call too early tobook your photographer, but you cancertainly call too late.”

TYPES OF PHOTOGRAPHERS

The first step in selecting a photographeris determining the style you like. Photog-raphers typically fall into three generalcategories: traditional photographers,photojournalists and a photographerwho blends both styles together. You willneed to decide whether you want black& white images, color images or to havethe session done digitally, in which caseeach image can be made either way.Traditional Photographers. A tradi-

tional photographer creates a classic styleof portraiture, one that is formal andposed. Over the years, certain guidelineshave been established by top award-win-ning photographers working with thisstyle. Now, younger generations of pho-tographers use these “tried and true”techniques to produce images that appealto a wide variety of clients.

Photojournalists. The photojournal-istic movement in wedding photographyis rooted in the documentary style ofnewspaper and media photojournalism.


Traditional images are achieved by using formalposing and lighting techniques. Photo by PatrickRice.

Photojournalistic images are created with anoutside-the-box mentality—formal rules are dis-regarded and special moments are captured asthey unfold. Photo by Ken Sklute.

A photojournalist captures an event as itunfolds, rather then posing or staging thesubjects. Because newspaper photojour-nalism is commonly shot in black &white, this style of coverage has led to arebirth in the popularity of black & whitewedding images.Combination Photographers. To

accommodate the vast number of vari-ables involved in shooting a wedding andto satisfy the needs and desires of variousclients, many photographers offer boththe photojournalistic and traditionalstyles of coverage.

AVENUES TO EXPLORE

Today, there are many incredible vehiclesto assist you in your search. Web sites,bridal publications and bridal shows canbe a good starting point, but the simplestway to find a great photographer is oftenthrough referrals.Web Sites. By beginning your mission

with a web site search, you can comfort-ably navigate the web sites of local pho-


Photojournalisticimages are commonlyshot in black & white.

Photo by AndyMarcus.

LEFT—Many photographers encourage couples to stand in aspecific spot or to kiss, but then let their natural emotions flowinto the photograph, blending photojournalism and traditionalphotography together for an appealing look. Photo by JeffHawkins. BELOW—By adding a creative angle to a traditionalimage, your photographer can create a fashion-inspired image.Photo by Andy Marcus.

tographers and begin to unveil the stylethat is most appealing to you. Searchingweb sites tends to be a faster and moreeffective choice than going through theyellow pages since phone book ads donot typically feature the photographer’simages. Web site navigation allows you toview the photographer’s portfolio in thecomfort of your own home. Follow thesesteps to begin your search:

1. Use a web search engine to find localphotographers. Type in your city name

and “wedding photographers” in thesearch field; for example, enter Orlandowedding photographers.

2. You will also want to do a search forlocal publications. The most helpful website we have found is www.thepwg.com.At this site, you can register to receive acomplimentary copy of The PerfectWedding Guide. Because the site offerspublications geared to meet the needs ofbrides from over fifty-seven locationsthroughout the United States and

Canada, you can pretty much locate avendor in any major city in the UnitedStates. If you visit a particular publica-tion’s web site, you are certain to find theweb sites of established, experiencedwedding photographers in your area whocan afford advertising in wedding publi-cations. In fact, this secondary searchmay help you to find photographers thatyou didn’t catch with the first search. Tobe most effective in your navigation,select a site that is updated regularly andis professional and user-friendly.

3. Other helpful sites are:www.theknot.comwww.weddingchannel.comwww.getawayweddings.comwww.wppinow.comwww.ppa.com.

4. Look for a web site that moves youemotionally and/or displays images thatrepresent what you envision for your day.Once you find that site, contact the pho-


Black & White PhotographyAccording to Bill Hurter, editor of Rangefinder magazine and WPPI Monthly (the official publication

of Wedding and Portrait Photographers International, an important professional organization for

wedding photographers), “Black & white photography lends an air of timelessness to a wedding

album and is consistent with photojournalistic style coverage. Without the distraction of color you

are able to focus more on the feelings created by each moment.” Many of today’s couples prefer

this style of photography. Nevertheless, many of the parents and family members believe black &

white photography is going back a generation, instead of forward. So most successful and expe-

rienced photographers believe it is important to please all parties involved by providing both color

and black & white images.

tographer to determine his or her avail-ability. Don’t delay, dates fill quickly!Magazines. Bridal magazines are

designed to provide interesting and help-ful articles about everything that has any-thing to do with weddings. They show-case the ads of many photographers(which can help you to define the styleyou are looking for), feature articles on avariety of topics and are chock-full ofvendors’ advertisements. Most nationalmagazines include advertisements forphotographers who are willing to travel

and for studios that have multiple loca-tions. While magazines will provide somegreat leads, there are some importantfacts to be aware of.First, when a photographer is willing

to travel, the bride and groom must typ-ically incur the travel expense. You mustdecide whether or not the expense is jus-tified based on your attachment to thatphotographer’s work. Secondly, you willhave to plan plenty of time for travel.Don’t skimp on expenses like an extranight’s hotel expense for your photogra-pher because, in the event of a delayedplane or car trouble, this “savings” couldcost you your wedding photographs. It isbetter to be safe than sorry.Companies that have multiple loca-

tions advertised in national publicationsemploy many photographers and will notshowcase the work of every photogra-pher—they will select the best imagesproduced by that studio and displaythose images to increase sales. Therefore,it is important to request a local web site

address so that you can review the workof the particular photographer whowould be available to photograph yourspecial day.National magazines are a wonderful

resource. Consider tearing out imagesthat appeal to you and saving them toshow to your photographer at thepre–wedding day consultation. Often,the photographer can recreate the poseor setup that appealed to you.Local magazines—those geared to

serve a specific region or city—can reallybe an excellent place to turn when look-ing for a photographer and other serviceproviders. When reviewing the vendorsin local magazines, you can rest assuredthat travel fees will not apply.Advertising in magazines is often

more costly than advertising in guides(see next page), so the images that appealto you will likely be from a more upscalephotographer. That could be good orbad for you, depending on your budget!


Web sites such as www.thepwg.com can be avaluable tool in locating your vendors.

Bridal Guides. Guides are differentfrom magazines. They tend to list cate-gories of vendors, and within each cate-gory, you will find an alphabetical listingof professional caterers, photographers,etc. Guides are a wonderful resource—

they are both easy to use and readilyavailable. You can think of a guide as apocket-sized resource for finding profes-sionals in the wedding industry.Guides are generally more useful than

the yellow pages because they strictly fea-ture vendors that are interested in meet-ing your needs. You can find a wide rangeof images by various wedding photogra-phers in a guide, without wadingthrough pages of ads from photogra-phers who actually specialize in children’sportraiture.A bridal guide can be extremely help-

ful in planning your event. Steve Saffar,the national publisher of The PerfectWedding Guide and the web sitewww.thepwg.com, defines a guide as“the perfect source to plan everything foryour wedding when looking for localwedding professionals” and “a one-stopsource for all of the bride’s needs.” Headds, “If a bride is looking for a func-tional publication that offers her localresources, guidance from local experts in

her community and a portable publica-tion that is convenient and easy to use,then The Perfect Wedding Guide is theperfect place to plan a bride’s wedding.”Bridal Shows. As a bonus for adver-

tisers, and to increase distribution, manyguides and magazines promote bridalshows to both brides-to-be and the ven-dors in the community. This makes abridal show a great place to connect withvendors (and, conversely, a great placefor vendors to seek out new clients!).In attending a bridal show, you can

quickly view the work of many photogra-phers in a single day. You will also have achance to meet with many of these pho-tographers. Photographer Doug Boxbelieves it is important to get to knowthe photographer’s personality. Dougsays, “The photographer will be with youmost of the day. It is important to likehim or her. Some photographers are sonice you would invite them to your wed-ding, even if you didn’t hire them.Others are wizards with the camera, but


The Perfect Wedding Guide is just one of the pub-lications that can make the planning of yourwedding easier and more effective. Someguides are published to meet the needs of spe-cific cities or regions. The Perfect Wedding Guidehas over fifty-seven location-specific publica-tions throughout the United States and Canada.Use the guide that caters to the area closest toyou to reduce vendor travel fees.

are so obnoxious you can hardly stand tobe near them. I feel a great personalitywith good photographic skills is moreimportant than a genius with a cameraand no bedside manners.”While bridal shows will provide you

with the opportunity to meet prospectivephotographers, this is not the time tointerview a photographer, get pricinginformation or make a decision. Typical-ly, bridal shows are very busy and can beoverwhelming. If attending a bridalshow, make it your goal to achieve thefollowing three objectives.First, narrow down and select the top

three photographers in attendance, basedon the type of work they have displayed,their personality and level of profession-alism. Do not take literature from ven-dors that are not in the top three. It willcreate confusion when you get home andwant to follow up. Additionally, you willsave vendors’ money if you don’t takemarketing materials that you do not in-tend to use.

Next, when possible, determine if eachparticular photographer is available onyour special day. Because dates are limit-ed, you may want to have a backup datein mind. Remember that Fridays andSundays are very popular for weddingstoday, and you may be able to save a lit-tle money if you book one of these daysinstead of a Saturday. Some photogra-phers even offer a gift certificate towardproducts for clients who reschedule theirwedding date to retain their service.Finally, follow up as quickly as possi-

ble. Dates are limited; most photogra-phers only photograph one function aday. Remember, at a bridal show, you arelikely not the only person requestinginformation for the date you have select-ed. Do not go home with a bagful of lit-erature and sit on it for two weeks beforeyou follow up. If so, your date will mostlikely be booked by the time you getaround to making the phone calls. Thus,attending the show becomes a waste oftime!

Be certain to speak directly to the photographerwho will be conducting your event to ensure thatyou both have the same vision. Photo by SusanPowers.


Referrals. Many photographers be-lieve that the simplest way to find a pho-tographer is through referrals. Photog-rapher Andy Marcus suggests that bridestalk with friends who have recently mar-ried. He believes they are the best sourceof information and will provide a basefrom which to proceed. However, pho-tographers Stewart and Susan Powersoffer a good suggestion as well, “Beaware that if you ask other people howmuch they invested in their photography,you may not get numbers that are accu-rate for your wedding.” They recom-mend speaking directly to the photogra-pher for a quote due to the very diverseand personal nature of weddings. After


RIGHT—Be certain to talk with friends who haverecently been married. A happy bridal couplecan provide a valuable referral. Photo by AndyMarcus. FACING PAGE—Consider asking yourchurch to refer a photographer. They most likelyhave photography rules to abide by during theceremony and may be partial to the profession-alism of a particular photographer in your town.Photo by Douglas Allen Box.

all, every wedding is the same, yet verydifferent.Another helpful hint is from photog-

rapher Doug Box, who recommends ask-ing other vendors (florists, bakers, cater-ers, reception venues, consultants, etc.)for referrals. For the most part, Dougbelieves these people will be straight withthe couple and give them useful informa-tion and suggestions. However, be waryof vendors who are being paid for refer-rals! In fact, you may wish to ask eachvendor directly if they are getting paidfor the referral.Previous Clients. Finally, you can

request a list of previous clients from thephotographers. You may, however, re-ceive mixed reactions to this request.Some photographers feel that distribut-ing the names and phone numbers ofpast clients is an infringement of privacy.However, other photographers will dis-tribute the lists freely. Photographer JeffHawkins believes that the best way toprotect past clients’ privacy while giving

potential clients access to clients’ opin-ions is through the implementation of a“guest book” on the studio’s web site.This way, photographers can encouragepast clients to add an entry after theirspecial day. He believes that this satisfiesthe needs of past and future clients both:couples get reviews on the photograph-er’s performance and past clients canprovide their contact information if theywish to rave (or complain) about theirexperience.

Serendipity is often defined as findingsomething or someone good accidental-ly. While luck or good fortune may play apart in finding the ideal person to docu-ment your special day, the task actuallytakes time and can be tedious. Beginningyour search a year in advance will relievesome of the stress inherent in thisendeavor. However, it is always impor-

tant to take advantage of the tools avail-able to make your quest easier. Usingthe internet, bridal publications, bridalshows, etc., can assist you in locating the

right photographer. Then you have toask yourself, “Now that I have narrowedmy search, what is the next step?”

Begin planning for your wedding day a year ormore in advance to eliminate as much stress aspossible. Facing page photo by Jeff Hawkins.Right photo by Andy Marcus.

The search for a photographer can bea very educational process. Thoughbridal guides and magazines are

helpful, feature articles are sometimeswritten by people outside of the photog-raphy industry. Furthermore, many timesarticles are recycled—in other words,they appeared in an earlier issue and aresimply pulled out of the archives, updat-ed and tweaked year after year. Becausemany aspects of wedding photography—like time lines, prices, etc.—may vary,these updates may not reflect what’sgoing on in your area.

