A trial in the wrong light at the wrong hour tests almost nothing.
The point of a trial is to find out whether a look works on you under the conditions of your event. Most trials get scheduled for whenever is convenient, in whatever light the room happens to have, and then the event looks different. The work did not change. The conditions did.
Book the trial for the hour your event is at. Daylight in the morning, late afternoon sun and warm indoor evening light are three different environments, and a look built in one of them can read completely differently in another.
After the trial, get yourself into the setting the event is in — outdoors if it is outdoors, in the venue if you can arrange it, under the same kind of indoor lighting if not. Studio mirrors are the least representative light you will encounter all day.
Use the kind of camera your day will be photographed on. Flash is where a look and a photograph most often disagree, and it is far better to learn that at a trial than to see it in the gallery afterward. Take a few frames at a distance as well as close up.
Live in it through an ordinary afternoon. Notice what settles into lines, what moves, what you keep touching, how it feels by evening. A trial you take off after twenty minutes has not been tested for the length of an event.
Heavier on the eye. Less on the cheek. This did not hold past four o'clock. The brow was too defined for me. Specific notes are actionable and a general feeling is not, and an artist would far rather have the specific version.
Whether it is one look or two, what happens if you want to change direction afterward, and how it relates to the event booking. Ask these plainly in advance so there is no ambiguity later.
Tell us when it is, where it is and what you are thinking about, and we will match you with someone who will explain what it involves before you book.
Get Matched With an ArtistA date and a rough idea is plenty. We will follow up before anything is booked.