Photographer: Tracy Dorr
The Client’s Tastes
When it comes to planning location portraits, Tracy Dorr leaves some of the decision-making to the couple. If they want to see each other before the ceremony, she’s happy to do their portraits at that time. If they are more traditional, she’ll block out about an hour between the ceremony and the reception to whisk them away for some location images. Where they go will also depend on the couple. If they like a traditional outdoor look, a wooded park may be in order. “Some brides say, ‘Oh no—I hate the outdoors!’” Tracy laughs. For these couples, an architectural setting (like the steps and columns of a museum) might be a better outdoor fit. Or if they are really into an urban feel, she might take them to a gritty, artistic neighborhood for some street photography.
“When their expressions start to fade, that’s when it’s time to get on to the reception.”
The Photographer’s Expertise
Of course, sometimes clients need guidance. For example, many couples suggest shooting at Niagara Falls, a major local attraction. This is something Tracy cautions against. “It seems like a great idea,” she says, “but when you get there, you’re surrounded by tourists and they don’t care what you’re trying to do—they walk through your shot and end up taking pictures of you taking pictures. Also, the Falls are where the Falls are; if the light’s not good when we get there, it’s not good.”
How Many Images?
Managing the location session, and the coverage overall, is also important because—contrary to what you might expect—showing too many images actually results in lower sales. “If you show the bride three images of herself with her mom, she will have a hard time deciding which one is best—and if she can’t choose, she won’t order,” says Tracy. While it’s important to provide enough images for the couple to feel like they got a good value, Tracy finds her best sales come from events where the coverage doesn’t include too many repetitive shots. “If there’s a great image of the dress, a great image of the bride and her mom, etc., the decision is easy—and the couple happily orders.”
Clients also need guidance when it comes to knowing when the shoot is over. This requires a careful balancing act. On the one hand, offering plenty of variety is important; on the other hand, a shoot that goes on too long stops producing great images. Tracy generally handles her location shots in about an hour but notes that it’s important to take your cues from the couple and the wedding party. “If they have an idea they want to try, I’m not going to say no. But when their expressions or enthusiasm start to fade—or when you hear people complaining that they are hungry or their feet hurt—that’s when it’s time to get on to the reception.”
Knowing when to stop is not just about the image quality, it’s part of making sure that the photographic process is fun for the couple and the wedding party. More than any other factor, the experience is what generates those critical word-of-mouth referrals. “I regularly have former bridesmaids call about booking us for their wedding. When I ask if they saw the previous bride’s album, many of them say no—but they remember how much fun the photography part of that wedding was,” says Tracy. Great camera skills are important, but it’s a mistake to discount the huge role people skills play in a successful photography business.
