To contact our gorgeous cover model; Glina, please see Jim Jurica. Glina’s cover photo was supplied by: Jim Jurica Photography.

Our Glamorous cover model is: Danielle. To learn more about Danielle, please visit her here: ModelMayhem site. Danielle’s, photography is supplied by Ronin Photography & Design.

There really is no trick to reflections but there is definitely technique in order to make the reflection look natural and not forced.  Composition and perspective are key elements in achieving that goal.  Another key element is controlling your depth of field (DOF).

For landscapes a useful tool is the “rule of thirds”.  Think about breaking up the scene into thirds as a good starting point.  Sky = 1/3, landscape = 1/3, and foreground = 1/3.  Once you get that captured then you can use post capture cropping to fine tune the composition.

In portrait photography the reflection can also very much enhance your picture creating a fantastic amount of visual interest.

Sensitivity to composition is just as critical if not more so than with landscapes.  Still use the rule of thirds as a guide to help you compose reflection portraits.

Example 1

The first example is the most basic technique for capturing a reflection.  Using a mirror I positioned the model to get the desired composition. I really personally dislike seeing the mirror’s frame so I cropped that out in camera.  Focus and depth of field (DOF) are critical for any portrait and these are no exception.

I focused on the reflection using an F-stop setting that shallows the DOF to allow a bit more attention on the reflected image.  I keep the model in the foreground but intentionally crop 1/3 of her head in order to maintain focus on the main reflected image.

Example 2

Example 2  demonstrates a little more compositional technique because of the detail level of the scene.  I still use the rule of thirds to assist in my composition however.  The model on the left is 1/3, the model/mirror is 1/3, and the lamp is 1/3.  In keeping true to the rule there is a tremendous amount of visual interest in this capture.  In this particular capture I needed the the entire mirror (including the frame of course) because the model herself is using the mirror.  It places a context that is necessary to the “story”.

Also in this example I wanted a substantial DOF in order to maintain detail in both the reflected model, real model, table top, and lamp.  Again, focus was on the reflected image as that clearly is the main subject of this capture.

Example 3

Example 3 demonstrates a more creative use of two mirrors.  I agree that it is a bit gimmicky and never published this but it gives you an idea of how reflections can be used in order to create a lot of interest.

In using two mirrors, I wanted to tell a story that we see things different in reflections.  By using the selective color (used sparingly I find it can be effective but I’m overall not a fan.  Personally I don’t know if I like it still in this work) I tried to represent almost a “alternate universe” feeling in this picture.

DOF had to be large and focus on the reflected image of the model facing the camera.

I don’t know if it works, you be the judge but the concept of using the reflection is valid and maybe interesting.

Example 4

Example 4 establishes a very tight crop on the reflection/non-reflection subjects creating a very interesting almost “twin” look.

The goal of this capture was to have the reflection result in the look of two distinctly different people.

The rule of thirds still applies in this capture.  Portrait or vertical orientation inherently has the sense of thirds with the head = 1/3, torso = 1/3, and hips = 1/3.

Notice no frame is visible as I wanted the “twin” effect and the illusion would not work with a frame putting the context of mirror into the mind.

Also, focus still is on the facing image (reflection) as that’s where the eye is drawn to.  DOF is still fairly large in order to keep all the subject in focus.

Example 5

Example 5 illustrates a Photoshop generated reflection.  This is a very popular picture of mine because of the model’s pose, the reflection and the post finish I applied.  It has a distinct “edge” that the reflection clearly helps create with it’s distortion.

The difficult part is creating the reflection and ripple that makes the reflection look plausible.  Having the right context is key here.  You do not want to force a reflection into a scene that clearly will not have a reflective surface.  Forcing that type of reflection creates a clearly fabricated look.

The environment can contribute to obfuscating the created reflection.  Example 5 demonstrates this. Due to the “rough” location the reflection looks clearly plausible.  Location is very important to pull off an artificial reflection.

Reflections can either enhance or detract a photograph.  Hopefully my examples and discussion provide a starting point in your efforts to incorporate reflections in your work.

Thanks for reading and don’t hesitate to contact me for more information.

Cheers!  Don

]]> http://glammodelz.com/glam/featured/the-reflection/feed 0 http://glammodelz.com/glam/featured/the-reflection http://feedproxy.google.com/~r/Glammodelz/~3/uWD6dXeUlyU/creative-photo-cropping http://glammodelz.com/glam/digital-darkroom/postwork/creative-photo-cropping#comments Sun, 02 Jun 2013 07:45:57 +0000 GlamModelz Magazine http://glammodelz.com/glam/?p=13500   [ Read More ]]]> By Ajay Kumar N

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To contact our gorgeous cover model; Glina, please see Jim Jurica. Glina’s cover photo was supplied by: Jim Jurica Photography.

With the brand new P7100, Nikon has kept the root assets belonging to the previous model: a 7.1X optical zoom possessing a focal broad variety of 28-200mm, a 10-megapixel CCD sensor, a DSLR-like array of buttons and dials for fine-tuning protection settings, chunky-for-a-compact whole body design, with one another with a complete complement of guide controls, as well as semimanual and automated shooting options. such as the P7000, the P7100 also plays properly with on-camera and off-camera Speedlights, but disappointingly maxes out at 720p high-def movement photo resolution instead belonging to the more-common 1080p.

The Nikon Coolpix P7100 is really a relatively thick and heavy compact camera, closely resembling the common Canon Powershot G-series in conditions of the two dimensions and weight. It doesn’t suit in possibly your palm or perhaps a trouser pocket, instead getting an amazing offer much more at house saved within of a spacious coat pocket or tiny shoulder bag. The P7100 competencies a 7.1x zoom lens possessing a focal broad variety of 28-200mm, much more versatile compared to Canon PowerShot G12 with one another with a realistic option to lugging near to possibly a ‘super zoom’ bridge electronic camera or real DSLR with out possessing to compromise as well an amazing offer on competencies or handling. As with its predecessor, the P7100 feels at when solidly produced however at a comparable time reasonably lightweight, possessing a magnesium alloy chassis and similarly large quantities of construct excellent that you simply uncover concerning the company’s DSLR range.

The entrance belonging to the Nikon Coolpix P7100 competencies the aforementioned 7x zoom lens surrounded with a metal ring that may possibly be unscrewed to allow for supplementary Nikon attachments that consist of broad angle or telephoto converters. The 200mm greatest telephoto setting is really a essential variance among the the P7100 along using the G12, bringing candid and detail shots within reach, even although the 28mm wide-angle setting would allow it to be fast to shoot subjects like properties in narrow streets or perhaps a team of your near friends within of a confined space. The greatest apertures of f/2.8 at 28mm and f/5.6 at 200mm are also completely respectable and in sustaining using the significant character belonging to the camera.

