Photographing Friends and Family | You’re Invited …. Bring Your Camera There will be times in our lives when family, friends or acquaintances might be getting married, holding christenings, or celebrating anniversaries and family gatherings. Yet the very subject of photographing friends and family often causes photographers, both professional or amateur, to grind their teeth […]

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  • Nat - September 3, 2013 - 8:45 pm

    Don’t get me going on this one Lindsay! This has caught me out so many times and I will no longer entertain doing weddings or events for friends or family, there are too many complications and potential arguments. You’re spot on about the dynamics of the relationship coming into play and not even your usual contracts can save you from that. I photographed a wedding for a close workmate a couple of years ago, I did the photography for free and then they bought the products and wanted as per the agreement, then they got in touch and asked for the high resolution digital files. It turned out they expected the disc for free even though there was no agreement to that effect – they never spoke to us again. The problem is it can be difficult to say no to friends and family – I don’t think you can win either way unfortunately.

  • james - September 3, 2013 - 8:55 pm

    Yep, can of worms. I don’t mind doing small events for friends but only if I’m the one who offered the discount – what I can’t stand is when they just plough in and insist you either do it for nothing or for a knockdown fee, then they take it badly if you say no. This is just another symptom of what’s happened to the industry – there are far too many numpties giving work away and doing stuff for free, the whole world expects it now. Like you said, if photography is your livelihood then there’s no way you can work for nothing. I’ve got friends in all trades but I’d never expect the to do stuff for me for free, so why should a photographer be any different? Oh, I forgot – because the public still thinks that all we do is press a button and the camera poses everyone, lights everyone, composes the picture and processes it as well.

  • Lindsay - September 3, 2013 - 9:08 pm

    James and Nat, I have a policy of not responding to requests for discounts and I fully agree that it should be the photographer making any offers. Often money isn’t mentioned at all, there is simply an expectation that the service will be complimentary. So it’s really important that you gain clarification when friends approach you for your services. Simply offering your price list will normally elicit a response. I know that my real friends would not ask for discounts, any more than I would expect them to discount their own services for me. But I always make concessions for the people I’m closest to, however my basic costs and overheads do need to be met in light of the many hours of work which any photography outing normally entails – hours when you’re not available to your paying clients. I also think that the public assume photographers earn good money and wouldn’t really suffer by doing without full payment occasionally. At the end of the day I think the best course is to attend as a guest and enjoy some much needed downtime.

  • Wolfgang Lonien - September 4, 2013 - 6:18 am

    When I’m asked: “Do you also photograph weddings?”, I always say no. Then I declare to them that this is (or should be) a once-in-a-lifetime event, and that they’d really want to hire a professional photographer in their own best interest.

    Never got a negative response, and never took work away from those pros who need that income. But in some times I also wasn’t invited at all… 😉

  • Lindsay - September 4, 2013 - 9:48 am

    Hi Wolfgang. It seems none of us can escape this – a competent amateur is often seen as the ideal alternative to a paid pro, with little thought to the level of responsibility a wedding entails, or the work involved. And for pros, friends often assume you’ll step in and cover any gathering you’re invited to, with little thought to payment. The public have little idea as to what is involved since photography is something they might rarely encounter, if ever. There is little understanding that a photographer’s work is only just beginning on the day of the event. I think most people do believe that a photographer is just working on that day, even though a rational train of thought would suggest otherwise. Yet so few photographers bother to inform their clients, friends or family of what is really involved so it’s little wonder that this problem continues. I’ve certainly been in a position where a friend has told me of their upcoming wedding or similar event and has asked me to be their photographer (or has assumed I will be) – I will then suggest we meet up to talk about coverage and budgets but I usually hear nothing further! A competent professional wedding photographer will usually turn up at a wedding with something like £15,000 of kit forming just part of their yearly business costs and may take a week or 2 to fully deliver the project. If shooting on average 30 weddings per year it’s likely to cost that person a small fortune to provide his or her service, as well as losing paying clients throughout that period.

    The public are accustomed to seeing a plumber turned up and finish the job in a day, so they tend to only consider the work they see the photographer carrying out, with absolutely no consideration to the backing up, editing, processing, retouching, proofing, viewing, product design etc. Over the years I’ve got into the habit of keeping a timesheet for every project, recording everything I do, how long it takes to do each e-mail or phone call, each meeting, all activities in fact. There have been a couple of occasions when I have had to show that timesheet to the client – one of which could not believe that I should include the time I spent discussing their needs over the phone or preparing the paperwork, or travel ….. yet without doubt those are activities they themselves would expect to be paid for in the course of their own work. We live in a strange world.

