10 Steps To Planning Your Wedding

You're engaged, now what? Knowing where and when to begin can be daunting - good thing you've found us, then! Here are the 10 things you need to do right away... 

Share the big news with your inner circle before updating your status on Facebook. It's not cool for your acupuncturist and hairdresser to find out before your extended family. 

Everyone's eyes will be on your hand, so grab your BFF, splurge on a professional mani, and start showing off that sparkler! 

Being engaged means you get to plan the wedding of your dreams. But it also means you're about to spend the rest of your life with your soul mate. Take some time (at least a couple of weeks) to savour how totally romantic that is before you dive into logistics. 

Ready to get down to the nitty-gritty? Settle on a rough guest list and budget. 'Without this, you can't book the right venue and vendors for your price point,' says planner Tracy Taylor Ward. 

This is the fun part: brainstorming with your man about the big day. Compare fantasies (tequila tastings, beach vows or a Venetian villa), and sign up for a Pinterest account to create an online inspiration board. Go crazy and think big- you can refine things after you've picked that all important venue. 

Have a range of dates in mind before your tour venues. Are you imagining a spring garden wedding, or autumnal 'I dos' in the woods? Do you want a honeymoon in the Scottish Highlands, or to cruise the Caribbean? The answers will help to steer you towards your ideal time of year. Tip: ask engaged friends when they're getting hitched, so you can avoid those dates. 

If you want to work with a wedding planner, book them before you choose your venue. 'I often wish I could turn back time and show new clients a site that would have been a much better fit for the theme they wanted,' says planner Annie Lee. 

Your venue will influence every decision you make, from your colour scheme to the style of your dress, so pin this down early on. The key is to find a venue that works with your vision (black-tie ballroom, modern minimalistic). And don't be afraid to think beyond the banquet hall. 

This is not the kind of party you can throw together at the last minute. Stay on track by creating a timeline of your to-dos. We asked wedding planners what software they used to stay organised. The unanimous response? Microsoft Excel. 

Once you've secured a venue and date, start hunting for your celebrant, photographer, and band or DJ. Because these people often book one event per day, they get snapped up quickly. Pounce immediately.

 

Yell.com / Hibu SCAM!

So this is going to be another rant, but everything I tell you in the blog will be 100% factual information.

I was contacted by a man from Yell.com in February named John McGuire, whether this is his real name or an alias I do not know. This man was preaching to me how Yell.com's advertising was far superior to Facebook and Google advertising. Naturally as a small business owner wanting to expand, I was hooked by his sales script. He showed me another photography company that apparently Yell.com had brought in numerous sales for, and showed exponential growth in this persons business. The deal was for my listing to be on top on Yell and be will be higher in Google rankings for £100 per month, for 10 months. So I figured, if this can work for someone with mediocre work, then this should be a sure fire way to get a ton of business, right? WRONG! 

I spent countless hours uploading my images to their poorly designed account management system which compresses my images and makes them look horrible. Not to mention filling out all the forms, personal information, keywords, descriptions etc etc etc... It goes on and on!
Eight days later, I noticed I had ONE single click on my advert. Yes, that's right. One click. I then rang John McGuire of Yell.com to cancel this extortionate pile of rubbish as it clearly was not working and I wasn't going to get what I was paying for. When I rang him to cancel, he quickly interrupted me with more lies. Telling me that "The system takes up to 30 days to kick in" "I can assure you that this will work for you"... Eventually after 45 minutes of arguing with the man, he gave up and said he will pass it through to the cancellation team. He had a certain tone in his voice and at this point I didn't trust him at all, so to make 100% sure, I even sent in a cancellation letter, signed and dated the next day.

They are still badgering me two months on for the £100 per month and they have no recollection of me trying to cancel the contract. Go figure?
When I called to question why they still want money from me, they told me that they had "lost" the phone call and haven't received a letter of cancellation!

