Professional Portrait Photographers American Fork

Weddings are busy, beautiful and yes, even stressful events. And in the hustle and bustle of everything that makes a wedding, well, a wedding, it’s not hard to imagine that something might get missed. That’s understandable, but you want to make sure that ‘something’ doesn’t fall under the category of missed photographs. That is why one of the most important aspects of wedding planning needs to be the selection of your Utah Wedding photographer. Remember… long after the cake has been eaten and the wedding dress is pushed to the back of the attic, you’ll still be looking at your wedding pictures and remembering the joy of your special day.

Photographers In Salt Lake City Utah

American Fork Wedding Photographer

Most American Fork wedding photographers have a check-list they go by; one the bride and groom are usually asked to fill out prior to the wedding. If not, make sure you provide the family wedding photographer with a list of what photos you want taken. If you are unsure of what you should include in that list, you can find photo check lists in bridal magazines and websites such as knotforlife.com. Not using a checklist is asking for trouble… and missed photo ops you’ll never have again. To avoid this unfortunate mishap, make a point to select someone (the bride’s mom, a favorite aunt or sister in-law) who will be responsible for working with the photographer; a checks and balances system, you might say.

Wedding Photographer In American Fork

Other tips to keep in mind when hiring your American Fork wedding photographers include:

  1. Examining their portfolio. Do you like their work? Are they creative? Is the lighting and exposure up to par?
  2. Ask for references-and follow up by contacting one or two of them.
  3. Remember that not all wedding photographers need to be ‘professionals’. There are plenty of hobby photographers whose work is top quality and definitely wedding-worthy. Ask family and friends for suggestions, contact your local photography club or the photo-journalism department of a nearby college or university.
  4. Make sure the wedding photographer fully explains what you are getting for your money. Are you getting full rights to the photos? How much time is included in the price? How long will it be before you receive your photos?
  5. Get it in writing. This includes receipts for payments made and a ‘contract’ for what you are receiving in return for your payment.
  6. Feel comfortable with the photographer. Do they listen to what you want?

Your Modern LDS Wedding Photographers in American Fork  will most likely take up a fair amount of your wedding budget. That’s why it is important to get as much for your money as possible without compromising the quality of your photos.

LDS Wedding Photographer In American Fork

Wedding Photography Salt Lake City

The Internet is broken down into text and images. Since our brain processes images much faster than text, it is safe to say that photography is your most powerful tool when it comes to branding.Your brand identity stretches well beyond your website. Whether you’re starting your own website, have a blog or simply need more visuals to build up your brand identity — visual content is a key element in your strategy. If we are to look into how photography can enhance your designs, we need to draw examples of excellent photography curation.Let’s take a look at two similar businesses and the choices they have made to build their brands using photography.Image credit: Zara HomeBoth Zara and Ralph Lauren have a ‘Home’ extension of their brand, however it is worth noting how they approach their portrayal of the brand. Each page tells a story about what their product is like, what their brand is about and the type of clients they are trying to attract.Image credit: Ralph Lauren HomeZara Home is all about being affordable and cozy, whereas Ralph Lauren is more about luxury and sophistication. As you can see, the brands are quite different and they use visuals to translate their message for two different audiences.We’re going to be looking at how photography can be used to build your brand and the steps you can take to have a better curated collection of images. Visuals will determine the success of your brand so knowing how to go about choosing them is crucial from the start.The role of photography in brandingLike in the examples above, both brands used somewhat typical imagery of interiors but for different purposes and different types of clientele.This is how you have to approach representing your brand — taking into consideration the people you want to attract and the message that needs to be communicated.Every brand incorporates visuals into their brand story. Visuals help translate your personality, aesthetics and support your brand identity. Some brands use photography better than others and we’re here to help you stay at the top.Image credit: http://www.nigelriches.co.uk/How to use photography to build your brand1. From