Don't Pick Me!

 

Photo credit: Me by me. Background: Dynamic Wang, Unsplash

A funny thing happened... 

 

I don't usually share personal stories because they're not generally very professionally on brand for me. I am not always the same person IRL as the perfect and awesome photographer I want seared into your minds. Nevertheless, I see a way to tie this short story into a relatable moment for photo subjects, so here goes...

 

Some who know me know that at various points during my career I have ventured onto the other side of the camera and acted in commercials. I also, many years ago, tried improv classes at Second City but sucked at it so I quit. I even managed at one time to get a small part in a docudrama, which was one of the most stage-fright-inducing experiences of my life. So, between the horror of that and the impossibility of balancing two freelance careers I quit acting and got back to focusing on my real job as a photographer.

 

Then the pandemic happened. After way too much time away from people, and with my mood faltering — I'm sure many can relate — I decided to try comedy again. Back to Second City I went. First, I did a virtual comedy writing course. Then when it was safe I signed up to try improv again. This time, it turned out to be one of the most fun experiences I have ever had. Level 1 was just a relentless blast. It was still fun, but things got more challenging in Level 2, even more so in level 3 and even more so in level 4. And here I hit a wall, because at the end of Level 4 you go on stage, briefly, in front of people who have, some of them, actually paid money to be there...not a lot of money, but money. 

 

Initially I told my instructor I would not be participating in the end of term show. But what kind of person abandons their classmates like that? I knew I would never forgive myself for chickening out. As you can guess, I did not die. But neither did I enjoy. So no Level 5 for me, Level 5 being all about creating a show, and performing it, in front of people.

 

I moved on from Second City and started taking classes at another comedy club where I figured I'd be safe from the stage, at least for a while. (Although last week my current teacher let slip that he had a special surprise for us...never mind...I'm not available that night anyway! Thank goodness!) 

 

Anyway, one day I got a promotional e-mail advertising discounted tickets for a new Second City show that sounded great. So I went. The usher walks me down to the front row, right in front of the stage. My general rule at improv shows is "do not sit at the front," or "do not sit anywhere the performers can see or talk to you." But I let my guard down. I figured "what could happen?". I know you know where this is going. 

 

Of course, to my total horror, at the beginning of one skit, a tall performer guy walks up to the edge of the stage, points down at me and says...I don't actually recall what he said because my brain was imploding, but it would have been something like... "You! Come on up and join us." A spotlight shone down on me. I would have looked quite a lot like my photo here, absolutely mortified, saying "oh, no, no, no..." desperately wanting him to move on and choose someone else.  He was not receptive.  

 

Next thing I know I am walking up the little staircase to the stage, overwhelmed with the irony that the last time I'd been at this establishment I had known in my relieved heart that it would be the last time I'd ever have to set foot on a stage here. How did this happen?! And it turns out it's not just a quick moment, it's a whole bit. I was clicking my heels, but going nowhere (I didn't have Dorothy's shoes). I was stuck there, trying not to die, just trying to get through it. Once again, I know you know that I did not die. 

 

Why am I sharing this story? I'm sharing it so that all those people who dread having their photos taken will know that I really mean it when I say I understand how they feel, on some level. I understand not feeling confident about how you come across, not feeling comfortable out of your element, with lights and a lens pointing straight at you.

 

One big difference is that I, as your photographer, am not some idiot performer that won't listen to you no matter what you say. :) I do care how you feel. And unlike that guy I am not going to let you show up petrified, or any other way than in your power. 

