Eyeball
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Wonderful work, Sam. I like how many of your images can be enjoyed at multiple levels - from the immediately obvious to the subtle little treats that I'm rewarded with after examining the image with a little more time. That has to add to the enjoyment/value for your clients, too.
#32 maybe wouldn't work as a stand-alone formal portrait but as one of a set, I think is great. The green lights in the background forming a crown and the implication of the billboard man looking on, rather than being gimmicky and drawing attention from the subject, add a little humorous spice that says "this young lady is special".
Sergio Mottola wrote:
while i agree with every thing gabe said, i do think that there is something to be said about stylistic difference. some couples don't want their connection captured in the form of ethereal, emotional portraiture, but want to portray themselves in a more goofy/contrived way.
I usually try to avoid commenting on comments, but I think what Sergio brings up about style and contrivance is an interesting topic. I am not a pro but here are my thoughts:
- A "contrived" setup for the shoot does not have to mean contrived emotions being expressed by the couple. In fact, I can think of people who would normally be reserved about exposing their emotions to the camera where the distraction of a contrived setup could actually help in capturing their true emotions and the relationship. There are other techniques certainly (humor, dialogue, direction, leaving them on their on, etc.) but I don't see a need to discard a setup solely based on a desire to capture "true emotion". I'll also add that I personally hate it when a photog tries to get all Oprah/Dr. Phil on me. That's a great way to get me to freeze up right away. I think it comes down partly to knowing the subjects and getting a feel for how they will respond.
- From a business perspective, I think that "contrived" setups as part of the shoot have the potential to add value to the product. It adds more variety, gives the client the impression of a little more effort on the photog's part, and helps create memories that will become a cherished part of the couple's path to matrimony ("remember when that crazy photographer made us take our instruments into that alley and the cops came by"). Otherwise you have "the kiss", "the holding hands", and "the looking at each other goo-goo-eyed" shots and there are limits to what cross-processing and tilt-shifting can do. 
- From an artistic perspective, I think the contrived shots can also be useful for offering some counter-point, thereby making the more traditional "romantic" shots even that much more special. Sort of like balancing sweet with sour, putting some bacon in the macaroni, that sort of thing.
- I also just wanted to comment on the couple with the instruments. I don't know for sure, but I would assume that music plays an important part in this couple's lives; perhaps music was even a contributing factor in how they met. If that is the case, then I think it makes the set even stronger for the couple and their families. Instruments for a professional musician can become part of them. I once ran into the assistant concert master of the Cleveland orchestra in an IHOP having breakfast. His violin was under the table next to his feet (of course the value of theses types of instruments is a factor, too ). I think bringing these types of things into the engagement shoot work particularly well when they are hobbies or professions that are clearly shared by the couple. The couple shots in front of the guy's souped up Mustang, however, almost always make me wonder if the stronger tie is with the fiance or the car.
I respect the work of many of the photogs' work in this forum, including that done by Sam, Sergio, and Gabe, so I'm not trying to belittle anyone's particular style or technique. I just wanted to add some thoughts from an outsider that may or may not be helpful to someone.
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