concept to visualizationAs with all great ideas, building your brand and developing aesthetics starts with a concept. You have to be able to answer the basic questions about your brand message, concept and objective. Having a clear overview of these 3 things will carry you into the next stage — visualization.In the old days, brands created physical ‘vision boards’ (also known as moodboards). Today, we are lucky to have tools such as Pinterest to aid us in this task. You can start the same process in your Depositphotos Favourites tab. Start gathering images that inspire you from other brands, magazines, products, websites and so on.Envision your brand. What message do you want your audience to take away or what do you want them to learn about you? Translate these thoughts (and feelings) into your moodboard. Your brand personality should be loud and clear. This means being consistent in your choice of visuals. Opt for coherent visual aids that look like they belong together.2. Curate your collectionAfter you have all your images in one place, turn into a ruthless editor. Looking through your collection, you will begin to see patterns. Take time to filter your selection of images to narrow your vision down to the necessary and essential images. This is perhaps the most difficult part but it is also central in helping you zoom in on the images that represent your brand.A good way to approach this stage is to place yourself in the shoes of your audience. Envision the people you’d like to work with and the ones that will be interested in your product. You are designing and choosing visuals for them.The below example is our Color Spectrum collection which was organized by colors. We began by gathering images in similar colors to later edit the collection for our clients. This brings us to the next step.3. Filter by excellencyWhile curating your collection, you have to take into consideration things like colors, style, quality and even the visuals of your competitors. To find out more, check out our article on how to Win Over Your Clients with Visual Content.Consider the current color trends and and the most up-to date trends in visual communications. Opt for images with natural lighting, proper composition and an authentic vibe. If there are people in your images, make sure they look natural and translate sincere emotions.Image source: Depositphotos3. Style of photography will lead to consistencyAesthetics and trends don’t stay in place. The main design styles you should be aware of include classic, retro, material, handcrafted and minimalist. Spend some time familiarizing yourself with the different styles to see which category your brand fits.Note that some stock photographers have series of photographs with the same models or scenery which can further help you with consistency and aid the storytelling aspect of for your brand.@cokacoka4. Work hard to tell a storyBe critical of your choices of visuals. Always ask yourself “what does this photograph translate?”. Select images that can help tell a story in a narrative style. Don’t opt for images just to have something to add to your content. Rather, try to find the visuals that will enhance your text.When you’re submersed in the thought of telling a story with your images, consistency in style will unfold before you naturally. You will begin to see emerging patterns and your selection of images will be more coherent as you linger in this editing stage.Photo credit: https://www.anchour.com/5. Prioritize quality and creativityJudge each photograph the way you would any other design project. The things you should keep an eye on are lighting, contrast, use of colors, composition and possible distractions. The lighting should be natural, the contrast appropriate for the image and the colors appealing and in harmony. Make sure your images don’t clash.Strong composition is one of the most important aspects. Is the photograph strong and compelling? Question yourself before you make your final call. Lastly, make sure there is no clatter or distracting elements present in the frame.Opt for unconventional photographs because it is those unusual focal points and compositions that will appeal to a wider audience. Get creative! Don’t get hung up on the technicalities and experiment a little keeping quality and consistency in mind.Once you have your images gathered in one place, you will have a visual moodboard that represents your aesthetics and your brand message. This is a collection that you can come back to edit anytime. The most important thing is to start brainstorming and start your search.Where do you start looking for compelling images to build your brand? Depositphotos is a great place to get a head start without wasting your time aimlessly looking for visuals. It’s one of the few places that will give you the liberty to download any image for $1 with our new Flexible Plan. Simply create an album in your Favourites tab and start your search.This story was originally published at blog.depositphotos.com