At the cost of operational complexity, the P7100 excels at providing photographers–especially pros who want a more-compact electronic camera to tote around–a feature-rich menu of options. Manual, semimanual, and automated protection modes are available, along possessing a choice of scene modes to suit practically any situation: portrait, landscape, sports, evening portrait, party/indoor, beach, snow, sunset, dusk/dawn, with one another with other presets. A Scene car Selector option analyzes the shot and instantly switches to probably the most ideal scene mode, which I found out to operate especially properly for macro shots.

Other useful competencies consist of the build-in neutral density filter, distortion control, productive D-Lighting for sustaining shadow and highlight detail in high-contrast shots, user-controllable tone reduction, numerous white-balance settings and adjustments, bracketing modes, a electronic level, and much, an amazing offer more.

Controls. The Nikon P7100, like its predecessor, has an enormous amount of useful outside controls, which should positively appeal to advanced users. one of our favored competencies may be the EV dial concerning the best best belonging to the camera, that is adjustable using the thumb. The large, obvious quantities concerning the dial are fast to create for fast, precise adjustments. The Mode dial may be also fast to turn possessing a thumb and forefinger, providing you a choice of canned scene modes and results (a cool, adjustable “Creative Monotone” is worth checking out out) and conventional choices that consist of Program, Shutter Priority, Aperture Priority and complete Manual. The Nikon P7100 also has three user-programmable mode settings, labeled U1, U2, and U3.

There’s a programmable purpose a few of key concerning the best belonging to the best deck (it’s been relabeled “Fn2″ from the previous model); a hotshoe (iTTL) for an outside flash possessing merely a tiny removable include (yeah, you’ll most most likely lose it) along using the fast Menu Dial, that is essentially a comparable as from the P7000 but an amazing offer much more responsive. (More about this later on from the Shooter’s Report). Just turn the dial for the wanted purpose and press the dial’s center key to hold up an onscreen menu for each and every function. competencies consist of photo quality, ISO sensitivity, bright balance, bracketing, My Menu and photo Control.

The 10.1-megapixel Nikon Coolpix P7100 might not be considered an enormous leap forward from its decent if flawed predecessor however it does provide enough significant improvements, especially with regards to operational speed, to warrant a recommendation. in add-on to getting a lot quicker to use, Nikon has additional some wonderful competencies to the P7100 such as a 3-inch fluid crystal display show that tilts up and affordable apart from the electronic camera whole body for composing shots from unusual angles. If we experienced been disappointed the fact that HD movement photo feature’s resolution is even now stuck at 720p24, it’s not just a make or break element for us. last year’s electronic camera felt like an ambitious rookie; this year’s model, the Nikon P7100, is really a much more mature offering, producing it an important participant from the advanced compact electronic camera category. Nikon Coolpix P7100 Review

To contact our gorgeous Irina, please see Jim Jurica. Irinal’s cover photo was supplied by: Jim Jurica Photography.

Our gorgeous cover model; Heather Doss, may be reached through her ModelMayhem profile. Heather’s cover photo was supplied by: Dave Davis Photography.

By Rick Trottier

When I was assigned this article, the thrust of the content was to be about “How to Hire a Model”. While there is no question that the basic tenet of this commentary can be of the greatest service in assisting any photographer or promotional company in the proper method of acquiring the talents of just the right model, there is so much more to it than that.  Establishing thoughtful, comfortable, affable and efficient communication with a model is a dance that requires diplomacy, skill, aplomb and manners. It is simply amazing how many people approach models using ALL the wrong tactics and strategies, and then wonder why it is that they can’t close the deal. How do I know all this? A fair number of young ladies attached to my studio run their mail through me to get my input. And it is when I read the entreaties of these so-called “professionals”; I am absolutely appalled by communication skills that run the gamut from untutored, to rough-hewn, arrogant and even grossly immature. For those of us old enough to remember the days when our parents sat us down and drilled etiquette into us (phone, table, letter-writing, etc.), it is time to revisit those long-lost arts and shed light on a vanished methodology that should be the greatest of assistance to those who need to find a model for a project that is close to their hearts. Just as learning the fox-trot is a step by step process; learning to communicate with a model has some essential “steps” you’ll need to consider.

Step 1 –The Mechanism

Before you even think about what you say, or how you say it, you need to be aware of the right technique of delivering your message to a model. From my last article for Glam Modelz on Shoot Management – “While texting has become the communication method of choice and talking on the phone is still simplest, the most professional manner of exchanging ideas is through email. Detailed correspondence that can be easily preserved, carefully considered and reconsidered and serves as a written contract of terms is the best method of preparing for a shoot.” I know I am likely to use the word “amazed” and all its synonyms to the point of redundancy in this article, but I am astonished how many photographers EXPECT a model to give out her phone number immediately and sadly I am equally shocked how many models FOOLISHLY give out that information too early in the dance. A phone number is private and sensitive data. Once that number is out there, you have now created a link you may not have wanted to create. Unless you have unimpeachable references attesting to the rock-solid trustworthiness of the photographer, DO NOT give out your phone number and photographers should not be asking for it. Keep correspondence in the neutral field of email. I do not ask for or even give out my phone number until the day before a shoot. I much prefer to keep all correspondence as business-like as possible. On the rare occasion when a model asks to have a phone conversation with me, I will give out my number, but in most cases, I’d rather keep it as professional as possible. Another gaffe of epic proportions is “the drive-by shoot inquiry”. DO NOT tag a model or comment on her pictures on Modeling Social Media sites asking for a shoot or do something of a similar nature on Facebook or other forms of general Social Media. Such behavior smacks of leaving a hastily scratched note tucked into the door of a girl’s locker at school. It is cowardly at best and at worst it shows a lack of maturity and self-esteem. All inquiries for a shoot should be done in a confident and polite manner, which will get the point across that you are worth working with.

Step 2 – Formality

When hanging out with friends at a hockey game, or at the local sports pub, language usage is something we consider to a small degree but we don’t curb aggressively. No one wants to spew forth hateful invective that has no place in ANY public arena, but an off-color or ribald comment isn’t a faux-pas in such places. However, in any missive written to a model, formal language MUST be used. Professionalism is the province of the urbane, sagacious and sophisticated personage, and crude and boorish louts need not apply. There isn’t a need for the drawing-room language I am applying here for dramatic effect, but there is a need to treat your prospective colleague with all the respect she deserves. I am incredulous and stunned when I see photographers use terms like “baby” and “hot stuff” in their entreaties, and this is not only the behavior of the young and foolish. Men my age and even older make this mistake. While Social Media sites are REPLETE with cads who use all manner of disgusting language in their dealings with girls and show their base and un-evolved nature in doing so, a professional photographer should treat a lady like a lady; use words that show you value her talent and experience and do so throughout the communication process. In addition, you should make sure that your command of grammar and spelling is that of an adult, and you don’t sound like a reject from Steve Martin’s “Teach your Kids to Talk Wrong”. If you can’t say something like “I’d like to inquire about the possibility of hiring you for a project I am developing” without it coming out sounding like “May I Mambo Dogface the Banana Patch”, get someone to assist you in writing the letter you are trying to craft. Formal language will immediately establish a sense that you are someone worthy of collaboration, rather than a childish girl-hunter looking to put another notch in his camera, as far too many “photographers” wish to do.

