Featured Artist – Caitlin Gallivan-Gaertner

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Today’s featured artist is Caitlin Gallivan-Gaertner. While she’s been shooting weddings with her husband for several years, she just recently left her job in social work to pursue family photojournalism full-time. You can see more of Caitlin’s work on her website, Facebook, and Instagram. Here is what she had to say to our contributors:

Jenny: I love your work Caitlin. Your families all seem so relaxed in front of the camera and happy to go about their daily lives. How long do you spend with the families shooting? Are these from day in the life sessions, or shorter? Do you ever shoot older children? And if so, do you use a different approach to shooting them than that of younger ones?

By far, the best work I’ve ever done is from a full day in the life. That’s how I prefer to work because it gives me time to build rapport with the family. After a few hours, they hardly notice I have a camera in hand which allows me to get really honest candids. A day in the life is around 12 hours, so I arrive at around 7am and leave at around 7pm. It’s always wonderful when you can take an image that can stand alone, but the full story is much more important to me than a single image.

I do work with older kids, but it’s a very different feeling. With younger kids, I am goofy and more energetic, but with older kids I am more subdued and calm. I think the largest challenge with older kids is that they are more used to having their photo taken and know the expectations that usually come with that. Some are more camera shy, while others tend to instinctively “pose” for me. It’s harder to get their real personality to come through. I think the key is to build a relationship with them. If they trust me, I am more likely to get a photo of them that I love.

Felicia: Thank you for sharing your thoughts on what this genre and what it means to you. As an introvert, what are your challenges about working with this approach? What are some of the most trying situations that you have come up against because of your personality as an introvert? When that happens in the field, how do you confront that challenge and work past it?

For me, as an introvert, working in this way is the most comfortable. I think posed family photos require a lot more direction and “false interaction” where I am trying to elicit a smile rather than it just happening all on its own. When I started shooting in this way, I found the need to interfere was gone, and I just got to dive deeper into my own creativity. It’s the best!

I think we are all trying to balance the desire to push ourselves into areas outside our comfort zone and the desire to go with what feels right. With family photojournalism, I went with what felt right and built on my strengths rather than trying to overcome my introverted nature. In many ways, being invisible is more of a strength with this type of photography.

Erika: In your write up you talk a lot about how children seem to guide your sessions and that appears very evident in your work. Your camera not only is frequently focused on the child(ren) but seems to take on their life perspective as well. Have you come across a child who was excessively shy or overly excited about the camera and perhaps made it a challenge to connect with them in a more personal way? How do you go about trying to meet more challenging kids in the middle to make honest photos?

This is a constant challenge, and doesn’t come up as much with younger kids because they are still new to the awareness of cameras. I have had a few situations where a kid wanted nothing to do with me or my camera, but it was usually in situations where I was trying to pose them (usually a day in the life will involve at least one formal portrait for the Christmas card). When a child is really struggling to feel comfortable with me, I put my camera down and ask them to show me their favorite place, or their favorite toy. I talk with them and play with them until I feel that they are comfortable with me. Often times, I have to go back and do the same thing several times in a shoot. Put the camera down, talk with them, ask them questions. I find if I genuinely care about what’s important to them, they will open up to me and my camera.

One thing I’ve learned is that if I resist in any way what the child is doing, the child will resist me even more. So I try to make everything okay. Being shy is okay, being excited is okay. It’s all part of the story.

Robin: Do you feel like your background in social work helps or has influence the way you document families?

YES. My work with domestic violence survivors helped me see and appreciate the infinite ways in which love shows up in our lives. I was, and still am, incredibly inspired by the ability of mothers to protect and love their children, even in the most difficult situations. That immense respect and appreciation that I developed while working in the anti-violence movement informs my work as a photographer every day.

Lisa: Are you more drawn to a particular type of moment over another (quiet vs loud)? How does this affect the way you tell a family’s story?

I wouldn’t say I am more drawn to a certain type of moment. Family life is really a full spectrum, and I love every part. The one line that connects every part of the story is love, and I am fascinated by love it in all its forms.

Celina: So many of your photos seem to be out and about. Are these taken during a day in the life type of sessions or do you typically go out with families even on shorter sessions? If so, how do you keep your clients feel at ease in public?

Most documentary photographers can probably relate to the difficulty of shooting inside a home. The lighting is often tough, so a large portion of my submitted photos were out and about. I usually encourage families to plan an outing during their day in the life session because I think it creates a more compelling story. Taking your kids out of the house is stressful, fun and chaotic. I love to see all of that happen!

