Digital Art and Photography

"Seeing" background potentials

2012-04-29T23:38:00.002+07:00

We take a camera into a place with almost no image potential to prove that everyplace has angles that you can exploit.

Abstract Art Photography

2012-04-29T23:22:00.000+07:00

I few tips about shooting abstract art and why doing it is important for other forms of photography as well.

Frame Your Subject With These 5 Unbelievably Easy Tips

2012-04-11T09:00:00.000+07:00

Posted by David Peterson on 06 Apr 2012 as Tips

How you frame your subject can make or break a photo. If you put your subject in a place that commands the viewers attention, you’ll immediately have an outstanding photo. This subtle technique is known to many as “composition,” and believe it or not, it has a few simple rules that will give you some stunning results. Try out these 5 unbelievably easy rules for framing your subject, and you’ll see what I mean.

1.) Put your subject anywhere but the center of the frame

Most people are creatures of habit. We’re used to looking at things head on, so we naturally want everything to be in the center. What works for looking at stuff doesn’t necessarily work when you’re capturing it. If you want to get better framing right now, just stop placing your subject in the middle of the frame. Look at the top image for a great example. Nothing is directly in the center, and that makes this image interesting.

Why does this work? It has to do with the path people’s eyes take through the frame. If your subject is somewhere in the center, the eye tends to get stuck there. The eye doesn’t try to move around the rest of the image and explore it. As a result, the image appears uninteresting, even if your subject is very interesting. By simply moving your subject a little to the left or right, you restore the visual balance and improve the framing of your image.

2.) Get closer to your subject

Yep, physically walk up to your subject. That’s the trick. It works because it removes all of the distracting elements in the scene, things like lamp posts and random passersby. Framing an image has as much to do with what you include as what you exclude. If you exclude things that distract your viewer, you immediately help the viewer pay attention to what is important.

3.) Follow the rule of thirds

It doesn’t always work, but it’s one of the most important rules in the book. The rule of thirds states that an image will appear more interesting if your subject is somewhere roughly one third into the frame, either on the left, right, top, or bottom of it. This slight offset helps to draw attention to your subject, giving the viewer more room to wander about the frame.

Something about this spacing works. Don’t ask me why. That’s the magic of the rule of thirds.

The rule of thirds works for more reasons than I can mention. The most prominent of those reasons has to do with visual balance and the use of space. Most subjects are the biggest thing in the frame, so the rest of the image needs to balance them out. If you place your subject about a third into the frame, the balance just works. Try it, and you will see what I am talking about.

4.) Give your subject a space to look into

If you’re taking a portrait of a friend, make sure you clear a space for your friend to look into. People who are on the left looking to the right should have an open space on the right and vice versa. Using this sort of framing will make your subject appear more engaged and interested in the surroundings. It also adds an air of mystery to the photo, as your viewer has to guess what’s so worthy of your friend’s attention.

The same thing works in action photography. If a soccer player is kicking a ball toward one end of the field, be sure to include the empty side of the field. This will give the image a sense of motion and direction.

5.) Consider frames within frames

Does your image include windows, glasses, mirrors, or anything else that’s reflective? Make sure you pay attention to what’s being reflected back at you. Sometimes there are some pretty amazing opportunities if you simply pay attention. Make sure the reflection has some kind of meaning, that it’s not just a random assortment of background junk. I often find myself changing the angle of the shot just to get of reflected noise.

You can use reflections to frame the entire shot too!

Here’s a great example.

A frame within a frame need not always be reflective either. An open window is a good example of this. Always consider what’s right outside. And while you’re at it, have a look at some inspiring examples of photography involving reflections. They’ll give you a few ideas of what you can do with reflective surfaces and framing.

Framing is everywhere in photography, and it’s not too hard to master if your remember these five simple rules. Let me know how they’re working for you, and always feel free to send me some of the shot you’re taking.

How Do They Do That? Great Wedding Photos

2012-04-11T08:53:00.000+07:00

Posted by David Peterson on 30 Jul 2010 as Tips

You’ve seen them. They’re the once-in-a-lifetime photos that bring out the best in the bride and groom on their special day. Somehow, the pros know how to get extremely elegant portraits in some of the most challenging lighting situations. No matter how dark it is inside the chapel, the pros make it work. How do they do it? It’s all in the flashes they carry and the aperture on their lenses.

Wedding Photographers Have A LOT Of Equipment

All well-respected photographers know that the big money is in weddings. If you want to get famous for your artistic photos, you need to get famous for your wedding photos first. Many wedding photographers have a lot of equipment because photography isn’t just a hobby for them. It’s a business. All those expensive lenses, flashes, gel packs, mounts, and assistants can be considered a tax write off. What a great way to pay for doing something you love!

But those items aren’t just a tax write off. Weddings are one of the hardest occasions to shoot – mainly because of the low light and dress of the bride (usually white that drowns out everyone else).

There are two very important items in any wedding photographer’s quiver. One of them is an externally mounted flash, and the other is a wide aperture zoom lens.

