Engagement Album Reveal
Let me show you this'd be the moment where I make myself vulnerable to everybody else out there and it is nerve wracking for me because I am putting a piece of me out there for other people to crit and the cool thing about this in terms of being a little bit immune teo criticism is that I'm shooting it for me and I'm shooting it for my clients if you don't like it that's okay, as long as my client likes it and I like it so I'm very, very happy and I'm very proud to present my work that I shot at the engagement session and you saw the process that it took to get there. I'm going to show you the layout off the off the images I think we're going to do before and after first yeah, I think yeah, I think yeah, there we go. Yeah, all right, the great reveal is coming in a moment. Sorry about that. Uh, okay, so in terms of my post production that we had over here before and after that's where we stretched the one image there so that it, uh, if we turn it into a landscape, remember I said I did...
n't think I shot a landscape, so these are before and after color corrected and touched up by my fantastic re toucher samantha she recomposed that one. Didn't you like that? Compositions? Okay, that was good. So you can see that it's not a huge amount of retouching, maybe a across a little bit of cross process because cross processing in the process they but just fixing up a flew a few blemishes and you can see that it's not it's, not overdone, but it is it's bean enhanced. So these are the before and after. And as I said, when we were up there, I really enjoyed the fact that we could turn that into black and white. I thought this will this will really work as a as a black and white image. Okay, so in terms of the, um in terms of the storybook layout, it would pretty much go like this. Just hold on a sec. So those were the images that we were before and afters the one with the smoke I'm not going to use in the in the storybook. Well, maybe I did. I'm not sure what put together because I haven't seen the finished layout. She would send it to me as a pdf. So she's been working all day on this and all night last night, so this is the first time that I'm seeing it as well, so in terms of the layout, I'm going to show you the slides off the storybook album that the client is going to receive, then we're going to go through it and talk about the psychology of how the album was physically laid out so let's, just run the storybook as you'd open up onto page one end too, so that would be the introduction and as we're going through, just imagine it as a double page spread through the middle of the book. So thank you so much to save this looks pretty cool. I'm enjoying this beautifully simple layouts. Yeah, really? And the photos are complementing each other on each spread. It's very clean. Yeah, I like the black and white. They're nice contrast on the black and white. Quite a european look to that that shot. All right, there we go on back to the first opening spread. So as you open the book, I want to talk about each slide as we're going through as you open the book, you're introduced to them as a couple. The reason I start with them as a couple is because that's what's expected this is an engagement story book. So the first thing you really expect to see is the couple, right? I mean, something you got. Somebody was saying here, they never thought about shooting people individually. Is that right? Because you expected to be a couple thing the engagement shoot or the love shoot or the the pre wedding shoot what it whatever you'd like to call it so as you open the double page spread that's what you're going to find on the second page I'm going to continue with that the couple look, you know the look of the two of them as a couple on dh then the different options that I have now mom and dad are going to be loving this your grandmother's going going to be loving this and as jim alluded to it's a simple clean layout in total I'm not I'm not sure in total how many images went into this I think our center about sixty five and maybe forty or fifty have gone into into them and I'm not even maybe even less but then again less is more right so in terms of what we've got here some great shots over there now let's look at that they're the jeweller is going to be loving that image makeup artist remember all of this now make up artist hair there's the pose where he's protecting her he's looking after her mom is happy then we're gonna move on to images off her by herself so I've done them as a couple now I'm going to do her by herself and in him on his own as well so again on the left two images that was similarly posed her head in that kind of direction over there easy lighting guys remember this? No there when there was no uh no flash we weren't using fancy eh leads or anything like that easy window lighting with the collapsible reflector very, very simple and then on the right hand side of the page that picture that mom wants using the eighty five one four wide open incredible lens super shallow depth of field absolutely fantastic image any questions so far? Well is this is finished their little section first and then a nice shot of him the kind of shot that her mother wants to see because you know, I've got a really nice son in law is going to look after my daughter so that's the kind of guy you want your daughter to bring home right beautiful shot like that and in terms of the layout off the off the double page spread clean I'm not trying to cram as many images as possible onto the onto the pages. The next slide over there you can see how sam's put the one image on that on the left hand side of the page so that the window frame line leads you into the next page over there and there again on the right hand side that just is nice and warm and fuzzy and you know she woke up and took it took his jumper from the from the closet and things were gonna happen a little later there again nice beautiful woman fuzzy images this first section mama's going to really love you can see that that sam's changed the tone a little bit in these pictures the skin tones are not exactly ah the correct skin tone but that's on purpose we think she's de saturated these a little bit and I really like that so the first ones were skin tone