THE CONSULTATION

This is where the consultation comes in.During the consultation you can expectto learn about pricing, procedures andmore. Again, each photographer’s prices,time lines, etc., may be different; for this

reason, it is important to book a consul-tation with more than one photographer.Doing so will help you find a photogra-pher who is a good match, as well as

develop a realistic budget and solidifyimportant paperwork.Personality. Remember that you will

be spending a lot of time with your pho-


A formal bridal session or engagement ses-sion can serve as a trial run and help estab-lish a comfortable rapport. Photos by JeffHawkins.

2. The Selection

tographer—you will want to make surethat he or she is someone you trust andare comfortable with. Photographer JeffHawkins says, “If the personality doesnot mesh well, it will show in the photo-graphs.” He suggests doing a trial runwith an engagement session or formalbridal session.If you are considering a studio that

employs several photographers, makesure you actually meet with the photog-rapher who will be covering your eventprior to signing a contract.Photographer Doug Box encourages

each couple not only to meet with thephotographer but to view a couple of thewedding albums he or she has created aswell. He mentions that anyone can get acouple of great images at a wedding, butyou want to see what the photographercan do with the entire wedding day.It is also important to make sure the

person you hire has extensive experiencein the wedding industry. Just becausesomeone is a great portrait photogra-

pher, newspaper journalist or commercialphotographer does not mean he or shecan photograph a wedding!Act with caution before hiring Uncle

Joe, a commercial photographer fromanother state who promises to save you abundle. Bad wedding photos are never abargain. Follow your heart and trust yourintuition. If the situation feels right, itprobably is!Budget. Although budget is impor-

tant, when scheduling a consultation,many couples’ first impulse is to call andask for photographers’ package prices.Most quality photographers becomefrustrated by pricing inquiries—especiallyif the couple has never viewed their work.A price range can be helpful; however,there are usually a variety of factorsinvolved with customizing prices for eachcouple. Phone shopping can be verycostly to the couple.Costly Mistakes. Do not “shop

price” over the phone when searching fora photographer. There are many things

T H E S E L E C T I O N 21

Working together before the big day will helpease your mind and solidify your decision. Photoby Douglas Allen Box.

that go into pricing, and these may notbe apparent in that price quote.First, you may never get to see the

endless image possibilities available toyou if you begin shopping for a photog-rapher with a particular price in mind.Remember that optional products, thestyle of coverage and the amount ofimages will affect the final cost.Second, both album styles and album

quality affect pricing. Storytelling albums

(also known as “love story” albums)showcase the close relationships betweenpeople in attendance at the wedding. Inthese albums, photographers use emo-tion-filled images to tell the story of howthe couple’s day unfolded. While lessexpensive, formal albums feature only afew traditional, posed images; however,these specialty albums are more involved.If a package includes one of thesealbums, your costs will be higher. For


Storytelling albums show how the day unfolded.These images showcase the emotions of all theimportant players in the wedding. With this typeof photography all of the details are document-ed—from anxiety before the ceremony to joy atthe reception. Above and facing page photosby Ken Sklute.

There are many different album styles and options. Always view your album choices before yourevent. Album by Jeff Hawkins.

many, these albums are well worth theadded expense.Finally, if you only consider price

when shopping for a photographer, youmay end up hiring a freelancer or an asso-ciate. You may discover that the oldcliché “you get what you pay for” is true!Of course, hiring a lower budget pho-

tographer is not always poor decision. Ifcost is a primary issue, consider consult-

ing with a photographer whose prices areon the low end. Review the photograph-er’s portfolio style and meet with him orher personally. Do the same with a pho-tographer whose prices are in the mid-range and one whose prices are on thehigh end. If you don’t see an obvious dif-

ference in the style of work and the qual-ity of printing, images and albums or thephotographers’ level of professionalism,it may be best for you to hire someone inthe mid- or lower-price range. Don’tbase your decision solely on the amountof pictures or products you will be get-

LEFT—Remember, once the cake is eaten and the flowers die, your photographs become a pricelessheirloom. Photo by Jeff Hawkins. RIGHT—When you purchase an album, you are purchasing the pho-tographer’s vision and expertise. Photo by Ken Sklute.

ting. Keep in mind, as photographer KenSklute mentions, “What you are purchas-ing is the photographer’s vision andexpertise, the current style or technique,or even the best equipment.” It is crucialto realize, once the cake is eaten, theflowers die and the day is over, the onlything remaining is the photographs.Images are never expensive, they arepriceless!After you find the perfect photogra-

pher, you may want to reconstruct yourbudget. It is amazing how much moneycouples allocate for food and flowers andhow little they budget for photography.The rule of thumb is that 10 to 15 per-cent of your total wedding budgetshould be earmarked for photography.That percentage will fluctuate based on acouple of factors, like how big of a pic-ture person you are and how importantphotography is to you. Remember thatin the end, you will pass your album onto future generations. PhotographersStewart and Susan Powers point out that,

“The wedding photographs may be theonly item from your wedding day thatwill increase in value. When you areshopping for photographers it may helpyou to remember that the best quality

and service will never be the best in price.Generally, you do get what you pay for.”The Best Scenario. A bride and her

mother sit down to create a weddingbudget. The mother got married twenty-


If your vision closely matches that of the photographer, you will most likely be pleased with yourphotographs. If the visions are different, keep searching until you find a match! Photo by Jeff Hawkins.

five years ago and remembers paying$250 for her photographer. She receivedan album with eighteen posed 8x10-inch images. Assuming that the price ofphotography has increased in the pasttwenty-five years, and reviewing the basicpricing in the magazines, the motherbudgets $1000 for photography.Next, with the budget and her busy

schedule in mind, the bride contacts afew studios and inquires about theirpackage prices. After many phone calls,she narrows the selection down to threephotographers. The mother and daugh-ter visit those studios for consultations.

THE RETAINER

Your head is spinning. You’ve narrowedyour options down to one photographerwho seems to suit your needs. You havereviewed the work and like the style andpersonality of the photographer in ques-tion. You have asked every question youcould come up with and feel comfortablewith the answers you received. You now


The Interview

Have you found a photographer who’s a per-

fect fit? The work is stunning, the personalities

don’t clash and the budget seems workable—

what now? Do you complete the paperwork

and move on?

This is where the interview comes in. An

interview is an extension of the consultation,

and it is often done on the same day. In an

interview, you can cover anything that you’d like

to discuss to ensure that you’re about to make

the right choice in choosing this particular

photographer.

To help you make the best decision, a selec-

tion of wedding photographers from across the

United States were surveyed and asked, “What

do you feel is the most important question for a

bridal couple to ask in an interview?” The most

common responses were as follows:

1. Couples should ask what the photographer

thinks is important about wedding photography.

They should also have the photographer

describe a perfect bride or a perfect wedding.

The reason is simple—if the two visions are the

same, then the style is a match. If they are not,

you will need to continue searching.

2. The bridal couple should ask whether a stu-

dio sells a service via a package or à la carte.

They should have a good understanding of

what specifically they will receive for their

investment, like how many hours of coverage

are included in the specified price.

3. Who will be photographing the event?

Make sure the person whose images are show-

cased is the person covering your wedding.

Everyone’s style is different, so this is important.

4. Do you have backup equipment and supple-

mental lighting? This is important; a camera that

crashes during the ceremony could wreak

havoc and a photographer that keeps turning up

the lights at a reception can ruin the ambience.

5. Will there be a film limit? Does the photog-

rapher’s service include black & white as well

as color images? What is the average number

of images captured?


6. Why do you photograph weddings? (This

will reveal the photographer’s level of passion

and excitement.)

7. What percentage of your business is wed-

ding photography? (Most well-known estab-

lished wedding photographers in the photogra-

phy industry state that about 75–80 percent of

their business is wedding related, where only

20–25 percent of their business is portraiture.)

8. How much time do we need to allocate for

our formal portraits?

9. Are engagement sessions included in the

pricing level described?

10. Will you be working alone or will you have

an assistant?

11. What is the required deposit?

12. When is the balance due?

13. What types of albums do you offer?

14. What product guarantees do you provide to

protect our family heirloom?

Of course, there are also interview ques-

tions that photographers hate to hear:

1. How much does it cost? Typically, when this

question is asked photographers cringe and

become very defensive. With a quality photog-

rapher, it is not because they have anything to

hide, but because they cherish their work and

are protective of their images. Asking any pho-

tographer this question before viewing a port-

folio and expressing appreciation for their work

devalues their time, passion and creativity.

Decide first if this is the style you desire and

then discuss the bottom line. If your budget is

tight, simply let her know your concerns and

task them to give you a basic price range up

front.

2. What type of equipment do you use? If you

ask an experienced photographer about their

equipment they will probably (you guessed it!)

cringe and become very defensive. Bridal pub-

lications often encourage you to ask this ques-

tion because, indirectly, the type of equipment

being used typically determines how qualified

the photographer is. Nonetheless, professional

photographers dislike being bothered with this

question, because most of the time the person

asking it doesn’t fully understand the response

the photographer would give. Photographers

know that while equipment codes and industry

jargon might sound impressive, they will also

confuse a prospective client. Asking a profes-

sional photographer about his equipment would

be like asking a surgeon what kind of instru-

ments they will use when they operate.

To determine a photographer’s qualifications,

review their recent wedding image samples,

talk to past clients and get references from

people within the community and wedding

industry. Rather than asking what type of equip-

ment they use, just make sure they carry backup

equipment and produce a wide range of quali-

ty images from 4x5 inches to 30x40 inches.

After all, if you like the final results, does it

really matter how the image was captured? Pay

your photographer to worry about image qual-

ity so you don’t have to.

have two options: you can sign the con-tract, place the retainer and have one lessdecision to make in regards to your spe-cial day or you can take the informationhome, review it, re-examine your budgetand make a decision later.Well, let’s step back a minute. Did you

bring everyone involved in the hiringdecision to the consultation? Most peo-ple are very busy and do not have timefor multiple appointments. If you needan opinion from your fiancé, familymembers or friends, bring them alongto the initial consultation. It is easierto make good decisions when everyoneinvolved—and the products involved—are all in the same place. Describing waysto modify packages and services to some-one who can’t see what you’re talkingabout is frustrating at best—especially ifthe consultation was an educational yetoverwhelming experience for you! Two


To capture images like this one, your photogra-pher must own and bring supplemental lightingand backup equipment. Photo by Ken Sklute.

(or more) heads are always better thanone.Once you feel good and are at peace

with your selection, book the photogra-pher immediately! Do not procrastinate.Dates book up very quickly and manybridal couples have lost their first-choicephotographer because they had to takeinformation home to discuss it with aparent or partner. Place the retainer ordeposit and begin completing the re-quired paperwork. Book your photogra-pher nine months to a year in advance. Assoon as you set your wedding date, beginsearching for a location and retain theservices of your photographer. Locationsand photographers both book quicklysince available dates and times are limit-ed, so don’t delay!Retainers and deposits are viewed dif-

ferently in every studio. Make sure youfully understand the studio’s require-ments and policies. Whether the studiorefers to the downpayment as a retaineror a deposit, the bottom line is you are

paying a fee to reserve the date andengage the photographer’s services tocover your event.Before placing your deposit, find out if

it is refundable in the event that yourevent is cancelled or postponed. Mostphotographers surveyed collect a nonre-fundable date reservation fee. This feecovers the time spent completing paper-work and coordinating time lines andconducting pre-wedding engagement orformal sessions. It also offsets potentiallost revenue if the date is not rebooked.In this time of blissful love the last thingon your mind is cancelling or postponingyour special day. However, it is better tobe safe than sorry. After all, life is neverpredictable!

THE CONTRACT

Before you turn over the retainer, reviewand solidify the paperwork. Be especiallywary of studios that do not have profes-sionally printed contracts. Characteris-tically, that implies one of two things:

they are not experienced in weddings orwedding coverage is not their specialty.Determine what percentage of the stu-dio’s business is wedding related and, nomatter what, require everything in writ-ing. Unfortunately, your photographer’sword is not good enough. You need doc-umentation for protection in the eventthat something goes wrong. Without it,you cannot make the photographeraccountable. Below are the considera-tions that should be included in yourwedding contract.Name and Contact Information.

The contract should include the names ofand contact information for both parties.Make sure that your contract specifies thename of the photographer who will becovering your event—not just the nameof the studio. Read the fine print for areplacement or substitute photographerclause.Complete Date and Coverage Time.

