Photographyblog, Annabel Williams, Potrait Selling

Every photographer should spend a dedicated amount of time monitoring and evaluating the efficiency of each area of his or her business. Running a photography business is about more than just taking pictures. Each department needs to have as much TLC as the photographic product. The sales department is often one of the more neglected areas, coming at the end of the process and sometimes being the bit that photographers feel the most uncomfortable about!

When monitoring the effectiveness of this you need to go back through the journey that each client takes through your business. This journey allows you several opportunities to prepare the clients for the sale experience and thus also prepare them for a realistic spend.

Your marketing activity should ensure that you have the right target market clients coming through the business, but from the very first point of contact they need to know an estimation of what they are likely to spend. In fairness most clients won't have a definite idea of what they want as a final finished product so it is up to you to educate them, start to get them thinking about the physical product that they want from the shoot whether it is a collection of pictures in an album, or framed pictures and canvasses for the wall. Introduce the price points for these options –'Most of my clients spend anywhere between £xxx and £yyy' Framed pictures start from £xxx upwards, collections of images in albums start from £xxx.

At this stage this is enough information for them to start to feel comfortable with, anyone unwilling or unable to spend this much will be filtered out here. Following the initial call, send out your printed material with a covering letter, this letter should support and reinforce the message you were giving out over the phone, confirming all details and again have a simple reference to prices and the sales process you will be taking the clients through so they have a thorough understanding of both the method you will be adopting for the sale and the price points of the various products available.

The next stage which offers you an opportunity to pre-sell is the photographic experience itself, throughout the shoot you can mention products and prices if the opportunity arises, if not there is always the valuable time at the end of the shoot. Don't rush away, an extra 15 minutes over coffee at this time will give you the best opportunity to prepare the client, they have had a great time with you so far and are now quite relaxed. Take some products with you, keep them in the car and as you are chatting start to prepare them for the next stage.

Explaining that they will see their images as an AV presentation, that you will take them through a process that really helps them to decide which they want and how they want them, introduce the option of an album and if they are unsure about what today's albums are like, say you just happen to have one in the car and get it to show them! Openly discuss the options available as you really want to encourage them to think about where they might want to hang a finished frame, this will help make further decisions easier such as size and type of frame or finish.

By the time you are in the actual sales scenario almost 90% of the work should be done and you're job is then to help them select the best possible images in the most ideal form of presentation for their needs.

It is crucial that you have great sales samples, as it is a well-known fact that people buy what they see. If you want to sell a multi acrylic block with 9 images on then you need to have a multi acrylic block with 9 images on to show. With collections of pictures in albums, always show a storybook layout, for an on-location lifestyle shoot you should aim for between 60-90 images, to really show the potential of the album as a sales tool.

Another idea worth considering is to have the sales samples priced up, create some beautiful 'price tags' which are neatly suspended from the back of the frame or in the back of the album on ribbon so that clients who may be seeing these samples at the consultation stage or at the photo shoot itself, become comfortable and familiar with prices.

Biography

http://www.annabelwilliams.com

Annabel Williams' reputation as both a world class photographer and an outstanding tutor is recognised across the globe. Her warm enthusiasm, coupled with an incredibly intuitive approach, is and always has been the driving force behind her very personal and unique style of innovative yet contemporary award winning portraiture.

She brings to her work an imagination and insight which is rare among even the finest professionals, all of which has contributed to her outstanding performance in her genre and it is these qualities which command Annabel so much respect from her peers.

No stranger to both TV and the press, Annabel is also the author of several books on her subject. Her passionate viewpoint engages everyone in a highly enthusiastic exchange of ideas and creativity.

Alongside her business partner Catherine Connor, Annabel also runs Contemporary Photographic Training (CPT) – a dedicated training centre in the Lake District, which runs a comprehensive range of workshops and seminars from ‘getting started’ right through to the prestigious ‘Bespoke Programme’ for aspiring professionals.

All images in this article © Annabel Williams

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Photographyblog, Annabel Williams, Wedding Shoot Preparing

Preparation, the morning of the wedding and the bride's arrival

Preparing for a wedding shoots starts many months before the event. Make sure your equipment is ready for action and functioning correctly, look after your kit and it will look after you!

If possible have a second camera and make sure that it is ready to be used if required. Service and look after your equipment frequently as it is fundamental to the success of capturing beautiful images. If your equipment is working well, you will work well and be able to focus your complete attention on the bride and groom, and capturing their big day.