is perfectly color corrected those are the images that technically have to be you know now we starting tio bring a bit of mood and substance to the shots if it was isolated and it was one image that was colored like that then it's going to be a little bit out of place it's gonna look like you've done it by mistake you need to shoot with intent you need your re toucher to retouch with intent it all needs to be done premeditatedly ok any questions before we go onto this ah little bit more of a grungy scene that was going on yes I was just wondering if since you don't give digital files uh is there ever any concern from brides that they want to show you know they're among grandma the first a third of the images but they don't really want them to see the entire book and now they just have a book yeah that khun by images for grand they can make a whole book for grand if they wanted to you know if you're saying that they only wanted to show show the first section no there's like what? Ten, fifteen shots from there then she's going to buy images for for grant to see that anyway, you know it's it's uh you do end up where the mumble order a a book specifically for her for herself and you can still put these images in we can still go through to seeing to maybe just not when they're getting you know, a little bit intimate that's that's the kind of thing that you might want a grand not to not to see but yeah I mean that's it's a valid question she shoot they're going to make prince full grand or for the mom anyway okay, any other questions here? We're all good right onto the second scene I'm going to start off with her now because there's a little bit of a story going on here is that like, you know, perhaps these two were models on a set a little bit more grungy how cool is that prison thing on the left hand side? The image on the left and then the continuity ofthe having it on the right hand side as well if I only had it by itself is like well, that was a mistake but at least hear the continuity comes through to the second to the second image and we get we get that same effect coming through there as well and what I really like him but in terms of the styling somebody was asking about that you know like the clothes and things like that way we didn't mention it a bit but bringing bringing a stylist into the into the mix as well is also another opportunity collaborate with the stylist said you know I've got an engagement shoot coming up you know, in a couple weeks time would you like to be a stylist on that shoot so there are people that put clothing combinations together and what I've learned about in fashion is this is the heart and the soft so if you look at her in this image here that beautiful flowering which is like a mark gold, huh? Signature piece that softness off that off that ring is just adding a little bit of contrast and it's working so nicely with the harder biker boots denham industrial look background type of type of vibe that's going on so yeah get get a starless involved, get some get some get some other influence involved as well right? We're creating a bit of a story that's going on here these two they were on a set they're being photographed it was shot to make it look like a photo a photo shoot it was meant to look like that with the c stands in the background and you know that this the painter's spot sheet over there that added that that feeling that that sense that we're on a photo shoot eso here it looks like, okay, that the models were starting to get, you know, they needed to pose and started to get into each other and, you know, resulting in that kind of image there he had to do his thing, and the next minute he's opposing and he's doing that and she's coming to bother him remember that little story that we had over there and he pulled over and there we go, there's our final shot and just picture the double page spread down the middle. Here we've got the center spread and that left inside that you know, that that space that's left there, that those telephone wires that lead right into the image, the reflection with by using the prison at the bottom there that sort of use of negative space on the left hand side if I was cramming as many images into the into the into the storybook as possible, you can't do a double page spread like that, the the effect is, so can you also imagine that as a nice big acrylic print in the sitting room or maybe on the sitting room, but maybe in the bedroom? I mean, it works it works really nicely and I mean, I think I think the post production here worked well, you know, having that kind of a little bit of a cross process feel to it and then we're going on to a little bit mohr off a of a shoot way it's a bit more contrast in a bit darker in terms of the mood off the shot, her makeup is a lot heavier and they are three distinct step chapters and three distinct target markets that we can potentially makes some more money from so that will pay spread the vertical in the left hand side, working really nicely and then we've got a bit of motion on the right hand side way she's walking there again double page spread very, very effective in terms of one image the high contrast black and white on then oh well done well done to sam for pulling out a bit of detail in that fog, you know, maybe making it look like there were a few cowards around because it was very foggy and seemed to be quite flat the background and you can see that because of the use off the stroke because of the use of the allen crum ranger, we decrease the exposure on the background instead of having it white, which which it was I mean, it was a very great big soft box above us. So, yeah, I mean, I'm really, really excited about that image, and then we get the two together, right? Just tio, add a little bit. They be a little bit more of a story. That's going on headdress is going to be happy. I would give the image to the head dress and the makeup artist in color for that one. So I'm always going to keep the images in color and in black and white, so that when I send them to the suppliers, excuse me. When I send them to the suppliers, the suppliers are going to be happy that they're in color, you know, going to send a black and white shot off the floral arrangements. You know, teo to the florist.