Be sure that the start and end times areclearly spelled out. If this changes be-


tween the initial contract signing and thewedding date, it is the bridal couple’sresponsibility to ensure that the dateand/or time portion of the contract ismodified in writing. Do not make adjust-ments over the phone. It adds to confu-sion and, legally, the photographer isonly obligated to follow the specified(written) contract times.Itemized Prices. Make sure that the

fees for each component of the photog-raphy service are clearly itemized. The listshould include prices for products aswell. This is important because, whenyou are booking a year or more inadvance, prices will often change. If youadhere to the time constraints imposed,any price increase should be absorbed bythe photographer.


When planning to photograph formal portraitsafter the ceremony, time management is a realconcern. Setting up a time line can help ensurethat everything runs smoothly. Be sure to discussthis with your photographer prior to the big day.Photo by Ken Sklute.

Payment Policies and CancellationClauses. Make certain you understandwhen payments are due and what thepolicy is not only if you cancel, but also ifthe photographer cancels your contract.Can you be bumped for a bigger, moreprofitable wedding?Hidden Charges. Search the contract

(especially the fine print) for hiddencharges such as contractual modificationcharges or overtime fees.Film Limits. Make sure that the

contract covers the minimum/maximumnumber of black & white and/or colorfilm images the photographer will take.Proof Policies. Be sure to find out

what type of proofs you will receive, andapproximately how many proofs you willreview. Weddings are uncontrollableevents and every wedding varies greatlydepending on the type of function, thenumber of guests and the pulse of theparty. Understand that the absolutenumber of proofs that will be created isan unknown, but the photographer

should be able to provide an estimatebased on the particulars of your wedding.Also, be sure that you understand whenyou will get your proofs, how you willreceive your proofs and how long youwill get to keep them.Product Pricing Clauses. How long

after the wedding will prices be secure?How long after the wedding can ordersbe placed?Album Order Guidelines. Under-

stand time restrictions for placing albumorders. Often couples are penalized forprocrastinating. If you take an extendedhoneymoon, will you be subject to high-er prices upon your return? Make suredesign time limits are placed in writing.Also, be sure that the contract containsthe estimated album completion timeframe in writing. If you pay for productup front, it is important to have docu-mentation that you’ve done so as well—in case the album is still incomplete sixmonths to a year or more after your spe-cial day and legal representation is

required. Some photographers, mostlyunprofessional or inexperienced ones,mismanage their funds and find they donot have the money to order the prod-uct, thus creating a delay. If you have atime frame in writing, however, you aremost likely not dealing with a culprit ofthis financial juggling.File Ownership. Copyright guide-

lines and negative policies should be dis-closed in the contract. Understand whoowns your file and your images. This areaof the law can be tricky and is often mis-understood. While the bridal couple ispaying for a studio/photographer to cap-ture their event and create images forthem, once an image is created it is actu-ally copyrighted to the photographer.Clients pay for the creation of the imageand the final product, but do not typical-ly pay for the copyright release of thefinal product. Thus, copying or repro-ducing the images in any form is prohib-ited under federal copyright laws and isstrictly enforced. With scanners and


image copiers easily accessible to clients,more photographers are processingviolations and national organizationsare assisting them in this endeavor.Infringement of these laws can beextremely costly—copying photographs

illegally is definitely not worth anypotential savings. Find out how long thephotographer will keep possession ofyour negatives and how much theycharge for the copyright release of yourimages.Model Releases. As specified above,

the photographer owns the copyright ofthe image. However, the law protects thecouple as well. Before a photographercan showcase images from your event,they have to receive a written and signedmodel release. This release should list indetail where the work may be showcased;for example, in studio displays, advertis-ing, on a web site and for instructional orinstitutional purposes with the higheststandards of taste and judgment. If appli-cable, it should also state whether or notphotographs of guests are subject to the

aforementioned uses and should be soadvised by the client. The model releaseis only valid if signed by the said client.Once you have reviewed the required

documentation and covered each of theabove considerations, it is most likely safeto sign on the dotted line. Be sure tomake a copy of the contract for your filesso you can review it as your wedding dayapproaches.


Although all you can think about is the love you feel and the excitement over your upcoming weddingday, getting all of the important details in order is a must! Don’t forget to inquire about cancellationfees and any additional expenses or penalties. Left photo by Deborah Lynn Ferro. Facing page photoby Barbara Rice.


Copyright guidelines and negative policies should be disclosed in the contract.Understand who owns your file and your images. Left photo by Patrick Rice. Abovephoto by Susan Powers.

Alot of time and energy goes intothe creation of a picture-perfectwedding. Photographs are tangi-

ble memories, records of the emotionsshared on your special day. Many of theimportant decisions you make—fromyour dress and veil to the wedding partyattire to makeup to the type of exit you’llselect to the décor at your reception—will either positively or negatively affectthe outcome of your images.

APPEARANCE

It is important to consider the color har-mony of the dresses, flowers and makeupof any of the key players, as all of thesevariables can make or break an image. Itis also important to consider the figuresof the bridal party when selecting bridalattire. One of the most effective ways toensure a great, cohesive look is to pick

out a material and color theme you pre-fer and allowing the bridal party to pickout styles that flatter their figures. (Thispreference also often extends to parentsand family members.) These matchinggowns look great in photographs andmake the party feel comfortable in thestyle they are wearing!Recently, a photographer shot a wed-

ding where the bride selected a beautifultaupe shade for the bridal party to wear.The mothers were instructed to wear acream or beige color. The sister of thegroom (who was not asked to be in thebridal party) was then added to the fam-ily portrait, and because she was wearing

a bold, deep-purple dress, she did notlook like an important member of theportrait. Be certain to include step-

P R E PA R I N G F O R Y O U R P H OTO G R A P H S 35

Your own appearance isn’t the only thing to con-sider when planning for wedding photographs.Discuss color harmony with your close relativesand bridal party attendants, or leave it to anexpert. Photo by Jeff Hawkins.

3. Preparing for Your Photographs

parents and siblings in this effort. It willmake them feel included and willimprove your images, too.Makeup is a tricky subject. Find a pro-

fessional who has lots of experience withwedding makeup so you don’t end uplooking washed out or overly made up.Selection and application is best left to aprofessional makeup artist who can ana-lyze your skin tone and how your make-up works with your flowers, your bridalparty’s attire and the room décor.Formal pre-wedding images will help

you to see how everything looks prior tothe big day. When you see these images,you can determine whether any changesneed to be made to your appearance. Formore information on formal portraits,see chapter 4.

EXITS

The wedding day is coming to a close,and your big exit is fast approaching.Most locations do not encourage receiv-ing lines or the throwing of rice, so how


The big exit is a fun part of the wedding and an important shot in many albums. Above photo by JeffHawkins. Facing page photo by Stewart Powers.

do you make your exit? Commonly, youand the groom will not make two grandexits on the same day. Instead, you willneed to determine which location ismore appropriate for the big exit—the

site of the ceremony or the receptionhall.Even with the use of private time (dis-

cussed in chapter 4), normally there aresome formal photographs that must be

captured after the ceremony. Therefore,most couples elect to have their big exitafter the reception as long as their pho-tographer is scheduled to stay until theconclusion of the event. Regardless ofwhen it is done the most common exitprops used today are streamers, bubbles,butterflies, bells, doves, rose petals, can-dles, organic rice and confetti.Exits are important in storytelling

photography. They serve as scene settersthat conclude the ceremony chapter andthe end of the album. PhotographerDoug Box adds, “All of the exits can beeffective and make for fun photographs.However, the bride and groom shouldconsult the photographer ahead of timeto get the photographer’s suggestions onhow to capture these special momentsand orchestrate the event. Recently, abride had a small container of bubbles onthe seat for each person with a note toblow the bubbles as the bride and groomexcited the ceremony. (It was an outdoorceremony.) Only two or three people did


Whether it’s with bubbles or streamers, be sureto coordinate your exit with your photographer.Above photo by Deborah Lynn Ferro. Right photoby Stewart Powers.

as she requested.” Doug mentioned thatif she had discussed this with him, hewould have suggested assigning peopleahead of time to inform the guests aboutthe plan. He recommends having thepastor or the justice of the peace make anannouncement after the kiss, as this canlead to better prepared guests.Photographer Patrick Rice points out

that church exits can be tricky. He sug-gests being realistic with your exit expec-tations and coordinating with your pho-tographer to make the best transition.No matter how you plan your exit,

however, it should be exciting! Here aresome ideas:

• Doves have great symbolism andimpact, but use more than two forthe ultimate images.

• Streamers can block the view of thephotographer when he or she isphotographing the bride andgroom. Make sure everyone hasplenty of room to move!

• Sparklers have become popular butyou have to consider the possibili-ties of damage to the dress and theamount of smoke they generate.

• Butterflies rarely fly simultaneously,so the supposed “Wow!” finishoften becomes a series of smaller“Ahs. . . .” They are best used foroutdoor ceremonies.

• Bells and candles can be cute, butthey don’t necessarily add a lot ofoomph to your images.

• Organic rice is great for photo-graphs, but be prepared—you willbe a sticky mess by the time youget back to your hotel room!

• When coordinated correctly, bub-bles and rose petals are usually themost photogenic!

Whichever type of exit you select,know that it will become an intricate partof your story line. Like many other pho-tographers, photographers Stewart andSusan Powers believe, “Exits are vital tothe story, so they [the bride and groom]prepare for them as much as possible.Each bride has a different idea for herexit. Some are grand, some are fast andsome are furious!” They suggest youinform your photographer of your plansahead of time so he or she can preparewith fresh batteries, new flash cards andthe right lens and be ready to go whenyou are! An exit image will help definethe sequence of the event.Photographer Andy Marcus explains

that using exit images in the album canhelp to visually convey a good story and


Receiving LinesReceiving lines have become passé because they are time-consuming and, coupled with the for-

mal portraits, it lengthens the amount of time away from the guests.

the specialness of the day. Exit imageshelp to create a rhythm, a time line—andhelp to create a more valuable album.

THE RECEPTION DECOR

When conceptualizing the décor for thereception, consider the fact that manyphotographs will be taken in the room.To ensure great images, consider colorharmony of the décor and lighting.Magical hues can be created by the deco-rator, the lighting technicians and ofteneven the photographer. Different coloredgels and filters can alter the ambience ofthe event. Lighting can be added to thewalls, the dance floor or the décor by thelighting technicians or even decorators—or a colored gel can be added to an exter-nal flash to create interesting back-grounds by your photographer. Pink andblue hues can add a mystical touch toyour atmosphere, while brighter, boldercolors can pump up the party as theevening progresses. Consult with a pro-fessional to ensure the color is lighting

up the appropriate areas and not washingout your skin tones! Your lighting effectscan be dramatic or subtle, depending onyour budget. However, simply using spe-cial lighting for the main events like thefirst dance or the toast can add excite-ment to your wedding day and creativityto your images!Once the images are captured, there

are many ways in which they can be usedat the reception. Some couples purchasesignature frames, which can be auto-graphed by guests. Many couples useimage reflection displays—a slide show ofcontinuously-running images from thewedding day. If any of these options areimportant to you, you’ll need to discussthem with your photographer and makearrangements for their use when you planyour reception. Additionally, if your pho-tographer offers online ordering throughhis or her web site, you’ll need to placeorder-instruction cards at each guest’splace setting. For more information onthese topics, see chapter 6.

RECEPTION DISPLAYS

If your photographer has access to a dig-ital camera, consider using an imagereflection display at your reception.Image Reflection Displays. Also

consider creating an image reflection dis-play—a stream of images displayed on alaptop or television—at the reception. Itprovides entertainment for the grand-parents who may be tired and for anyguests that do not like to dance. Properlyplaced, the display will not distract fromthe activities scheduled for your specialday.This display can be set up in three

different ways, depending on your pref-erence. First, consider keeping thingssimple: you can set up the laptop on ahighboy cocktail table with a candle anda small flower arrangement. Place the dis-play near the gift table or close to theexit. When people are leaving they will beastounded to see images from the day onthese screens! You might also considerviewing your images on a large-screen


TV. This choice is most commonly usedwhen the television is already part of thedécor, like at a country club. It is not rec-ommended that you wheel the TV in ona cart, as it may ruin the ambience of theroom. Finally, if you want to make agrand statement, hook up a laptop toplasma screens (flat, lightweight screens

that can be hung on the wall like a pho-tograph) and, during dinner, display theimages made throughout the day. Thisdisplay gives your guests something tolook at and adds a little excitement toyour special day. A word of caution: donot add music or special effects to yourslide show. A slide show is designed to

add a creative special touch to yourevent—it should not steal the show. Forthis reason, be sure that its placementdoesn’t dominate the mood of the room.