Step 3 – Content

What you say to a model is just as important as how you say it. Once you have grasped the importance of delivering your message through the correct system and then mastered the art of using language in a manner that wins friends and influences people, making sure that what you say matches the power of how you say it is the next part of the learning the dance. You want to make sure you say what you want to say in as clear and direct a fashion as possible. You want the message to be concise and crisp. But how do you bridge the gap between clarity and information overload? PLAN your letter first! It should have a brief introduction where you state who you are and what you want. The body of the letter should state the basic terms of what it is you want to do and what the model will get from the collaboration. Finally, there should be a closing that sums up the basic thrust of the content. Your letter should not be overly lengthy, but it should also not be vague. Verbosity borders on self-importance which skirts the realm of arrogance. Such will turn off a model. A lack of clarity leads to being vague, which invites murkiness and will induce a sense of threat in a model’s mind. Your letter should state your points cleanly, clearly and in a business-like manner. If there are points that you haven’t covered, they should be minutiae that can be discussed in further exchanges. There is nothing wrong with back and forth correspondence. If anything, it will lead to establishing a sense of trust. One mistake that needs to be avoided is the use of FORM LETTERS to approach a model. I use a general form letter for RESPONSES to clients who inquire about my services, but I hand-craft my initial response, tailor-make the form letter if necessary and alter it when the need arises. Using a form letter to inquire about a shoot with a model is kind of like using the exact same fishing lure at a pond, lake, stream or river at any time of the year.  Another disastrous tactic is using a “gimmick” in their form letter to interest a model in a shoot. A fair number of photographers will try the old “I’ve got a great opportunity, but you need to let me know asap” approach. This is an obvious ploy, it smacks of a sleazy car-salesman way of thinking and it brands you as a scumbag at best, once word gets around that you use such schemes. What too many photographers forget, or choose to ignore is that models talk. Before you know it, your girl hunting tendencies have now become the stuff of local legend, your reputation is mud and getting the shoot you want has become a Herculean task. Treat each shoot entreaty as you would if you were buying flowers for your wife, your mother and your daughter. You would not get each of them the same bouquet. Such a decision would lead to hurt feelings, cold glances and possibly a rendezvous with a night on the couch. Letters to models should show the same flexibility of approach, the same dignity and composure as well as an enterprising spirit of enthusiasm.

Step 4 – Frequency

The last of the dance steps is knowing when to try again and when to cut your losses. Too many photographers will approach a model and then take one of two possible courses in the follow up. They will either NOT follow up or they will hector a model to the point of being overbearing. Not following up with a model shows a lack of interest, a lack of respect and a lack of professional courtesy. If she is that important to your project, ONE follow up a week or two after the first approach is the appropriate response. Keep in mind that most models are young women, often with second jobs, school, social lives and family lives. As such, they may briefly read your note, be interested and then have it driven from their thoughts by their very busy and involved day-to-day existences. A follow up makes perfect sense. The other side of the coin is another one of the “pitfalls to avoid at all costs”, that of being a pest. Pestering a model is one of the fastest ways I know of showing them you have ulterior motives lying beneath the surface of your words. I am acquainted with photographers who will follow a model like a wolf on a blood trail, sending note after note, utilizing guilt tactics, wheedling, bullying and other unsavory thinking in hopes that they will wear down that model and get what they wish. Once again, this not only damages any chance of eliciting a positive response, it is likely to create bad blood and generate “buzz” about how you conduct yourself that will make it that much harder to establish stable and trusting relationships in the modeling community. Patience, self-control, self-confidence and mature messaging behavior will score points that will lead each and every person in that model’s social circle looking favorably upon you.

One of the saddest aspects of the modern photographer-model universe is how many people step out of the business due to how “seedy” it has become. More often than not, I hear people say that Model Mayhem and One Model Place are the haunts of creeps and other revolting denizens. Unhappily, this is true to a degree but there plenty of honorable professionals out there if you look. As a seasoned educator, I am of the belief that many of the people who misuse communication can be taught to do it right and as we see in a Democratic Society, an educated citizenry is a happy and successful society. Knowing the proper steps in any dance keeps you from landing on your face, whether you are doing the Samba or trying to set up a shoot with that stunning model.

Our gorgeous cover model; Christa, may be contacted through Rick Trottier. Christa’s cover photo was photographed by: Rick Trottier of RJT Images.

RT

GlamModelz Magazine: How did you get your start in the business and what goals have your set for yourself?  Donyelle Anne: I first started a little over a year ago. One of my long-time, best friends Kasey is a model and she told me about it. She advised me to give it try because she thought I would love it. At first, I thought she was joking. I figured I had to basically go through a model boot camp and take classes. I didn’t schedule a shoot for about a year after discussing it with her. Now I absolutely love it and hope to be featured in a fitness magazine one day.

 GlamModelz Magazine: What excited you the most when you first started modeling?  Donyelle Anne: When I first started modeling, I didn’t think I was any good. No one is perfect when beginning something new. After my first few shoots, I loved seeing the pictures and thrived off of the positive feedback I was getting from friends and family. Hearing their opinions has kept me going forward.

 GlamModelz Magazine: What gets you motivated every day to stay in shape and look your best at all times?  Donyelle Anne: I have always been active ever since I was little. Whether it was gymnastics, softball, swimming, or Taw Kwon Do, I was always doing something. For me, I start my day at the gym at 5am. Beginning my day with a workout gives me energy and keeps me focused for the rest of the day. Some days I do a double work out, which is a great way to let go of all your tension. When I look my best, I feel my best.

GlamModelz Magazine: Do you feel that flexibility and diversity are important to a model’s portfolio?  Donyelle Anne: I do think it is important for a model to flexible and diverse. Having flexibly definitely helps with the poses. I remember my first shoot. I thought I was pretty flexible. Well two days later I was unbelievably sore. Having diversity being a model is something I recommend. A photographer wants to see different types of concepts. Whether it’s fitness, implied, fashion or glam, every model can pull off more than one look.

GlamModelz Magazine: When reviewing photographer’s online portfolio, what really grabs your attention? What type of images gets you in the mood to shoot with them and what separates the great photographers in your mind?  Donyelle Anne: I look at what types of pictures they shoot, the backgrounds they choose, the quality and if they edit the pictures to enhance the model’s appearance. I look for photographers who shoot what I am interested in, like fitness, glamour, and fashion.