 

So if there's a take-way, other than don't sit in the front row at an improv show unless you are OK with potentially being in it...good for you if that thought doesn't bother you at all!...it's that being photographed by a photographer that cares is much safer than some other circumstances in which you may find yourself. Yes, there are some less caring and patient photographers. I actually experienced one yelling at me "I hate you!" a million years ago when a friend convinced me to try modeling and I couldn't relax...that went nowhere. See, I really do get it. But, back to improv for a sec. There are so many great things about improv  (ask my friend and client author of "The Yes, And" Business Evolution Improv Skills for Leadership and Life - Tracy Shea-Porter), its main and most noteworthy tenet being "yes, and", which is a good note to wrap up on here. "Yes, and" getting professional branding photos. Feel the fear and do it anyway (thank-you always to the late Dr. Susan Jeffers) and trust you'll be safe in the caring space created by sensitive pro's like me. 

 

(Originally published on LinkedIn April 30, 2025.)

 

#businessportraits, #corporatephotographer, #personalbranding 

 

kathryn@hollinrake.com

hollinrake.com 

Why Does a Good Headshot Matter?

 

I see them all the time and so do you...

 

profile photos of highly skilled, talented and accomplished professionals that do not in any way reflect those characteristics.

 

When you look at your photo, if you think "ugh" or "meh" what do you think others think?

Maybe you think nobody is noticing and nobody cares...nobody has said anything...lots of other people have less-than-great photos, and you don't have the bandwidth to prioritize a good headshot right now. But what if you understood that people are noticing, and they are learning something about you the minute they see your photo? Consciously or subconsciously they are getting your message...which is somewhere on a spectrum from "I don't care," to "I am all about excellence and I understand the value of making sure that's clear."

 

What if your profile photo makes the difference between someone finding you on LinkedIn, wanting to learn more about you and reaching out vs. finding you on LinkedIn and moving on? Or what if it influences someone's perception of your value as a provider of whatever you do? If the deciding factor for the profile pic you are using was that it “doesn’t look that bad” and fills the space, the question isn't just "is it really working for me?", but "is it actually be working against me?".

 

And of course LinkedIn isn't the only place people need profile portraits. Here's a case in point. A while ago I had an opportunity to photograph the core partners of a marketing firm for their new website. Originally, they thought they'd just get their Manager of Digital Marketing to shoot them, since part of that person's job is photography. But they determined that there is a difference between the often somewhat temporary nature of social marketing photos and the longevity required of 'foundational' photos that will reside on the company's website and other places for some time to come. These images needed to be of high quality, clearly convey the company's brand, and, of course, look really good.

 

The younger partners did not have a lot of experience with full-fledged photo shoots, and weren't entirely sure what a "real photographer" did. This is so much more common these days, as the barriers to entry into "professional" photography are increasingly low, much can be done with little equipment, budgets are tight, and it can be challenging to communicate the value of hiring a pro. In the case of social marketing posts which have to be executed quickly, economically, repeatedly and ongoingly, it would be logistically and economically impossible to have a pro quote and produce a shoot every time a client had to post a pic, so people make do, including when they "just need headshots".

In this firm's case once we did their profile portraits, they 'got it'. The photos went on to serve them and their company well, and they had a much better understanding of how to position professional photography to their clients, when appropriate.

 

But back to you, if your profile pic screams "did it myself" or "got my partner to do it", or doesn't look anything like the current you, or looks like it was taken on holiday, or at a wedding, or makes you look timid, mean, uninterested, unfriendly, unapproachable, uncomfortable, unprofessional, uncertain, tense, tired, or cute, or makes you cringe, and it doesn't make you think "I'd want to connect with me!" every time you see it, then what are you doing? This is not the you you want to show to the world. This is not your brand.

Even as I was writing this I happened upon a Linkedin post by Julie Cole, LLB, MA in which she says "... fair or not, first impressions matter." (Apil 16, 2024) You can want your visual presence not to matter but that's just not reality. If you're going to have a profile pic it is going to matter, and no, I do not recommend not having one.

 

If you don't have an up-to-date, relevant, and appropriate professional looking profile portrait consider what it might be costing you. Make sure you are not undermining yourself with your photo. Bolster your confidence, and support your professional self...look good (in your photo), and feel good knowing you've got a great full time first impression generator working for you!