THANK-YOU GIFTS

If your photographer has used a digitalcamera to capture some of your images,discuss the possibility of having digitalprints made at the reception and placedinto special frames. You can also haveminiature albums made for your bridalparty attendants—either of these makegreat thank-you gifts at the conclusion ofthe reception. Of course, the presenta-tion will take some preparation. Becauseyou will present your gifts at the recep-tion site, some preparations need to bemade prior to the wedding day. You willneed to select a frame and purchasethank-you cards to accompany each gift.Do not forget a gift bag!With the latest photographic technol-

ogy, qualified photographers with state-of-the-art equipment can print beautiful


With the technology available today, you can consider showcasing your wedding images at thereception. Photo by Jeff Hawkins.

20x24-inch prints with no pixelation ordistortion. Framed 5x7- or 8x10-inchwedding images (commonly referred toas wedding day gift frames) are a verypopular gift for parents, loved ones andeven for the new husband from thebride! Most photography studios requirea three-frame or three–gift album mini-mum purchase, because the help of anassistant is required and a special printermust be calibrated to suit the system.Make sure you coordinate the use of aprivate meeting room near the receptionhall where the photographer or his assis-tant can turn on the lights and prepareyour images.

42

Wedding day gift frames are a special touch.Photos and gift frames by Jeff Hawkins.

The tedious task of selecting a pho-tographer is complete, but yourpre–wedding day obligations are

not. After analyzing your photographer’spersonality and style, firming up yourbudget and solidifying your paperwork,you’ll need to discuss and schedule yourpre–wedding day sessions.Pre–wedding day meetings vary from

studio to studio, but the most common-ly scheduled appointments include theengagement session, formal bridal por-trait session and a planning session.

THE ENGAGEMENT SESSION

The first appointment scheduled is char-acteristically the engagement portrait ses-sion. This session should be scheduled asearly as possible, preferably at least six toeight weeks prior to the wedding day.Depending on your photographer’s style

B E F O R E Y O U R W E D D I N G D AY 43

Discuss attire,location andprops with yourphotographerprior to yourengagementsession. Photoby Jeff Hawkins.

4. Before Your Wedding Day

of coverage, it can be a traditionalengagement session using a backdrop orclassic portrait lighting and posing tech-niques or can have more of a fashion orphotojournalistic flair. Discuss wardrobe,location and props before your sitting.The engagement session is valuable,because it allows you and your fiancé towork closely with your photographerprior to your special day. It also gives thephotographer the opportunity to deter-mine your most photographic angles andfeatures. Additionally, the photographerwill get to know your tastes and prefer-ences as he or she begins to see theimages that you select. When attending

an engagement session, consider the fol-lowing suggestions.Scheduling. Schedule your portrait

session a minimum of six to eight weeksprior to your wedding day. The sooner itis scheduled, the better. If you will bescheduling an environmental session,keep in mind that the best time to pho-tograph outdoors is usually early in themorning or late in the afternoon (theexact time will vary depending on thedemographics, the heat index and thelevel of direct sunlight). Also rememberthat weekends are generally very busy forwedding photographers, so creativescheduling might be in order. Plan to

take an afternoon off from work, orschedule the session before you go in towork one morning.Clothing. Choose outfits that fit your

personality and make you feel attractive.Make sure that the color and style ofyour clothing harmonizes with yourfiancé’s attire. Avoid heavy patterns orstripes; solid, neutral colors look best.Also, make sure that your clothing is suit-able for the season in which you arebeing photographed—that one of you isnot wearing shorts, and the other, asweater.Props. Start thinking about props—

they can make your photograph unique.Consider a picnic basket, wine glasses, amusical instrument, or even a pet.Photographers can also often work withlarger objects such as boats, sports cars,planes or motorcycles.Location. Don’t worry so much

about the location! After you chooseyour wardrobe and props, schedule yourappointment and discuss your thoughts


Clothing Faux PasClothing can make or break a portrait. Some clothing choices are better for portraits than others.

For instance, you should never wear a short skirt or shorts, as these make posing more difficult. Long,

flowing dresses, jeans, or khakis are better selections. Additionally, it’s important to create a har-

monious look in the portrait. When your clothing choice complements your fiancé’s clothing, you

look like you belong together. Also, this way, when a viewer looks at the portrait, he or she will

be drawn to your faces, not your clothing!

on a possible location. Don’t become tooset in any location preconceptions youmay have, however. As a rule, photogra-phers have access to many secret hide-aways that you may not even knowabout.Ideas. Become alert to interesting

photographs. Look for romantic post-cards or magazine advertisements. Oftenthe photographer can recreate art withyou as the subject!Bring a Friend. Finally, consider

bringing a close relative or friend along.He or she can stand next to the photog-rapher and help you show a real smile—and sometimes the photographer can justas easily do two sittings at once! Perhapsyou can give Mom the family portrait shehas been talking about. (Remember todiscuss this option with your photogra-pher prior to scheduling your session.)Fun. Have fun! Let the photographer

capture you being you.After your session, consult with your

photographer about when your proofs

will be ready and how they will be pre-pared. Proofs are the raw “sample”images from which you will choose your

favorite image(s). Keep in mind thatretouching and color correction mayvastly improve the image. For additional


In addition to framed prints, many couples choose to create a designer engagement book to show-case their favorite images from the session. Photos and album by Jeff Hawkins.

information on proofs and proofingmethods, see chapter 6.There are many ways in which your

image can be displayed at your weddingreception. Be sure to discuss youroptions with your photographer. Manycouples choose to display a love portrait.You might also consider a designer signa-ture frame, a guest book, using anengagement photograph in the invita-tions or using these portraits as bridalparty or parents’ gifts. Wall folios are alsovery popular, as are custom-framedimages. It is important to provide roomin your pre–wedding day budget for anyof these “extras” that you may be inter-ested in. Generally, these products arenot included in your pricing levels.


A signature-ready guest book showcasing yourengagement portrait can be a fantastic additionto your reception. Be sure to use acid-free artpens and to assign someone to monitor the sign-ing. You may also elect to add your names incalligraphy on each page. Photo by JeffHawkins.


Using a signature frame—one specificallydesigned with a large mat that is ready to beautographed—is a unique way to record thenames of everyone in attendance for your bigday. Photo by Jeff Hawkins. Custom framing your engagement, formal bridal and wedding day images adds an elegant appeal.

Consider displaying your framed images at the reception entrance. The price of custom-framedimages will vary based on the image and frame style selected. Photos by Jeff Hawkins.

THE FORMAL PORTRAIT SESSION

The second appointment scheduled isthe formal bridal portrait session, whichis scheduled three to six weeks before thewedding. Be sure to tell the bridal shopwhen to have the dress ready! While youmay be reluctant to schedule your sessionfor fear of damaging your dress, remem-ber that a formal bridal session is essen-tially a dress rehearsal for your big day.After the session, you may find out thatthe florist, makeup artist, hairstylist, oreven the photographer have a visionthat’s different from yours. If you findthat you’re unhappy with your hair,makeup, flowers, etc., on the weddingday, it will most likely be too late to cor-rect it. The formal portrait session pro-vides you with the opportunity to makeany necessary changes. The session alsogives the bride a chance to become com-fortable in her dress. Photographer DougBox believes that when a bride puts onher dress and walks back and forth at abridal shop, she is not really “wearing”

her dress—she doesn’t quite get the fulleffect, and doesn’t know how it will feelto live in the dress for the day.In a recent interview, Doug noted that

a large number of his brides changesomething about their hair, makeup, ordress after a bridal portrait. He recalls aparticular bride whose dress seemed theperfect length at the bridal shop, but atthe portrait session suddenly seemed abit too long.Another benefit of the formal portrait

session is that you will receive a wonder-ful portrait that captures the beauty ofyour special dress. Doug also points outthat having a bridal portrait on display atthe reception provides everyone with theopportunity to take a close look at thedetails that make the dress perfect whilethe bride is walking around laughing,talking, dancing and having a great time.Before scheduling your session, there aresome things to consider.Location. Discuss with the photogra-

pher where the session will take place.


A formal bridal portrait session is a wonderfulway to prepare for your big day. Think of it asyour dress rehearsal! Photo above by JeffHawkins. Facing page photo by Andy Marcus.

Again, for environmental sessions, thebest time to photograph outside is usual-ly early in the morning or late in theafternoon. (Again, the time will varydepending on the demographics, theheat index and the level of direct sun-light.) If the session will be conductedindoors, then, prior to the wedding day,you may need to get permission to pho-tograph on location. (Don’t try to get bywithout it—your photographer will mostlikely be dressed professionally, and wed-ding attire typically flags people’s atten-tion.) Also remember that weekends aregenerally very busy for wedding photog-raphers, so creative scheduling might benecessary. Again, schedule your sessionbefore you go in to work, or try to get anafternoon off to attend the session.Dress and Veil. Consult with the

dress shop to coordinate the arrival ofyour dress and veil. PhotographerDeborah Lynn Ferro believes it is impor-tant to use your train and your veil whencreating a bridal portrait. She adds, “A


Long trains and beautiful veils will add beauty and eleganceto your portrait. Photos by Andy Marcus.

long veil can add creativity to portraitsand a long train creates instant glamourin the portrait.”Flowers. Discuss the formal session

with your florist and ask her to make upa complementary or smaller version ofyour bouquet. Photographer DeborahLyn Ferro also recommends, “Whenchoosing a bouquet for a formal bridalportrait, keep in mind that flowersshould not overpower the face. You want


This bride even picked up the cool pink hues inher bouquet by adding a touch of pink lip glosson her flower girls’ lips. They all have a fresh,springtime glow! Photo by Deborah Lynn Ferro.

ABOVE—Select flower colors that will coordi-nate nicely with the bridal party and the churchand venue décor. Photo by Douglas Allen Box.RIGHT—While bright gold roses are very beauti-ful, be sure to consider how the photographsmight render the flowers versus the skin tone ofeach of the members of your bridal party. If sev-eral of your bridesmaids are fair-skinned, youmight be better off selecting a complementarycolor. Photo by Stewart Powers.

[viewers] to be drawn to the bride’s facebefore the flowers.”Assistants. Recruit assistants to help

you during your portrait session. Youmay be intimidated by a formal bridalportrait session for fear that you mightdamage your dress. This is understand-able. Bring along your maid of honor orperhaps your mother. The more help, thebetter! Your assistant can help you getready and ensure that your dress is keptoff of the ground as much as possible.Bring a flat bedsheet (or two) to the ses-sion and have your assistant place it onthe ground before your dress is set down.This will allow you to sit as needed, with-out worrying about damaging yourdress.Communication. Remember to pull

the reins back as required. If you hired apassionate artist, you may get caught upin his/her creativity and excitement andyour session may start moving fast.Understand that it is your session andyour dress. If you need to communicate

with your photographer, simply say, “Iknow you are excited and that’s great,but I want to take it slow and be morecareful today.” The day of the wedding,the photographer can typically be as pas-sionate as possible—after the ceremony,

you won’t be as concerned about gettingyour dress dirty.Hair and Makeup. Schedule your

hair and makeup appointment with thesame person whose services you plan touse on the wedding day, and make sure


For your pre-wedding session, schedule an appointment with the same person who will be doing yourhair and makeup on your wedding day. Photo by Andy Marcus.

that your makeup is done exactly the wayyou will wear it later. Recently, a brideselected makeup in shades of pink andpurple for her spring wedding. The col-ors looked beautiful with her dark hairand dark eyes, and she looked fabulous!However, when she did her formal bridalportrait session, she pulled out a brightvibrant red rose bouquet. In all her for-

mal portraits, her lips jumped out of thephotograph! She did not create harmonyfrom head to toe! Makeup and flowercolors are more obvious when you areonly wearing white everywhere else!In another instance a bride selected a

beautiful pink flower bouquet to hold onher special day. She was more of a natu-ral-looking bride, so together with hermakeup artist they selected shades ofbrown for her eyes, blush and lips.Everything looked beautiful, except for

her lips! The brown shade of lipstick wasnot neutral, it had an orange undertone.Once on, it picked up a caramel color.Since she did not do a formal bridal por-trait, we did not discover the problemuntil the wedding day. This would nothave been a dilemma if the bouquet andthe bridesmaids’ dresses were rust, tan orcoral. But together with the bright pinkcolors, her lips looked huge! Her lips andbouquet were very noticeable.


Be sure to hire a professional makeup artist whohas experience with wedding photography.Photos by Jeff Hawkins.

Again, a formal bridal portrait sessionprovides you with a pre–wedding daydress rehearsal. It allows you to see thefinal results pieced together and also pro-vides you with the time to make any nec-essary changes!