The wide aperture zoom lens is useful during the ceremony (as flash photography usually isn’t allowed). This type of lens can zoom in to capture the bride and groom’s vows while ensuring the camera’s sensor receives the maximum amount of light possible – very handy when there isn’t much light indoors. These lenses have an aperture of F2.8 or F1.4 (remember, small F-number means lots of light getting into the camera) so it doesn’t matter how dark it is inside. You’ll be able to get an even exposure and some wonderful candid portraits.

Understand The Importance Of Bouncing Flash And Diffusing It

How many professional wedding photos have red eye? None of them, and there is a reason for that. Professional wedding photographers know that the best way to use flash is to bounce it off of walls and reflectors. When you do this, the light comes at your subjects from a less direct angle. It is much more gentle, and it does a better job of eliminating red eye and strong shadows.

Bouncing flash can be very handy, but it isn’t simple as you might think it is. The color of the surface that you bounce the flash off of has an effect on the color of the light returned. If you want red light, bounce your flash off a red wall. If you want white light, find a white wall. You get the point.

A flash diffuser can achieve the same ‘bounce off wall’ effect for those moments when you just can’t find a nice white wall. A flash diffuser can be anything that covers your flash and spreads out the light. I’ve seen a lot of great do-it-yourself solutions. Me favorite is a few tissues in front of the flash. As long as you have some kind of white fabric or soft paper in front of your flash, you will have an effective diffuser.
Carry Multiple Cameras, Each Equipped With A Different Lens

When you’re spending all day taking photos and you don’t want to take the time to change the lens. So pro wedding photographers have multiple cameras with different lenses mounted to them. Different kinds of shots can happen at different times, so it’s nice to simply pick up one camera for one kind of shot and then switch to another right away for a different kind of shot. This investment pays itself off with more great photos for every shoot.

Most professional wedding photographers have two cameras. One of them is a lower end SLR with an 18-55mm lens while the other is a higher end SLR with a 70-200mm lens. The camera with the wideangle lens is perfect for closed spaces while the standard to telephoto camera is great for getting candid shots across the room.

Wedding Photographers Understand The Importance Of The Little Things

No day will ever be the same as your wedding day. Wedding photographers go out of their way to find the little things that make the experience so special. Take the time to photograph rings, garters, floral bouquets, and everything else that sets the scene. All of this provides context for your more traditional wedding photos.

Whenever you can include a small detail like this in your portraits or other photos, people will notice. Your job isn’t to simply create great looking wedding photos. You are there to help people remember the little things. Doing this will set you apart from every other wedding photographer!

A Wedding Photography Business

If you are thinking of building a wedding photography business, start off by taking pictures at your own relatives’ and friends’ weddings. If you’re not sure about your results, make sure they hire a photographer and tag along with the pro. This will give you experience with the often hectic schedule and awkward shooting conditions. Many seasoned wedding photographers also scope out the location of the wedding before arriving. This added experience gives them the preparation they need to get the shot when it really counts.

How To Use A Reflector In Outdoor Photography

2012-04-08T01:26:00.002+07:00

This is a quick video blog by Greg Helton Photography showing how to use a reflector along side natural light to get natural looking portraits.

www.GregHeltonPhotography.com

Outdoor Portrait Photography

2012-04-08T01:08:00.002+07:00

How to Photograph Performers on Stage

2012-03-10T22:39:00.000+07:00

by Ibarionex R. Perello

Dancers, musicians, actors and singers offer great opportunities for photographing people. Used to being the focus of attention, performers - especially when they are on stage - are great subjects for photographers hoping to capture a striking and dramatic image.

Whether it's a performance in a theater or a public festival, the goal for me is to capture a telling moment. It's not enough to make a nice "picture" of someone on stage, but rather to create a photograph that expresses the energy and joy of the moment.

This can be particularly challenging, because the photographer often doesn't have much control over the lighting, the setting, or the background. You have to be ready to make the most of what circumstances present you.

To capture photographs of individual performers, a telephoto zoom in the range of 70-200mm is best - and the faster the better. Though a variable-aperture zoom may be adequate when there is an abundance of light, a telephoto with a fixed aperture of f/2.8 or faster is needed when shooting under low and limited lighting.

For this photograph of a dancer, I used a 70-200mm f/2.8 lens. Because the lights on the stage weren’t producing much light, a fast aperture was a must. Even with my camera's ISO set to 1600. I was only able to use a shutter speed of 1/200 second. That shutter speed was just enough to not only freeze the action of the dancer but also ensure that camera motion wouldn't result in a soft image.

I positioned myself on stage right so that the background would be as simple as I could make it, a dark curtain. I followed her as she moved around the stage, taking images in rapid succession when her arms and legs moved in a poetic flourish. Because her body position was changing so fast, firing several frames one after another was important to get at least one image that worked.

Of over the 60 images that I captured of this dancer, this is the one that I love most. The gesture of her arms and body, the veil billowing behind her and the rapturous expression on her face really capture the moment for me. It’s everything that I was hoping for.

Note: Though increasing the ISO to a high number introduces more noise into the image, I prefer having a noisy image that is sharp, rather than a noiseless image that is soft. There is always something that I can do with the former, but not the latter.