 

And one more thing...I've got to say this...no amount of AI is going to help elicit from you your best self. Remember, the point of a profile photo is not to provide a map of your features, it is to show people who you are. A great photographer will capture that in a way no AI ever will. 

 

(Originally published on LinkedIn April 22, 2025.) 

  

#businessportraits, #corporatephotographer, #personalbranding

 

kathryn@hollinrake.com

hollinrake.com 

Head and shoulders or half-body profile pics...what do I want?

 

Me in my studio: half-body main shot, and cropped version for LinkedIn

                       

A question I'm often asked regarding business profile photos is whether I recommend going with a head and shoulders crop or framing to include more body.

 

Usually, if the photo is for LinkedIn, or an internal company directory, or something similar, then I suggest a head and shoulders shot, unless there is a good reason to show more. If you are a dancer or a body builder, or fashion designer or, or have tattoos, or are someone with uniquely expressive body language that is part of your personal brand, that might justify showing more. But generally, where there is a little circle or square space for your photo...think how small it appears on a smart phone...most of us will show up best in a fairly close-up shot of our faces; viewers scanning our profile will quickly get a good first impression of who we are.

 

Other advantages of a head and shoulders shoot:

• easier posing for the subject,  faster to shoot
• you don't have to figure out what to do with your hands
• less to be self-conscious about if don't like having your picture taken (you can be a total mess from the chest down!)
• less wardrobe to be concerned with, ie. what to wear, how well it fits 
  
• easier to hit a power pose
• for those not at their ideal weight tighter crops can be more flattering

 

But, as I acknowledge, there are times when seeing more of a person's body can really serve the cause. Let's say your body language is very indicative of who you are in the world. Maybe you are very relaxed and comfortable in your own skin and are physically expressive; having the freedom to move during your photo session, showing more body, and standing instead of sitting for the photo might really work for you. 

 

Another reason people might opt to show more body is for variety and flexibility. Maybe your photos are for LinkedIn but also for a website, and/or multiple other possible uses -- speaker/contributor profile, author portrait, board member, your organization's website (maybe with a with a mouseover to an expanded crop), newsletters, annual reports, etc. In some cases, the photos need to tell a bit more of a story about you, or simply physically fill a bigger space than a head and shoulders photo would do. Or maybe the environment in which you are being photographed is part of your story.

 

Obviously, the possibilities for a photo shoot are endless with unlimited budget and time. But if your immediate need and resources indicate doing one basic session to get one winning shot, you might get more bounce for your ounce by shooting wide and cropping later for LinkedIn. (I say "might" because some shots may not crop well, for example if the sleeves are wrinkled in a way that makes sense when you see the whole photo but not when you crop tightly...see photo below.) Just remember that the shoot may take more time, as there are more elements to be concerned with in the photo. Even with a great photographer's expert guidance regarding what to do with your hands, and the rest of your body, wider shots can be more challenging.

 

 

And if you're organizing half-body or full-length sessions for a bunch of individuals, remember you need to multiply the extended time for one person by the total number. Total time required can add up fast, especially if subjects are interacting with the background, eg. sitting on a couch, or on a stool, etc., so head and shoulders shots may be more practical for larger numbers.

 

I hope this helps answer the close-up or not too close-up question. Let me know what other questions you have! And remember to check out my free ebook on Business Portrait Tips for answers to questions you may not even know you had!

 

kathryn@hollinrake.com

hollinrake.com

Pay me now or pay me later.

 

You may be able to see the details better if you click to enlarge.

 

My retoucher tells me things. 

 

OK, not really, because I do most of my own retouching. But a colleague of mine who is a professional retoucher sees things I don't see, like photos done by photographers who are less experienced and less detail oriented than another one might be. I wondered why anyone would be unwilling to pay for good photography, but would be willing to pay to fix bad work. Probably because they don’t anticipate the additional cost. When my colleague shared with me some of the things she has been asked to fix I decided to write this post to try to spare whomever I can the pain of totally unnecessarily high retouching bills and time wastage due to backing and forthing by e-mail days and weeks after the shoot.

