The Colors I Actually Work In

Color does a lot of work in a photo before anyone notices composition or expression. Looking back through my galleries, I realized I don't shoot one signature palette. I shoot a few, depending on what the moment calls for.

Weddings and elopements: warm and golden, whenever the day allows it. I lean into golden hour hard when I can, especially late in the day. That warm light carries through the ceremony, the details, the portraits after. But real weddings don't always hand you perfect light, so this gallery also includes overcast afternoons, string-light evening receptions, and low indoor light. The golden hour work is my signature, but it's not the only story.

Portraits: two different moods, on purpose. Outdoors, I go earthy. Greens, browns, natural light, nothing over-processed, the kind of tones that let Colorado's landscape do some of the work. But in studio sessions, I go the opposite direction: solid black backdrops, dramatic contrast, punchy light that makes the subject pop. Both are part of my portrait work. It's not one palette, it's knowing which one a session calls for.

Life's Moments: bright and saturated. Events get a different energy entirely. Rich color, bold décor, food and detail shots with real punch and depth. Less about mood, more about capturing the actual vibrance of the room.

Wandering Eye: bold color, built from my own travels. This gallery is different from the rest. It's not client work, it's the places I've explored and the moments that caught my eye along the way: prairie churches at golden hour, bison in dramatic light, flowers and small details from wherever I've traveled. These are images I'm offering for sale, a chance to bring home something from a place or a moment that resonated with someone the way it did with me. Color-wise, it's rich and saturated rather than restrained, but the real story here is the exploring.

Product & Property: clean and true-to-life. This is a different job entirely. Jewelry gets a neutral black or white backdrop so the piece is the only color story that matters. Real estate gets bright, accurate, inviting light, walls and rooms that look exactly as good in person as they do in the photo. No mood-setting here, just clarity.

Across every gallery, you'll also notice black and white shows up again and again, in weddings, portraits, and even quieter moments elsewhere. It's not a fallback when color isn't working. It's a deliberate choice when a moment is more about emotion or timelessness than about the palette around it.

The common thread isn't one color story. It's that every palette is a deliberate choice, matched to what the subject and the client actually need, whether that's warmth, drama, vibrance, or simply getting out of the way and letting the piece or the room speak for itself.

Why Editing Takes Longer Than People Expect

When you book me, you're not just paying for the hours I spend behind the camera. A big part of what you're paying for happens after the session, when I sit down and actually edit your photos.

After a shoot, I go through hundreds, sometimes thousands, of images to find the best ones. Sharp, well lit, full of real emotion. Then each one gets individually adjusted, color, exposure, skin tones, all of it. I don't run one preset over everything and call it done. Every photo gets tuned by hand so the whole gallery feels consistent, whether it was shot in bright sun or a dim reception hall.

Retouching is part of it too, but it's subtle. I'm not changing who you are. Softening a shadow, cleaning up something distracting in the background, making sure skin tones look natural rather than processed. Small things that take a trained eye and real time.

People sometimes assume it's just running photos through Lightroom presets. It's not. Color grading and selective retouching are a craft, and every image gets reviewed more than once before it goes into your gallery.

I'd rather take the time and hand you a gallery you'll want to look at for years than rush something out fast. That wait is always worth it.

My Favorite Local Photography Locations (So Far)

One of the best parts of being a photographer is discovering new places that bring out the beauty of each session. Whether it's wide open trails, peaceful lakes, or vibrant city parks, every location tells a different story. I'm still exploring and always adding new favorites to my list, but there are a few go-to spots I return to again and again.

South Mesa Trailhead, Boulder

If you've ever wanted those sweeping mountain views Colorado is famous for, South Mesa Trailhead never disappoints. The views of the Flatirons are breathtaking year-round, and the trails mix open meadows with tree-lined paths. It's perfect for couples and families who want that natural, timeless Colorado backdrop. I love shooting here at golden hour, right before sunset, when the light hits the foothills just right.

McKay Lake, Broomfield

McKay Lake is one of those hidden gems that's quiet and incredibly photogenic. The trail loops around the lake, with several little nooks ideal for portraits, boardwalks, tall grass, and reflective water, making it versatile for everything from family sessions to senior photos. It's also easy to access, which makes it great for families with little ones or pets in tow. Golden hour before sunset is my go-to here, though honestly this spot looks beautiful any time of day. I'm not much of an early morning person, so that works out well.

Washington Park, Denver

Wash Park is a classic for a reason. With tree-lined paths, vibrant gardens, and two lakes, it offers endless variety within just a few minutes' walk. I love it for lifestyle sessions, couples, and even more formal portraits, since the scenery changes beautifully through every season. Late spring through early fall is ideal when the gardens are in full bloom, or autumn for those rich, colorful leaves. Any time of day works here, but golden hour gives everything that warm, romantic glow.

Always exploring

One of my favorite things about photography is that there's always something new to discover, a hidden field, a quiet grove, a new perspective on a familiar place. I'm constantly exploring new locations across Boulder, Broomfield, and the Denver metro area, so this list will definitely keep growing.