  • harvey - September 4, 2013 - 9:44 pm

    Lindsay-As always,I love your take on life and the life of a photographer.As you say,the pitfalls and time/expense is great and the reward is small in these cases.My best friend+I took pictures at each other’s weddings and were best men for each other.This was a given as we were both “into”photography and knew how to focus and expose pre auto everything.I did an ok job at his wedding(we’re both 66 now-a hint).As for him,he and all our friends spent a fair amount of time in the parking lot participating in a common ritual of the the 60’s+70,s.He turned out to be an “interpretive” photographer,shooting most everything from a low angle making us+guests(6’4″+wife 5″6″)look like giants.We loved to talk about the photos for years after and like many people,I assume,haven’t really looked at our wedding photos much if at all.

    The beauty and relative simplicity of your work continues to enrich me and gives me something to strive for.Thanks,Harvey

    P.S.My photog friend is an underwater photographer of some reknown with many published and purchased photos and a few guidebooks to his credit.I continue to be an amateur hack
    in search of target rich environments.

  • Lindsay - September 6, 2013 - 9:38 pm

    Hi Harvey. I think it’s lovely that you and your friend photographed each other’s weddings – and were best men as well! I bet the photos were good, and fun. You made an interesting point as well – I remember the days when photography certainly wasn’t the popular past-time it is now, and in the fully-manual days a skilled photographer was hard to come by. Now there is the tendency to stick the camera on auto and then attempt to disguise bad technique with the mantle of ‘creativity’. Worse, there is the tendency for the public to believe that anyone with a fancy camera is a pro, or as good as one. I think this is partly why so many unskilled individuals get persuaded into shooting their buddies’ weddings or other events, often with disastrous consequences. And of course the demise of the respect qualified professionals once had is also a consequence of who or what constitutes a ‘photographer’ – the skilled practitioners are also expected to step in when required. I try to avoid such gatherings these days since I’m almost always questioned as to why I haven’t come fully equipped, or I might be described as mean for failing to offer full photographic coverage on what might be my only full day off in six months. This is another case in favour of my new habit of making up a fictitious occupation whenever I meet new people …. soon I will have an entire social circle of acquaintances who believe I work for the Government.

    I got married many years ago, a little reluctantly (I still think far too many people do it for the wrong reasons). I had one of the best wedding photographers in the world, even though I didn’t want a photographer. The album was beautiful, but after it arrived I never opened it again. I can relate to people who don’t want any photography, but I can’t sympathize with those who want the earth but who refuse to pay for it.

    I have never tried underwater photography, it must be magical. I’m often held back from new experiences by my fear of heights, and unfortunately a fear of water!

  • Lindsay - September 13, 2013 - 6:49 pm

    I think that article is hilarious Harvey – I would guess it was produced by somebody who has never had to take a competent merchantable photograph. However, I’m certainly living for the day when they can produce a camera which will manage my subjects, pose them, light them, compose the scene, retouch the environment and do a tax return! Novice photographers are almost always delighted when they take a photograph – even a really bad one, and often it will be labelled as art. And given that we now have more people than ever before taking pictures, the world is flooded by extraordinarily poor imagery, being passed off as art (and on the positive side, there are also many more genuinely excellent photographers out there). This certainly satisfies the need for cheap (or even free) photography but thankfully there are many, many clients who still understand the difference between tat and a well crafted piece of work, where the quality is evident. I occasionally get students who rate themselves very highly, but who can’t determine which lens to use, or how to focus on the right place, let alone follow a brief and produce a saleable picture. Sometimes I’ll encounter them again after a few years, and nothing in their outlook has changed, and they still have no clients. And sadly I also encounter people who have asked a poorly skilled friend to photograph their wedding and who are then asking me to see if I can salvage anything from the photographs. Perhaps in time people will understand where they’re going wrong!

  • Harvey - September 19, 2013 - 4:24 am

    Fun fact(as I remember it).I haven’t been able to locate a comment I believe you made about point n shooters not knowing how to shut off their flashes.Either it’s intrusive or well beyond the reach of the flash.I recall remarking that at an Olympics mid 70’s/early 80’s (on TV)thousands of flashes were going off from the stands.Certainly the light output was of no use,however,I believe having a magicube/flashcube or the built in flash in the socket lowered the shutter from 1/80 to 1/40.Helped the shot though few shooters knew why.They could have saved some cash as a used cube caused the same reduction in shutter speed.What a world!
    BTW-congratulations on your nomination for the Bipp award .Karma is in your corner.Best Wishes,Harvey

  • Lindsay Dobson - September 19, 2013 - 10:50 am

    It’s amazing how often our shots can be whited-out when we happen to catch an onlooker’s flash, I’ve had a few images on assignment ruined by this, even when the onlookers have been asked to wait until the professional has finished! I do remember those magicubes (ahem). And thank you for the congratulations on the nominations – I’m certainly looking forward to the awards ceremony, it’s in a stately home so it will be very interesting.