I usually encourage clients to plan their outing for the afternoon. By that point, they are used to having me around. I keep a low profile when I am out working. Just one camera around my neck and no extra lenses. I think most people assume I am just a family member taking snapshots. Since I am not directing anything, or saying much, most families don’t seem to be uneasy with me following them around in public.

*****

Want information on how you can be a featured artist? Check out our submission page for all the details.

Featured Artist – Colleen Adams

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Today we are featuring artist, Colleen Adams, who has recently shifted into shooting more documentary work. She says the shift in her thinking came after being asked to photograph a baby blessing and finding herself truly enjoying the photojournalistic aspect of that session. As she explains she found herself “yearning to be a witness to what is real and document what I witness.” You can follow up with Colleen on her website or Facebook. Here’s what she had to say to our contributors:

blonde girl plays in dirt

Celina: You mention creating a connection with your clients, how do you go about? Do you send a questionnaire? Chat beforehand? Also, how do deal with a session when that connection isn’t made?

My first contact with many clients is email. I don’t have an official questionnaire, but I think that is a great idea! I usually ask questions about their family and what they are looking for in a photo session. Also, I offer to answer any questions. I am an empath and an extrovert and able to connect with all kinds of people very easily. I find most families are slightly frazzled and a bit worried about how their kids are behaving during a photo session. I respond with compassion. I offer lots of breaks. I assure parents that their children are amazing because I really believe all children are incredible works of art, even in their most challenging state. I come to a session with very little expectations. My only goal is to capture the personalities of the people I am photographing. I find the easiest way to do this is to have no agenda. I just meet people where they are at.

As far as technique for connecting with clients, I use conversation as an icebreaker. I make small talk, I joke, I ask questions. I try to surprise them to make them laugh. This work is sacred to me; people are allowing me to really see them. It is my honor to observe, wait and exercise patience. I hold a safe place for them to be themselves. In turn, I capture authentic images.

I have yet to have a session where a connection wasn’t made at all. I have had a few reluctant husbands, but even the most reluctant husband warms up when I tell them the session is almost over! Not every session is as natural as I would like, but I accept that. You cannot make everyone comfortable being themselves in one short photo session. It’s a life-long work for some.

kids play on swing and play with sticks Felicia: I see a few images where the children are camera aware and their personalities shine through. Can you share some tips on building trust with kids so you can capture their environmental portraits?

This is my favorite type of work. I have always loved the idea of portraits for children because you really get to document a clear image of of the child at different ages and stages. It preserves their history. I take this idea a little further by trying to capture a clear image that shows their personality as well. As previously mentioned, this is achieved by creating the connection, talking and observing. Also, I like to get really silly with kids. I sing to them, I talk about poop, I ask lots of questions. I pretend the camera is not there and I play with them. Sometimes I even put the camera down and swing them, dance with them and run around like a crazy person. Parents often want a few posed photos, but I find the best photos are taken during our breaks. I let the kids take breaks and I keep my camera handy while being watchful for magical childhood moments.

girls play with bubbles in bath

Carrie: What would you say is your primary objective when shooting a client family? What do you aim to convey in your images that is in the back of your mind when culling?

My primary objective in shooting anyone is to capture their authentic personality. While culling, I ask myself the following things: Is this image real? Do the faces show authentic expressions? Do the bodies look natural or is there any tension from feeling like the image is forced? Secondly, I check the technical aspects of a photo. I don’t often use flash, so I may encounter some images that are too grainy for my liking. In addition, I sometimes miss focus with fast moving, super engaged children. I’ve literally had a 3 year old tackle me to the ground while shooting because he was having so much fun playing with me. Of course the parents were mortified, but I took it in stride. Clearly, he felt comfortable with me and I take that as a compliment. In an high energy environment, it’s possible to miss the focal point at times.

girls on quarter machine carousel

Leslie: What a diverse beautiful set of images. You mentioned it took you a while to find your niche. Who is your ideal client and how do you market your work to them?

My ideal client is someone who wants to document their personal history with authentic images of people they love. I really enjoy family documentary photography and this is the type of client I am trying to attract. I use social media and instagram to showcase some of my latest work. In addition, I write blogs about my sessions. Most of my clients have come to me as referrals.

child sitting on rail at beach

Jenny: You’ve shared a lot of black and white images, and I absolutely love them. Do you shoot with black and whites in mind? Do you predominantly edit in black and white over colour? If so, is there a reason why?