Wouldn't it be far less painful, and maybe even cost a similar amount to get a good, experienced photographer who knows what to look for while shooting (and tells you how much time you need to get good shots) and just takes good looking photos in the first place? 

 

My illustration is extreme to make a point, but here are some things that aren't uncommon: having one side of a collar pop out from under a jacket lapel, wrinkles, an earring hanging wrong*, lipstick/gloss having partially worn off or hastily applied, mascara smudged, hair on face or food between teeth after lunch.

(*I know you can't really see it here but viewed at full size, or in one of the other frames  where the earring showed more, you'd see it and you'd be bothered.)

 

These are all things that can happen, and that a retoucher may be asked to fix, but could so easily have been avoided with a little care. 

 

Despite the many advantages of digital photography (it's hard to imagine we used to shoot on film and had no Photoshop), when the digital revolution happened it removed a huge barrier to entry into the world of "professional photography" and made way for the notion that "anything can be done in Photoshop." When people proceed with the idea that any number of indiscretions can be fixed in Photoshop, there is a clear path created to a loss of precision and professionalism. 

 

While it may be true that anything can be fixed in Photoshop, there's a cost. Good retouching can cost a lot. The point this that there is risk associated with sloppy photography. From a practical POV, some issues like those on the left photo are not even really fixable, meaning clients end up settling for poor quality, and organizers end up with unhappy bosses.

 

Here's another reason to make sure you hire a good photographer...it is clear to me that there are lots of people who can't really tell the difference between a bad picture and a good one. This is not a criticism...their skill sets lie elsewhere. So if you don't know what's good or bad but you understand that photography is sending a message/telling a story, it really behooves you to hire an expert who does know what makes an excellent photo. Otherwise the story your photo is telling may not be the one you want it to be telling. 

 

While we're here I have a couple of "Don'ts" to pass on regarding portrait wardrobe, because what you wear can play a big part in the success of your photo. Neither the blouse nor the jacket were great choices. Why not? The shape of the jacket and sheen of the fabric meant that unless I could get it to sit perfectly flat on my body (which I couldn't) it would show wrinkles I wouldn't be able to fix in retouching. So make sure your jacket fits and sits well if you wear one. 

 

Also, for some reason, one side of the collar on this jacket tended to stick out way further across the shoulder area than the other side did. I needed fabric tape to pull them in and even them out for the photo on the right. It's rare to have time at a business portrait session to be fiddling around with fabric tape. And the blouse was made of very soft, floppy, wrinkle-prone, patterned fabric. I had to use a lot of fabric tape to get it to hold its shape in the photo on the right, and I still had to retouch it. If your shirt collar can't sit properly without being taped into shape (!) wear a different one.

 

That's it for now. Good luck with your next photo shoot! 

 

kathryn@hollinrake.com

hollinrake.com

corporateportraits.ca

 

 

 

 

Dream Job: The Tour de Bleu Calendar

 

This is the fuzziest photo (or grid of photos) I have ever uploaded and that's on purpose! Sorry. These photos were created to be shared internally by the organization, so I can show you kind of what they looked like, but not who's in them. I wish I could. But, privacy.

 

In the fall of 2024 something wonderful happened. I received an e-mail I almost didn't think was legitimate as it began with "Good Afternoon". But the sender did refer to some specific work on my website that gave them the idea I might be a good fit for their project so I replied.

 

What followed was the commencement of one of the most interesting and creative projects I have done in a while, thanks, to some extent, to a series of fake book covers I did in 2023.

 

The project -- a calendar to feature a series of creative, whimsical and maybe humorous images of twelve Tour de Bleu cyclists and their bikes. The calendar pages would be auctioned off at the Tour de Bleu gala fundraiser;  the models would be the winning bidders. Between 2023 and 2024 the Tour de Bleu raised 11.9 million dollars for the William Osler Health System’s Adolescent Intensive Day Program for youth struggling with self-harm and suicidal thoughts. Here's more about the event and the organization: https://www.petergilganfoundation.org/tour-de-bleu/

 

Particularly given the target charities it took me zero seconds to want to be involved.