How to photograph Shiny Reflective Objects Silver Chrome Met

2012-03-09T23:12:00.000+07:00

Learn How to Shoot Silver and other Highly Reflective Objects.

Product Photography Tutorial

2012-03-09T23:01:00.000+07:00

Product photography tutorial presented by Gavin Hoey showing the high power tabletop lighting kit from smick.co.uk shows how to take pictures on whit and black backgrounds using home made lighting table.

Backlighting for Food photography

2012-03-09T22:51:00.000+07:00

Tutorial and Diagram of backlighting for food photography

Beach Pinups: A Strobist Tutorial

2012-03-07T11:21:00.001+07:00

Another Behind the Scenes Video and Beginners Strobist Tutorial by conceptual photographer and cinematographer, Ben Sant of BTS Photography. This video discusses balancing off camera lighting with the available ambient light on a beach front as the sun goes down. Learn tips and tricks in location lighting as well as see some eye catching images of a retro swimwear pinup theme.

Marie Antoinette: A Strobist Tutorial

2012-03-07T11:16:00.001+07:00

Go behind the scenes with conceptual photographer Ben Sant of BTS Photography as we take on a Marie Antoinette themed portrait session. Learn and discuss lighting techniques in an open shade and full sun lit day. See more at http://www.BTSphotography.com and http://www.kaptainkieodie.com

Want Money For Your Photography? 3 Things To Watch Out For

2012-02-28T11:36:00.001+07:00

Posted by David Peterson on 16 Feb 2012 as Tips

Even if you haven't been practicing photography for too long, you might start getting the itch to charge people money for your services. It's not uncommon. Once somebody tells you how awesome your work looks, a little light bulb goes off in your head. Suddenly you think, 'I could make a business out of this.' Right you are, but there are a few common roadblocks we inevitably hit before beginning a lucrative career as a professional photographer. Here's what you need to watch out for.

Cheap portrait studios

Most peoples’ experience with professional photographers is very limited. They remember their high school photographer, that one day out of the year when everybody lined up for a quick portrait. Some of them may have gone through Wal-Mart or some other big chain to get a few quick photos snapped. The problem is that these memories come back to haunt your clients in ways you wouldn’t expect. They set the context of the shoot, often in a negative way.

If you want to make more than a fast food worker’s wage doing photography, you need to put yourself in a higher caste. You are not a photography assembly line worker. Your job is to creatively photograph a client for a few hours in a relaxed setting of your client’s choice. You will spend many more hours on the job than some Wal-Mart worker, and you will be much more flexible. You need to communicate this with your clients in order to convince them that you are worth more.

Price expectations

Because everyone is used to the cheapo photo booth style of portrait photography, their idea of the right price tends to fall way below acceptable levels. It’s not their fault. They’re just used to paying a certain price.

If you are ever to convince them that your services are worth it, you need to be unwavering on your numbers. Pick a price that’s right for you, and take pains to explain it to those who aren’t completely sold. I’ve spent the equivalent of a full week’s time on a single client. There were dozens of amazing images, and they all needed to receive the best treatment in post-processing. Sometimes people don’t realize what goes into your photographic process. You have to explain it to them before they’ll be willing to open up their wallets.

Unreasonable clients

I don’t care what business you are in, there will always be clients or customers with downright unreasonable expectations. It is in your best interest to avoid them, because if you don’t, they will become an unimaginably large productivity black hole. Harsh language, I know, but if you continue to accept ridiculously low prices you’re harming yourself and your business. How can you keep your business alive if you can’t pay your bills?
20% of your customers will cause 80% of the problems. Just eliminate the problematic 20%, and do business with the 80% who are reasonable and appreciative of the work you do. If somebody doesn’t like a price quote you throw out there, try to negotiate a little bit. When that fails, just walk away. Some people simply can’t get over the idea of paying for high quality work. They will never be happy, or appreciative of the work you have put into their photos.
Realize that I mean nothing negative when I say these things. Some people are in the market for a Mercedes Benz. Others are testing the waters and trying to see if they can get a sweet deal before buying. This isn’t the first or last business where you’ll run into people trying to save money. I am certain I’ve been a cheapskate to someone else in the past. It’s only fitting that these folks come back to haunt me in my photography business.

Reasonable Pricing

Which brings us to the question… what is a reasonable price to charge for a photography session? I get asked that question all the time, but it’s a hard one to answer as it depends on a number of factors. Here’s what you need to consider:

The income level of your clients. If you’re charging a premium price, make sure your clients have that amount of disposable income. Otherwise you’ll never make a sale.
Your target market. Corporate customers pay more than families. You can charge more to a model who wants a photo taken for commercial use than a single mom who wants a glamor shot.
Your experience. If you’re just starting out, I recommend you charge a lower amount initially to help you build up your portfolio. Once you have some great examples of your photographic skills, up your price and stick to it.

Ring up a few local photographers and pretend to be a prospective client. Ask for their hourly rate and what’s included in that cost. Alternatively, as I’ve suggested before, offer to work for a local photographer for free for a while. It will give you a lot of valuable experience in the trade.

