Photography Tip- Total Breakdown

Here's a photography tip to help professional photographers get more out of each group they shoot! This very simple technique can help you sell more pictures and substantially increase your income.

By Brandon Baumgarten

Recently, I had an appointment for a photography shoot with a wonderful family. We made plans to meet at the lake for their yearly family photo shoot. As usual I got there well before the family was scheduled to arrive so I could set up the equipment and be ready to go. The family of five and one pair of grandparents pulled up in a black Hummer. I introduced myself and as we were walking to the lake, Mrs Weber said to me I love pictures, my husband let's me buy whatever I want. Do you sell photo gifts? I got a little spring in my step and answered, "yes we have a variety of cool things like photo mugs and puzzles you can see our full selection when you order." Then she said she wanted a close-up portrait with Lake Tahoe behind her for her blog. I said, "just go with the flow!" Now I'm thinking to myself, it's time for a Total Breakdown!

• I started with a photo shoot of the entire group of seven. We did a few different poses and I shot a ton of photos. Then, I broke it down!
• I had the grandparents step out of the picture and photographed just the family of five. We had fun shooting poses for the family portrait and did some creative and traditional portrait photos. Then I broke it down again!
• I had Mr and Mrs Weber step over with the grandparents out of the picture, who by the way were throughly enjoying the entertainment, but the best was yet to come, the kids were next! They were great fun, so I got wild and crazy shots with them. We did a ton of cool shots. What now? Break it down!
• I shoot three or four quick shots of each kid. I'll do a standing full length pose. Some mid and close-up shots and something unique and different for each kid. Another breakdown? You bet! I'll keep going till they beg me to stop! Why do you think I sell so many pictures?

• I had grandma and grandpa step-back into the beautiful outdoor studio overlooking the lake. I shot a wonderful photo of the lovely couple, then breaking it down again, I photographed grandma and grandpa separately.
• Next, I had Mrs Weber join her mom and dad (grandma and grandpa) for a photo of her together with her parents.
• Now your thinking what else can you do with this? I had grandma and grandpa exit-stage-left and photographed mom by herself, remember she wanted a head-shot with the lake in it for her blog bio photo?
• Wow!!! We still don't have a shot of mom and dad together! So I have dad come over and join mom. The couple is easy to work with because now they are in sync with my flow. We capture some gorgeous pictures of them.
• I wrap up the shoot with some handsome photos of dad by himself.

I could have kept going all day, but the kids are climbing trees in their nice clothes and mom... So I call it a wrap! The key to The Total Breakdown Method is transitioning from one combination of subjects to another quickly and smoothly without interruption. With an attitude of professional confidence go from one pose to the next.

The Don't ask! Do Tell Policy states that you never ask a client if they want a break down! If you display skill and confidence, clients will allow you to do your job and take control. For instance "Mom-n-Dad, please step to the side, I'm going to get some pictures of the kids". And that's what happens. If I had asked Mrs Weber "would you like to get a photo of the kids" she may have said no, after that, I'm in the situation of getting every photo approved and I don't want Mrs Weber to decide on whether or not to get an image, until we are looking at them on the monitor on the sales floor or at our online photo sharing pro gallery!

If you use this photography technique with every group, you should see an increase in image sales. If you haven't been doing any breakdowns, the increase in photography sales could be substantial. By the way, Mr Weber slipped me a very generous, "thank you" after the family photo shoot and said I did a great job! In addition they spent well over $1000 on photos.

Brandon is a professional digital photographer from Lake Tahoe, California. Brandon specializes in on-mountain action and portrait photography during the winter months, photographing skiers and snowboarders on the slopes. Brandon also has a digital photography website which is full of excellent techniques, products and services. Including tips to help you create your own impressive online gallery, with flashy photography templates that are designed for serious photographers.

Article Source: Photography Tips

The Art of Communion Portraits

By Kenneth C. Hoffman

The First Communion is first in many ways. It is the first formal event in a young person’s life, the beginning of a life of good character and a milestone in a seven year olds education. The First Communion portrait is especially treasured by the parents, showing the innocence and hope for the future in their young faces.

For these reasons, a natural, happy face takes precedence over creativity in posing. Communion poses are studies in confidence and naturalness. An ideal session starts with a standing full length pose holding the missal and rosary beads. Girls have their weight on the back foot, their front knee slightly bent toward the camera. Boys stand with legs slightly apart facing twenty degrees off center. Several shots from the left and right sides will assure a perfect expression.

While the subject is standing come in for a medium shot cropped just above the knee. Some happier expressions can be included in this variation. Lighting should be soft but modeling, say two and one half to one ratio.

Medium close up poses are the most popular, so concentrate on getting a good selection for the parents to choose from. A posing bench that simulates the altar rail places the hands and elbows comfortably at waist height. Variations include hands on missal, reading missal, looking up, smiling and serious. You should photograph both left and right sides for a good selection.