I absolutely love black and white images too!! I think this is because my roots have been established in film. I started shooting film with my first SLR in 6th grade. In high school and college, I spent most of my free time in the darkroom processing film and prints. Most of my personal work is in black and white because I love it so much. I do color for other people because I know they want it. For me, black and white brings the subject to the forefront and lets colorful distractions fade away. Black and white elicits more emotion for me.

girl covered in dirt with paint brushes Gemma: There is a wonderfully wild, carefree tone to all of your images with children. Is there something or someone in particular that has influenced this view of childhood in your photographic work?

Thank you for noticing how I capture children. I aim to capture children in their most natural state. I love the wonder, freedom, and wildness of childhood. The season of childhood is much too short in our current fast-paced culture. I grieve for children that are forced to grow up too fast. I have adopted a very connected attachment parenting style with my own children. In addition, I homeschool so we can maximize our time together. Our family embraces the true essence of childhood and we aim to prolong it. This is the filter to which I view children and childhood. I take these values with me when I photograph children. I aim more to bear witness to them than to control them. I want to know them, who they are and capture them and the raw beauty of their natural state. Children amaze me.

kid slides down bannister

Jessica: In many of your images, the subject is central in the frame. When you are making a picture are you thinking most about the moment or the composition?

I am always thinking most about the moment, but composition, framing, and cropping are huge for me. I’ve always loved close-ups because I love faces and eye contact. In recent years I have challenged myself to pull back the camera and get the whole scene to tell a more complete story.

boy holds new baby

*****
Want information on how you can be a featured artist? Check out our submission page for all the details.

Featured Artist – Nykie Grove Eades

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Today we are featuring Nykie Grove Eades of Auckland, New Zealand. Nykie is drawn to the uninhibited nature of children. For her business, Nykie offers clients both documentary sessions and lifestyle, but that even in her lifestyle work she takes incredible care to focus on those natural, unplanned, in between moments. You can find Nykie online on her site, facebook, and instagram. Below is a little more about Nykie, her work, and her business in her own words.

What made you focus on b&w photography? Do you approach shooting differently knowing that they will be converted to black & white?

My work has just progressed that way… I started with B&W only in my own dark room in the 90s, to then creating perfect colour images when I went pro with digital many years later, which I still love. But as time went on especially with photographing kids, the images became more about the randomness of shapes and moments, I feel like black & white strips the image down to the bare bones of a moment. Often I feel like colour distracts. I will leave it however if I think it’s adding to the feeling of the shot, or if the shot is about eyes, but more often than not I will choose black & white.

I don’t shoot for black & white specifically, but I know the second I have taken one…. they’re more often the random funny moments that happen in between, the moments when my subjects “let go”, and chaos ensues… (the best bit).

There is so much motion & action in your images and I love your choices to pan or accentuate the image with a slower shutter speed. Any tips for those who might be looking to incorporate those techniques into their work?

Practice! To learn to pan, I went to several high speed events from motocross, to running, and my own kids on water slides…. It is still hit & miss. With panning I find you’ll get the best results if you start moving with your subject WELL before you plan to click the shutter… you’ll get a feel for the speed of the movement, then keep panning well after your shutter has shut again. This way you’ll get the flow of the movement – then do it several times. Often kids are having a blast having all eyes on them over and over again 🙂
On paid jobs I will play with this effect, but I do tend to only do it when I know I have a ton of other shots in the bag. I guess it’s kind of my “me time” on a shoot. I try to play as much as I can once I feel I’ve nailed what I came to get (which also feels like play!). Aside from panning, just some good old motion blur is awesome. Kids especially are so frenetic! You do need to be open to having images that are loose and free and not necessarily sharp. Enjoy it……. let the fun of it wash over you 🙂

I love all the different perspectives you use in your photos. When you photograph a scene, do you know ahead of time the perspective you want to shoot from? Or do you shoot from several different perspectives and see what works best afterwards?

I have gotten a feel for it… If kids, for example, are immersed in an activity, like a bath, I will just shoot from many different angles because I simply have time. Quite often though I am inspired by what’s happening in the moment – With kids, I feel like their world is so much more about “the now” than us adults. I often feel inspired to lay down, or hide behind something, or climb a tree!, and just watch them and hope that I can disappear just momentarily. Also I feel like I am “in their world”, by getting an angle that accentuates their play.
Of course too the back of mind is always on composition mode. I also shoot quite wide, and I am a serial cropper… I work fast and I move a lot, and that’s just how I unashamedly roll 🙂

There’s an effortless joy and that comes shining through in your portfolio – not only with kids, but also with adults. What are a few tips you use to help clients relax and truly feel comfortable in front of the camera?