Annabel's routine hasn't changed in over 20 years. The day before every single shoot she does she empties her whole camera bag, checking everything and places each piece of equipment back in her bag carefully thinking about the next day and what she might need, what spare equipment to pack, just in case, hoping the 'just in case' never actually happens.

Information

From the moment that you book a wedding, start to create a pack, as we do, which contains details of every conversation you have ever had with the couple. Re-read the information in the run up to the big day, start to look at the wedding through the clients eyes, think about the location, think about the type of wedding images they have asked for contemplating the wedding ahead.

Location

If the wedding is over an hour away always travel to the location the night before, as you never know and the last thing you ever want on a wedding day is to be late or stressed. Annabel never goes out the night before, nothing is on her mind other than the wedding ahead. If a wedding is based in two locations, travel to both the night before so you are familiar with the route. Plan where you might park the car at the church as you need a quick get-away to the reception in order to capture the images of the bride and groom arriving. Your goal is to be right behind the wedding car, to greet the happy couple as they arrive at the venue.

On the wedding day…

Getting ready – The Bride

Get their earlier than you said as you might need to be the pace marker, ensuring all goes to plan and is on time. If the bride is getting ready at home, and happens to be getting ready in a dark room with little light or space, encourage her to get ready in a different room.

The images you capture will be more flattering due to the light source. Where possible encourage the bride to get ready next to window light.

Whilst all are getting ready, discreetly, capture the shoes, don't be frightened to ask the bride if you can borrow her shoes for a moment, and place them in the best position and composition. Beautiful pictures don't always happen, you have to create them.

Capture the flowers in the floral box, a gift that she might have received that day from the groom, the wedding gown, the bridesmaids' dresses, all the details and the romance of the day.

Stick to your times and watch the clock, as soon as you need to go the church to capture the groom and usher do so. Any images not captured of the bridal party at this stage can wait until the reception. With timing on a wedding “don't rob Peter to pay Paul.”

The Groom

Capture images of the groom in flattering locations, head for top shade, whether it is in an archway, church door or nearby woodland area in the church grounds. Remember the groom will be nervous so take this into account when asking him and his best man to head to locations. Keep it simple. If the church door is the perfect location for light source, background and appeal stick to it and do not divert as you and he will already have a lot on your minds.

At this point also ensure that you get some great shots of him with his parents, ushers, and special friends as they arrive. An image of the groom chatting to the vicar often makes a nice image in the album along with those moments of reassurance from friends. Watch the backgrounds at all times, they are key, which is why selecting them the night before to relieve this pressure on the day when time will be tight is advisable. If possible call on the vicar and introduce yourself, check the format of the day and the guidelines that you need to follow in the church, when and where you can shoot.

The bride arriving

Be ready when the car arrives to capture the glances between the bride and her father, and the giggles of the bridesmaids. Don't forget to shoot from behind as well as face on. Annabel often shoots the whole scene as a bride enters the church in this way, and when the moment is right, calls the brides name, so she looks back over her shoulder. The expression on a brides face at that moment is pure beauty and stillness.

To compensate for wet weather or very bright light take white brollies with you as they are great reflectors and great for providing top shade if required, a very flattering light for faces. Wet brollies actually look quite nice in images also. Be prepared - as it will be your worst nightmare if when you greet the bride as she is getting out of the car, somebody is handing the bride a black umbrella or worse golfing brolly complete with logo!

Biography

http://www.annabelwilliams.com

Catherine Connor is Annabel Williams' business partner, and MD of Contemporary Photographic Training. Catherine's meteoric rise in the often chaotic, always exciting photographic environment comes from an unusual springboard grounded in the world of international corporate management. Her infectious energy never fails to motivate those around her, and equips her with an organic understanding of market direction, fashion trends and lifestyle management.

Catherine is first and foremost a people person; her unique sense of fun, determination to succeed and boundless commitment to her industry make her a born mentor, allowing her to impart to all delegates a wealth of skills and knowledge pitched perfectly at achieving the vital balance of confident ability and self-worth.

It is Catherine's passion for her subject that makes learning from her a pleasure, which her students can then take forward, and are able to apply so effectively to enhance their skills.