  • harvey - September 19, 2013 - 7:04 pm

    From your parenthesized ahem I assume your memory of magicubes stems from your father reading you bedtime stories of the early days of photography.

  • Lindsay Dobson - September 19, 2013 - 7:18 pm

    Harvey, you’re such a gentleman! I’m going to be very truthful here and admit that I can vividly recall working my way through rather a lot of Kodak flash cubes …. I loved them. I wasn’t very old of course, but certainly old enough to be handed a basic camera and a few rolls of black and white film, which kept me quiet for hours at a time. That was fatal of course, look what led to, an 80 hour working week and I am now a middle-aged wreck! (-:

  • Mag D - September 30, 2013 - 12:12 pm

    Amazing write-up Lindsay. Many of the points you made are relevant to friends and families, common one is “you can take my photos cheaper than a professional photographer” without thinking of the consequences and huge amount of work involved. As an absolute amateur, I enjoy MY own clicking away at things that catch my eye, and looking at your write-ups, which are so helpful and informative.

  • Lindsay Dobson - September 30, 2013 - 1:14 pm

    Thank you Mag, one of the side effects of putting your foot down is the sudden decline in invitations to family gatherings. That can be of benefit for many!

  • tiddles - November 14, 2013 - 10:17 am

    In my line of work we have a saying:
    “Technicians don’t have friends, just acquaintances with broken appliances”

  • Lindsay Dobson - November 14, 2013 - 10:49 am

    Yes, that’s exactly how photographers feel as well – an excellent phrase which sums it up perfectly!

What should I charge for photos? I’m encountering more and more new or aspiring photographers who come to me with the question “what should I charge for photos?”. The fact is I can’t comment on anyone else’s pricing, for a whole host of reasons. Overheads can differ hugely (both fixed and variable), styles vary, genres […]

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  • Jen - November 14, 2013 - 11:04 pm

    Brilliant advice as always! 🙂

As many of you know I have turned almost exclusively to Micro 4/3 cameras and lenses for both my professional portraiture and also from my personal photography. But I don’t just create portraits of people, I have a separate area of the website just for animal portraiture and wildlife imagery. If you happen to subscribe […]

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  • Mag D - July 13, 2013 - 2:40 pm

    Your photos are so ‘real’ I feel they could come to life any moment. Write-up is also terrific, actually a mine of information for novices like me. Great work, thank you.

Let’s play make-believe for a moment. Let’s say that every week or so a motorist makes a journey from London to Manchester in his car. The journey serves a number of purposes, sometimes the motorist is visiting a friend, sometimes he’s embarking on a sightseeing outing (perhaps with his camera), or he might be travelling […]

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  • james - July 8, 2013 - 8:09 pm

    Totally agree with everything you say. There are some good photographers out there who don’t do it for a living and they think it’s cool and clever to give there photos away to these big moneymaking organisations – what a complete joke. Then they get defensive when you ask them why they’re helping out a bunch of rich users. These big firms plead poverty which makes it even more laughable. The worst thing is they know full well there damaging the industry, and putting pro photographers out of work. When you ask them why they don’t demand to get paid they come up with a load of excuses because deep down they know they look like an ass. Your little dialogue with the hobby photographer and his friend was spot on.

  • Nat - July 8, 2013 - 8:15 pm

    Yep, bang on. I still haven’t turned pro and I’ve been sick and tired before when people expect me to photograph their kids for free – admittedly I’ve done it to build my portfolio, but even if I was a pro I’m pretty sure a lot of people would still expect free work. I don’t think my photography is good enough for publishers to ask for favours but I know what I would say if they did. I can imagine it would be nice to see your pictures printed nice and big in a mainstream magazine, and you can just blank out the fact that the publisher is raking in the sales while you get nothing. Like James said, these photographers get angry when you mention it because they know they look stupid and can’t come up with any good reasons to do what they’re doing. As for being called miserly and tightfisted, I’ve done photography for two charities that I support (and I know you’ve done a lot for several organisations which are worthy causes) who are non-profit making and need all the help they can get just to survive.