Remember, it’s not just your time you are charging for, but you need to recoup the costs of your camera and the time (and probably money) you have invested until now in your own training.
It’s also helpful to get your work out there. Start a website. Advertise in the local newspaper. A local restaurant can make a perfect place for advertising your services.

Finally, make sure your clients know how they can use your photos. Most pro photographers charge a standard rate for personal use of the photos, but the copyright is still owned by the photographer. Most corporate clients will want full rights over their photos, and are prepared to pay more for that. Wedding photographers offer both rates. A cheaper rate for clients who just want the printed photos; and a higher rate if the client wants the jpg files too.
Have fun, be unwavering in your pricing, and enjoy bringing back some cold hard cash for all that work. You deserve it!

Direct and Indirect Light

2012-02-21T16:47:00.000+07:00

Posted by David Peterson on 16 Feb 2012 as Tips

There are two types of light in this world; direct light and indirect light. Each of them serves a unique purpose in photography, and each has its advantages and disadvantages. Direct light is straight on, sometimes harsh and sometimes warm and colorful. For example, without direct light, the image to the right wouldn’t be nearly as colorful. Indirect light comes from all sides and completely illuminates your subject. Let’s take a moment and consider how each might be useful in your own photography.

What’s with the distinction?

If you really think about it, there is no fundamental difference between direct light and indirect light. One is simply the overabundance of another. When you say the light is direct, you are saying a lot more about what isn’t happening than what is. Direct light is the absence of light on any other side except the side with a single light source.

Indirect light, by contrast, is light coming in from all sides. Technically speaking, there’s always some small amount of light bouncing around and hitting your subject on all sides too. The difference with indirect light is that it is more evenly balanced. In other words, the light reflecting onto the other side of your subject is nearly the same intensity as the source itself.

Most indirect light isn’t completely indirect either. The original source is usually a little brighter than the sources of reflected light. To see what I mean, just think of an overcast day. We would say this is an indirect lighting situation, but if you look at the sun, it’s still brighter than anything else around. The real difference, then, is the degree to which it is bright. On an overcast day, it’s relatively less bright than on a fully sunny day.

How to prepare for each shooting situation

Why is that important to note? Because even though you can’t see any shadows, the light is never perfectly even. On an overcast day, you still need to pay attention to the angle of the sun (mostly as a means of avoiding backlit photos). As long as your subject isn’t directly in front of the sun when you’re shooting, you can shoot at any angle you like.

Overcast days are ideal for portraits.
The lack of shadows brings out the smoothness in faces, making
people appear younger and more attractive.
Photo By Jon Clegg

Direct light is rather different altogether. You have to make sure the light is shining right on your subject, and you need to double check your photos for unwanted shadows. There is no other place this could be more true than in portrait photography. Shadows get misinterpreted as wrinkles and fine lines. If you use direct light, you run the risk of making your subjects appear much older than they actually are. That’s no way to sell you friends on your photography skills!
However, if you were to take that same direct light and use it to photograph food, then you’d really have something. One thing that really sells us on food is its texture. When you the right kinds of shadows (something you can only get with direct light), food appears more textured and therefore more appealing. Without shadows, all food looks the same.
What are the best things to photograph in direct light?

Landscapes. Do this in the early morning. The shadows give the mountains the texture they need to stand out and take center stage. It’s hard to read the geography and depth of a landscape without the shadows, and that’s why direct light is so ideal for this situation.
Still Life. It depends on the subject matter, but direct light does have a number of advantages over indirect light. If your subject has an interesting texture, direct light is definitely the way to go. Food photography is a sort of still life photography, and it demands direct light.
Silhouettes. Just position the sun behind your subject and shoot away! Silhouettes convey an air of mystery that you can’t quite get with indirect light. Plus, if the light of the sunset were indirect, you wouldn’t get any of the beautiful colors either. Oh, you might need to use a flash to ensure your subject is lit from the front too.

What are the best things to photograph in indirect light?

Portraits. Too many harsh shadows on either side of the face can make a person appear much older than he or she actually is. In other words, it’s a bit unflattering. Unless you are intentionally trying to emphasize someone’s age, stick with indirect light.
Macro photography. Most people don’t know that cloudy days are perfect for shooting flowers and other life close up. It really brings out the colors.
Products. Excess shadows can make products appear unappealing. If you ever sell anything on Ebay, make sure you setup a softbox and use indirect light to illuminate your subject.

Food photography is the delicate art of fine-tuning direct light to get perfect shadows. Indirect light would make the ranch dressing look like an amorphous white blob. Not so appealing to would-be eaters.

Make your own indirect light

The goal of most studio photography is to turn direct light into indirect light. To this end, photographers spend money on reflectors, L.E.D. lamps, beauty dishes, and a number of studio gizmos. You don’t need to buy all of the equipment in order to create your own indirect light, but it certainly will make your job easier. Instead of spending a bunch of time searching for something to reflect the light, they can simply bring all the gear with them.

A single white paper towel is enough to turn your flash into a source of indirect light. Just place it in front of your flash, and it will disperse the light in all directions around your subject. I also find it helpful to use a small reflector to bounce my flash toward a white wall. Direct flash is the worst kind of direct light. It’s too intense and focused, often making your scene appear uneven. By using a reflector, you are forcing the light to the side, making it indirect.