 

Update:
A few letters have been to and from myself and Moorcroft Debt Recovery. After explaining to them that Hibu/Yell.com don't seem to be responding to anything that I am telling them, they have tried to contact Yell.com themselves and still haven't had a response back in months. Clearly they do not have their facts straight!
The last phone call I made was to Moorcroft telling them that if they try to harass me further for money I do not owe I will be contacting my accountant and Solicitor and pass on all the transcripts to them. Since then, I have heard nothing from them.
Just goes to show a little back bone and persistence can deter big companies out to bully you!

Budgeting For Your Wedding

Ok, so it's not the most glamorous part of planning a wedding, but you need to nail down what you need and get the best out of your day without running yourself into debt. Here's a few ways to make the process a little less painful...

Work out what you want

'It may seem obvious but you need to decide the type of wedding you want before doing your sums and booking venues,' says wedding planner Julia Dowling. 'I've seen a lot of couples book the venue first, only to realise they've blown the majority of their budget and can't afford another element they were desperate to include'

Have the money do the talking

About 50% of couples foot the whole bill themselves, which means that the other half ask for help, mainly from Mum and Dad. Sit down with each set of parents individually, you with yours and your partner with theirs, and ask if they would like to contribute to your wedding day.

Add it up

Your parents' contribution + yours = your total budget. Note: do not include your credit card limits in the total. You don't want to run yourself into debt as a married couple, that's no fun is it?

Spend it wisely

Now that you have a figure, start thinking about your priorities. What do you want most? A jam-packed dance floor? Amazing food? Or brilliant a brilliant photographer such as myself? (Shameless advertising right here!) Allot the bulk of your budget there and find ways to save elsewhere.

Consider every cost

'Most people go over budget by at least 30% because they didn't account for everything up front', says wedding planner Annie Lee.
Be sure to include the following hidden costs:
Dress alterations
Weather back-up plans (tents, heaters, umbrellas etc)
Taxes (Always ask if things include tax!)
And even postage costs for invites!

 

Hopefully these few tips will help you along your way to planning your perfect day, with as little trouble as possible.

Why do you need a wedding photographer?

So you may have found me on Google or locally as a wedding photographer. Let's be honest right now my prices are some of the cheapest you'll find in my area, but I'm definitely not the most expensive. Also if you're reading this blog, a major factor in figuring out if you absolutely need a wedding photographer, is your wedding budget.

So let me break down exactly what a wedding photographer should be doing for you. (Yes, this includes me)
First of all, you should chat with the photographer and have a look as his/her/their work to see if they are the right fit for you. You wouldn't want to book a photographer that only shoots black & white images, if you absolutely hate them! Me personally, I find it hard to like black and white images purely because I think I overdid it as a child. These days, I only make an image black and white if I feel it really fits the mood and feel of whats going on.

Then you want to see what kind of package they can do for you, whether you want a photobooth, Polaroids on the day, how fast they turnaround the images, how many free prints are included etc. etc...

Another major question I get asked is "How many images will I get?" - At this point I put everything down, look at the couple and tell them straight. That if you want 1,000... 5,000... 10,000 images, I am not the photographer for you. Now I'm not going to knock any other photographer that does hold their selling point on "I will give you X amount of images" as there are probably some amazing shooters out there. But the majority of them don't know a thing about capturing moments, they don't know about lighting, feel, mood, poses, organisation skills. Hell if that's all photography was then everyone would be doing it, just hold the button down for 5-8 hours straight and you've got 10,000 images!
But that's not my style, I want to capture moments. My style of shooting is to try and stay hidden, and no that doesn't mean I'm going to be hiding behind the wedding cake trying not to be spotted, but rather let your day flow as it's supposed to without you and your guests feeling on edge.
If people really want a number (which they usually do) I tell them I can give them roughly 40 quality images per hour, that they will be happy with. But again, this varies on the length of your day, how much traveling is involved, how many guests you have etc.