  • Lindsay - July 8, 2013 - 8:23 pm

    Nat and James, thank you for your views. I will impress again that I’m not trying to tell anyone what to do with their photos, but rather to remind those who share images indiscriminately that the whole hobby argument doesn’t work – your hobby is costing you and my personal view is that a bunch of strangers shouldn’t be the beneficiaries of your efforts and outlay. I do think that if you want the pleasure of giving then there are many good causes whom you could support. The argument I hear against that of course is that the photographer won’t have the pleasure of seeing their picture in a recognisable publication, or in a book. I guess you can keep quiet about the fact no one paid you.

  • Mark44 - July 8, 2013 - 8:31 pm

    I’m a keen amateur photographer and I don’t need or seek an income from my photography, so I don’t worry about getting paid for it. I’ve done free stuff of family and friends. I openly admit that when I’ve had a couple of pictures published its been a good feeling. But I want to point out that this is in the reader’s photos section of a couple of good photography magazines, which I do think has helped me get a bit of positive attention, because the magazine has been relevant and is good quality. I have to agree that if a commercial business wanted my work to help their promotional efforts or sales then I would insist on recompense. I think your article will give a few people some serious food for thought and I agree that the supply of good photography is starting to look like a one-way street. I like your articles and your work is top drawer. Regards, Mark

  • Lindsay - July 8, 2013 - 8:36 pm

    Welcome Mark, and many thanks indeed for commenting. I do agree with what you say and getting your pictures published in a relevant journal can definitely help to get you noticed and can help to build a portfolio of genuine published work. But as you point out we are of course talking about the widespread commercial usage of imagery, where there is rarely any benefit to the photographer. This could be corporate websites, company brochures and adverts, the list is endless. This is a personal remark, but it pains me when really good photography is seen as utterly without value by the originator. It’s little wonder that publishers (and to a degree the buying public) are starting to take the same view.

  • Mark44 - July 8, 2013 - 8:56 pm

    Lindsay, you’ve written some really good articles for your Blog – you obviously share a lot with the photographic community. Could you not get paid for publishing these – I mean, in view of this feature would that not be more sensible? I’m saying that nicely, it’s not a criticism, I’m just curious.

  • Lindsay - July 8, 2013 - 9:01 pm

    Mark, I try to offer what I can to the causes I support. And the photography community is one I feel very passionately about. If my articles can help somebody to run a more profitable business, or manage their clients, or understand their outlay, then so much the better – we will all benefit indirectly. And of course good articles drive plenty of traffic to my website, which helps to keep me at a good place in the rankings, which is important. This is one of the main reasons why blogging is so popular within the professional photography community. But be aware of one thing – if someone came along and asked if they could publish one of my essays in a commercial/retail journal or magazine (or in any other profit-making capacity) then I would expect fair payment. And if my work is used without my permission then it is my policy to hold someone accountable.

  • Mark44 - July 8, 2013 - 9:04 pm

    That makes perfect sense Lindsay, thank you for answering my question. Looks like I’ve got some serious reading to do, judging by some of the other features you’ve written – top stuff by the way.

  • Stephen Scharf - July 8, 2013 - 9:53 pm

    Absolutely brilliant, post, Lindsay. I couldn’t agree with you more.

    I know the frustration and insult from clients who expect to be paid for free. For example, in my capacity as one of the official track photographers for Mazda Raceway Laguna Seca, I was asked to photograph the Umbrella Girls, a for-profit “pit girls” company started by a female attorney in Northern California. They wanted a series of shots at the podium after the American LeMans race at Laguna back in ’07 or ’08. It was a series of photos for their yearly calendar, which was specifically used to promote their business. I spent the better part of an hour photographing the girls, and then about 3 hours in post-production editing the images in Photoshop. When their operations manager contacted me about getting the photos, I told them her expected to be paid $500 for the images and my work in postprocessing that went into them (usual rates for PS post-processing is about $150/hr in the U.S.)

    Like your client, they got angry and arrogant, and said, “We thought you were just going to give them to us for free.” I replied, “You’re going to use these to promote your profit-making venture, and I expect to be paid for these images, is your printer going to print them for free?” The ops manager replied, “No.” I replied, “Then why would you expect the photographer to work for free?”