All images in this article © Annabel Williams

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Photographyblog, Annabel Williams, Amazing Wedding

There is so much to consider when embarking on the world of wedding photography - from the images that you capture, right through to the way in which you are going to present these images to the client.

Never underestimate how much is involved in photographing a wedding from start to finish and the responsibility that you have to the bride and groom to get it right. You only get one chance to capture those precious moments, the moments that the happy couple and their family and friends will treasure for a lifetime, so it is crucial to be prepared and organised.

The key to achieving this is to gain experience, as much as you can and wherever possible and from those who you admire. Start buying bridal magazines, create a scrap book of inspiring images as this will form the backbone of how your own style as a photographer starts to develop.

An additional suggestion, one which can have a considerable impact on your creativity and give you a detailed feel for what is happening within the industry, is to attend the designer wedding show in London "It's amazing!".

Go to the designer wedding show this October, soak up the atmosphere, and study all that is there and how the consumers are reacting to what they see. Watch to see which stands are busy and why, what is this year's must have for brides?

Take a moment to people watch - study all that you are seeing and take notes as these will be a great reference for later.

Who is attending the show, who have they gone with and why? This information will help your approach when you really start to build the business. Visit all of the stands and introduce yourself - go early though as this is when those exhibiting will have more time to share their knowledge and expertise with you. Be open and let them know you are a photographer - honesty is the best approach and you will be more natural and relaxed. Let them know you are new to the industry and are there to gain knowledge and learn.

And my last tip while at the show, take time out to watch a catwalk show as you need to gain an insight into what your brides might be wearing, what styles are about to appear as this will really strengthen your conversation when talking to potential brides and grooms.

Make yourself aware of all the forthcoming trends, bridal designers, and future ideas as so much can be gained from watching. The show will leave you full of ideas about your business and how you are going to approach branding and how you position and sell your business.

Knowledge can be very powerful for your confidence, so also consider attending a wedding seminar and take your camera but be careful that it doesn't distract you from watching and listening to the trainer. Many times you actually learn more from watching and listening, than you do purely shooting. You are paying to learn from them, to soak up their insights, watch how the trainer is composing images and setting up the perfect shot, instead of photographing the actual image. You will find that you come away with so much more - the tools that you need to begin shooting weddings yourself, as opposed to images which, albeit beautiful, you are unable to recreate as you have not absorbed the practical knowledge to do so. Your confidence will soar!

If you have a friend who is currently photographing weddings, offer to support them, carry their bags even! Watch how the wedding day unfolds for them – there is a great difference between witnessing a wedding as a guest and observing it through the eyes of a photographer.

Alternatively or in addition, if you know anyone who is currently planning a wedding on a zero budget, offer your services. This is a brave step but the experience that you gain from it will be invaluable. Every bride and groom is different. Make sure that you understand the personalities and expectations of your bride and groom and how important their wedding day is to them as it should be equally important to you. Use this understanding to capture the images that will matter the most to them.

A final and fundamental consideration when starting out as a wedding photographer is that of image presentation so research album companies carefully. Be inspired! Visit album design websites such as Queensberry's. They are a great starting point to provide ideas as to all that you can achieve with your images when they are displayed correctly. Look for a supplier who suits your style, approach and budget. Don't get carried away and lose sight of how much a finished album will cost both you and the client.

Always maintain focus on the end product; get that right and the rest will fall into place.

Biography

http://www.annabelwilliams.com

Catherine Connor is Annabel Williams' business partner, and MD of Contemporary Photographic Training. Catherine's meteoric rise in the often chaotic, always exciting photographic environment comes from an unusual springboard grounded in the world of international corporate management. Her infectious energy never fails to motivate those around her, and equips her with an organic understanding of market direction, fashion trends and lifestyle management.

Catherine is first and foremost a people person; her unique sense of fun, determination to succeed and boundless commitment to her industry make her a born mentor, allowing her to impart to all delegates a wealth of skills and knowledge pitched perfectly at achieving the vital balance of confident ability and self-worth.

It is Catherine's passion for her subject that makes learning from her a pleasure, which her students can then take forward, and are able to apply so effectively to enhance their skills.

All images in this article © Annabel Williams

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Photographyblog, Annabel Williams, Making the most of the wedding!

The birth of digital photography liberated us in many ways and has given all so much scope to shoot shoot shoot and shoot some more.

The danger for the bride, groom and photographer, is an overwhelming set of images that might over-face the most enthusiastic of clients.