If you have a favorite local spot that would make a great backdrop, I'd love to hear your suggestions. Comment below, reach out through my contact page, or follow me on Instagram at @ericacameronphotography.

A Classic, Professional Headshot Session

There's something timeless about a clean, well-lit headshot. This recent session was a great example of how simple styling, relaxed posing, and a neutral backdrop can come together to create images that feel both professional and approachable.

We focused on variety without overcomplicating things. Small adjustments in posture, expression, and layering let us create multiple looks in a short session. A seated pose with hands resting on the chair gives a friendly, conversational feel, while crossed arms convey more confidence and strength, both good options depending on where the images will be used.

The blue top was a great choice against the textured gray backdrop. It adds color without being distracting, and it photographs beautifully for professional profiles, websites, and marketing materials. Subtle accessories and natural makeup kept the focus right where it should be, on expression and personality.

This session is a good reminder that you don't need anything flashy for a strong headshot. Clean lines, good light, and a relaxed environment go a long way toward images that feel authentic and polished.

If you've been putting off updating your headshot, now's a good time. A current, professional image makes a real difference, whether it's for LinkedIn, a company website, speaking engagements, or personal branding.

Interested in booking a headshot session? Reach out and let's create something that feels like you.

Unfiltered: Why RAW Files Stay with the Photographer

Why I Don't Hand Over RAW Files

I get this question more than almost any other: can I just get the RAW files?

I get why people ask. It feels like a fair request, you paid for the session, shouldn't you get everything? But a RAW file isn't a finished photo. It's closer to a film negative, all the data my camera captured, completely unprocessed. Straight out of the camera, most RAWs look flat and a little dull. The editing is where the image actually becomes what you saw in your head when you booked me.

That's true of every photographer, not just me. The RAW is the raw material. The edit is the craft.

There's also a practical side. RAW files are huge, often 20 to 100MB each, and you need specific software just to open one. Handing them over means handing you a stack of unfinished work you can't really do anything with, and if you tried to edit them yourself without training, you'd likely end up with results that don't look anything like what you hired me for.

Here's an example from a recent session. This is the RAW, straight off the camera. And here's the same frame after I've gone through my full edit. Same photo, completely different feeling.

This image was originally a RAW file straight from the camera. As you can see, before editing it appeared flat, dull, and desaturated.

This image has been edited using Adobe Photoshop. As you can see, it now features enhanced texture, rich saturation, and a vibrant, polished look.

Here's another image, originally a RAW image and straight out of the camera. 

  Here's the edited version, also straightened. 

If you're curious about the process, I'm always happy to talk through it. That's part of what you're paying for.

What’s the Difference Between Phone Pics and Professional Photos?

You've done this before. You see a great sunset, pull out your phone, snap it fast. Sometimes it comes out great. Sometimes it just doesn't look like what you actually saw.

These three photos are all the same sculpture, same sunset, taken minutes apart. One's from a phone. Two are from my camera. Same subject, same timing, completely different results.

The phone shot does an okay job overall, but look closely and the sky is blown out, all the detail gone, and the shadows on the sculpture go flat and heavy. That's the phone trying to expose for everything at once, and something always loses in that trade.

The other two get that depth back. I waited for the sun to hit the sculpture's form just right, controlled the exposure manually, and let those golden tones and starburst light actually show up the way they looked in person. A little editing afterward pulled the color and contrast into place without making it look overdone.

None of this is about making a photo look fake. It's about getting back what you actually felt standing there: where the light was coming from, how the shadows should fall, what the moment should feel like when you look at it later.

A phone can absolutely save a memory. But there's a real difference between a memory and a photo you'd want to print and hang on your wall.

Memories with Meaning: Fall Photo Fundraiser 2025 Recap

Every year I look forward to this day. It's a morning full of laughter, golden light, and the kind of connection that reminds me why I love this work in the first place. On Saturday, October 18, 2025, I joined a group of fellow volunteer photographers for the Young Professionals Council Fall Photo Fundraiser, benefiting the Rose Andom Center.

This year brought 12 mini sessions: families, couples, and professionals needing updated headshots. Everyone showed up ready to have fun, and together we walked away with images that mean a lot more than a nice photo.

What makes it worth doing

This fundraiser supports the Sierra Russell Fund, which helps survivors of domestic violence access housing, counseling, and legal support. It's a genuinely good example of how a morning of photography can turn into something that actually changes someone's life. Donating my time to that is a privilege, not an obligation.

From the day itself

Washington Park was full of energy. Families laughing under trees that had just turned gold, couples sneaking glances between poses, professionals stepping in front of the camera with more confidence than they expected to feel. Each session only ran 15 minutes, but the light was perfect and every one felt like its own small burst of connection.

Below are a few shots from one of the twelve sessions I photographed that morning, a small window into what the whole day looked like.

Thank you to everyone who showed up, volunteered, and supported this. Your generosity made the day what it was. Here's to doing it again in 2026.

With gratitude,
Erica Cameron
Erica Cameron Photography
www.ericacameronphotography.com 
Instagram.com/ericacameronphotography