GlamModelz Magazine: Many models tell me they study their past photo shoots looking for good/bad poses and how each pose flatters them. Would you advocate this and what key elements should a model be looking for in general?  Donyelle Anne: I study my pictures to see which ones I like best and how I can improve myself to make a better shot in my next shoot. I also look at my previous photos to see the progress I’ve been able to make and work on areas I can improve on in the gym. I always try pose in a way that can highlight my best assets, like my hair and abs,

GlamModelz Magazine: Tell us the funniest story that has personally happened to you at a photoshoot?  Donyelle Anne: I really haven’t had any funny experiences, as in LOL moments as yet happen to me at a shoot. My shoots have been really fun and I’ve learned a lot. I’ve seen myself grow as a model, made some wonderful self-discoveries and come to realize I love this Industry. I am sure there will be a moment in the future where I’ll slip on a slick spot on the studio floor or some other kind of pratfall. So far, I have been fortunate and nothing like that has occurred.

GlamModelz Magazine: Your hair always looks so flawless and spectacular. Will you share your beauty secrets you use to keep it that way?   Donyelle Anne: I have always been a fanatic about my hair, always needed it to be long and straight. I spend about 45 minutes a day styling it from the time I blow dry it and then use a flat iron to get all frizziness away.

GlamModelz Magazine: It appears to us that most eye candy magazines are fixated on some part of the female anatomy. Tell us what do you think your best assets are?   Donyelle Anne: I definitely think one of my best assets is my hair. Being long, black and straight I think it gives my look an exotic feel. Another asset I have is my abs. Eating right and a lot of cardio helps keep them toned.

 GlamModelz Magazine: Have you had the support of family, friends and significant other in regards to your decisions for your modeling career to date?  Donyelle Anne: In the beginning my family and friends didn’t seem to pay much attention. They thought this was a phase of “every girl wants to be a model.” Seeing me grow as a model and dedicate myself, they realized this wasn’t just some phase. Now they are behind me 100%. I ask for their advice as well, for new outfits or concepts. I even bring friends with me to some of my shoots.

GlamModelz Magazine: Do you feel other women are intimidated when learning you are a model and how do you handle this  Donyelle Anne: I haven’t come across this yet. Modeling is something I do for fun even though I do take it very seriously. I have a full time day job and I do not see myself as being any different.

GlamModelz Magazine: Do you have any thoughts or advice you would like to pass along to photographers who shoot fashion, glamour and fitness? In your mind what makes a spectacular shot?  Donyelle Anne: The lighting is definitely something that can make or break a picture, as well as a background. I believe using props when appropriate can make the picture even better. You want the picture to have definition and character. Using the right props and lighting can set yourself apart from everyone else.

GlamModelz Magazine: What are your thoughts on the whole escort issue?  Donyelle Anne: Being a female, I think it is important for a photographer to allow a girl to bring someone to a shoot with her, especially if it is someone she has never shot with before. The most important thing is that the model is comfortable during a shoot. If a photographer says “no” to an escort then I wouldn’t shoot with him/her.

 GlamModelz Magazine: Do you have any hobbies or special interests that you feel contribute to your success in modeling and why do you feel they are a contributing to achieve your goals?   Donyelle Anne: Two things I love to do are work out and take Bikram Yoga classes. Both contribute to strength and flexibility which are very important when it comes to doing some poses to get great shots. Every day I am working on my figure and trying to improve myself to become the best that I can be.

To learn more about our gorgeous cover model; Donyelle, check out her ModelMayhem Profile. Donyelle’s cover photo was photographed by: Rick Trottier of RJT Images.

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Our Glamorous cover model is: Belle. Belle’s, photography is supplied by Ronin Photography & Design.

However, whether you choose to lay out in the sun or go to a salon for your tan, you are subjecting your body to harmful UV rays that can cause not only cancer, but unsightly sunspots, age spots, and cause your skin to wrinkle and age ahead of its time. Thankfully, there has been a marked improvement in self-tan lotions, and the streaking and pumpkin look that you do not like is outdated.

The technology used today has improved dramatically and has led to superior products that are all natural, leaving your skin not only toned and browned, but also moisturized and healthy. This is a huge step in the right direction, as you know how the sun can dry out your skin. To get the most out of your self-tan lotion, you should start with an all over body exfoliation.

With natural exfoliants, you can gently sweep your dead skin cells off of your body, leaving it soft, smooth and glowing.  This will also help the lotion work at its peak, so when you apply it not only will your skin darken, but also it will be absolutely beautiful. Along with the exfoliation of your skin, the self-tan lotion will help address any skin moisture issues you may have, as it will increase your skin’s softness and suppleness as well.

What’s even better, it doesn’t matter what time of day you apply the lotion, it will not rub off onto your skin or your bedding, so you don’t have to worry about staining your linens. While self tan lotions are an excellent alternative to the sun and tanning beds, you can also purchase one that will accelerate your current tan, whether it is natural or from a lotion. Increase the darkness of your skin in one easy step, while maintaining the needed moisture level.

When you make the decision to protect your body from UV rays and try a self-tan lotion, you will see and feel an amazing difference.

About the Author

Try an amazing moisturizing experience with a beautiful color for your skin with Self Tan Lotions
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Our Glamorous cover model is: Lindsey Danielle of Astoria, OR. To learn more about Holly, please visit her here: ModelMayhem site. Holly’s, photography is supplied by Ronin Photography & Design.

Features The Canon EOS T3i has some very attractive features: *Excellent image quality *Good grip *Swiveling LCD *Full HD video recording *HDMI output *Very fast autofocus.

Processor and Sensor There is a little new about the Canon EOS T3i’s processor and sensor combination. They are the same as that of the T2i. However, the gap between the micro-lenses has been reduced. According to Canon, the Rebel T3i’s DIGIC 4 buffer and processor enables capture of about 34 large/fine JPEG images, four RAW+JPEG frames and six RAW frames. It also allows capturing 14-bit RAW images, and 8-bit JPEGs are created from 14-bit data.

Peripheral illumination correction. Darkening of the corners produced by lens design is reduced via Peripheral Illumination Correction in the Canon EOS T3i. Selecting an item from the menu brings up a screen from where one can see which lens the camera detected, and whether correction data is available. One can then choose to disable the correction if the wrong lens is shown.

Metering. The Canon EOS T3i inherits Canon’s latest metering system. It is a 63-zone iFCL (Intelligent Focus, Color, and Luminance metering ) sensor. The iFCL chip has a dual-layer design with every layer sensitive towards different wavelengths of light, allowing required color to be taken into account when determining exposure and also in metering calculations.

ISO Expansion. The Canon EOS T3i has an expanded sensitivity range, from a minimum range of ISO 100 to a maximum range of ISO 12,800. One needs to enable ISO Expansion via a Custom Function setting. The EOS T3i offers a much wider +/-5.0EV exposure compensation range rather offering EV compensation ranging from -2.0 to +2.0 as do most cameras.