You also have to factor in the fact that you are hiring a photographer to do one very specific job, to capture your day just as it was. Sure, you have a fancy new iPhone that captures brilliant images. But again, it's the knowledge of the photographer that makes the difference. And let's face it, you've spent thousands on your dress, rings, venue, food, cars... Why wouldn't you hire a professional to remember all those details?

What does the photographer do at the end of your big day? Is his/her/their work done? Absolutely not. Let's not forget editing all your images, building you a preview, burning CD's, creating a wedding album (probably the thing I hate most, but it has to be done, and done well!)

Hopefully me rambling on has helped you decide whether you need a photographer or not, are the things listed above important to you?

 

Thanks again for taking the time to read my once in a blue moon blog post, I keep telling myself I should blog more and I promise I'll fit them in my schedule when I can!

Invest in memories.

Up And Onwards!

For the last few weeks I've been racking my brain, thinking of ideas for a video to show what I can do. Show what I really do at Adam Pearcey Photography. It's hard to fit it all into one video!

The reason behind this, is because I want to start a Kickstarter or a GoFundMe so that I can open and supply my own photography studio. The first serious studio in Keighley that is. Sure there's other small knock off studio's around. But I want to create one where I can really excel my photography and rent it out to other people who wish to use my equipment in my downtime. 

I already have a place in mind, just up the road from NatWest in Keighley. It's pretty much center of Keighley, has road side parking and very accessible. The studio will need to be really kitted out if I'm going to make any professional use of it though. I already own high end camera equipment, but because I've only worked in my spare room as a studio until now, it means I don't have serious lighting other than small speedlights, I have no props on hand and I don't have paper roll backdrops (Which are SO much better than muslin/cloth backdrops!)

For this, to be fully completed... I would probably need around £10,000-15,000 to ensure I get everything I need.
And you're probably asking yourself, why don't I just go to the bank and ask for a loan, right? Well, this studio will be a long shot! There is no current photography studio in Keighley, which some may see as a good or a bad thing. Good because people will come directly to me to rent a studio. But bad because it means nobody else has had any success in running one. Which means I need to do things differently!

For the beginning, I won't be able to run the studio full time as  I currently have had to take up another full time job to pay for my mortgage and help my father out as he is blind. Eventually though, I expect to fill my books up all week long, every week. Either with my own customers wanting shoots for families or models, or with other photographers wanting to rent my studio for 2-3 hours a day.

So what exactly am I going to do differently? Well, for now I'm going to keep that a secret! It's an idea I've kept quiet for a very long time and I can't spill the beans just yet as I don't want any other local photographers stealing the idea!
I guess for now, just keep watching this space ;)

 

Invest In Memories.

Photography Law

United Kingdom

Legal restrictions on photography

In general under the law of the United Kingdom one cannot prevent photography of private property from a public place, and in general the right to take photographs on private land upon which permission has been obtained is similarly unrestricted. However, landowners are permitted to impose any conditions they wish upon entry to a property, such as forbidding or restricting photography. Two public locations in the UK, Trafalgar Square andParliament Square, have a specific provision against photography for commercial purposes without the written permission of the Mayor,[1] or the Squares' Management Team and paying a fee,[2] and permission is needed to photograph or film for commercial purposes in the Royal Parks.[3]

Persistent or aggressive photography of a single individual may come under the legal definition of harassment.[4]

It is a criminal offence (contempt) to take a photograph in any court of any person, being a judge of the court or a juror or a witness in or a party to any proceedings before the court, whether civil or criminal, or to publish such a photograph. This includes photographs taken in a court building, or the precincts of the court.[5] Taking a photograph in a court can be seen as a serious offence, leading to a prison sentence.[6][7] The prohibition on taking photographs in the precincts is vague. It was designed to prevent the undermining of the dignity of the court, through the exploitation of images in low brow 'picture papers'.[8]

Photography of certain subject matter is restricted in the United Kingdom. In particular, the Protection of Children Act 1978 restricts making or possessing pornography of under-18s, or what looks like pornography of under-18s. However, the taking of photographs of children in public spaces is not illegal.