  • Lindsay - July 8, 2013 - 10:09 pm

    Hi Stephen, great to hear from you and hopefully I’ll get a chance to catch up with you properly later in the week. I was disappointed to read about your experience with the promoter – unfortunately this is becoming all too common. Publishers have become used to amateurs donating images for free and this has created an expectation that all photographers are the same and will do likewise, no matter how good the work. You were chosen for the job because your imagery is outstanding, I’ve seen enough of it to know that, and that is why they wanted you for the job. They expected to pay you the same as they have paid in the past – which is very little, or nothing. The fact you have considerable expenses is immaterial to them. They don’t care who you are, or what you’re worth, they just expect the work to be free. It defies belief, it really does. And what unsettles me the most is the number of amateurs who peddle the same argument and justify this kind of behaviour. Of course if those people depended on photography for their living, their point of view would be very different, but since photography is their hobby that is the excuse they appear to use for justifying their lack of reward. I would get no satisfaction at all in seeing a copy of that calendar hanging on my wall, and knowing that I had been trodden upon in the process. Yet a great many photographers have no problem with that. Still, each to their own.

  • Stephen Scharf - July 8, 2013 - 10:40 pm

    I couldn’t agree with you more, Linds. One of the points you’ve made in a number of your post in your “For Photograpers” blog is that you know exactly what it costs you every time you step out the door to do a job; any successful and more importantly, *profitable” pro does (taking a page from Zimberoff here). What a lot of amateurs or non-photographers don’t even think about, in addition to the costs of photographers gear, insurance, travel, IT and computer systems, editing and processing applications, etc, is the cost of redundancy and backup that a pro requires to *get the job done*. Because your clients don’t care if you have an equipment failure, they want the job done on time and up to standard. Many pros I know have two of everything, or at least two bodies. For example, the shutter failed in my Canon 1D MkII in the middle of a MotoGP event, and the recent focus issues I’ve been having with Canon gear turns out to be a defective AF motor and lens element alignment in my 70-200/2.8. In both cases, I had to use backup gear because my PR Director doesn’t care about my gear problems, all she cares about is “Where are my images for deadline press?” All this is part of running an effective professonal operation, and there costs attendant with all of them. Unfortunately, as you have pointed out so eloquently, none of these are things that amateurs or flaky clients think about.

  • Lindsay - July 8, 2013 - 11:01 pm

    Hi Stephen, yes backup equipment is absolutely essential for commissioned work, and there are other factors as well such as insurance, contracts etc. However the main thrust of the businesses who request photographs will be a wayward and misplaced argument that the images are “in stock”. In other words they will argue that you weren’t commissioned to take them and therefore they didn’t cost anything. We know this is nonsense from the pricing of evaluations you mention, and of course the price quoted to a publisher or business user is indeed the stock price – a specially commissioned and tailored shoot, just for them, would be much more. Many image users will try and base pricing on microstock fees or the fact there are so many free image sharing websites out there. But that does not mean that one photographer’s price should be equally low as that quoted by any other photographer, since we are not generic – some are hobbyists with low overheads and some of us are full-time pros with considerable outlay. And this is part of the problem, the standardisation that is applied across the industry. This is like presuming that all restaurants are the same and complaining if one establishment charges £40 for a steak when you can get one down the road in a grotty pub for £7. The restauranteur has to bear the cost of running his or her establishment to a high standard, and the chef is highly trained and experienced, and the cuts of meat are prepared and presented to an exemplary standard. But these days fewer and fewer people will take that into account.

  • Mag D - July 13, 2013 - 11:14 am

    Have read carefully through your article, also found comments very interesting. Hope some people have at last realized just what goes into photography, and the complete lack of understanding regarding payment, expenses, etc. they all want perfection, isn’t it time they woke up to the fact we all have to live and most importantly, need to earn a living, as they do. Thank you Lindsay.

  • Lindsay - July 13, 2013 - 12:33 pm

    Hi Mag, yes indeed, nowadays there are an awful lot of amateur photographers out there who have a lot of experience and who produce good work. They are not reliant on photography in any way as a source of income and this seems to be cited as one of the main reasons why they are so willing to pass on their photographs to anybody who asks. Consequently businesses and many publishers now feel that all photographers should follow this pattern.

I joined The Societies four years ago and I have to say it was one of the best decisions I’ve ever made in terms of progressing the depth of my photography and the efficiency of my business. Like the Royal Photographic Society, The Societies (which encompasses well-known sub societies such as the SWPP – the […]

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  • Mag D - July 13, 2013 - 10:50 am

    Brilliant write-up. Very interesting to read about your past and present achievements. The photos are brilliant. The longer I look at them, I pick up more and more notable points. Thank you Lindsay.