 

All I had to do was collaborate, organize and execute twelve photo shoots with some of the busiest people I have ever met.

 

What was so great about this job?

 

I had a lot of creative control. I was allowed to create each image as a stand-alone piece with no stylistic limitations or restrictions...the final set of shots didn't have to match.  I got to bump brains with some very fun and creative people.  I got to see and explore a number of interesting places I would otherwise never have had a chance to see. I got to work with a great new photo assistant, my son (as well as my usual, awesome assistant, Ashley).

 

What were the challenges?

 

In some cases I got to scout the locations prior to the shoot dates, which I always like to do. But even then there were challenges. Logistically and budget-wise we just didn't have the capacity to deal with getting (and paying for) location permits, so where that might have been a thing we knew we'd have to shoot fast. Since we had no time for weather days (ie. postponements) we'd have to shoot rain or shine. Despite my advising that we have back-up inside locations, we were pretty committed to shooting in the various outdoor locations the "models" came up with because they were much more interesting and varied. Thankfully, with seven out of twelve locations being outside, we did not get rained out once. It came close, but you'd never know because I brought the sun with me in my light cases.

 

It was also increasingly cold.  We shot way later into the fall than originally intended due to people's schedules, thus the sparsely leaved trees in at least one of the shots. Another week and we'd have been out of luck at that last location.

 

And I did have to Photoshop in a couple of skies.

 

We went to this park during off-hours, set up and shot very quickly. I had fully pre-visualized what the set-up would be so we were very efficient. We used a fishing rod and fishing line with a safety pin to make the scarf fly.

 

In the case of the red scarf shot (top left in the grid) I knew the way it "flew" in the park would be no good, so it was always my plan to reshoot the scarf in studio (on green screen)  where I'd have more control, and composite it into the final shot. I had to do still more in Photoshop to tweak the flying effect. What I didn't want to have to do in-studio or in Photoshop was create the part of the scarf that went around the model's neck, which is why we also had to shoot the scarf actually on the model on location.

 

Did I mention how busy these people are? To make planning even more of a challenge some of the models were basically voluntold to participate by their bidding "associates". So, one person would bid on a calendar page but assign the photo shoot to someone else. This made for some lengthy and, shall we say, erratic e-mail threads. And instead of photographing twelve people, we ended up photographing twenty-two (because there were groups...surprise!)

 

What else? 

 

Hilariously, although it did not feel hilarious at the time, following the desire of our model I had selected a spot at this location that on the shoot date was totally taken over by this giant window cleaning apparatus. The operator kindly shared with me that they were scheduled to be there for four days. Luckily our model had access to another even better location nearby so we still got a great shot.

 

At one spot downtown our model had requested a certain spot for their shoot. I scouted it in advance so I'd know which angles would work if it was sunny or rainy on the day. We arrive to find an enormous window washing apparatus ensconced in the middle of the space. The operator tells us it will be anchored there for four days. Excellent. There is nowhere in that space we can shoot. This location is unusable. Luckily, our model had some pull and showed us to an even better space. Still outdoors, but not there. Fantastic!

 

And talking about being lucky, after all these years of dreading something  like this happening it finally did. We were on our way out of Toronto to Burlington and as I am pulling away from the pick-up spot for my assistant near Exhibition Place a driver hops out of his car, comes up to my window, and tells me I have a flat tire.

 

Thank goodness I am fanatical about leaving early for shoots. Of course this is the day we have one shoot in the morning in Burlington, requiring the most complicated lighting of any shoot in the project followed by another shoot in Brampton, both on tight schedules. The one in Burlington is at a restaurant that opens at 11:00 so there is no going over...we are supposed to be out of there by 10:30 and absolutely must be out of there by 11:00 a.m. And it was incredibly difficult to even get this shoot booked...rescheduling is not an option.