If you don’t have any reflectors on hand, you can always use a mirror. They work perfectly fine. The only issue is their heaviness. Reflectors are nice because they fold up, don’t shatter, and they give you a nice diffused white light (mirrors simply reflect all light). This is the poor man’s toolkit until you finally buckle and buy a few accessories.

As you can see, both direct and indirect light have their place in the world of photography. One is not better than the other. They simply have different purposes. If you are trying to emphasize texture and shadows, go with direct light. For everything else, use indirect light.

Splash Photography Technique - No Flash needed

2012-02-09T20:00:00.000+07:00

We Highly recommend this resource to any photographer who needs to master splash photography technique

Single Light Photography

2012-02-09T19:36:00.000+07:00

Trying to work with too many lights can somethimes cause big headaches. In this episode of "Hough To" Christian downsizes and demonstrates some different creative techniques using simple one light set ups. Using only one light is a breeze... change position, meter, shoot - Once you have tried it you'll be hooked!

How to Open a Portrait/Fashion Studio Photography Business

2012-02-08T22:55:00.003+07:00

Photography is a wonderful career, and you may want to pursue it. However, in order to be a successful photographer, you'll need a successful photo studio! Follow this guide to obtain just that, make money, and do what you love.

Steps

1. Get a location. The place you choose should be wide, spacious, and comfortable. A lot of equipment will have to be set up here, and you need room for: backdrops, equipment storage, and even people! An indoor place is more suitable than an outdoor one, but if you're planning on taking more outdoor shots, then that's a fine place to set it. However, this may interrupt the process (you'll have all sorts of bothers such as nosy neighbors, etc.). Nothing in the room should be too eye-popping, or that will take away from pictures you take. Bare walls work the best. Comfy, cream colored carpeting make a nice atmosphere. Remember: this place is where you'll be taking photos of people. Use your location to welcome your customers, and let them know that they haven't made a mistake by coming.

2. Get a waiting room (optional). If you're going for a professional approach, you may want to establish a waiting room, where customers can lounge and relax before coming in for their photographs. This room doesn't have to be as spacious as your "photo room". But it must be fairly big. Set up chairs and/or a few couches, so that your customers can have a seat and look around. This room should be colorful, warm and welcoming. Hang some of your past photography work on the walls, for customers to observe and compare. You can also provide magazines for their entertainment. Create a nice atmosphere by exploring wall and carpeting choices. Make your customers feel like guests...you may even want to provide snacks.

3. Get workers and establish the schedule. You can advertise in help wanted sections of your newspaper, to get workers for your photo studio. Specify the experience and style of the people you are looking for, and if possible, set up interviews with the possible choices. Unless you plan on establishing an entire photo studo by yourself, you'll need responsible, dedicated people to assist you. You'll need somewhere between 2-8 people to successfully get your photo studio running. After you have finished this process, and have a good team, you can start making the schedule. When will your photo studio open and close each day? Who will work each day, and for how long? Discuss this with your current workers. As the boss, it is your job to make sure everyone has their hours done, and that they have agreed to come to the studio at the designated times. Now that your schedule is done, you have the basic platform of a photo studio: a place, and a time frame.

4. Get seamless paper backdrops. A good photo studio has a wide selection of backdrops, or backgrounds, for photos. Customers will expect quality designs, landscapes, and solid colors, to compliment their photos. Backdrops should not be sloppy or unprofessional. Have a few backdrops to choose from (solid white, solid black, and maybe a few scenery ones). They should be large enough to take up the whole frame. Use gels on the background lighting to adjust the appearance (a solid white background can appear red with the help of gels).

5. Your customers will appreciate the fact that you want them to look great!Have makeup and accessories on hand. Customers want to look their best in the photographs- after all, they're paying good money for it. Show that you respect this, by supplying makeup for their use. Hire a make-up artist to apply the makeup for them. Provide a medium sized mirror, that can assist them in putting the makeup on. Also, consider providing accessories for the photos such as: hats, jewlery, purses, etc. This can help make the photograph more fun looking, and stylish. Your customers will be pleased with your immense assistance, and strive for their picture to turn out great!

6. Decide on prices. Prices are an important factor to consider when creating a photo studio. A cost that is too high, will show that you are greedy, and will have you losing customers very quickly. However, a cost that is too low, will make your profits skimpy. Look at the prices of your area. Charge a sitting fee (they usually range from $75 to $300) and also charge for prints. Factor in the wages of your employees, the cost of studio equipment, and your experience.

7. Post the price list so that customers can see it.

8. Name the studio. Every photography studio needs a name to attract customers. The name you give can excel or fail such a business. Discuss the name choice with your fellow colleages and think about your cooperation. What are the strong points? How can you express this in a few words? Give everyone a chance to share their opinions on the matter, before writing each one down. Then file a vote between everyone. However, if you feel that the winning name will not sell your portraits, then bring it up withing the discussion. As the boss, you should be able to voice your opinion on the matter and try to come up with a compromised solution.