Firstly consider the customer, present a varied range of images which might hit the three hundreds depending upon the type of wedding - but many more I feel might be a little unfair for everyone!

Heart breaking for the photographer, as rejection is not great for anyone certainly hard for us creative photographers who place their heart and soul into photography.

And secondly for the client as they may be in danger of feeling they have just lost a great deal of their wedding day. This is just a personal viewpoint, but one worth taking on board.

The methods used to present images has been such a great debate, as we are all searching for the most effective, and efficient method that not only works for the client, but importantly works for the business too. As a rule, we prefer the slide presentation utilising Microsoft expression media which is simple, easy to use and very adaptable. Find a system that suits you then refine what you do, as the focus must always be on the client and not on the technology you are using.

My motivation when creating the perfect environment is for the bride and groom and secondly the business and the business’ reputation. Building a great experience for the client will give them a talking point - this is the final stage of their experience with your business, so it’s a vital stage. Reliving the wedding day, together with your guidance on the photos, can be totally rewarding and emotional for both you and the client.

Set the scene for couple by creating the total experience - take a bottle of champagne with you - they will naturally appreciate your attention and the fact that you are extending the wedding celebration as seeing the images for the first time is a big moment for the client.

For over a decade now we have preferred to do the wedding viewings within the client’s home. A question we are frequently asked during training seminars is should both sets of the parents be present at the viewing. Our advice wherever possible is try to avoid this, as the viewing than can become complicated, as both sets of parents might have differing budgets, the parents might talk the couple out of images that they do not see the value of. However, it may be worth investing the time to do three viewings, as that maximises your chances of gaining three orders, and the right level of order for each customer. Then no one feels difficult within the situation!

Make those magical moments last for your bride and groom - select a track of music, perhaps something of your choice, or use the first dance track the couple selected on their wedding day, as this is a really nice touch. As you are informally chatting and catching up on gossip and news, we would set up the projector screen and sales tools (prints etc) not forgetting the box of tissues!

Tears of joy often flow, for you and the client. With any music, always listen to the words first! Play through the images sit back, listen and watch and enjoy the moment yourself too.

Make note of what they are saying, and actively listen, as they will give you clues all the time, to the images of real significance.

Take the client through the image selection process with a goal to achieve the ultimate album.

We have worked with Queensbury for many, many years. If you are not familiar, treat yourself and go and look at their website, very inspirational!

In the early stages of your career you can gain a great deal from looking at images, within albums, the flow of images, style and structure. Take time out often to do this as it can be so very rewarding. For me it is all about the client and the process you take them through, keep it simple and focus on the client, they should select with you tapping into your expertise with regard to images selected and the range of images. Once you are all comfortable, talk through the design concept and which images are significant.

Be bold - take full credit card payment and make this a golden rule. It will make all the difference for cash flow and enable the business to function effectively. Don’t be tempted to alter the rules as it is the cash flow rules that keep you business afloat. Having credit card payment options will make all the difference to you and the client!

And finally ensure you allocate the right level of design time as these are the best moments, where the fun starts, the joy of designing a album. Give yourself time, as it cannot be rushed and it the most visual statement you business will have.

It is what people will book you from in the future. It is such an important reference point of why the client booked you in the first place. Imagine how many people the bride is going to share the album with, from best friends, to girl friends, work and family. This is a brilliant advert for your ability. So the design time you give yourself is so very important.

To keep the momentum going take time to design a nice card, while the album is being produced as this might take up to eight weeks. Sending the client a nice card incorporating an image from their selection will naturally have pride of place. This will also reassure the client that their beautiful album is on its way.

As soon as you know the albums completion date, inform the client and arrange a delivery date and time. Wherever possible, deliver the album personally as I clients really value your presence and indeed it is your big moment - your moment to shine, listen and learn from the client’s feedback.

This is important for your own development and progress, as a photographer. It will make a real difference on many levels.

Biography

http://www.annabelwilliams.com

Catherine Connor is Annabel Williams' business partner, and MD of Contemporary Photographic Training. Catherine's meteoric rise in the often chaotic, always exciting photographic environment comes from an unusual springboard grounded in the world of international corporate management. Her infectious energy never fails to motivate those around her, and equips her with an organic understanding of market direction, fashion trends and lifestyle management.