It is an offence under the Counter-Terrorism Act 2008 to publish or communicate a photograph of a constable (not including PCSOs), a member of the armed forces, or a member of the security services, which is of a kind likely to be useful to a person committing or preparing an act of terrorism. There is a defence of acting with a reasonable excuse, however the onus of proof is on the defence, under section 58A of the Terrorism Act 2000. A PCSO cited Section 44 of the Terrorism Act 2000 to prevent a member of the public photographing him. Section 44 actually concerns stop and search powers.[9] However, in January 2010 the stop-and-search powers granted under Section 44 were ruled illegal by the European Court of Human Rights.

Following a prolonged campaign, including a series of demonstrations by photographers dealt with by Police Officers and PCSOs, the Metropolitan Police was forced to issue updated legal advice which now confirms that 'Members of the public and the media do not need a permit to film or photograph in public places and police have no power to stop them filming or photographing incidents or police personnel' and that 'The power to stop and search someone under Section 44 of the Terrorism Act 2000 no longer exists.'[10]

It is also an offence under section 58 of the Terrorism Act 2000 to take a photograph of a kind likely to be useful to a person committing or preparing an act of terrorism, or possessing such a photograph. There is an identical defence of reasonable excuse. This offence (and possibly, but not necessarily the s.58A offence) covers only a photograph as described in s.2(3)(b) of the Terrorism Act 2006. As such, it must be of a kind likely to provide practical assistance to a person committing or preparing an act of terrorism. Whether the photograph in question is such is a matter for a jury, which is not required to look at the surrounding circumstances. The photograph must contain information of such a nature as to raise a reasonable suspicion that it was intended to be used to assist in the preparation or commission of an act of terrorism. It must call for an explanation. A photograph which is innocuous on its face will not fall foul of the provision if the prosecution adduces evidence that it was intended to be used for the purpose of committing or preparing a terrorist act. The defence may prove a reasonable excuse simply by showing that the photograph is possessed for a purpose other than to assist in the commission or preparation of an act of terrorism, even if the purpose of possession is otherwise unlawful.[11]

Copyright

Copyright can subsist in an original photograph, i.e. a recording of light or other radiation on any medium on which an image is produced or from which an image by any means be produced, and which is not part of a film.[12] Whilst photographs are classified as artistic works, the subsistence of copyright does not depend on artistic merit.[12] The owner of the copyright in the photograph is the photographer – the person who creates it,[13] by default.[14] However, where a photograph is taken by an employee in the course of employment, the first owner of the copyright is the employer, unless there is an agreement to the contrary.[15]

Copyright which subsists in a photograph protects not merely the photographer from direct copying of his/her work, but also from indirect copying to reproduce his/her work, where a substantial part of his/her work has been copied.

Copyright in a photograph lasts for 70 years from the end of the year in which the photographer dies.[16] A consequence of this lengthy period of existence of the copyright is that many family photographs which have no market value, but significant emotional value, remain subject to copyright, even when the original photographer cannot be traced (a problem known as copyright orphan), has given up photography, or died. In the absence of a licence, it will be an infringement of copyright in the photographs to copy them.[17]When someone dies the rights will have transferred to someone else, perhaps through testamentary deposition (a will) or by inheritance. If there was no will, or if the photographer has not specified where the rights in the material should go, then the normal rules of inheritance will apply (although these rules are not specific to copyright and legal advice should be sought).[18] Scanning old family photographs, without permission, to a digital file for personal use is prima facie an infringement of copyright.

Certain photographs may not be protected by copyright. Section 171(3) of the Copyright, Designs and Patents Act 1988 gives courts jurisdiction to refrain from enforcing the copyright which subsists in works on the grounds of public interest. For example, patentdiagrams are held to be in the public domain, and are thus not subject to copyright.