Picture Style Auto is a setting of its own, selected as one of the Picture Styles, which can be brought up either via the down arrow on its back or from the Quick menu, or even through the main menu. With this new setting, the camera considers the scene and changes the Picture Style accordingly. Storage and battery. The Canon T3i accepts SD, SDXC and SDHC memory cards as well as Eye-Fi wireless cards. The camera uses the LP-E8 battery pack which is CIPA rated for 440 shots.

Cons: frame rate is slow; No micro-focus adjustment; Tendency to over-expose in bright sunlight; Live View AF is slow.

The Canon EOS T3i shares the excellent image quality, creative filters and remote flash control. With Full HD video support, good quality optics and fast autofocus, the Canon EOS Rebel T3i is easy to recommend.

Discover the Canon EOS T3i Rebel. You will find that it has some amazing capabilities for an inexpensive digital SLR camera. The complete review is available at http://canonrebelt3i600d.com/.

To learn more about our gorgeous cover model; Paola, check out her interview here on GlamModelz Magazine. Paola’s cover photo was photographed by: Rick Trottier of RJT Images.

Tania and I spent the morning in the Los Angeles hills, shooting wardrobe provided by Dija Swiwmear.   And of course I couldn’t pass up the opportunity to interview her for GlamModelz Magazine.

Tania, how long have you been modeling and how did you get started with modeling?

I had my first photo-shoot over a year ago, but I’ve been a working model part-time for over six months.  I entered a modeling contest for Image Cosmetics and I was the winner.  Then Kim Kearney, who owns the make up line decided she wanted to represent me, so she got me started.

What do you feel are your best modeling assets?

I would say my hair, eyes and lips.  And personality-wise, that I’m humble and easy to work with.

Where do you see your modeling career headed one year from now?  Five years from now?

I am planning to go to the show Nuestra Belleza Latina next year, so in a year from now I see myself winning the crown.

5 years from now, I see myself up on billboards and TV shows and commercials, maybe in a movie, since I would love to do more acting.

If you could be on the cover of any magazine… what would that be?

Cosmopolitan or Glamour.

Have there been obstacles and issues that have slowed your modeling progress? And how do you deal with those?

Yes of course, there’s been a few obstacles along the road.  But nothing I couldn’t handle.  I deal with problems or bad days by always staying positive.  I am very optimistic, there’s a solution to everything except for death.

Tell us a little about your health and beauty routines to stay looking your best:

I do weight training four times a week.  I eat four healthy meals a day, with two snacks, lots of fruits and vegetables and a lot of water.

When you’re not modeling, what can we find you doing?

I have a 4 year old, so when I’m not modeling I’m usually spending my time with him.  Or you can find me shopping, or at the gym.

Any special message you’d like to pass along to your fans?

I’m very grateful for all the people who have been there supporting me with my modeling.  They keep me going, and motivate me to reach my dream of being a well known model/actress one day.

You can see more of Tania at the links below, as well as in my upcoming Summer Swimwear editorial  for the August issue of BeautyLook Magazine…

www.facebook.com/BelaTheModel

www.modelmayhem.com/1528100

Photography by Jim Jurica – www.JimJuricaPhotography.com

I’ve been on training courses and I’ve done quite a few different Events now, so this is to help others avoid some of the common mistakes. This guide to Event photography is based on my personal experience and you are welcome to reproduce it as long as you credit www.fullframeevents.co.uk or add a link to this page.

I do recommend anyone interested in Event photography going on the excellent training course supplied by Systems Insight, speak to Mike Orr , Stuart or Darren. I’ve also found the Event Photographers Society really useful.

It is divided into sections as follows:

1, Camera Equipment needed for Event Photographers;
2. Lighting equipment for Event Photography;
3. Printers for Instant Event Photos;
4. Mitsubishi Click system for Event Photography;
5. Green Screen Event Photography;
6. Starting an Event Photography Business.

1. Camera Equipment for Event Photographers.

You don’t NEED the latest high-end professional DSLR with pro glass lenses to shoot an event! It’s nice to have good kit but that should be a given for any Pro Photographer. In reality the customer at a football tournament, school prom or black tie event doesn’t care what kit you have as long as the results are good, and you don’t want to be carrying a heavy camera with fragile glass in an environment that is often boisterous and busy !

You don’t need to shoot huge resolution RAW files and won’t have time to post process or mess about with hundreds of settings.You are aiming to get a sharp, vibrant and well lit photograph of enough resolution to print at your final output size. Concentrate on making the people look great!

I do recommend a wireless workflow which I cover later, and again you need the files to be small enough to send quickly. I use a Nikon D700 but that’s only because I have one for Property photography as I need the full frame and low light capabilities
(see www.fullfamefotos.com for examples).

I shoot jpg at just medium resolution for most events, and use a Sigma 24-70mm HSM lens so I can quickly zoom between individuals and groups. A Nikon D40 with a kit lens will do just as well. and I always carry one as a backup. It also takes my Nikon flashguns and is much lighter than a D700.

It is important to have a backup camera, I’ve even made do with a Nikon Coolpix P6000 when my D700 was being used pitch side at a Cricket Event. With proper lighting (see lighting section) I got almost identical results shooting people in front of a green screen. You must have at least one fully charged spare battery for each camera at an event, a couple of spare and preformatted memory cards, and spare batteries for your flashguns. I use the new Duracell rechargeable for the flashguns as they stay charged in the bag.

So don’t go mad on the camera kit, it will get bashed around at an event! As for settings, indoors I shoot at around f7.1 to f8 for groups so I get good depth of field, I use shutter speeds of around 125 to get sharp shots as I don’t like a tripod, too restrictive, and I use ISO 400 to get enough sensitivity. White balance is easy on a Nikon, see lighting but the flash setting will do. For individuals and couples I open up to around f5 and shoot full length, head and shoulders and a close-up. Outdoors events are more dependent on the available light and the lens.

One tip, using a wireless transmitter to send the images straight to your PC, Mac or Click system avoids the pitfall of people (the ladies mainly) wanting to see each shot on the back of the camera as you take it! That gets them through quicker and lets your team at the workstation show the images properly at full size. I do actually keep the images stored in the camera as a backup though in case the wireless system stops working.

Another tip, if you are shooting groups at a School Prom or Corporate event, take a stepladder! If you get above them and shoot down it changes the angles and stops the people at the front looking much larger than those at the back! This lets you squeeze bigger groups in as well, especially useful if you are shooting in front of a green screen at an event.

Also, if you ever get a large group of girls at a School Prom or Sweet Sixteen event, take LOTS of shots! It is very hard to get a single photo where every girl is happy with how she looks, guys really are not as fussy. The girls will buy the photo that they look best in.

We tend to charge the standard rate £10 per shoot including a 6×9 mounted photograph, but do offer incentives for groups such as discounting copies of the same photograph, or offering 3 for the price of 2 if they are different shots that need processing.