9. Advertise the studio. Now that you've established a location, workers, props, and even a cool name, it's time to begin advertising your photography studio. Before beginning the actual advertisement, make a list of all the studio's strong points. Why would a customer want to come to your photography studio? What does it have to offer that the other guys don't? Create a colorful, eye-popping advertisement that lists these strong points. Give contact information (such as the phone number you can contact, to schedule an appointment or get more information). Also, include the address of your location.

10. Run the business. As you get more customers, run your business accordingly. Have fun!

Nikon D800 Specifications

2012-02-08T22:27:00.001+07:00

photography tips and techniques: 3 point lighting

2012-02-01T21:45:00.001+07:00

Basic studio lighting

Photography Techniques : Fashion Photography Lighting Techniques

2012-02-01T21:19:00.000+07:00

Fashion photography has its own set of rules when it comes to lighting. Learn about fashion photography lighting techniques with help from an award winning photographer in this free video clip.

Expert: Jeffrey Lowman
Bio: Jeffrey Lowman, owner of Lowman Photography is a Hearst Competition award winning photographer in Sports and General News in 2009.
Filmmaker: Robert Conway

How to become a success fashion photographer

2012-02-01T21:10:00.003+07:00

A career in fashion photography doesn't have to be an impossible dream. Three industry insiders tell Ben Widdicombe their tips for getting started.

With its huge audience, high pay-checks and glamorous international lifestyle, fashion photography may seem like one of the world's most sought-after professions. But for every fashion photographer who makes it through the door of a top magazine, a thousand others find their niche fashion advertising, art photography, celebrity portraiture or even paparazzi work to make a living.Allure magazine photo editor Clio McNicholl, photo agent Gloria Cappelletti and New York fashion photographer Eva Mueller agree that breaking into the industry can be hard. But they have some tips for beginners on setting up a portfolio, submitting work to magazine picture editors, choosing the right photo agency and even getting shown in a gallery.

Setting up a portfolio

A photographer's most important tool is her portfolio, and this is particularly true for beginners who don't have an established reputation.

"Having been around, I know how hard it is to get in the door," says Allure magazine photo editor Clio McNicholl, who receives around 50 unsolicited portfolios a month. Conde Nast's Allure, with a monthly circulation of almost 900,000, is a prime target for beginners wanting to get their work seen. "If I don't know who the person is, I ask them to send me some promotional material. Generally I only see people who are coming with a direct recommendation from somebody I know," she says.

Many photographers find that websites offer an inexpensive way to showcase a relatively large quantity of images. Eva Mueller (www.evamueller.com), a Munich-born fashion and beauty photographer who has been living and working in Manhattan for ten years, points out that computer editing is also a method of keeping down retouching and printing costs.

But despite the medium's advantages, most industry professionals will still need to see an old-fashioned book before they hire you. By all means use the web as your calling card, but have something to show them when they call you in for a meeting.

Many fashion photographers find the sharp, bright imaging of 4 x 5" transparencies show off their work to best effect. Tear-sheets (literally, pages ripped from a magazine) are great if you've been published, but good quality, 8 x 10" prints are also OK. Have at least 20 in your book, and be prepared to leave them for at least a week.

"I like to see a common thread throughout the book," says Clio McNicholl, who says she can tell within three images whether she likes a photographer's style. "Tell a story: not necessarily having all the pictures relating to each other, but I like to have some sort of sense at the end of it that I've seen that photographer's personality come through in the pictures."

The images you choose to showcase in your portfolio should be thematically linked to the job you're trying to get – still-lifes or product shots if you're going for an advertising gig, for example. But also throw in one or two other images to demonstrate your range. Strong portraits are always a safe bet, as they tend to stay in the mind of the viewer.

Once you've got your portfolio together, the next challenge is to get the picture editor to use you.

Picking your picture editor

"Most people who cold call me haven't done their research, which is the world's biggest mistake," says Clio McNicholl. "The single biggest thing that people should do is their research. They should know what the magazine does, and see how you can apply that to what you do. And they should at least know the name of the photo editor."

When you submit work to photo editors, remember that you're "showing" rather than "selling". Editors almost never buy the specific image they see before them; they're looking for a photographer who can execute future commissions. You'll need to be persistent in sending out your work, and ruthless in editing what you choose to show.

The best way to grab an editor's attention is to show previously published work. But there's a down-side. "Because there's such an over-supply of photographers, a lot of magazines really take advantage of that fact," says Eva Mueller. "Some mags have a decent budget, but a lot of magazines just cover your expenses, they don't pay for your time or anything. And a lot of magazines don't pay at all." McNicholl says Allure's rates start at $350 a day for unknown photographers, up to $130,000 for a fashion spread.

A photograph is a document just as much as an article or an essay, and picture editors are looking for concise images which clearly communicate an idea or an emotion. Celebrity portraiture, for example, should reveal an aspect of the subject's character, preferably one that is in harmony with the accompanying written profile. Women's magazines all over the world buy hundred of stock shots every month – typically young women having fun with their boyfriends, hanging out with friends, or maybe moping home alone with their stuffed toys – all of which express a sentiment commonly dealt with in feature articles. If your work speaks clearly, you'll stand a much better chance with picture editors than with vague or ambiguous images.