 

So, by some miracle I am able to limp my car a few yards to the last parking spot in the only parking lot I can see in the area. And I call CAA, while I get my assistant to call a cargo cab. I call my husband who drops everything  (thank goodness it was a day he was in town and could even do that) and picks up my spare key from home on the way. I tell CAA my husband will drive over and meet them at my car. They say no go; their memberships are with people, not their cars. So I buy my husband a CAA membership and Bob's your uncle! We unload my car into the cargo van and head to Burlington. The driver says we have to pay $45 cash and it's $20 extra for the cargo. Who carries that kind of cash these days? Miracle, I had it! We're only half an hour late. We set up like lightning and we get the shot. Everyone is happy. We call another cargo cab who lets us pay by credit card and quietly says it's $10 extra for the cargo, as if we might have a problem with this (so looks like they make up the cargo rate on the spot based on what they think people will pay), and we go back to my car. It's all fixed. We drive to Brampton. After shoot #2 I drop my assistant at her home and buy my husband a bottle of his favourite scotch. How lucky were we?

 

Originally we thought we'd schedule the twelve shoots over six shoot dates...two per day over three weekends. So cute we thought we could make that happen. We ended up shooting on ten different dates, weekdays and weekends. I had also been under the impression everyone to be photographed was in Toronto. If you count Burlington, Brampton, Milton and Peterborough as Toronto then yes, we shot in Toronto. I spent fifteen hours location scouting and that wasn't even all the locations. The fastest shoot was probably less than half an hour...good thing I'd scouted that one. But on average they were maybe two hours all in including set-up and tear down.

 

I don't even know how many hours I spent on post-production. In several of the shots I wanted the bikes to look as if they were moving but we had to shoot them standing still. As an example, in one shot a family of three kids on bikes and a scooter was to appear to be winning a race with their competitive racer parent. It would have been virtually impossible to photograph them in the park with the background I wanted, with artificial light (assistant holding my flash)  if I had allowed them to actually ride, so on my count they all hopped up onto their bikes and the little guy on the scooter shot his foot out behind him, over and over until I had the shot. They did a great acting job. But, if I hadn't added motion blur in post (not as quick and easy as one might think) it would have looked boring and static.

 

I also learned that cleats and clip-in pedals are not conducive to balancing on an unsupported, stationary bike. Noted!

 

So those are the highlights of my 2024 dream job. Overall, a very challenging job, but worth it in so many ways. They will almost certainly never read this, but a huge thanks to the people who helped herd the cats including executive assistants whose job I would never want. This project took over much of my mind, and many chunks of time for the better part of two months. Thank-you to the donors for allowing me into their busy lives to create art with, and out of them, including one major collaborator who lent me his studio, his creativity and his considerable energy for our shoot together...he knows who he is.   

 

It's not often a job like this comes along. I met some of the nicest and most inspiring people. I'm proud of the images we created together. And next time, now that the first calendar has been distributed to the group, at least donors will know what they're signing up for!

 

 

kathryn@hollinrake.com

hollinrake.com

corporateportraits.ca

Serious profile photos

 

Let's be serious.

 

Just kidding. But I am going to touch on the idea of the "serious" business photo.

 

One of the first questions clients often ask is: "Should I smile?"

And generally, the answer is that you should do whatever feels and looks like you, with the caveat that you are trying to initiate connection with people, and people generally respond more favourably to someone who appears to be, if not outright joyful, at least approachable. 

 

I've written about this before. As have so many. In fact it was ten years ago (!) that I found (and shared) a handy diagrammatic breakdown of what one organization has determined makes the perfect profile photo -- https://photofeeler-blog.s3.amazonaws.com/perfect-photo-infographic.jpg

-- and you can see that, according to them, smiles are really important. 