Baby and Family Photography West Sussex and Hampshire In the post just beneath this one I talked about a recent shoot in the New Forest, co-ordinated by leading newborn and baby photographer Tracy Willis. To learn more about Tracy and the team please see our Wood Nymphs post, which will take you to their various […]

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  • Helena - June 29, 2013 - 12:45 pm

    Dear Lindsay,

    Very stylish an beautiful baby portraits you have made. I like the vignettes in the corners (looks a bit like pinhole-photography, but then very sharp). As far as lighting is concerned, did you here use video-light? As I read somewhere in your blog that you sometimes use this type of light. If so, there are so many types of video-light, which one do you use?


  • Lindsay - June 29, 2013 - 1:22 pm

    Hi Helena, we had originally intended to use strobe but the day was quite damp which ruled out this kind lighting. Instead, we found areas of soft light and placed our subjects accordingly, using large reflectors to bounce light onto them. I do use video light, I use LED panels which can be bought fairly cheaply from eBay and Amazon. However video lighting has little use during the day because the power output is so much lower than strobe – therefore I tend to use video lights indoors or when the light is dim.

  • Helena - June 29, 2013 - 1:29 pm

    shooting Thank you Lindsay for your comment, the result of this (and many others of yours) is absolutely gorgeous.


  • Wolfgang Lonien - June 29, 2013 - 7:42 pm

    Very interesting Lindsay, and great photos as always.

    First I thought I liked the first one better, but after looking again, that second one is really nice. The focused parts of the tree may be the reason, cannot point at it exactly right now.

    All in all, a very nice work which reminds a bit of the old school classical portraits from a century ago. Except that these here are lots sharper, like Helena said already.

    What I really like about that first photo is how Jasmine seems to sit in front of the scene – and that isn’t only the result of that gorgeous 3D-like output from the Leica-branded lens, but it’s your processing and style which are cool.

    Good work indeed. I wouldn’t hesitate a single moment to recommend you for jobs like these (but then again, I’m not in England of course).

  • Lindsay - June 29, 2013 - 8:27 pm

    Hi Wolfgang, thank you very much for the lovely comment. It was really nice to have the chance to create a calm and classic portrait and I know exactly what you mean about the depth in these images. I think you’re right in that the relative positioning of the tree branches brings out the three-dimensional aspect. And there is definitely an “it” quality to that lens which is hard to describe.

  • Mag D - July 2, 2013 - 9:36 am

    Lovely photos Lindsay, full of depth, character. Lighting is great, shows Jasmine to perfection. Background very impressive, the way you have cleared trees and branches etc. it all looks so very attractive, a real work of art. Thank you.

  • Lindsay - July 2, 2013 - 2:46 pm

    Thank you Mag, Jasmine is certainly very photogenic. The background did need some tidying, as is often the case when you’re on location. Being able to do that is one of the many factors which will separate a snapshot from a professionally crafted portrait. But it’s surprising how many members of the public (and publishing profession) feel that we should not be paid for our time and skill set.

Outdoor Portrait Photography Hampshire – Woodland Every so often I have the opportunity to meet up with fellow photographers, models, and stylists. In fact putting together a styled or themed shoot is common practice amongst professional photographers, particularly when we want to explore new locations or ideas, and of course build relationships with each other […]

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  • Gianluca - June 25, 2013 - 4:47 pm

    You are such a great photographer!…I always admired your work and you inspire me a lot…Bravissima! Ciao from Italy! Gianluca

  • Lindsay - June 25, 2013 - 5:20 pm

    Hi Gianluca, lovely to hear from you and thank you so much for the kind words. It’s nice to have a reader in Italy!

outdoor portrait photography west sussex The beauty of location photography is quite simply the fact that the world (or whatever environment you find yourself in) becomes your studio. This is far more interesting than always confining yourself or your subjects to a white room. Without doubt we can create the look and feel of a […]

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  • Stephen Scharf - May 24, 2013 - 9:19 pm

    Wow. Amazing set of images, Linds!

    Wonderful control and mix of ambient and strobe/fill light.

    They’re all beautiful but my favorites are 7 and 9 on the beach, and the high key one where Nikki has her arm over her head. Stunning.


  • Don - May 25, 2013 - 5:33 am

    1043, 2029, 2104 are my favorites.
    A very beautiful series of outdoor portraits.

  • Lindsay - May 25, 2013 - 9:57 am

    Stephen and Don, thank you both for the kind comment. I have to admit that Nikki makes a photographer’s life very easy!

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