I feel people! Awkwardness hits me as if it were a stab to the chest…… I struggle with anxiety and part of that is an almost hyper sensitivity to people. Over the years I have developed an almost selfish need to put myself at ease on a shoot, which has resulted in my style developing, and I therefore need people to be genuinely having fun.

My philosophy is FUN FIRST, PHOTOS HAPPEN….. I am always honest at the start, “lets get a few awkward ones in the bag, and then we can warm up a bit”….. I find telling people they will warm up is a self-fufilling prophecy. I also have a secret weapon, which is my chicken hat. It is honestly the most dorky looking thing, I put it on and act like a fool and people loosen up. I talk a lot on shoots, sing, dance, pull faces, and genuinely enjoy peoples company. People sense that there is no ego at all coming from me, and they can relax. If dad is awkward, get him DOING stuff like interacting, tickling, piggy backs, etc… and also let him know he is “off the hook” quite early on in the shoot – and you’ll find he will probably want to keep being involved later on anyway…. Kids are tricky, but I find it’s just about respect. Use your manners, ask nicely, ask about their day… if they are super shy, it’s a good idea to start from their home and check out their bedrooms etc… Also don’t be over bearing from the beginning, chat to the parents first and let the kids see you being friendly with them, and their trust will instinctively follow.

I like the way you have put this question… “effortless joy”, for the client it really should be, but as a photographer it comes from a place of 100% commitment and effort in caring for people and reading them, and enjoying them.

What percentage of your business is lifestyle vs. documentary? Do you get more inquries about one type of session vs. another? And if so, do you ever work with your clients to persuade them into a different style of photography based upon what you are learning about them? Walk us through how you and your clients decide on the style of photo session that works for them.

Mmmm, I think I am at 50/50. Lately I have been convincing more of my lifestyle clients to get shots done at home first before we go to a location, so we can get both. I won’t push to hard on that, but the ones that do take me up usually end up really loving that portion of their shoot. I feel like here in New Zealand people are leaning more towards the unposed and unscripted style. We’re a pretty humble nation and most people are not after a large posed portrait above the fireplace. Currently I am trying to really educate more people about the joys of documentary by driving what I call the “Unposed & Funposed revolution” , I have never been into marketing that uses fear to get people to book – but I can’t help but have a genuine yearning for people to capture their families now and often before their kids get older – missing that opportunity does scare me!

If someone enquires with me, I will facebook stalk them! I can often get an idea of someones style by having a quick look at their images or house. I will also ask about kids hobbies and interests… There is usually something in there that will allow me guide them towards at least starting the shoot at home. I have to show what these images will look like too. It’s hard for people to imagine how their “every day life” will translate into anything special. But if say, a mum tells me Tommy LOVED his dinosaur collection… I’ll say “well lets celebrate that! we can go to beach afterwards when the light is pretty, but it would be awesome to be at home first and capture his every day awesome”

I will also gently tell people how amazing it is to look back on photos years later and reminisce about the way their house was, or the items in the room, the carpet, the wallpaper. My dad was an awesome photographer and our family albums are absolute treasures of every day stuff! In a nutshell, I get a sense about a person, I will push the doco a little, and sometimes not at all, and see if they bite… and if they don’t that’s fine. My lifestyle shoots will also contain a fair whack of unscripted goodness too! And just like I do with documentary, I do stop and take some camera aware portraits as well……. mix it up I say 🙂 I am all about having fun!

Want more information on how to be a featured artist? Check out our submission page for all the details.

kids dance on shore - Documentary Family Photography

Featured Artist – Polona Avanzo

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Our newest featured artist is Polona Avanzo. She lives and works in Slovenia and loves to include an element of humor or quirkiness to her images because, “I believe everything in life is easier if we are able to laugh at ourselves and bizarre situations.” You can find out more about her on her website, Facebook, and Instagram.

In your submission application, you mentioned that you were trying to bring more of this style of family photography to your home country. What do you think, culturally, will be the biggest barriers/resistance to having this style of photography welcomed there? How would you characterize the family photography market where you live?