2. Lighting Equipment for Event Photography

I don’t use studio lighting for indoor events! Initially I used the standard large softbox above the camera and shot in front of a grey, back or white backdrop. But that’s boring and old hat nowadays, the lighting is very flat and there is always the risk of people tripping over cables and the hassle of finding a nearby power socket.

At School proms, Bar-Mitzvahs and especially Sweet Sixteen parties it gets very busy and although we carry full insurance I don’t want a heavy studio light falling on a guest. It’s the same at Corporate events and Black Tie dinners, there’s usually a huge rush after dinner for photos and even a taped down light can get pulled over by an inebriated partygoer!

So now I use a Nikon SB-900 on the camera with the wide-angle flap down and the soft diffuser fitted. This controls two other Nikon SB-600′s also with the wide-angle flaps down using Nikon’s excellent CLS lighting system. The two SB-600′s are mounted on sturdy but portable stands and shoot through white umbrellas for lovely soft lighting. You can do the same with Canon Speedlights, or a radio trigger and some Vivitar or similar flashguns.

At an Event you don’t want to be messing around changing lighting when you have queues, but this setup is flexible and light enough to be safe to move quickly if you need to. The Nikon system lets me control the brightness of each flash directly from the camera without having to touch the lights.

As we use Green Screen backdrops at most events to add effects and digital backgrounds, I have to ensure the backdrop is evenly lit to avoid problems when chromakeying out the green. By mounting the umbrellas high up at either side and shooting through them, the green (or blue) backdrop gets evenly lit where it matters. The guests get a nice flattering lighting setup which I can easily adjust for large groups or closeups. I

I shoot on full manual with the on camera flash at about 1/32 power to give a little fill light, (I also use the wideangle flap and the soft diffuser!) but mainly to trigger the two mounted lights. These are usually on about 1/8th power which is plenty! Recycling is very fast and I’ve never had to change batteries yet at an event, although I have charged spares on hand.

If I get a large group like a football or cricket team at a sporting event I can quickly move the two sidelights back and up the power.If it quietens down and we get a guest who wants some special shots, the lights can be moved so one acts as a keylight and one as a fill for classic Rembrandt lighting. We have professional makeover software running on the workstations so can enhance pictures quickly if someone wants portfolio shots.

The SB-900 on the camera can also be removed and used as a slave for hair lighting or other effects, triggered by the on camera flash. So we can do a three light setup easily! White balance is crucial, on Nikon cameras just stand where the subjects will be, set the white balance to “pre” then hold down the wb button for three seconds. When the display flashes, point the camera back between the lights and shoot. If it says “good” in the display, you are set to go. If not, try shooting again straight at one of the sb600, it will work!

The real beauty of this system is that it all fits in one calumet rolling case and is easily portable! It is very flexible for other types of photography. These flashguns are just as powerful as studio lights, and we even carry Fong diffusers and softboxes just in case we get a chance to do some glamour photography. (and yes, you can book us for private shoots!)

3. Printers for Instant Event Photos.

I used to to run a large independent company selling calibrated colour printers, scanners and displays into the corporate design market and previously worked with Canon, Xerox, Mitsubishi and Tektronix as a colour consultant. So choosing the best Event printers was an interesting exercise!

Inkjets and colour lasers were instantly dismissed as I needed portability, reliability and photographic quality. Plus I needed to know exactly what each print would cost. An inkjet will produce the quality with a bit of tweaking but will never match the quality, speed or durability of a dedicated dye-sublimation printer.

I don’t believe in compatible inks as I’ve seen first hand the amount of R&D that goes into a manufacturers own ink. So ink-jet prints are going to be too expensive for event printing. Lasers are fast but lacking in colour quality, and extremely tricky to transport. After testing all the current offerings I decided on the Mitsubishi 9550 DW linked to the Mitsubishi Click system as our basic workhorse for producing large 9 x 6 inch photographs.

As I use a full frame camera this is exactly the size the camera shoots at, so no cropping needed! The photographs are fast and very accurate thanks to the dedicated colour profiling we use supplied by Systems Insight and fine-tuned by me!

The dye-sub process basically involves heating the ink on a ribbon until it turns into a gas and sublimates into the special paper. This is a true continuous tone process so the colour gamut is much wider than other processes, giving smooth and accurate skin tones with no dot patterns.

You can actually roll a photograph up and stand it in a pint of coke, leave it for hours and then wipe dry without any signs of running or fading, as demonstrated on the training course by Stuart! These photographs really won’t fade and are fingerprint proof thanks to the special coating. They will last longer than any other photograph!

The fixed cost per photograph allows us to offer discounted pricing for pre-paid events like weddings or school proms as we know exactly what our costs will be per photo regardless of how much of each colour is used.

But we also offer a unique digital make-over service for events using a very special PC with professional retouching software so needed a printer we could connect directly. And we wanted to be able to offer instant 12″ x 10″ photos and other large sizes for Sporting Events like football and cricket events where team shots are popular.

So we decided on the larger format Mitsubishi as well as we have now found out it also works on the Click! Consumables for the Mitsubishi Event printers are readily available and therefore discounted prices help bring the costs down. Some of the more obscure brands like Shinko and Olmec are often tricky to source.

We are happy with the speed, quality and reliability of our printers, but more importantly, our customers love the results.

4. Mitsubishi Click System for Event Photographers.

My background is in colour technology as mentioned, but prior to that I was a DEC system manager, I have a HND in Computer Science and am a qualified programmer. Yes, I’m old enough to have done all that and spent 7 years in the Army controlling Artillery fire by computers and by slide rules and log books when those systems were taken out.

So i’m probably more of a technical geek than most photographers. So why did I choose a dedicated turnkey solution for producing event photographs rather than use my expertise in PC and Mac solutions?

Laziness really, why re-invent the wheel! I quickly realised that to make any money at all in Event Photography you have to produce very good photographs to a very high standard very quickly! Workflow is very important. Initially I was either going to use a big 27″ Mac with a studio display for quality to handle all the incoming pictures, or go down the Windows 7 route with a couple of fast Sony Vaio AW notebooks with their gorgeous Adobe RGB 18″ monitors, with either system linked to a dye-sub or two.

But once I started looking at the workflow and software required I realized the Mitsubishi Click would cover all the bases. Yes, I could run either system quickly and use dedicated green screen software and professional retouching software to produce stunning results. But then who would take the photos? I needed a system that was streamlined and simple to use so I could train others to use it.

My first event was a corporate Xmas dinner and the only person available to do the green screen effects, printing, mounting and sales was my wife! The Click system is very straightforward, you set up a new event and pictures are sent wirelessly from the photographer. Selecting them by just touching the screen allows for full screen previews, once the customers have decided which photographs they want it is quite easy to drop in a green screen background and print, all by touch!