Ten Common Makeup MistakesAll eyes will be focused on you—make sure

every inch looks picture-perfect!

1. Do Use Proper Skin Care. Start a basic

skin care routine at least two to three months

before your wedding day. A morning and

evening regimen of cleansing, freshening and

moisturizing primes your face for a beautiful

makeup look. If you already use a skin care pro-

gram, try altering a few of the products. Often

skin becomes stagnant and comfortable if the

same products are used for too long.

2. Do Wear Makeup. Frequently, the filter

a photographer uses softens your look and

washes you out. Also, most brides love black &

white photography, but without the proper

makeup your features become drab, especially

since they are surrounded by a white dress and

veil. Use makeup to add pizzazz to your por-

trait and define your best features. Minor imper-

fections can be color corrected using conceal-

er. A talented makeup artist can give you the

natural look you may desire while enhancing

your features with makeup. Again, you will be

able to alter your makeup based on the results

of your pre-wedding portraits.

3. Do Create Color Harmony. Strive for

color harmony between your makeup, clothing

and surroundings. To harmonize, select flowers

and dresses with a single undertone; for exam-

ple, choose accessories within either the cool

(blue undertone) or warm (orange undertone)

color families. Harmonize your lip color, cheek

color and nail color, too. The entire bridal party

and important family members should all follow

this rule. Neutral brown makeup colors photo-

graph the best in both black & white and color

portraiture. Your makeup should work well with

the prominent colors in the ceremony and the

reception site as well. If the church has a bright

orange/red carpet, you probably should not

select a purple bridesmaid’s dress, purple flow-

ers and purple eye shadow. If you do not heed

this advice, the colors in your church and bridal

party photographs will clash and your images

will not be as beautiful as the samples you

viewed in your photographer’s studio.

4. Consider Neutral Colors. Consider

color harmony when selecting your eye shad-

ow, as well, but bear in mind that neutral color

will bring out your eye color more than a more

prominent shade. From a photographic point of

view, neutral brown eye shadow looks best on

brides with blue, green or hazel eyes, and cool-

If one of these bridesmaids chose pink lipstick,it surely would be noticeable in the image!Photo by Ken Sklute.

THE PLANNING SESSION

The final stage of your pre–wedding dayobligations is the planning session. Youhave most likely spent some time withyour photographer between the inter-views, the engagement and formal por-trait sessions and the viewing of yourproofs. Hopefully, you are beginning todevelop a relationship and a bond withhim or her.The planning session will help you to

finalize all the details of your day andmake sure everything is coordinated effi-ciently and effectively. This session isgenerally scheduled for one or two weeksbefore your big day. At your planningsession, you will need to narrow downthe time lines, compile your must-haveimage lists and discuss any restrictions orrequirements.The first portion of the pre–wedding

day session should be spent choreo-graphing the wedding-day time line. Thisshould be reviewed with the weddingcoordinator, the people in charge at the


er-toned color look best on brides with brown

eyes. Brown shades with a purple, fig or blue

hue are a popular choice; they make the eye

color, not the eye shadow, the focal point.

5. Do Use Waterproof Mascara. This is

one of the happiest moments of your life, and

undoubtedly you’ll shed a few tears. Make sure

you, your bridal party and all the female mem-

bers of your family use waterproof mascara.

Also suggest layering black and brown mas-

cara to create a longer-looking lash. If you

have light lashes, first apply brown mascara,

then apply black mascara to the tips of your

lashes. Do the opposite if you have dark lashes.

6. Do Use Lipstick and Lip Liner. Select a

lipstick rich in moisturizers for the ultimate kiss-

able lips! First line then fill in your entire lip, then

use a brush to apply color. Reapply for staying

power. Add a touch of gloss for shine if you

prefer, but avoid a frosted lip color. Frosted lip-

sticks are not always picture friendly!

7. Do Wear the Correct Foundation

Shade. Select a shade that matches your skin

at the jawline. Blend it well, especially in the

hair- and jawline areas! This gives the skin a

smooth finish.

8. Do Use Facial Powder. A translucent

facial powder will set your makeup and pro-

vide a matte finish. It also helps prevent oil

breakthrough and shine. Always select powder

in the shade closest to your skin tone. Pressed

powder is portable and can be used throughout

the day.

9. Do Use the Correct Blush Brush. Blush

should provide a soft glow. With a white veil

and a white dress your wardrobe will create a

highlight for your face. Adding a splash of color

is important for creating contrast and a healthy

glow. Blush should never look streaky or

blotchy. For a sheer application use a blusher

brush. Lightly dust facial powder over the blush

to tone down the color. Wherever you lay the

brush first is where the most color will be

applied.

10. Do Use a Professional! Great skin care

and makeup isn’t something you buy, it is some-

thing you learn. Hire a professional to help you.

Make sure she has ample experience in apply-

ing wedding-day makeup. Get a referral from

your photographer; she will usually be able to

tell you who will make you look the most beau-

tiful on your wedding day and in all your pho-

tographs. Not every cosmetologist knows how

to do hair and makeup for the camera. Also, be

certain to discuss your color selections with

your makeup artist.

ceremony site and the reception facilita-tor. The couple should consider the styleof coverage they selected and how muchformal and candid portraiture they wantto have captured. Meshing traditionaland photojournalistic styles of coveragecan sometimes be tricky for the photog-rapher and the couple when workingwith a limited time span. Reviewingexactly what you want with the photog-rapher beforehand is important. Discusswhat is involved with taking imagesbefore the ceremony, after the ceremonyand, sometimes, even after the reception.To formulate a plan, review the must-have photo list found on page 72, andupdate it so that it reflects all of your per-sonal image needs. Be sure to considerany special religious or ethnic traditionsthat you want captured on film, as thephotographer might not otherwise beprepared for these images. Next, selectthe time frame that works best for you.Time Frames. There are three “time

lines,” you should consider when plan-

ning for your wedding images. You willneed to select the one that best suits yourparticular needs.PRIVATE TIME SCHEDULE. Many pho-

tographers schedule private time—a con-cept designed to promote time manage-ment—and conduct the formal posedimages before the ceremony. Private timeis typically conducted three hours beforethe ceremony and can be done with thebride and groom alone or with the entirebridal party. During this time away fromthe guests, the photographer can captureimages of the couple, the family and thebridal party interacting naturally.Private time goes against the grain of a

long-standing tradition—that of thebride and groom not seeing each otherprior to the wedding ceremony. This tra-dition arose from the fear that in anarranged marriage, the bride or groomcould elect to rebel and cancel thearrangement if they had the chance. Theprivate time concept throws out traditionand allows the couple to share a private

moment before the ceremony. At thistime, the flowers are freshest and the hairand makeup look their best, making itthe best time to capture photographs.Private time alleviates the stress and pres-


sures of the day and changes the tone ofthe posed photographs.When scheduling private time, discuss

with your photographer how you and thegroom will see each other for the first

time to ensure the most memorable sce-nario. Often the bride will be staged in aroom holding her flowers with her trainflowing and looking breathtakingly beau-tiful and then the photographer will cap-


Private time can be very special for a couple. Itprovides an opportunity to reflect on the eventsto come, to pray together or just to enjoy somesimple solitude. Photos by Stewart Powers.

ture the pacing groom’s entrance. If youopt for private time, after the initialmeeting, ask the photographer to leaveyou alone to enjoy a private “moment.”(This can last anywhere from five toforty-five minutes, but remember, it willaffect the time line for your day.) Thistime alone allows you to pray together,discuss what you are about to do, enjoyeach other’s company, spend some timealone away from confusion and chaos,and simply reduce stress.When you are ready to appear, you

may get all of your formal portraits out of

Private time makes possible the creation ofsome very special images. (However, make sureto allocate enough time to get freshened up orremove sand from your shoes before walkingdown the aisle!) Left and facing page photos byStewart Powers. Photo directly below by JeffHawkins. Bottom photo by Susan Powers.

the way before the ceremony begins.Overall, most couples that experienceprivate time are pleased with their deci-sion. Using private time allows the pho-tographer to give the client completecoverage and produce fabulous images,which is very advantageous for all parties.To schedule private time, you’ll need

to map out the major events that you willneed to devote your time to throughoutthe day. To clarify the sort of planningand timing that’s required for privatetime, we’ll look at a schedule used byTerri and Thomas.Terri and Thomas are getting married

at the Holy Church at 3:00 p.m. onSaturday and have opted for a privatetime schedule. Below is a sample of thetime line that they have worked out withtheir photographer.

Pre-Ceremony

• Flowers will arrive at 1:00. (Do not schedule

your portrait sessions without flowers! You

will not want bridal party images without


Ask your photographer to begin working an hour or two before the ceremony. Pre-ceremony photo-graphs can be full of emotion! Photo by Andy Marcus.

bouquets, and it is unnecessary to take the

time to photograph these sessions twice.)

• Bride will be dressed and ready by 1:30.

• Groom will enter the private time room at

1:30.

• The couple will begin their private time

session at 1:30 at the Holy Church.

• The bridal party and family will meet at the

front steps of the Holy Church at 1:45.

• The pre-ceremony session will conclude at

2:30 to allow the couple time to freshen up.

(Bride must be “tucked away” at least 1/2

hour prior to the ceremony).

Ceremony

• Post-ceremony photographs will begin at

3:30.

• Post-ceremony portraits with grandparents

and other relatives (as needed) will begin at

the conclusion of the ceremony (minimal time

required).

TRADITIONAL SCHEDULE. This optionis perfect if the couple wants the groomto first see the bride-to-be as she enters

the church and walks down the aisle.Various portraits can be made of some ofthe players in the wedding early on (pre-ceremony), but if you want to uphold thetradition of staying out of the groom’ssight before the ceremony begins, thenyour couple’s portraits will not beginuntil the ceremony does. Of course, care-ful coordination and time managementwill come into play. To ensure that thephotographer has enough time to getplenty of images of you and the groomafter the ceremony, he or she can capturethe getting-ready images, images of thebride and her family, the groom and hisfamily, guests arriving, the groomsmenpacing, etc., an hour or two before theceremony starts.To most couples, the details of the cer-

emony are a blur. Try to mentally prepareyourself for this moment in order toabsorb as much of it as possible. Wearingyour dress, practice walking down theaisle with your father so that when thereal moment arrives you are not stuck


A wedding consists of many wonderful momentsthat pass in a blur—photos like this help pre-serve every detail. Photo by Kathleen Hawkins.

thinking about tripping or him steppingon your gown. Instead of looking downhopefully, you will be able to look for-ward and find your fiancé.The groom can prepare himself as

well. Typically, he cannot express hisemotions, because all he can think aboutis that hundreds of people are waiting tosee his response as he first lays eyes onyou. Discuss with him the importance ofbeing himself and tell him not to worryso much about showing his emotions.Most importantly, try to live in themoment and allow the photographer tocapture your true emotions and feelings.An example of the timing required for

a traditional time line follows:Ashlyn and Joe are getting married on

Saturday at 12:00 p.m. at City ViewPark. Because they believe the bride and

When capturing the formal portraits after theceremony, the photographer is required to workso fast that using special lenses and capturingdifferent angles may not be an option. Photo byPatrick Rice.

groom should not see each other prior tothe wedding, they have elected to haveall of the bride-and-groom posed photo-graphs taken after the ceremony. Tomake sure that their schedule flowssmoothly, they plan to begin their sessionan hour or two prior to the ceremony.Their traditional time line schedule isshown below:(Note: Times may be adjusted accord-

ing to location, schedule and type ofevent.)

Pre-Ceremony

• Flowers will arrive at 10:30.


• Bride’s family and bridal party will be ready

to be photographed at 10:30.

• Groom will arrive at ceremony site at 11:00.

• The groom and family will meet at the

western side of the park for photographs at

11:00.

• All the posed images, excluding ones that

include both the bride and groom, will be

taken prior to the start of the ceremony.

(Bride must be tucked away at least 1/2 hour

prior to the ceremony to stay out of the

view of the guests and groom.)

Ceremony

Photo session begins immediately following the

ceremony. (Allow a minimum of forty-five min-

utes after the ceremony for posed groupings.

This can be adjusted based on the size of the

bridal party and number of family members.

When conducting post-ceremony portraits

avoid receiving lines when possible, as this will

reduce the amount of time available for por-

traits. If photo time is short at the ceremony

site, consider conducting the portrait session at

the reception venue.)

Reception

Additional images of the couple or bridal party

will be taken at the reception location as

deemed appropriate. (Clarify start and end

time and locations.)