Infringement

Infringement of the copyright which subsists in a photograph can be performed through copying the photograph. This is because the owner of the copyright in the photograph has the exclusive right to copy the photograph.[19] For there to be infringement of the copyright in a photograph, there must be copying of a substantial part of the photograph.[20] A photograph can also be a mechanism of infringement of the copyright which subsists in another work. For example, a photograph which copies a substantial part of an artistic work, such as a sculpture, painting, architectural work (building) or another photograph (without permission) would infringe the copyright which subsists in those works.

 

The Radcliffe Camera, built 1737–1749, holds books from the Bodleian Library. Example of a building out of copyright.

However, the subject matter of a photograph is not necessarily subject to an independent copyright. For example, in the Creation Records case,[21][22] a photographer, attempting to create a photograph for an album cover, set up an elaborate and artificial scene. A photographer from a newspaper covertly photographed the scene and published it in the newspaper. The court held that the newspaper photographer did not infringe the official photographer's copyright. Copyright did not subsist in the scene itself – it was too temporary to be a collage, and could not be categorised as any other form of artistic work.

The protection of photographs in this manner has been criticised on two grounds.[23] Firstly, it is argued that photographs should not be protected as artistic works, but should instead be protected in a manner similar to that of sound recordings and films. In other words, copyright should not protect the subject matter of a photograph as a matter of course as a consequence of a photograph being taken.[24] It is argued that protection of photographs as artistic works is anomalous, in that photography is ultimately a medium of reproduction, rather than creation. As such, it is more similar to a film, or sound recording than a painting or sculpture. Some photographers share this view. For example, Michael Reichmann describes photography as an art of disclosure, as opposed to an art of inclusion.[25] Secondly, it is argued that the protection of photographs as artistic works leads to bizarre results.[23] Subject matter is protected irrespective of the artistic merit of a photograph. The subject matter of a photograph is protected even when it is not deserving of protection. For copyright to subsist in photographs as artistic works, the photographs must be original, since the English test for originality is based on skill, labour and judgment.[23] That said, it is possible that the threshold of originality is very low. Essentially, by this, Arnold is arguing that whilst the subject matter of some photographs may deserve protection, it is inappropriate for the law the presume that the subject matter of all photographs is deserving of protection.

It is possible to say with a high degree of confidence that photographs of three-dimensional objects, including artistic works, will be treated by a court as themselves original artistic works, and as such, will be subject to copyright.[26] It is likely that a photograph (including a scan – digital scanning counts as photography for the purposes of the Copyright Designs and Patents Act 1988) of a two dimensional artistic work, such as another photograph or a painting will also be subject to copyright if a significant amount of skill, labour and judgment went into its creation.[27]

Photography and privacy

 

"No photographs" sticker. Designed for persons at conferences who do not want any digital likeness of them taken, including video, photography, audio, etc.

A right to privacy exists in the UK law, as a consequence of the incorporation of the European Convention on Human Rights into domestic law through the Human Rights Act 1998. This can result in restrictions on the publication of photography.[28][29][30][31][32]

Whether this right is caused by horizontal effect of the Human Rights Act 1998 or is judicially created is a matter of some controversy.[33] The right to privacy is protected by Article 8 of the convention. In the context of photography, it stands at odds to the Article 10 right of freedom of expression. As such, courts will consider the public interest in balancing the rights through the legal test of proportionality.[30]

A very limited statutory right to privacy exists in the Copyright Designs and Patents Act 1988. This right is held, for example, by someone who hires a photographer to photograph their wedding. The commissioner,[34]irrespective of any copyright which he does or does not hold in the photograph[34] of a photograph which was commissioned for private and domestic purposes, where copyright subsists in the photograph, has the right not to have copies of the work issued to the public,[35] the work exhibited in public[36] or the work communicated to the public.[37] However, this right will not be infringed if the rightholder gives permission. It will not be infringed if the photograph is incidentally included in an artistic work, film, or broadcast.[38]

United States

Local, state, and national laws may exist pertaining to photographing or videotaping. Laws that are present may vary from one jurisdiction to the next, and may be stricter in some places and more lenient in others, so it is important to know the laws present in one's location. Typical laws in the United States are as follows:

Public property

  • It is legal to photograph or videotape anything and anyone on any public property.[39]
  • Photographing or videotaping a tourist attraction, whether publicly or privately owned, is generally considered legal, unless explicitly prohibited by a specific law and/or statute.