In Slovenia there is a strong wish to have a perfect family. Parents would do everything for their kids and want them to accomplish many things. Sometimes it is hard to accept that they are not perfect and embrace the beauty of everyday mess. Another thing is the concern about what other people think looking from the outside. It is common to hear “what will neighbours think”. We don’t like to broadcast our imperfections and want to be seen as perfect.

There is also the difficulty of letting a stranger in our homes to document our messy house. I often hear “sorry about the mess in the house” when everything is perfectly fine and tidy for everyday life. Families in Slovenia usually clean the house for every visit they have.

Otherwise the Slovenian family photography market is still mostly leaning towards posed photography in a photo studio or in nature. People prefer to buy a professional camera for themselves… and then use it on auto 🙂 I feel like the photography profession is sadly not respected enough as it is a case with most services opposed to material goods.

What situations do you struggle most with capturing? And what is it about those situations that you find most challenging?

I struggle the most with intense moments – arguing or crying. I get the feeling that I am not welcome to capture this moments and have the urge to try and help the situation. Even with my own kids I had to overcome this feeling and accept it as a normal part of everyday life. They are moments that I also want to remember.

Your framing and use of layers in your images is fantastic! Are you purposely seeking out these compositions? Do you find yourself shooting a lot of frames, or do you just sit and wait to capture that one perfect moment when everything lines up beautifully? Do you have any advice for others who wish to incorporate more depth in their images?

Yes, I love layers! I think they give some depth to the photos. Especially when I succeed in capturing different actions in one photo I feel I told a better story. Usually, when I see something interesting is going on, I quickly take some photos so I don’t not miss the moment. When I get the chance to calm down a bit I will look for a better composition. A lot of times I find the best spot and wait for everything to line up perfectly. In many cases it pays off. Sometimes you have to be a small fortune teller to predict what everyone will do next. Observe, predict and wait.

I love the sense of humor and quirkiness in your images. Do you feel like you see the humor of your images as you shoot or is it something you recognize and curate as you cull and edit?

I love humorous moments. I believe that with humour and a smile everything is easier, especially if you are able to laugh at yourself and your mistakes. I guess this mirrors in my photos. Usually I know that a photo will be funny or good the moment I take it. And I work hard for it. As I mentioned before – I see the moment and I want to capture it in the best way. Things rarely surprise me in post production.

Featured Artist – Olivia Gatti

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Our newest featured artist is Olivia Gatti, who describes herself as a “former photojournalist turned librarian turned roller derby queen turned mom to three girls and one rescue dog.” While she has been working in family photography for many years she has recently transitioned to her true love of in-home 100% documentary sessions. You can find out even more about her and her work on her website, Facebook, or Instagram. Here is what she had to tell us about her work and her business.
child on counter digs through cabinets

Your work shows a beautiful use of light, particularly dramatic light. Is there a lighting situation you are particularly drawn to? And can you walk us through your editing process?

Thank you for noticing! I’m always drawn to good, different, and unexpected lighting. Once you start to truly understand light, you see opportunities to capture it everywhere. There isn’t one specific kind I truly love, honestly. I love it all, the more unexpected the better. In documentary, you can’t control when the light is good, or even if your subject necessarily will move into it, so when all the elements collide, it is truly a magical thing. You just have to be ready, and with lots of practice hunting and shooting in all types of light, you will be.

I try to keep my editing process extremely simple. My background is in news photography where you weren’t allowed to alter images in any way. All you could do was boost contrast and curves, maybe a little dodging and burning. Because of that I never really learned any fancy photoshop tricks. And at this point I don’t really want to. I do everything I can to get it mostly correct in camera so I don’t get bogged down in editing.

I do use one VSCO preset and one Nik Silver action. I own a ton of actions, but in the end have found the two that really keep my work looking clean and not overly processed.

You use a lot of creative compositions. Do you crop in camera or in post?

I love photographs with interesting and smart compositions. I feel like that gives me better insight towards the photographer and their approach; it’s like I really know they can “see” the moment. So I try to emulate that in all I do as well. I love layers, and frames within frames, and unusual crops. I love when someone unexpected runs into the frame and I catch a random body part or blur. I shoot pretty wide, consistently with a 24mm and now a 35mm on my Sony a7rii. Because they are such wide angles, I feel like I have to be fully aware and responsible for what’s in the frame. It’s the weird accountability I hold myself to when I shoot. So to answer the second part of the question, I crop in camera, never in post. I might straighten a horizon here and there, because I don’t particularly like tilted horizons, even ones that are slightly off. But if in straightening the horizon means my overall composition and balance gets thrown off, I’ll probably just kill the photo altogether.