 

However, sometimes there are good reasons not to smile. Some people just aren't smiley. Sometimes a smiley photo just wouldn't feel right, if, say, you are the CEO of a funeral home, or work in a similarly serious organization. Even so, I just wanted to make the point in this post that there is (scary) serious, and there's (still approachable) serious. And no matter who you are, if you are using a profile photo at all, I suggest it will most likely serve you better if you look at least somewhat accessible. Unless anger is your brand.

 

As always my suggestions are presented to help most people, most of the time. They are not rules, and they don't cover every circumstance.

 

Always remember what the goal of your profile portrait is. And remember that generally you want to draw people towards you, not frighten them off.  

 

kathryn@hollinrake.com

hollinrake.com 

corporateportraits.ca

Individual business portraits - put all your eggs in the good basket

 

 

When I have a client come to my studio for a business portrait session I always suggest they bring wardrobe options. We review the options, shooting test shots if necessary, and choose the outfit that works best. If it's the case that the client needs one great shot, we do the whole shoot in the one best wardrobe option. We don't shoot all the outfits, because we don't want to discover that the hands-down best expression happened in the wrong outfit. (Link below to a post written by a happy client of mine who mentioned this exact thing.)

 

Why am I bringing this up? Because this is not the way everyone works. And without an explanation my method might sound to some as if they aren't getting as much from a photographer like me as they are from one who advertises based on a quantity model. This what they want you to think.

 

Here's a short story about an author shoot for a publisher. We were shooting a book cover. There were three dresses to choose from. We could all see which dress looked best so we started with that. By the third dress, which even the author didn't really like, her energy level had dropped way down.

 

Keep in mind that this is someone who knew there was a lot at stake in terms of getting this book cover right, and was a pro at being in front of a camera.

 

We kept shooting, because the publisher wanted options. But we weren't actually getting any viable "options". The author was getting increasingly tired and disappointed. We weren't getting good shots. We spent a bunch of time and energy shooting a bunch of images that would never see the light of day, and by the end of the shoot our author's sunny disposition had evaporated.

 

It was the (not actual) "need" for quantity that compromised the experience for the subject, and set us all up for disappointment, even though we had successfully captured a winning shot!

 

In this digital age when it's so easy to offer quantity – we're no longer limited by the number of frames on a roll of film and the cost of buying it, processing it, etc. (although there are still costs with digital, which people don't acknowledge enough, but that's not for today's post) - it is so easy to use as a selling point the number of pictures a photographer will take or the client will get. "150 photos!" (or whatever). And it's easy to say that a client can change as many times as they want, and we'll change backgrounds and lighting as many times as we can in a given period, say, an hour. Of course there's always an option offered for those with a leaner budget who know they only want one "look"...but if you look at the detailed description it'll be for a very short, strictly time-limited session, usually something like 15 minutes.

 

What if I told you that it can take an hour to get one “best photo of me I've ever had!”?  Does it make sense that you will get the value you want, and that you're being sold, if you change three times in that hour, or if you have 15 minutes to get from "I hate having my picture taken" to "wow, that was so much less painful that I thought it would be and I really love this photo!"?

 

I'm not saying don't shoot more than one outfit. I am explaining why I don't use a business model based on getting as many photos as you possibly can in a strictly limited period of time. I am suggesting that you consider what you really need and plan with your photographer accordingly. Especially for people who don't love being photographed, think about what you are setting yourself up for if it's all about shooting as much and as fast as possible. 

 

Using the Goldilocks principle, the ideal would be to avoid the "too hot" option (big pile of less than stellar pics) or the "too cold" (short, fast, impersonal shoot). A "just right" shoot will be based on your particular needs, and will not compromise on quality.

 

The experience will affect the results. Care and attention to detail will affect the results. Set yourself up for success.  

 

Link to Shari Graydon's LinkedIn post mentioned above:

https://www.linkedin.com/feed/update/urn:li:activity:7268692765838848000/

 

 

kathryn@hollinrake.com

hollinrake.com

corporateportraits.ca