Private property

  • Photography may be prohibited or restricted within an area of property by the property owner.[39] At the same time, a property owner generally cannot restrict the photographing of the property by individuals who are not located within the bounds of the property.[39]
  • Photography on private property that is generally open to the public (e.g., a shopping mall) is usually permitted unless explicitly prohibited by posted signs. Even if no such signs are posted, the property owner or agent can ask a person to stop photographing, and if the person refuses to do so, the owner or agent can ask the person to leave the property. In some jurisdictions, a person who refuses to leave can be arrested for criminal trespass, and many jurisdictions recognize the common-law right to use reasonable force to remove a trespasser; a person who forcibly resists a lawful removal may be liable for battery, assault, or both.[40]
  • Entry onto other private property usually requires permission from the property owner.
  • Some jurisdictions have laws regarding filming while in a hospital or health care facility. Where permitted, such filming may be useful in gathering evidence in cases of abuse, neglect, or malpractice.

Privacy issues

Further information: Privacy laws of the United States

  • Photographing private property from within the public domain is legal, with the exception of an area that is generally regarded as private, such as a bedroom, bathroom, or hotel room.[39] In some states, there is no definition of "private," in which case, there is a general expectation of privacy.[citation needed] Should the subjects not attempt to conceal their private affairs, their actions immediately become public to a photographer using an average lens or video camera.[citation needed]
  • Many places have laws prohibiting photographing private areas under a person's clothing without that person's permission. This also applies to any filming of another within a public restroom or locker room. Some jurisdictions have completely banned the use of a camera phone within a restroom or locker room in order to prevent this. The United States enacted the Video Voyeurism Prevention Act of 2004 to punish those who intentionally capture an individual's private areas without consent, when the person knew the subject had an expectation of privacy.[41] Additionally, state laws have been passed addressing the issue as well.[42]

Commercial photography

  • In certain locations, such as California State Parks, commercial photography requires a permit and sometimes proof of insurance.[43][44] In places such as the city of Hermosa Beach in California, commercial photography on both public property and private property is subject to permit regulations and possibly also insurance requirements.[45]
  • At the Chesapeake and Ohio Canal National Historical Park, commercial photography requires a permit under certain circumstances.[46] For photography that involves the advertising of a commercial product or service, or photography that involves sets or propsor models, a permit is required.[46] In addition, if the photography has aspects that may be disruptive to others, such as additional equipment or a significant number of personnel or the use of public areas for more than four hours, it is necessary to obtain a permit.[46] If a photographer or related personnel need to access an area during a time when the area is normally closed, or if access to a restricted area is involved, the photography requires a permit.[46] For commercial portrait photographers, there is a streamlined process for photography permits.[46] In the case of National Park system units, commercial filming and/or audio recording requires a permit and liability insurance.[47] Still photography that uses models or props for the purpose of commercial advertising requires a permit and proof of insurance.[47][48]
  • If a photograph shows private property in such a manner that a viewer of the photograph can identify the owner of the property, the ASMP (American Society of Media Photographers, Inc.) recommends that a property release should be used if the photograph is to be used for advertising and/or commercial purposes.[49] According to the ASMP, a property release may be a requirement in such a situation.[49]

Other issues

  • Photographing accident scenes and law enforcement activities is usually legal.[39] At the same time, one must not hinder the operations of law enforcement, medical, emergency, or security personnel by filming.
  • Any filming with the intent of doing unlawful harm against a subject may be a violation of the law in itself.

How a typical shoot goes...