Camera cards and CD’s can be easily read or burnt, multiple printers are supported and the whole system runs smoothly and look very professional. We’ve even had customers connect their own cameras or mobile phones by bluetooth and print their own photos! My wife managed well on our first event, and we had over thirty satisfied customers that evening, in a very short period of about 2 hours from when the meal ended to going home.

Many purchased multiple photos, with different backdrops and effects, but she handled it all while I took the shots. Now we have more trained assistants as it did wear her out a bit But I still wanted the flexibility and power to use more specialized green screen software to drop in overlays and fine tune some of the more tricky effects.

So with a bit of help from the techies at System Insight I worked out how to access the system directly, and underneath the smooth software front end is a powerful windows PC. So now if we get a really special request (like “put me in the Oval Office with President Obama”) I can jump in and alt tab to Photokey or Portrait pro running in the background! And yes, you can print directly to the dedicated 9550DW by dropping jobs straight into the queue, email for details:)

You can also boost the processor speed, add more RAM, put in a HDMI graphics card to support external displays, even change out the motherboard if you are brave enough and don’t mind voiding your warranty!

I’d recommend this system to anyone starting out, and would also recommend you buy it from Stuart or Darren at Systems Insight as they know the system well!

5) Green Screen Event Photography

To be successful in Event Photography as in any business you need a key differentiators is something to make you unique. We all provide basically the same service, photographing people having a good time and offering prints or downloads. Some specialize in niche markets like weddings or school photographs, or certain types of events like Equestrian or Motorcycling. I chose Green Screen Event Photography for a variety of reasons.

I like the portability of our lighting system and didn’t want to spoil that by having to carry around various huge coloured backdrops for different occasions. I find it boring having dozens of people shot the same way, and I’m sure most people who go to events are getting fed up of the same blue grey backdrop, or the “ultra modern” white or black high or low key shoot.

I want to have fun at an event and want the guests to experience something new. So we shoot everyone in front of a blue or more usually a green screen and then our special software can replace that colour with any of our 2500 digital backgrounds! This gives us the flexibility to add classy studio backdrops to Black Tie and Corporate Events, and lets us choose appropraite colours to enhance what the guests are wearing.

For School proms and Sweet Sixteens we can get the guests flying through space, on stage with their favorite rock bands or in the latest movies. Bar and Bat-Mitzvahs are great fun as we can transport the guests anywhere in the world, and for all events we offer free personalized overlays and designs so the event is memorable and unique.

The secret to Chromakey Event Photography is keeping the workflow fast! If you offer a guest 2500 choices, expect a huge queue or a lot of disappointed people. We tend to design 10 choices for each event and will print an example of each so they can decide before we shoot. That way if they are going to be posing alongside a Twilight Vampire or on the dance floor with John Travolta, they can strike an appropriate pose! It does slow things down having to add backdrops but we prefer the interaction and the guests enjoy the experience.

It’s not all about getting them shot and printed to us, some event companies work like a slaughterhouse concentrating on quantity rather than quality, that’s what the auto cameras at theme parks are for, we would rather spend a little time earning our money!

We prefer green screens to blue screens as less people wear the actual shade of green we use. Blue clothing, eyes and jewellery are more common and can cause problems unless you know how to mask out those areas. We use very special green screen material now, direct from the film studios. This is a special white backed material that absorbs light and glows evenly. Ordinary green muslin will reflect light and cause problems especially with very blonde hair. Contact me for details, it’s twice the price but worth it!

Don’t worry about evenly lighting the backdrop as many claim, that will just cause more spill and you need more lights power and cabling! You can’t get your guests the recommended 10-12 feet away at an event, which you need to if you light the backdrop! Imagine if you were shooting a group and they all had to be 12 feet in front of the cloth!, how big would it need to be! Using pro software lets you quickly adjust for spill and reflected green light.

The trick is to light the people not the backdrop, that should only appear in the gaps anyway and if you have a light enough green it will work. Less is more, light from the sides and above so any shadows are still green and they will disappear.We use overlays and backgrounds to get realistic Magazine covers and special effects .

People don’t notice that usually the models on magazines go in front of the title heading but behind the informative text! And watch out for copyrights, design your own magazine covers that are similar but not identical, you can buy these from the USA as overlays. .PNG files are best but won’t work on the Click, you need to do what we do and switch.

The President Obama shot is a good example, He is in the background, the guests are dropped in on top, then the desk is added as an overlay in front.

6. Starting an Event Photography Business.

Don’t believe some of the salesmen out there who claim it’s a license to print money! That is their job and they do it well, but like any business you need to really work at it. Most pro photographers wouldn’t dream of doing a photoshoot AND supplying a framed large photograph for a tenner! And don’t think just because you get a booking at a black tie event for example with 100 people that you are going to sell 100 photos !

30% of those people won’t even want a photo taken! That’s just the way it is. There won’t be many single people wanting a photo on their own, and there’s always a large group who want just one shot of all of them, but will buy additional copies at a discounted rate. That leaves the couples, so that brings you down to around five singles, a large group and twenty couples.

You will earn about £300 at an event of this size. Ok, that’s a small event but just about possible for two people to cover so that’s only one assistant to pay. Then there is the cost of the prints, mounts and bags, traveling costs, insurance costs not to mention an hour to setup and an hour to pack down plus sometimes many hours of waiting for a dinner speech to end.

Don’t forget the website you need, the adverts to get bookings, the expense of all the gear, marketing your website, the admin and post production work to get the images online. The usual business costs of stationery, phone bills, promotional gear and all the insurance.

Also remember there are a lot of excellent photographers out there, and anyone can buy a good camera, lens, and a fast printer and go out and do this. The big companies will already have the big events sewn up, So you need to use your contacts, ask around, advertise and promote. Offer to do some small events free for the practice, but still charge the going rate. Even if you only sell 10 shoots in a night, the experience is invaluable before you tackle a busy event.

Once you get a booking, splash out on some pop up banners showing what you do, flyers and business cards. When you get there and setup, take a few test shots of the bar staff, waitresses and event organizers to test everything. Frame these up and give them out as gifts, asking them to show the guests! Great advertising! Get the DJ to tell guests where you are and what you are doing. Work the tables if it’s quiet. Above all enjoy it and be polite and professional as you are representing us all!

That’s enough secrets revealed for now, if anyone wants to ask any questions feel free. This is just my opinions and experience so far, I’ll add more as I get time. If you find this at all useful, please tell others, I’m not charging to write all this, nor am I selling anything, but links to my site www.fullframeevents.co.uk will really be appreciated, or a mention in any blogs etc. I only work locally 30 miles around my location in Hemel Hempstead and share events with other event photographers if I can’t get there, it’s top far away or I need more photographers, so the link won’t hurt your business! Cheers, Paul Harrison

Our Glamorous cover model is: Ashley,  Ashley’s, photography is supplied by Ronin Photography & Design.