You have hired an expert and should not have totell your photographer what type of ceremonycoverage you are looking for. However, anyunique desires or requests should be discussed.Photo by Susan Powers.


ABOVE—If you plan to conduct your formal ses-sions after your reception, be sure to allow suf-ficient time to freshen up and still take advan-tage of daylight. Photo by Jeff Hawkins. RIGHT—Discuss with your photographer prior to your bigday any unique images you wish to have cap-tured. Photo by Andy Marcus.


These images introduce the groom and his menbefore the ceremony. Photos by Ken Sklute.


These are classic images of the ceremony thatyou should not have to go over in detail—besure to notify your photographer, however, ifyour ceremony contains any special featuresyou want to be sure to have captured. Left photoby Stewart Powers. Above photos by Ken Sklute.

Reception photos can be classic or contemporary but should be consistent in style with the rest of the wedding. Be sure to advise your photographer ofany special attendees or unique events you want captured. Left photo by Deborah Lynn Ferro. Right photo by Andy Marcus.


Careful time management should allow for astress-free blend of traditional and photojour-nalistic portraiture for the bride, groom and theentire wedding party. Above photo by DeborahLynn Ferro. Right photo by Ken Sklute. Facingpage photo by Andy Marcus.

POST-RECEPTION PHOTOGRAPHS. For thecouple that simply doesn’t have enoughtime scheduled in their day or has anearly morning ceremony, scheduling por-traits at the conclusion of the receptionmay be an option. If electing this option,be sure to allow time for you and thebridal party to freshen up before the por-trait session. Normally, the flowers, hairand makeup are not the freshest at thispoint. You will also want to make surethat your photographer is contracted tostay for a sufficient length of time afterthe reception to get all of the images youdesire. Leave room in your schedule forthe unplanned. One never knows whatmay happen and cause delays.Post-reception photography is not the

most popular approach, but it may beneeded for your day. Many couples who

have selected this option have been veryhappy with their decision.For instance, Debbie and Mel, who

are getting married at the Hawkins estateon Saturday, at 10:00 a.m., have opted toconduct all of their posed family photo-graphs after the reception. A copy oftheir schedule appears below.(Note: Times may be adjusted accord-

ing to location, schedule, and type ofevent.)

Pre-Ceremony

• Flowers will arrive at 8:30.


• Pre-ceremony photos will begin at 8:30.

• Bride’s family and bridal party will be ready

at 9:00.

• Groom will arrive at the ceremony site at

9:00.

Ceremony

• The ceremony will begin at 10:00.

• The reception will begin after the ceremony

and be followed by formal portraits

Reception

• Additional photojournalistic images with the

couple or bridal party at the reception

location and throughout the event.

• Reception concludes at 2:00.

• Bridal party freshens up from 2:00 to 2:30.

• Post-reception portraits begin at 2:30 at the

Hawkins estate. (Allow a minimum of forty-

five minutes for posed groupings. This can

be adjusted based on the size of the bridal

party, number of family members and style

of photography selected. When conducting

post-reception photographs it is imperative

that your bridal party doesn’t wander off,

leave early or arrive late for the session.)

Whether you select private time, a tra-ditional session or post-reception photo-graphs, allow time to get away from thehustle and bustle of the day and savor themoment alone. If you allow your pho-tographer to discreetly tag along, it willallow him or her to capture some inti-mate, expressive moments. Careful timemanagement should allow for a stress-


Photographic needs based on specific religionsand cultural traditions vary. Make sure your pho-tographer is familiar with yours. Photo by JeffHawkins.


The Must-Have Photo ListPRE-CEREMONY

• Bride and bridesmaids getting ready

• Bride by herself if formals were not

done prior to the wedding day

• Bride with each parent individually (list

stepparents if applicable)

• Bride with parents together

• Bride with each bridesmaid

• Bride with bridal party group

• Groom and groomsmen getting ready

• Groom by himself

• Groom with each parent individually (list

stepparents if applicable)

• Groom with parents together

• Groom with each groomsman

• Groom with his groomsmen

CEREMONY IMAGES

• Bride in foyer with father, pending

entrance

• Bride entering with father

• Parents lighting the unity candle

• Exchange of roses with parents

• Readers reciting verses

• Communion

• Ring exchange

• Gift exchange with step children

• Music solo by friend or musician

• Front image of parents sitting in pew (if

allowed at ceremony location)

• Overview Balcony image (if permitted at

ceremony location)

• Exit of bride and groom leaving ceremo-

ny, plus any other requested exit shots.

STANDARD POST-CEREMONY FORMALS

• Bride and groom together

• Bride and groom with bride’s parents

• Bride and groom with siblings

• Extended family portraits (indicate

whether or not both bride and groom

should be in those images)

• Bride and groom with grandparents

(These are easier to set up if you start

with a larger family portrait and then

break down into smaller groupings by

removing extended relatives.)

• Bride and groom with groomsmen

• Bride and groom with bridal party

• Bride and groom with entire wedding

party

• Special requests

RECEPTION IMAGES

• Entrances

• Special dances (list who and estimated

time—i.e., first dance, mother and father

dances, etc.)

• Fraternity or sorority songs or traditional

activities

• Planned speeches or toasts

• Anniversary dances or grandparent

dances

• Cake cutting

• Groom’s cake cutting if applicable

• Garter toss or bouquet toss

• Gift presentations

• Planned exits

free blend of traditional and photojour-nalistic portraiture for the bride, groomand the entire bridal party.Photo Lists. The must-have photo

list is essential to proper planning, andgoes hand-in-hand with the formulationof time lines. After all, the types ofimages you desire will dictate the timeline to some degree.Some photographers welcome photo

lists, while others prefer that you don’tprepare one. The main reason bridal con-sultants and bridal publications promotethe use of these lists is to ensure that allof the photographs that are important tothe couple are captured. An inexperi-enced or unorganized photographermight miss an important image without alist. An experienced professional photog-rapher, on the other hand, will most like-ly use a system or routine to ensure thatall groupings are documented. Providingthese prepared photographers with a listwill often muddle their routines and cre-ate havoc.


Photo lists can be a helpful resource, but they should not be so rigid that they stifle the photograph-er’s creativity or cause him/her to miss the opportunity to capture spontaneous, emotional moments.Photo by Susan Powers.

All of the traditional photographs andspecial-request images must be capturedwithout hindering the photographer’screativity. If a photographer is forced towork solely from an image list he or shewill be less likely to pay attention to emo-tions and activities around them duringthe formal portrait session. The standardimages are not as commonly missed asthe unusual ones or special requests. Forexample, an image of the bride and herstepfather alone is imperative to some,while to others it is unnecessary. Theseare the details that should be discussedprior to the wedding day.You might consider selecting a friend

or family member who isn’t in the bridalparty to coordinate your photographs.This person should be someone who has

attended the rehearsal dinner and isfamiliar with both families. Discuss withthis person all of the must-have images.Have him or her create a list and intro-duce them to the photographer or thephotographer’s assistant prior to the cer-emony. Make sure the coordinator iscareful not to step on the photographer’stoes—he or she should be there to helpmake things flow smoothly, not to bruisethe photographer’s ego! Have the coor-dinator sit a few pews back and observethe groupings that are captured. If theynotice an image was missed, they canbring it to the photographer’s attention.They can also help round up any wan-dering guests needed for the shots. Thisway, the photographer can focus onlighting and posing, the bride and groom

can focus on looking beautiful and noone has to solely rely on memory alone!Here is a sample list of what your

must-have shots should include. You willneed to tweak and personalize this list tosuit your family and your personality.Make sure to list the name and propertitle of each person, as this will make theimages easier to set up.Discuss with your photographer any

planned reception activities, includingany nontraditional events that will tran-spire. Give him or her an itinerary ofapproximate activity times. For instance,indicate any important dances, the timethat the bouquet toss and garter toss willoccur and when you plan to exit. Thisway, the story line will flow and all im-portant activities will be documented.Finally, make sure that the venue does

not have any restrictions against flashphotography or photography in particu-lar areas. You should discuss any groundrules with the management of the recep-tion venue you have selected. Often there


EtiquetteMake sure to educate the photographer on any rules of etiquette for working with the priest, the

officiate, the monk or the rabbi.

are additional fees or rules for photo-graphing on the property grounds. It isbetter to be in-the-know than in thedark.The Final Step. In conclusion, before

you wrap up your pre-wedding planningsession, both the bridal couple and thephotographer should be able to answerall of the following questions:

1. Where will you be getting ready, andat what time will you be ready?

2. When will you be conducting yourposed portraits (private time, traditionalsession or post-reception)?

3. Does the photographer have direc-tions to all locations?

4. Where will the flowers be delivered,and what time will they be delivered?Confirm they will be delivered before thefirst portrait is taken.

The photographer needs to befully aware of your wedding-day schedule—from start to fin-ish. Photo by Ken Sklute.


5. What time will the groom and hisgroomsmen be arriving at the ceremonylocation? Confirm they will have theirboutonnières before portraits are taken.

6. Does the photographer have an in-case-of-emergency contact person and anemergency contact number?

7. Have you discussed in detail anyplanned exits, both from the weddingand the reception?

8. If the event is more than five hourslong, will food be provided for the pho-tographer and his assistant? If food willnot be provided, what time would youprefer they break to eat?

9. Have you discussed any unique or spe-cial reception activities you would like tohave photographed?

10. Have you provided your photogra-pher with the names of the other service

providers you’ve contracted? Most pho-tographers take pride in working closelywith their fellow wedding vendors.Providing them with a list of names prior

to the big day will allow them to coordi-nate any special details as needed.


Providing your photographer with a list of attending vendors prior to the ceremony will help makeyour day flow smoothly. A good, professional working relationship will eliminate any unnecessarystress on the day of your wedding. Photo by Ken Sklute.


Vendor ListSERVICE PROVIDER CONTACT PERSON PHONE NUMBER

Church

Officiant

Reception venue

Caterer

Cake

DJ/entertainment

Videographer

Florist

Limo

Tux

Wedding dress

Wedding consultant

Hair/makeup artist

The big day is almost here and youhave coordinated as much as possi-ble with your photographer. Now it

is time to make sure you have created apicture-perfect event! Though you mostlikely have made all the photographyrelated decisions you can make, there arestill a few other factors you can considerto spice up your wedding day images.There may still be a few appearance issuesand event considerations that need to betweaked!

READY YOURSELF FOR BEAUTIFUL IMAGES

The following guidelines will help ensurefabulous photographs. These basic sug-gestions will show you how to trim a fewpounds and enhance your most flatteringfeatures.Bouquet. The bouquet should be

held at the belly button. Your elbows


LEFT—The bouquetshould be held atthe belly button.Holding it too highwill distract fromthe face. Photo byAndy Marcus.FACING PAGE—Practice keepingyour shouldersback and yourchin out—not upor down. This willeliminate shadowsunder the chin andresult in a moreflattering image.Photo by DeborahLynn Ferro.

5. The Wedding Day

should rest on your hips. Often bridesand bridesmaids will hold the bouquettoo high, and by the time they reach theaisle it is over their face. (Many peoplebelieve that the bouquet was originallyinvented to cover a bulging belly!) Makesure to tilt the flowers forward. You mayget the urge to tilt the stems forward andthe flowers in, but that doesn’t lead tothe best photographs!“The Turtle.” Learn what is known

by some as “the turtle.” Pull your shoul-ders straight back and stick your chinout. Remember, it is the turtle you aregoing for, not the giraffe, so keep yourchin out, not up! This will eliminateshadows and the appearance of a doublechin.Shift Your Weight. Learn to shift

your weight away from the camera andslightly bend your front leg. In this posi-tion, everyone looks a little thinner.

Relax, have fun and add some personality andattitude to your images! Left photo by AndyMarcus. Facing page photo by Jeff Hawkins.

Once you learn what angles flatter youthe most, you will know how to assumeyour position and be ready every timeyou see the camera!Catch Phrase. Create a catch phrase

with your friends and bridal party mem-bers that you know will make you laugh.You can even use a secret saying fromyour bachelorette party! This will makeyour formal portraits look a little morenatural. It will help eliminate stiff,uncomfortable poses and add a look ofgenuine happiness.Posing During the Ceremony.

Posing not only matters during your por-traits—many couples need to strike apose during the ceremony as well.Traditionally, couples make it to the endof the aisle and turn their backs to theirguests. At the ceremony site, photogra-phers sometimes capture only the backsof the bride’s and groom’s heads.Unfortunately, switching to a differentlens doesn’t help in this situation.Needless to say, these don’t make for the

most emotional storytelling images.Practice turning your head slightly, soyou are looking at each other instead ofthe priest, officiate, rabbi, etc. Show yourguests your profile so they can see someof your emotions and reactions. It willmake the “I dos” more enjoyable foryour loved ones and make a betteralbum!Have Fun. Have fun, and be yourself.