So I realise its been some time since I last made a blog, but never late then never I guess, right?

Now a typical studio shoot is actually fairly simple, to me. But there's far more work that goes into it than people generally think. For starters, you need to get the job in the first place. Which is a monumental task. Considering I am a 24 year old, living at home with my father and no dedicated studio. People look down on me, don't take me seriously and/or aren't interested.

Since it's all I can afford, I use a spare room in my house as a studio. Which in fact it's more than what I need at the moment. People think that it's a bad thing, when in actual fact its good for everyone because I live in a safe area and it keeps costs down, which I pass on the savings to my customers. 

Next issue would be my age, yes I am only 24. However I have more than enough confidence to work with people, direct them, pose them, and knowledge of what I want, how I'm going to get it and what I'm doing on the day. I'm a fast learner and consider myself capable of doing any task thrown at me.

So once that's out of the way, people start to treat me seriously. I take 50% of the cost as a deposit, this is basically to stop people cancelling on me. And so far it's been working because I can't be dealing with people that aren't as serious as I am about my photography.
Next we discuss a theme, props and any possible other ideas my client would like. These usually end up being images from Google. Which we use for inspiration, but not to copy.

Then comes shoot day, this is the day I set everything up. Make sure all batteries are charged, props ready, make sure MUA/stylists are turning up, background is up and clean, studio equipment is set up and ready to go and of course I make sure there's something to drink for everyone involved.
We usually run through all the images we found as inspiration and try to mix up the poses a little, change the lighting and maybe even the background. I take any input anyone has to offer and if I think it's good or it will work, we do it! 

After that, I take the images from the memory card and straight onto the computer for editing. This is actually the most time consuming part. If I really like an image, I can spend up to 5 hours retouching and airbrushing that one single image. Picking on all the fine details, and yes, I'm an OCD freak when it comes to photography. So one speck of lint on the side of a dress, will always be edited out or I'm not happy with the image!

Finally, after editing everything I send the final images back to my client for approval. And usually that's that. But inside I'm hoping they come back to me and tell me I've missed something in an edit, because it keeps me on my toes. It also means they have really cared about the images and they want it to be perfect too. I love clients like that!

But that's it! Not as easy as you first thought huh? That being said, just because it's not easy, doesn't mean I don't love it. I wouldn't change it for the world!

 

Invest In Memories.

My first blog post..

SO!
Blogs are alien to me, this is my first ever one and I'm probably just going to rant on a bit about me.

So I'm currently 24, own half a home with my Dad and I'm currently struggling to make a living with my photography. Now don't get me wrong, I love it... But finding work is probably one of the most frustrating things ever. I have business cards, facebook, instagram, pinterest, twitter, yellow pages, google ads and yet... I still find it hard nailing down those paying shoots.

Two of the biggest problems with actually securing the job, is finding people that 1. Will PAY for quality work and 2. Are reliable!
Countless times I've been talking to potential clients who love my work. Are interested in working with me, yet the second I ask them to pay for my work, they lose interest. Part of me knows that this is just because I live in Keighley and nobody really has that much money, but I am one of the cheapest photographers in Keighley... Currently offering my cheapest package at £24.00 (Most photographers who can produce my level of work wont even pull their camera out for less then £50.00)
I also struggle with the reliability of clients too, if I have a date booked with someone they cancel on me a day before the shoot. And it's happened countless times. It's so frustrating because I'm here getting myself hyped up to do a great job for them, sorting lights out and all my other camera gear... A location, props, makeup if needed... And then getting a message saying "Hey sorry, I've got a doctors appointment tomorrow" and my heart just drops. 

People don't really understand the amount of work that goes into professional photography. They think I sit there, put the camera on auto, click a button and print it out. NO!

In my next blog post I'll explain in more detail what goes on in a shoot I do as I think I've ranted on enough here. But hopefully, if this ever gets seen, people will have a little more courtesy.

 

Invest in Memories.