Lightroom is a wonderful software program. I’ve been using it for the past few years. In this lesson I am going to provide you with some basic Lightroom tips so you can begin navigating your way around the program.

So what’s so wonderful about this program? It is a really simple program to use. It’s designed for photos rather than graphics and special effects as Photoshop is. Photoshop is a wonderful program but if you would like to do easy edits on exposure, white balance and other colours and tonal range manipulations quickly then Lightroom just may inspire you.

First we need to understand that Lightroom has five major tools and a variety of panels that consist of sliders. The sliders are various controls that enable you to transform features of light and colour up or down. These functions can amplify or lessen the intensity of light and colour within your photograph. The tools are located at the top of the panels; crop, spot removal, red eye removal, graduated filter and the adjustment brush. Each one of these tools plays a fundamental part in retouching and altering the light within your photo.

Let’s look at Lightroom’s primary tools:

Crop tool: The crop tool puts a grid over the top of the photograph. You then move the edges of the frame in to crop your photo. You can shift the edges in close to your subject. You can slant your scene, turn it various ways and even make your horizontal a vertical one instead.

The spot removal tool is like the clone tool in Photoshop. Once you click this tool, your curser turns into a little circle. Whatever is inside this circle means it now gets duplicated over the top of any area you want to select. Imagine cutting out a portion of paper and putting it over the top of something else. That’s kind of how it works.

The graduated filter tool is ideal for making skies really blue. You can decide on this tool and click on the top of your photo. Simply “pull down” the curser in the direction of the center. This is like pulling down a partially transparent blind over the top of the photo. You can darken the selection of the grad filter to give skies that “picture postcard blue”. This tool is just right for beach and panorama photography. It works any direction you place the grad filter. It works from the top down, the bottom up and from the sides inwards.The red eye removal tool is a handy tool for red eye. In portrait photography we can find that the flash produces red spots off the back of the retina. It is triggered by a directional light from the flash. To combat this, it’s a good idea to bounce the flash off the ceiling, or use a tool to help you diffuse the light. If you can’t do this, and it does create red eye, then this tool can help.Next the adjustment brush is a practical little thing indeed. The adjustment brush is just right for choosing individual components of the photo and making adjustments to them. Let’s say you have a landscape photo. You are quite proud of this photo but feel the trees are too dark in the background. Simply select the adjustment brush, go over the area of the trees (just as you would when you paint) and then reduce down the exposure.When you choose the adjustment brush, another panel will display. This panel is asking what you would like to do inside the selection of the brush. In other words, you can darken, lighten, change hue, sharpen, boost colour, etc. This is such a handy little tool because it does not have an effect on the rest of the photo; it only affects the area you run over with the brush.

It’s exactly like creating a painting with oils or water colour. When you want to make a change to a region of the photo, just select the adjustment brush. You will have quite a few alternatives to change an area of the photo in any way you like.

Next we have the history panel. This panel is to the left hand side of the workspace. (A workspace is simply the screen and layout.) Every time you do something, whether it is making use of the adjustment brush or alter the white balance, this panel records it. This is ideal for when you want to go back to a certain point. For example if you transform the photo to blue, then green, then red you may think “I don’t like the way the photo is now, how do I get back to the point when the photo was blue?” You will find that the “undo” function only works up to a certain point. While the history panel can take you back as far as the launch of the photo editing process. It is a very handy panel indeed.

Lightroom is an amazing tool for photographers. It can help you do a variety of improvements. Photo editing is a big part of photography. Lightroom is easy and simple, and will enable you to do that editing with less fuss. Everything is laid out before you. If you have ever used Camera Raw you will discover that these are similar programs in their functions and options.

Amy Renfrey is a professional photographer. She shows you how to take the most stunning photos every single time you press the shutter button, even if you know nothing about photography and have never used a digital camera before. To discover how to do photography better than ever, visit her website today. http://www.DigitalPhotographySuccess.com/focusezineSub1.htm

Article Source: http://EzineArticles.com/?expert=Amy_Renfrey

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Our glamorous cover photography is supplied by: Mike, Lost For Words Photography.

Question: How do you honestly feel about your body image?

Here is the truth… body image in women, in every woman, is a struggle we face every single day. The magazines on every news stand, in every grocery store, on every shelf, are not helping! There isn’t a single magazine I can think of out there that really PROACTIVELY addresses the issues we face, they really only add fuel to the flame.

There is this mentality that we sometimes develop that if we just pretend it doesn’t matter then it won’t. This past issue on beauty really brought this to my attention. How do we write about what makes us feel beautiful when we don’t actually feel beautiful? How do we instill these lessons in our daughters when we still don’t have them in ourselves? Why do we feel like hypocrites when it comes to beauty? So we tell ourselves that we don’t care about losing twenty pounds, or dressing up, or feeling beautiful. But these are real issues that every woman, Christian or Not, struggles with and we will get nowhere by pretending they shouldn’t or don’t matter. Because they do!

Every magazine directed towards women does a great job of putting the issues front and center. Magazines sell because they focus on issues that women struggle with. EVERY WOMAN. I won’t lie. I am drawn to every article I see on beauty products, tips, losing weight, eating healthy, and fashion. I watch YouTube videos on how to apply make-up, what products to buy, and how to do my hair. I find them interesting and I also enjoy them. I enjoy fashion (I love shopping), I enjoy make-up and getting my hair done, I work out on a regular basis, I watch what I eat, and I feel guilty when I make bad health decisions. I would be a hypocrite if I said I didn’t care about all those things. I am a girl and I enjoy girly things! I love to get dressed up and feel beautiful!

Here is the problem. No matter how many hours I spend in front of the mirror, regardless of the videos I watch or the products I buy, I don’ feel any more beautiful. What the magazines are selling isn’t helping! But I keep buying and keep reading because it’s the only source out there focusing on those issues… even if it is in a subtly detrimental way. There is a void in my heart that I just can’t seem to fill.

And there it is. It’s my heart. The hole, the pain, the desperation, the need to feel beautiful, I feel it in my heart. The definition of insanity is trying the same thing over and over again expecting to get different results. Up till now I have been insane, and there is a good chance you have been too. We keep doing to the same thing over and over again hoping to feel beautiful. Only we are tricked into thinking it’s going to work because there is a new bottle, a new formula, a new cutting edge technology, a new magic wand that is going to transform us into Cinderella with a flick of the wrist and a few magic words. But even Cinderella only had until midnight… So I am ready to try something new. I am ready to work on my beauty from the inside out. This time I am not throwing all the things I love out the window. I am not going to stop wearing make-up or having my hair done, or pretend I don’t like shopping. I am not going to shun beauty, I am going to Rethink it.

Our gorgeous cover model; Aneta, may be reached through Mike, Relaxx Images. Aneta’s cover photo was photographed by: Mike, Relaxx Images.

Our gorgeous cover model; Emily’s cover photo was photographed by: Dave Davis Photography.