If you like to laugh a lot, then laugh. Ifyou like to get sassy, then add some atti-tude. Just remember, it is your big day—enjoy it!

82

If it takes two hours to bake a cake and youremove it from the oven an hour early, it won’tquite be the same—and you certainly won’tenjoy it as much. Photography is much the same.It takes time to create the best possible results.When you aren’t rushed, you’ll also be able torelax and enjoy yourself much more. Right photoby Ken Sklute. Facing page photo by DeborahLynn Ferro.

FIVE TIPS FOR PERFECT

WEDDING-DAY IMAGES

Our panel of expert photographers weresurveyed and asked to provide a list ofthe top tips for outstanding images.Their suggestions are found below. Nowthat most of the planning is done, you’llneed to strike a balance between respon-sibility and pure enjoyment!Don’t Be Late! A wedding photogra-

pher’s best friend—and worst enemy—istime. Allow enough time to create thebest memories. Like a cake that takes twohours to bake, if you remove it from theoven an hour early, it won’t be the samecake. Allow approximately 50 percentmore time than you might expect foralmost everything you need to accom-plish on your wedding day!

Have a friend carry your makeup and

remind you when to touch up. Typically,

touchups are required following the cere-

mony, after eating and after the cake cut-

ting! Photo by Deborah Lynn Ferro.

Be Flexible. No matter how muchplanning you do, something small willmost likely go wrong. Don’t worry—most of your guests will never evennotice! Have a good attitude about beingflexible.Enjoy Your Day! Even the best pho-

tographs in the world are not worth it ifthe couple does not enjoy themselves!Don’t hesitate to tell your photographerwhat you like and what you don’t.Do Regular Touch-Ups. Have a

friend or a bridesmaid carry your touch-up makeup and notify you when you

need to reapply powder or freshen up. Besure to get touch-up lipstick from yourmakeup artist. Though most photogra-phers can retouch images, keep in mindthat a shiny T-zone (the area across theforehead and down to the chin) can ruina great image. Likewise, the bride who isphotographed wearing white can appearwashed out in the face is the makeup isnot fresh enough.Relax. Relax and allow the profession-

als you hired to do their jobs. If you haveconfidence in the photographer’s abilityyou will be at ease—and it will show.

T H E W E D D I N G D AY 85

Relax and enjoy yourself—and have confidence in the professional photographer you carefully hiredto do the job! Photo by Andy Marcus.

The big day has passed and yourimages are priceless! Most of yourday may be a blur—but you don’t

need to worry, because you have made ita picture-perfect event. Every aspect ofyour appearance (and the appearance ofeveryone in your wedding party, too) waswell thought out. You remembered theimportant posing techniques and coordi-nated your activities and events with thehired professionals. You hired a qualifiedphotographer and can be confident thatyour wedding day was captured withclass. Now, what is the next step?Viewing your proofs (image previews or“samples” from which you order theimages you have your heart set on) and

86

The day may have been a blur—but don’t worry!Because of your attention to detail, you made ita picture-perfect event. Photo by Andy Marcus.

6. Proofs and Orders

designing your album are generally thefinal steps on your wedding day journey.There are many different types of

proofing options available today. Withthe changes in technology, traditionalpaper proofs are not as common as theyused to be. Instead, many studios areleaning toward video proofing, CDproofing and online proofing. Thesealternative types of proofing tend to bemore convenient for the bridal couple.The new proofing techniques make lifesimpler—you won’t have to lug heavyproof books around or collect ordersfrom friends and relatives. Regardless ofthe type of proofing your studio uses,make certain that you understand anypolicies that may apply!

PAPER PROOFS

For decades, couples previewed theirimages in this way, and while many pho-tographers use this method, it’s losingpopularity. Because a photojournalisticphotographer photographs anywhere

from 500 to 1000 images at an event, thecomplete proof book is a bit difficult tolug around. Due to the amount of time it

takes to develop the negatives, edit theimages, number the proofs and placethem in the proof books, proofs are gen-

P R O O F S A N D O R D E R S 87

Due in part to the sheer number of photographs often created at weddings today, paper proofs arelosing popularity. Left photo by Stewart Powers. Right photo by Susan Powers.

erally not available until three to eightweeks after the function. The length oftime will vary based on the studio’s pro-duction levels.Once the couple receives their proofs,

they are responsible for showing them toany interested family members andfriends, and must collect their orders.The downside of paper proofs seems tooutweigh the “benefit” of owning theuncropped, not-yet-color-corrected pre-view images, making paper proofs anunpopular choice for most brides.

CD PROOFING

Currently CD proofing is the mostsought-after proofing style for most cou-ples. The convenience that comes frombeing able to view the images rapidly ande-mail them to friends has created quite astir. There are two types of CD proofing

88

CD proofing makes it easier for you, your fami-ly and your friends to preview your images—and for all of you to conveniently place ordersfor your favorites. Photo by Ken Sklute.


Most photographers who prepare copyright-released CDs include onlythe original wedding day images. These are not cropped, sized, color-corrected or retouched. They also do not include any of the imageenhancements that a creative photographer can add to make the most ofyour images. Photos by Deborah Lynn Ferro.

methods, and it is important that youunderstand how they differ prior to mak-ing a purchase. The first type is the CDwith low-resolution, non-copyable, non-printable .jpg files. These files can be cre-ated from film scans or from digitalimages. This allows the couple to viewtheir images without lugging or mailingthose heavy, bulky proof books—andwithout the responsibility of collectingorders. These images are numbered forordering purposes and, depending on thestudio, you may be able to e-mail themto family and friends (generally theseimages are copyright-protected and notprintable).The second type of CD proofing is a

high-resolution digital file. As technolo-gy improves and copyright violationscontinue to rise, some photographers arewaiving their rights to copyright protec-tion and releasing large digital files totheir clients. These files are not typicallyreleased until all album orders have beenprocessed and are complete.

Please note that most photographerswho prepare these copyright-releasedCDs are only releasing original weddingday images. Thus, these files still have tobe cropped, sized and color correctedand any retouching or image modifica-tions still need to be made. These CDstend to serve mainly as a family heirloomunless you or someone you know isfamiliar with photo retouching software.Often couples that receive the secondtype of CD files store the CD in a safetydeposit box for security, but elect to haveimages printed by the photographer forconvenience and quality.

VIDEO PROOFS

Video proofing is not as popular as CDproofing because the image produced is alower resolution image and is more diffi-cult to view close-up—especially whentrying to view a large family grouping.However, many studios still rely on thevideo proofing process for grandparentsor family members who are not yet com-

puter savvy. On video proofing systems,the images are numbered for orderingpurposes and rotated in a slide showviewing format. If the tape will be viewedby an older family member, request thatyour photographer make the image num-


If you use video proofing, consider asking formultiple copies of the tape to make it easier toshare with friends and relatives. Photo by JeffHawkins.

bers as big as possible so he or she caneasily order items of interest. Also con-sider asking your photographer for mul-tiple copies of the proofing videos. Thecost is probably minimal and it may makeyour lives much simpler.

ONLINE ORDERING

Finally, discuss the availability of onlineordering with your photographer. Thisoption simplifies the ordering process foreveryone involved—there’s no wait whilethe album circulates amongst your familymembers and circle of friends and thereare no heavy albums to tote around.You can create thank-you cards for

each reception place setting with instruc-tions for navigating the web site and anypassword required. Find an assistant tocompile the e-mail addresses of anyonewho may be interested in viewing theimages online, and ask your photogra-


Online ordering simplifies the process for every-one involved and offers you some unique options.

pher to notify him or her when theimages are available. The assistant canthen send an e-mail to your attendees tonotify them that the images are ready forviewing.Though many studios can process

orders placed online, most couples and

their family members simply use thisservice as a proofing tool. (Sometimesbridal party attendants order miscella-neous images online, but larger albumorders are still being designed in-house.)If your photographer offers online order-ing, make sure your images are password-


Online ordering gives everyone—from yourbridesmaids to the parents of the flower girls—an easy, password-protected way to previewand order images. Left photo by Ken Sklute.Photos above and on facing page by AndyMarcus.

protected. Also, determine the orderingprocedures, including the length of timeyour images will remain online.With the new technology available for

studios, proofs can often be available forviewing within days after the event. Onceyour proofs are available, schedule youralbum design session so that the studiocan begin production as quickly as possi-ble. (You may have scheduled the albumdesign session during your pre-planningmeeting prior to your wedding day.)Delays in the design can remove youfrom the studio’s production scheduleand prolong the time it takes to receiveyour final album. It’s a good idea to getthe job done after returning from yourhoneymoon, but before you have to goback to work.


Scheduling a one-on-one consulta-tion with the photographer or stu-dio design team can be beneficial.

Most studios care about the quality ofthe product they are delivering—theywant to help their clients create cher-ished, personalized albums that reallycapture the magic of your special day.

THE DESIGN CONSULTATION

Scheduling an album design consultationwith the studio will provide an opportu-nity for you to walk through the designprocess and discuss your album designwith an expert, and will ensure that theend product will be a beautiful story-telling wedding album, not a scrapbook.Once you have reviewed your proofs

the album selection and design processcan begin. Be open to the possibility ofproduct changes or upgrades. In other


Many couples choose to create one album that showcases traditional images (left) and one story-telling album showcasing their favorite photojournalistic images (right). Photos by Andy Marcus.

7. Album Design

words, if you selected a unique 100-image capacity designer album or coffeetable book prior to your wedding, youmay decide to upgrade to a more sizeablealbum/book once you’ve viewed 500proofs. You may initially think you don’tneed many pictures, but chances are onceyou see the proofs, you will want morethan you originally intended, especially ifyou hired a talented photographer.Purchasing two separate albums—one

album geared toward more traditionalportraiture and the other with a behind-the-scenes storyline approach—is a pop-ular choice for many couples. The albumis a family heirloom that should be cher-ished by your family for generations, soselecting a high quality product withlongevity is important.Be open to modifications and you will

end up with an heirloom you adore.There are many different styles of albumsto choose from. Once you select the stylethat appeals to you the most, considerthe endurance (i.e., is it timeless or

trendy?) of the product and the durabili-ty of the design.The Classic Album. The first style of

album is called the classic album. Thisalbum comes in two different styles—(1)a traditional style album with page insertsand mats that “frame” the images or (2)a traditional album style with flush-mount inserts and no mats. In this type,the pages are the pictures. In either of

these two album styles, you can cus-tomize the cover with a special image ora meaningful inscription. Covers tradi-tionally come in an assortment of colorsin top grain leather, distressed leather ora leather-like finish. The couple usuallyorders a classic album that will showcase8x10- or 10x10-inch portraits. However,smaller classic albums are available as“parents’ albums.”

A L B U M D E S I G N 95

For classic albums,covers traditionallycome in an assort-ment of colors intop grain leather,distressed leather ora leather-like finish.Photo by JeffHawkins.

The Digital Montage Album. Thesecond style of album is the digital mon-tage album. Photographer Andy Marcusmentions, “Brides who want a different,funky looking album tend to like the dig-ital designer products, because of theease of manipulation that can be doneafter the wedding to create unusual yetstunning effects.”There are two types of digital montage

albums. In the first, images are printedon professional photographic paper;images in the other type are printed onspecialty acid-free stock paper. Theimportant element to consider here is thedurability of the album and the archivalquality of the product. If the album com-pany guarantees the workmanship of thealbum, this type of product may be aunique coffee table display. The potentialfor rich imagery and text creates a unique


A great advantage of the digital montage albumis the ability to get duplicate copies at a lessexpensive price. Photo and album by JeffHawkins.

expression of the couple’s creativity.These albums will hold fewer imagesthan classic albums, so they are generallypurchased in conjunction with a moretraditional type of product. A greatadvantage of the digital album is the abil-ity to get duplicate copies at a less expen-sive price. This is typically a bonus forparents’ albums or bridal party gifts.The Image Box Display. The third

style of album product is the image boxdisplay. The image box has a traditionalalbum appearance on the outside but anartsy image on the inside. The box typi-cally contains up to twenty-four square,heavy-duty mats, which can be removedand displayed on an easel or in a frame asdesired. This is a less formal approach toshowcasing your wedding day imagesand is usually used in conjunction with aclassic or digital album or purchased fornontraditional parents.If you are a budget-conscious bride,

you may elect to order your own albumrather than ordering through the pho-

tographer. Be careful not to order cheapalbums, as they may become damagedover time. Also discuss with the photog-rapher print guarantee guidelines. Oftenif your images are not framed or placed inprofessional albums, you will forfeit thestudio’s guarantee. To protect yourimages, select albums that state that theyare archival or use acid-free materials.