What guides you in determining which elements to include/exclude in a frame?

Beyond the moment and some nice lighting, I look for elements that help to tell the overall story or that better evoke the mood or feelings at the time. I was just shooting my friends and their kids this past weekend in the Hamptons, in a beautiful house with white everything, super stylish. The light was great, the moments were really authentic and true (laying on the couches cuddling the kids, braiding each other’s hair). But there were also all these My Little Ponies and wiffle balls and pool noodles lining the edge of the fancy glass coffee table so no little one got hurt. And I thought to myself, well I could compose this so that I exclude what is happening on the floor level and it will look like some photo shoot from The Hamptons Magazine, or I could compose the photos to take in the real scene. So I went with the real scene and included the kids’ mess, because that was real. Even in the Hamptons.

You work shows little fear in showing skin which is something so many of us, as parents of young children, can relate to. Do you deliver these types of images to your clients too? If so, do you have a conversation about it first to make them more comfortable?

Showing skin is such a tough one, and I can completely understand and respect people who don’t shoot it or shoot it but never show it. It is clearly a very personal and individual decision. With that said, I, on the other hand, feel really strongly about being honest about my life as a mother, and in my life my kids are naked, especially my littlest one. My older two are becoming more self-aware and so I’ve stepped back and let them have the privacy they want. This means I have watched them sometimes close their bedroom doors on me while getting dressed and have felt this bittersweet feeling, but such is life. I think, because I have a pretty open mind and an on-going visual dialog happening with my work about my life, I attract clients who feel similarly about childhood, nudity, and positive body love. I am planning on adding something in my new client questionnaire about this topic so that I know before hand how they feel, but currently when documenting families, I often have to use my best intuition to read if this is or isn’t cool. And it never hurts to ask, either. Even if we are in the moment, to pause and make sure everyone is comfortable with the scenario. I always explain it is for their eyes only, and also encourage them to see the bigger picture of these moments; that someday all too soon, their little kiddos will want to get dressed and undressed behind a closed door and maybe right now the freedom and safety they feel is indicative of where you all are in life presently. And I think that is why these photos are so beautiful.

How do you help families relax and act as naturally as possible around you while doing a home documentary session?

I don’t have any special formula for getting my clients to relax. I truly believe I attract cool, relaxed people to begin with by what I put out there (and yes, I’m talking about energy). I’m honest and vulnerable and real with them the entire way through the experience. If I feel like I need to throw on a long lens, which I know looks crazy to some folks, I just talk about it while I do it and get them used to the idea of how some of my gear works and why I use it. I get on the kids’ level almost immediately too, and act silly and sing. I make real eye contact and ask questions. I keep my energy low and easy and they seem to tap into that if they need it. I never push anyone to do or be anything other than themselves. I think all these things keep it really natural and fun.

Have you found the transition of your business to exclusively in-home documentary to be a difficult one? What is one piece of advice you would give to photographers looking to make a similar transition?

Luckily my transition has gone really well so far. It is still fairly new, and I’ve had to redirect a few jobs to other shooters I think would be a better fit, but I also feel like the new clients and old ones who trust me really get the approach and appreciate it. It is so wildly different from family portraiture (a form that I still think is very important to have done from time to time), and I get why some people just don’t like it or get it. So my advice to someone who is trying to make the same transition is two fold. For one thing, be sure you are moving towards in-home documentary because that is what you truly love to photograph, not because it is on trend right now. Flip flopping styles just to appease potential clients means you (the photographer) won’t ultimately be satisfied. And you should be satisfied! Secondly, trust that the right people will find you and vice versa. They are out there. Maybe some people need to be educated and see examples of this before they sign on, but they are out there. And odds are if they dig your style, some of their friends will too. I’ve done zero marketing this year beyond a blog post about switching over, tweaking my site, and the social media posts that I normally do. My business is almost entirely driven by word of mouth. It’s really a wonderful way to understand just how impactful your work can be on a family when they share you with another.

Documentary Family Photography – Sham of the Perfect

Revealing the Beautiful Reality of Family

Featured Artist

Featured Artist – Caitlin Gallivan-Gaertner

Featured Artist – Colleen Adams

Featured Artist – Nykie Grove Eades

Featured Artist – Polona Avanzo

Featured Artist – Olivia Gatti