Catherine is first and foremost a people person; her unique sense of fun, determination to succeed and boundless commitment to her industry make her a born mentor, allowing her to impart to all delegates a wealth of skills and knowledge pitched perfectly at achieving the vital balance of confident ability and self-worth.

It is Catherine's passion for her subject that makes learning from her a pleasure, which her students can then take forward, and are able to apply so effectively to enhance their skills.

All images in this article © Annabel Williams

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Photographyblog, Annabel Williams, On the wedding day

The Church

As soon as you are in the church remember the guidelines the vicar has given you; check your camera settings in relation to the light, take stock for a second and quietly capture as much as you are allowed.

An image that often means so much to the bride and groom is the first shot of them walking down the isle after they have been married.

If you are concerned about them blinking, capture a few images when they are looking away from camera, chatting and acknowledging their friends, as these make wonderful images for an album.

As soon as you have what you need here dash outside and make sure that you and your camera are ready to capture the couple in the doorway, a wonderful image. Watch the light; keep them within the shade of the church if you can, a top shade gift.

When the bride and groom step into the church grounds encourage them away from the church front to prevent a line-up that would delay the wedding day completely.

A really great tip is to guide the couple to a photogenic area of the grounds with shade, to ensure that all of the images you gain of them greeting their friends are captured in the most flattering light. This is not always possible, and sometimes you have to just go with the flow. Start with the bride and groom, then add the bride’s family, then the groom’s family, then encourage both families together, lastly adding the friends, capturing each image as you go, as speed is of the essence.

Confetti

Watch the time, you will know when the bride and groom are due to leave for the reception so just before this liaise with the bridal car driver, tell him you are about to do the confetti shots, so he is ready too. He will really appreciate the consideration.

Look for the bride maids; give them the nod, as you want to get as many confetti carriers as possible. To a degree you are setting up the shot, trying to get everyone into the right position, it will not always pan out as you had hoped but wherever possible make it happen in a relaxed manner. Shot as many images as you can here, as with all action shots a large proportion will end up in the trash. Capture the confetti on the floor, the atmosphere it creates with the guests, and the laughter. When the bride and groom see these images they will mean so much to them.

Reception

Head to your car quickly as your goal is to be right behind the bridal car, capturing them not only driving away, but arriving too. As you are following the car, do a quick image check, have you captured the groups at this stage, what is missing, what still needs to be captured? Again, take stock for a moment. A great tip is to take plenty of memory cards and ensure that each chapter of the wedding day is allocated a separate card. It will make looking after your images both easier and safer. Guard your cards, have a good system and stick to it.

What makes a great networking photographer is one who also looks after those they work with - so ring the hotel when you are on your way to let them know the bride and groom are about to arrive. They will appreciate this and recommend you to others.

Have a structure, select three locations in or outside the reception venue and stick to them when shooting the bride and groom. Capture as many images of them alone as possible before the guests arrive because as soon as they do the bride and groom will naturally want to spend time with them.

When taking images of the guests wherever possible have the bride and groom, or their parents within the images, as they are more likely to place these images within an album. If the couple have children, don’t forget to take special images of them too as they will mean the world to them.

As soon as you know you have all of the essential images in the bag, enjoy yourself and be creative, capture images that will exceed exceptions, whether they are of the location and venue or the bride and groom. You can fall into line with their pace now and that of the hotel. If you have time, take detail shots of the room, arty images of table settings and let those creative juices flow...

This was a very hard post to write, as there is so much I want to share, so much to tell but let me finish by saying that weddings are glorious to shoot so enjoy every one!

Biography

http://www.annabelwilliams.com

Catherine Connor is Annabel Williams' business partner, and MD of Contemporary Photographic Training. Catherine's meteoric rise in the often chaotic, always exciting photographic environment comes from an unusual springboard grounded in the world of international corporate management. Her infectious energy never fails to motivate those around her, and equips her with an organic understanding of market direction, fashion trends and lifestyle management.

Catherine is first and foremost a people person; her unique sense of fun, determination to succeed and boundless commitment to her industry make her a born mentor, allowing her to impart to all delegates a wealth of skills and knowledge pitched perfectly at achieving the vital balance of confident ability and self-worth.

It is Catherine's passion for her subject that makes learning from her a pleasure, which her students can then take forward, and are able to apply so effectively to enhance their skills.

All images in this article © Annabel Williams

Read more...