THE DESIGN PROCESS

After you select your product of choice,you will begin to design your album.There are usually two categories ofdesign: the formal book and the story-telling album. You may combine the twocategories in a single album or dividethem into two separate ones.To make the recreation of the wed-

ding day story line easier for you, manystudios use an album design softwareprogram. These programs make imagelayout easier and eliminate the need tolay proofs on a table to attempt to visual-ize the final outcome. When using an

album design program, a drag and dropconcept is used to create the image lay-out. In the end, you will be able to viewwhat the final product will look likebefore it goes into production!When selecting the album cover and

page style you prefer, keep in mind thatthe same color harmony rules thatapplied on your wedding day will applyin the design process. If the church’sinterior featured a lot of ornate gold fix-


When using an album design program, a dragand drop concept is used to create the imagelayout.

tures, do not add silver edges aroundyour pages. Dark brown and black pagesand accents are very popular because theyshowcase the images without clashing

with the colors of the church, the dress-es, flowers, etc.For the best visual flow in your album,

never use black & white and color images

on the same page. Showcasing the twostyles on facing pages is acceptable, butshould not be done excessively.Additionally, when selecting image

sizes remember that 3x5-, 4x5- and 5x7-inch prints will be used most to designthe wedding story line. Reserve 8x8-,8x10- and 10x10-inch prints for posedgroupings or for momentous events likethe cake shot or the first dance.Furthermore, each action should have

a reaction. This will eliminate a scrap-book approach and keep your story linein perspective. For instance, you mightplace an image of you dancing with yourfather next to one of your mom cryingwhile she is watching.Finally, a successfully designed album

will lead the viewer through the events ofthe day by using “bookends.” Thismeans that each image should direct theviewer’s eye toward the center of thebook, not off of the page. For example, ifyour mom is pictured in profile, and isfacing the left-hand side of the page, her


Avoid using black & white images and color images together. Even the strongest black & white pho-tos can be overwhelmed by a nearby color frame. Left photo by Andy Marcus. Right photo by JeffHawkins.


Each image should direct the viewer’s eye toward the center of the book, not off of the page. Usually, this means placing the photos so that the subjectis facing toward the center of the book. Accordingly, the photo on the left would be a good choice for a left-hand page because the bride’s face (thecenter of interest) faces to the right edge of the frame. The photo on the right would be excellent on a right-hand page. Photos by Andy Marcus.

image should be used as a left-hand pageso that she faces the spine of the album.Also be sure to arrange the images

with continuity. Lead the viewer whereyou want them to go with setup shots(the cake, church, room setups, etc.).This will take your viewers into the nextevent. For example, to document yourarrival at the reception, you would openthe page with a room setup of the recep-tion. This is the visual cue that some-thing (in this case, the location) is aboutto change.After you have selected your product

and designed your album, the studio willbegin processing your requested order.Album production time will vary for eachstudio based on the type of album andthe quantity you’ve ordered; in general,you should receive your album in two tosix months. Prepare to be patient. If your

album is being custom-made for you,there are many time-consuming process-es involved. You don’t want shortcutstaken in the process. When your album isfinally complete and ready for pickup,make sure to take the time to inspect itcarefully before leaving the studio. Afteryou return home, don’t forget to add itto your homeowner’s insurance policy.The album is a priceless investment; youwant to be certain it is replaceable if it isever damaged.


Setup shots help build continuity and take thealbum’s viewers through each phase of the day.Photos by Ken Sklute.

In closing, remember that an image of aperson or a family group is a symbol ofa life that is always changing and will

eventually end. One never knows howimportant the next photograph willbecome. Photographs help us recall andshare precious memories of the times,events and people in our lives—eventhose that are long gone.The tips offered in this book have

given you the tools you need to select agreat photographer—one who considersphotography a privilege, not a job. Theproducts you have chosen will help youand your family pass your memories fromgeneration to generation.Use the knowledge you have gained

from this guide with pride. Always followyour heart and remember: Photographyis never expensive, it is priceless!


Closing Thoughts

Hold on tight to your memories and cherish them forever. Life is precious, what is here today can begone tomorrow. Photo by Kathleen Hawkins.

Kathleen Hawkins spent nearly adecade teaching marketing andbusiness courses at a private univer-

sity and is presently on the nationalspeaking circuit for photographers. Sheproudly served on the board of directorsas the president of the Wedding Profes-sionals of Central Florida (WPCF) and asaffiliate vice president for the NationalAssociation of Catering Executives(NACE). Together with her husband,Jeff, Kathleen is pleased to have authoredProfessional Techniques for DigitalWedding Photography and ProfessionalMarketing & Selling Techniques forWedding Photographers, both of which

are published by Amherst Media. She isan active member of the WeddingProfessionals of Central Florida (WPCF),the Professional Photographers Associa-tion (PPA), the Florida ProfessionalPhotographers (FPP) and the Weddingand Portrait Photographers International(WPPI) organization.

A B O U T T H E A U T H O R 103

About the Author

Photo by Ed Pierce

Special thanks go out to our panel ofexpert wedding photographers fortheir contributions and advice. Theirknowledge of this industry and will-ingness to take time out of their busyschedules is greatly appreciated.

If you’d like to learn more about anyof these gifted photographers or viewmore of their image, please visit themvia their web sites.

Ken Sklute ofContemporary ImagesTempe, Arizonawww.contemporaryimagesltd.com

Douglas Allen Box ofDoug Box PhotographyCaldwell, Texaswww.dougbox.com


Thanks!

Andy Marcus ofFred Marcus Photography andVideography

New York, New Yorkwww.fredmarcus.com

Jeff Hawkins ofJeff Hawkins PhotographyOrlando, Floridawww.jeffhawkins.com

Stewart and Susan Powers ofPowers PhotographyGainesville, Floridawww.powersphotography.com

T H A N K S ! 105

Patrick Rice, Barbara Riceand Travis Hill ofRice PhotographyNorth Olmsted, Ohiowww.ricephoto.com

Deborah Lynn Ferro ofSignature StudioJacksonville, Floridawww.rickferro.com


AAlbumaccent colors, 97–98bookends, 98–99classic style, 95color harmony, 97–98consultation, 94–97continuity, 101design process, 94–101digital, 96–97image box displays, 97insurance on, 101ordering, 31page color, 97–98print groupings, 98production time, 101setup shots, 101storytelling, 22–23styles, 22Assistant, photographic, 27

BBlack & white photography, 12, 26Bouquet, holding, 78–80Bridal guides, 14Bridal portraitassistants, 52communication, 52flowers, 51–52, 53formal session, 20–21, 48–54gown, 49–52hairstyling, 52–55location, 48–49makeup, 52–55pre-wedding, 20–21, 48–54scheduling, 49time of day, 49train, 49–51veil, 49–51Bridal shows, 14–15Bridesmaids’ gowns, see ClothingBudget, 20–26, 27, 30

CCatch phrase, 81Ceremony photos, 81–82Clothingcolor of, 35–36, 44, 54coordinating, 35–36, 44, 54faux pas, 44for engagement portrait, 44gown, 49–52patterns, 44Color correction, 45Color harmony, 54Consultation, 20–32what to ask, 20–27who to bring, 28Contractadjusting, 30album order guidelines, 31contact information, 29copyright, 30–31

I N D E X 107

Index

(Contract, continued)coverage time, 29–30date, 29–30film limits, 31hidden charges, 31model releases, 32payment policies, 31prices, 30proofing policies, 31replacement clause, 29Copyright to images, 31–32Coverage, hours of, 26, 29–30

DDécor, reception, 40color harmony, 40lighting, 40Deposit, 26–29Digital montage albums, 96–97Double chin, eliminating, 80Dresses, see Clothing

EEngagement portraits, 20–21, 43–47bring a friend, 45

(Engagement portraits, continued)clothing selection, 44environmental, 44ideas, 45location, 44–45props, 44romance, 45scheduling, 44studio, 44Equipmentbackup, 26–27type of, 27Exits, photography of, 36–40bells, 39bubbles, 39butterflies, 39candles, 39doves, 39rice, 39rose petals, 39sparklers, 39streamers, 39

FFilm limits, 26, 31Flexibility, 85Flowerscolor of, 53–54for pre-wedding bridal portrait, 51–52Formal portraits, scheduling, 27Frames, 40–41, 46

GGift bags, 41Gown, 49–52Guest book at reception, 46Guides, bridal, 14

HHairstyling, 52–55

IImage box displays, 97Image ownership, 31–32Image reflection displays, 40–41Interviewing a photographer, 26–27


LLate arrival, avoiding, 84Location selection, 44–45

MMagazines, 13Makeupblush, 55colors, 53–55facial powder, 55for photography, 36, 52–55foundation, 55importance of, 55lipliner, 55lipstick, 55mascara, waterproof, 55professional artist, 55touch-ups, 85Model releases, 32Must-have images, 72–75

OOnline ordering, 91–93

PPackages, 21–28modifying, 28Paper proofs, 87–88Payment policies, 31Perfect Wedding Guide, 12–13, 14Photographercombination, 10communication, 52interviewing, 26–27personality of, 20–21photojournalist, 9–10qualifications, 27retaining, 26–32selecting, 7–19traditional, 9when to book, 9, 12–13, 29Photojournalistic images, 9–10Photo list, 72–75Planning session, 55–77Posing, 78–82during ceremony, 81–82Post-reception photo schedule, 71–73Pricing, 20–25, 30Private time schedule, 56–61

ProofsCDs, 88–90color correction, 45for engagement session, 45–46online, 91–93paper, 87–88policies on, 31retouching, 45video, 90–91what they are, 45–46, 86–93Props, 44

RReceptiondécor and photography, 40guest book, 46image displays at, 40–41love portrait, 46signature frames at, 40, 46Referrals, 16–19Relaxing, 85Retainer, 26–29Retouching, 45

I N D E X 109

SSchedules, wedding day photosformal portraits, 27post-reception schedule, 71–73private time schedule, 56–61traditional schedule, 61–70Setup shots, 101Shows, bridal, 14–15Signature frames, 40, 46Skin care, 54Smiles, 81

Stylecombination, 10photojournalistic, 9–10traditional, 9

TThank-you gifts, 41–42Time frames, 55–77post-reception schedule, 71–73private time schedule, 56–61traditional schedule, 61–70Traditional images, 9

Traditional schedule, 61–70Train, 49–51“Turtle,” the, 80

VVeil, 49–51Vendor list, 77Video proofs, 90–91

WWeb sites, 10–13Weight, shifting, 80–81


WeddingPhotographyCREATIVE TECHNIQUESFOR LIGHTING ANDPOSING, 2nd EditionRick FerroCreative techniques forwedding portraits that will

set your work apart from the competition. Coversevery phase of photography. $29.95 list, 81⁄2x11,128p, 70 full-color photos, index, order no. 1649.

WeddingPhotojournalismAndy MarcusLearn the art of creatingunposed wedding portraits.From start to finish you’lllearn where to be, what tolook for and how to captureit on film. A hot technique

for contemporary wedding albums! $29.95 list,81⁄2x11, 128p, b&w, over 50 photos, order no.1656.

Other Books from

Amherst Media

ProfessionalTechniquesfor Digital Wedding

PhotographyJeff Hawkins and Kathleen Hawkins

From selecting the right equipment to building anefficient digital workflow, this book teaches how tobest make digital tools and marketing techniqueswork for you. $29.95 list, 81⁄2x11, 128p, 80 full-color photos, order no. 1735.

Professional Marketing &SellingTechniques for

Wedding PhotographersJeff Hawkins and Kathleen Hawkins

Learn the business of successful wedding pho-tography. Includes consultations, direct mail, printadvertising, internet marketing and much more.$29.95 list, 81⁄2x11, 128p, 80 full-color photos,order no. 1712.

By the same author . . .

Amherst MediaPUBLISHER OF PHOTOGRAPHY BOOKS

PO Box 586Buffalo, NY 14226

www.AmherstMedia.com

$14.95

USA

$22.95

Canada

Learn how to get the wedding photographyof your dreams!

Hiring a photographer—what to expect, what to

ask and how to make the best decisions

Photography styles and how to decide what look

is right for you

Engagement and formal bridal portraits

How to look your best in every image

Selecting your make-up, flowers and bridesmaids’

gowns for the best results in your photography

Planning your wedding-day photography schedule

Working with your photographer to create a

memorable wedding album

the bride's guide to wedding photography: how to get the wedding photography of your dreams

Documents