When you're submitting your work, remember:

Call the magazine ahead and get the name of the person to whose attention the submission should be marked
Label everything with your name and telephone number
Send working prints or transparencies, not originals
Include a stamped, self-addressed envelope if you want the work back
Eve Mueller has one last warning about dealing with magazines: "Another bad thing is not getting paid in ages – months and months and months. Some clients really take advantage of the fact that there are so many photographers out there: they make you pay for the whole shoot, they alter your pictures and don't tell you when they drop the story. Sometimes they're just really disrespectful toward the photographer."

There is a way to avoid having to deal with photo editors, however: and that's to have a photo agency do the selling on your behalf.

Finding a photo agent

Photo agencies exist to liaise with clients and sell photographers' work on their behalf. They benefit everyone from start-out photographers, who may not have many industry contacts, to seasoned professionals, who are too busy to take care of business dealings themselves.

Gloria Cappelletti is an agent with the Management Artists' Organization (MSO) in Manhattan, which represents a stable of prominent fashion photographers including Stevein Klein, Michelangelo di Battista, Stefan Sedanoui and Alexei Hay.

"First of all, it's vital to be known, and an agency is in daily contact with clients and publications," she says. "That's the best way for a young photographer to be able to have a connection with them, because usually the photographer is busy taking pictures, and the agent is busy talking to clients. And that's the way it should be. Usually the photographer doesn't have enough time to take care of everything."

Agencies can also re-sell your work in several different markets, acting as a mini publicist and giving career advice. There are so many agencies – and so many photographers – that Cappelletti says it's important to research which one may be right for you before making an approach.

"The young photographer has to understand their target, in terms of their personal goals the direction the photographer wants to take," she says. "Everyone is different."

Agents recommend treating your first contact with them as seriously as if it were a job interview. You should also consider whether they already represent someone whose style is significantly similar to your own – there may not be enough work for both of you, and the other photographer could resent the competition.

A photo agency is not the only place that can sell your work. If you're more interested in concentrating on your personal vision than taking commercial work, you can also considering exhibiting in a fine art photography gallery.

Getting a gallery

Once derided as a scientific curiosity with no artistic value, photographs are now one of the hottest growth areas in the international fine art market.

While gelatin silver prints are the staple of fine art photography, you'll find a healthy interest both in contemporary photos using antique methods (such as Chuck Close's daguerreotypes), as well as modern printing methods, including Cibachromes and C-prints.

Like any artistic undertaking, art photography is unlikely to pay you a living wage for many years. Although many artists sell their work directly from the Internet, critical attention and the strongest sales come from a relationship with a Gallery. While there is now at least one photo gallery in most major cities, the center of the world art photo market is New York. Manhattan boasts around 100 galleries dealing in photographic prints, and prices there tend to be strongest. A comprehensive list of New York and international galleries is available at the websites of the bimonthly listings guide Photograph, as well as theAssociation of International Photography Art Dealers.

Before approaching any gallery with your work, you should telephone and request details of their submissions policy. Many galleries review new work only at set times of the year, and even to get in the door of some places you will need the recommendation of somebody known to the gallery directors. (Sometimes it helps to drop the name of a well-known critic or museum director, even if your connection to them is tenuous.)

If a gallery is interested in taking you on as an artist, they'll probably want to see a representative sampling of your work. Even if you have one or two knock-out images in your portfolio, a gallery will want to know that you have a mature body of work with a consistent standard throughout. Remember that many artists join a gallery simply by having their work go into the back-room inventory, where it will be shown to specific collectors, rather than having a public exhibition. Not everyone is offered a solo show.

The most important thing to remember about working with a gallery is to maintain a proper business relationship. Every print you give to a gallery should be inventoried by you – not them – and you should understand when and how you can expect payment in the even of a sale. Industry standard is that the artist receives 50% of the retail price of a photo.

You should also discuss whether you are free to have relationships with other galleries, or if your gallery expects exclusivity. If you have a New York gallery, for example, but then arrange to have a show in Los Angeles, sometimes the New York gallery will expect a cut (typically 10%). However, in return for that, they are expected to deal with details like paperwork and shipping. Each relationship between artist and gallery is unique, and you should get as much as possible in writing at the beginning.

Photographing Pets

2012-02-01T16:50:00.001+07:00

Posted by David Peterson

You need a lot of patience to photograph pets! Fortunately with a digital camera, you can take a lot of photos and delete the ones that are no good.

Catch your pet in action – fetching a ball or stick, playing with a toy.
Dogs in particular have a lot of energy. A bouncing-with-energy dog makes a fantastic photo subject.
Cats can show a keen concentration. Move in close to their face but use the optical zoom so your cat desn’t get distracted by a camera in their face.
Find where your pet loves to play, and hang out with them there. If they like playing with a person, have the person there as well. Keep the camera handy and when you see a great shot, take it!