Wedding Photographer In American Fork Utah

Photo Studio In Salt Lake

Every photographer has gotten the question after a successful shoot: “The photos look great, but can I get the rest of them just in case I need them later? You don’t need to edit them or anything.”If you’re here for the short answer, the answer is no, but it’s important to me for people to understand why. Throughout this post, you will see side by side photos comparing a completely unedited photo, next to the final edited shot. Using advanced psychology trickery, by the end of the article, you will realize that you don’t even want my unedited photos.I don’t say no to this request because I’m greedy or want to say no just because I can. It’s not because I’m lazy and don’t feel like dealing with it. But rest assured, I’m not withholding that one killer photo.“But what’s the harm?”This is my attempt at a succinct explanation of why it’s not that simple.UPDATE 5/11/16: What I cover here predominately applies to projects where a photographer is directly interfacing with the end client, and possibly less so when working with a creative agency. The reason this matters is because in a situation where a photographer is being hired by an agency for a shoot, they are playing a slightly different, more team-oriented role to help provide a finished product to the agency’s client. There are other creatives (creative directors, designers, etc.) involved with getting their client what they need, and may need more hands-on involvement. They had all the meetings about goals and vision, and the photographer is helping that team to execute.These photos are supposed to be edited. No, really.You may be familiar with the terms RAW and JPEG, they are image file types. The most copy editing I did on this post was to make this section much shorter and less technical about the properties and benefits of RAW images, but that’s for another day.The basics of it are that JPEGs are what you upload to Facebook, Instagram, or get printed. RAW files (this is what comes right out of my camera) contain much more information, including a significantly larger amount of color and texture details in the shadow and highlight areas, and software like Photoshop, Lightroom, or iPhoto is required to even be able to open them. If I sent them to you as they came out of the camera, you couldn’t do anything with them without running them through special software.Every professional photographer shoots RAW photos because having all that information is better than having less (like in a JPEG). The catch: RAW photos that come out of the camera generally look sub-par. They’re flat with bad contrast with dull colors. Until the photo is edited, the image is not finished, and that’s by design. A RAW photo is a carpenter having a wood shop full of tools and materials to build a table, and the ability to create whatever he wants. A JPEG is buying a table at the store, you either like it as is, or you don’t, but there’s nothing you can do about it.My editing is part of my process, my product, and my style. It’s part of why you hired me.The way that I edit is a crucial component of my photography. My style and skill as a photographer encompass other things like framing, timing, and a whole host of other skills, but the photo is not the finished product that I’m proud to put my name on until I’m done the editing. If you’re baking Thanksgiving dinner, you don’t pull the turkey out half way through cooking and serve it!The edited images shown here are what I want to represent me. That’s the kind of work that’s on my website, and it’s the caliber that I want people to expect. Below are several more examples of a side-by-side comparison of a totally untouched RAW photo and my completed edits.Lindsey, For A2 SwimwearJess, personal workTatiana, for A2 SwimwearJeff, personal workSea Dart, for No. 4 St. JamesMegan, for The Fittest GamesOn the Road to Hana — Maui, HawaiiFor A2 SwimwearEcho, personal workI’ve been culling photos since I bought my first camera, and I’ve gotten pretty good at it!UPDATE 5/9/16: There has been some confusion about a very important aspect of this section. This part of a contract can change to some degree depending on the type of shoot (a wedding for your neighbor is different than an ad shoot for Ogilvy & Mather). Sometimes in-house creative teams need RAW files. I understand this and it’s easy to accommodate, provided the nature of the relationship is clear from the get-go. I don’t mean to say that no input is required during the image selection process. My goal is to deliver what the client needs, with the look they need. Whether it’s more stylized or simpler post-production, I’m never going to stylize an image outside of what a client is requesting. They’re involved with the look and feel from the start, as well as in selecting the final images. I’m not taking dramatic artistic license without either permission or request. Most of this is covered during pre-shoot meetings. We talk about if they want an etherial light feel vs dark and edgy. All of these visual elements, and styles that you see on the photos, are done in consideration of what they need, not just what I want. While they are hiring me because they like my work, I’m also trying to achieve what will work for their brand image, which they are the experts on. It would be unprofessional to go a direction that was different from what I had promised and what they were expecting. Any of the examples shown here wouldn’t he handed to any client and be told they had to like it with no guidance whatsoever in the process. Now back to the original text…These photos you never see are the outtakes, the blurry shots, the duplicates (my god, so many duplicates). For any given photo you do see, there may be dozens or hundreds that are slight variations on it that are all a little bit less good. Eyes closed, hair in face, maybe a dog ran in front of the camera (that actually has happened a lot). I’ve spent my time combing through all of them, doing side-by-side comparisons until I landed on the best ones.I will never have two different photos that are both great and only give you one of them. The selection process is to whittle down the excess, exposing the heart of the shoot so I can give you what you need: quality, professional photos.At the end of the day, you need professional-quality images, and my assignment is to provide them. “Professional-quality” meaning, photos that perfectly fit the mood of the shoot, and this often includes photos that seem like “outtakes” — laughing between poses, casually relaxing, making a goofy face. Professional-quality doesn’t mean no character or no fun.Do you really want to look through 5,000 of these?How are you to trust that I chose the best photos and didn’t skip the better ones? Chalk it up to the thousands of hours I’ve spent looking at photos and paying attention to what makes them good or not. My ability to choose the best images for the assignment is one aspect of what I’m being hired for. Delivering 10,000 mediocre photos is not respectful of the recipient’s time, because they shouldn’t have to do my sorting work for me.Not to say some jobs don’t require client input, of course — I simply mean that once the selects are made and everything is approved, asking for the rest of them just for good measure is unnecessary.There has already been an agreement.There’s always an agreed upon plan of action before going into a shoot, and part of that plan is what the expectations are in terms of number of photos that are needed (sometimes a specific amount, sometimes a range, depending on the project). This is the responsibility of a photographer to be clear about. The fact is, the photographer’s price has taken into account the final number of photos being delivered, both from a usage/licensing and a time-spent-editing standpoint. Because all the photos can’t be easily or quickly delivered, this means more time for the photographer beyond what you both had established was going to be happening.Of course, things happen, and sometimes more photos are needed for one reason or another. Be aware that there may be additional charges for processing more images, but the simplest thing to do is just to always stay in communication throughout the process and things will pan out.So where does this leave us?My hope is that I have either reached some non-photographers who never thought about it this way, and will know for the future, or that I’ve reached a fellow photographer who can use some of these ideas in their own communications. This topic is hard! Nobody wants to disappoint somebody else, especially when they’re being paid.And communicate! Problems surrounding this question generally can be very easily dealt with by communicating expectations before the shoot, during the stage where all the other details are being worked out. I don’t even mean to indicate I would never let a RAW file leave my possession. If a company hired me to capture images, but they were going to process them in-house to match their current style, I would find a way to work with them! But my hope here is that if you’re reading this, and are someone who will hire a photographer in the future — hey, maybe even me!—that you will have a deeper understanding of the photographer’s point of view. And I hope you know that we aren’t saying no because we’re jerks.Find a photographer whose work you like, who you trust, and trust their process.Caleb Kerr is a commercial photographer based in Austin, Texas. Follow his work on Instagram, or view his portfolio on his website.


Utah Professional Photographer Wedding