Have someone to help you if your pet is being uncooperative. They can supply a very useful extra hand.
Bribing your pet with a treat will help if they’re not cooperative.
Use a squeaky toy to get them to look towards the camera if you’re after a more traditional portrait shot.
Use a high shutter speed – particularly when your pet is excited. The more excited they are, the more they move around and can produce blurry images.
Simple backgrounds are best. Look for a solid color as a background so your pet stands out. Just make sure your pet doesn’t blend in and become invisible!
Avoid flash because a lot of pets eyes will reflect a green color (red-eye but green).
Don’t forget your smaller pets. Make sure you get really close, and avoid shots with cage bars. Try shooting through the open cage door. Turtles can be placed with almost anything and produce a stunning photo.
Use the natural curiosity of your pet to your advantage. Give your kitten a new toy or play area and watch them investigate!
Take a bit of time to get the right photo. You may need to shoot thirty or more shots to get a perfect one. Keep working with it and you’ll be amazed at the results.
Groups of pets can make stunning photos, but you need a LOT of patience!

At Zoo :

At a zoo, you can shoot animals other than your pet. Zoo photos are great because you can use them to teach your children about various animals and create posters and other projects.

Watch for glass when using your flash. If there is glass between you and the animal you wish to photograph, place your camera on an angle so the flash doesn’t reflect back at the camera.

Flash also won’t reach very far into the indoor enclosures, so most of the time it might be better to not use the flash. Take a tripod (or monopod) and use the low light tips to take your photo. If you’re outdoors, remember to use the flash to fill shadows.
Have the camera at the same eye level as the animal.
Watch the background and make sure it’s simple and free from distractions
Remember to fill the frame with your subject. Use the highest optical zoom you can.
Use the rule of thirds. (from tip #3)
Try to get your child and the animal in the same frame. Either with the child’s back, or both as a side-on view.
Don’t make all your shots of the animals. Capture your child’s expressions when they spot a large creature!

How to Shoot Wildlife Photography

2012-01-29T02:35:00.003+07:00

by Jim Zuckerman

Wildlife subjects can be divided into two categories: wild and under human control. Pursuing both can produce wonderful images. Of course, there's nothing more exciting than capturing a spectacular image of a wild animal in its natural environment, but many times it's not possible to travel to exotic locations or spend days or weeks tracking an animal. What's more, many animals are extremely dangerous. Learn tips on getting great wildlife photos in the following article by professional photographer Jim Zuckerman.

How to Shoot Wildlife Photography: Close-up vs. Environmental

It's not necessarily desirable to always get full-frame head shots of wildlife - you can always take head shots in a zoo. Including the environment along with an animal gives a sense of place, and if the location happens to be spectacular then it becomes an integral part of the composition. Still, the subject should be significant enough in the frame to make a statement.

How to Shoot Wildlife Photography From a Vehicle

In many cases, a vehicle can gain a closer approach to a wild animal than a person can on foot. For example, most wildlife in national parks have grown accustomed to vehicles, and they know there's no threat.

Shooting from a vehicle can be done using a stable platform that attaches firmly to the driver's door when the window is rolled down. (These door mounts are available through various sources.) You can also use a burlap or fabric pouch filled with uncooked rice, beans or coarse sand. This actually is my preferred choice for shooting from a vehicle. I travel with it empty, but when I arrive at the shooting destination I'll fill it.

Moose, Snake River, Grand Teton NP, Wyoming

Finding Wildlife Subjects to Photograph

There are many options for locating wildlife - even if you live in the city. One technique is to try the Internet. For example:

One of my favorite macro subjects is frogs, and specifically poison dart frogs. These are brightly colored frogs that are poisonous in the wild but are not dangerous when they are kept in captivity (because their diet is altered). I especially wanted blue frogs because they are so unique. I did a search on the Internet and found several breeders of these frogs in the U.S., and one of them happened to be only 10 minutes from my home. I called him and made arrangements to photograph many of his creatures in exchange for photos.

How to Shoot Wildlife Photography the Right Way: Keep Things Steady

in addition to doing your wildlife photography in the best light, I strongly suggest using a tripod whenever possible. When photographing with a tripod is not possible, use a bean bag or some other stable support.

Image stabilization lenses, if you can afford them, go a long way to helping wildlife photographers get sharp pictures in low light. They minimize camera movement when you hand hold them, which in turn gives you more flexibility in your shooting. However, I would still recommend a tripod when it's feasible.

Virtually all the images on my Deluxe Web site, with perhaps five exceptions, were shot using a tripod.

Studio lighting Portrait photography tutorial

2012-01-29T02:13:00.000+07:00

Using 120cm octagonal softbox Gavin Hoey shows how by just using this one softbox and a 400Ws studio flash head for his studio lighting setup to produce some quality portraits. Live action show shows how Gavin uses several different lighting setups and shows you just how to produce quality results in a simple to understand way.

Strobist Softbox Technique Tutorial

2012-01-29T01:53:00.000+07:00

Gavin Hoey out on location at the beach shows you a strobist technique using the smick 60 x 60cm stobist softbox. First of all using an exposure for the background and adding a small amount of light to the model, then increasing the flash giving more light to the model. Finally slow down the shutter to give more exposure to the background and the model.

With a strobist softbox it is very portable you can shoot night looking scenes during the day so go ahead and try out these techniques see what effects you can achieve.