Girls allow a little more leeway in prop usage. White tulle placed over a bouquet of flowers, a white or brass candlestick with candle in the background or a small, round topped table holding the missal and gloves off to the side and behind the subject are appropriate props. If there is time, a seated pose for the girls can be effective. Boys can stand with their elbows on a raised marble column holding the missal, the other hand in their pocket.

Always check that the tie is centered and the collar fits snugly to the neck in front. If the shirt collar is too loose, place a roll of tissues behind the neck to tighten it up. Make sure the roll is not seen by the camera. Shirt cuffs ideally should show one half inch of white past the sleeve end. If this is impossible, then show no cuff at all. Too long cuffs can be rubber banded under the coat to the correct length. Veils should be checked for equal length on the sides and the crown centered on the head. Gloves look better held in the hand or on a pedestal, never worn. White dresses and accessories are a natural for high key photography. Boys in navy blue suits look better on a medium gray background with the edges darkened.

Some unusual shots can be tried for appreciative customers. A super close up with eyes raised is quite angelic. Place a small light above the lens for a nice catchlight. Profile shots with a candle and rosary are very effective for the more artistic clients. Throughout the session talk to your subject, tell them how nice they look and give them a chance to relax and look confident. At any sign of nervousness, take a break and distract them with conversation on another subject. Remember that expression is nine tenths of a good portrait.

Retired portrait and wedding photographer. Any thoughts?

Article Source: http://EzineArticles.com/?expert=Kenneth_C._Hoffman

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How to Pose a Bride and Groom

By Kenneth C. Hoffman

Of all the pictures taken at a wedding, the one most important is the portrait of the bride and groom. Some wedding couples depend on a relative or a friend to take a few good photos for their album and others reserve a professional photographer to do the honors. This article is for both the real and wanna-be photographers at the wedding.

A good time to photograph the bride and groom is after the ceremony and before the reception. Ideal is an open lawn away from any building. Other photogenic locations are at the edge of a treed area, under an arcade or
at home in the backyard. Important is to choose an evenly lit background: one that does not contain light and dark areas. Place the couple in the shade at least thirty feet away from any background objects with their faces toward the main source of light.

Turn the bride thirty degrees away from the camera and fluff the train behind her so that only half of the train is visible from the camera position. Never pull the train around to the front of the bride since this is most unnatural and would never occur in real life. Pose the groom slightly facing the bride and have him offer his arm for her to pass her through. Make sure her ring is visible. The groom’s outside hand can be in his pocket or touching the bride’s hand. The bride should shift most of her weight to the foot furthest from the camera and the groom should have his weight evenly distributed on slightly spread feet. Never let his hand drop straight down at his side. The bride may hold her bouquet in her outside hand at a level below her waist with some daylight or background showing between her elbow and her waist. An alternate place for the bouquet is on the ground next to the groom’s feet. Turn their faces toward the camera but not fully straight on, but at a slight angle toward each other. Their expressions should show their happiness, but not laughing.

Angles other than the view straight on without changing their positions often present another good composition for a portrait. Consider also a view from behind the couple, requesting them to turn their heads directly toward each other, giving the photographer a profile of their faces. A variety of shots are possible with this pose. A medium shot (at the knees) with their faces closer together and an even closer pose with the cheeks almost touching make wonderful portraits. Try having them look into each other’s eyes with his arms around her. Natural light from the side is the most beautiful source as long as the reflector of some sort balances the light. Watch your cropping in the viewfinder carefully and leave some space over their heads. Pay attention to the position of the feet (no soles showing) and be sure only the sides of the bride’s hands are presented to the camera. The groom’s coat collar should fit snug to the neck.

A beautiful portrait of the bride and groom can be their most treasured reminder of the most important day in their lives. You can make it happen.

Comments Welcome.

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Setting Up Group Portraits

By Kenneth C. Hoffman

“We don’t want any posed pictures” is a common admonishment from young people these days. What they mean is that they want to appear natural and relaxed in their portrait of the family. A certain amount of

posing is a necessary evil in order to accomplish what they want. Of course, it is up to the photographer to make this as painless as possible.

There are some general ‘rules’ of group portraiture that have been around since Rembrandt. Never line up the faces vertically or horizontally. The reason for this rule is that curves, triangles and diagonals create a more dynamic flow and are more pleasing to the eye.. Straight lines are static and tend to line up with the edges of the picture. Another rule is never to have faces look straight into the camera for if they do, unsymmetrical features are more easily apparent and the eyes take on a stare. Now, rules were meant to be broken, but first you have to know the rules.

While couples can be considered a group, I will start with a group of three. The easiest of numbers, three people make an automatic triangle. Heads can be placed in an uneven triangle, foundation side down. Spacing should be varied, but similar in distance. Other successful patterns are the inverted curve with the middle person highest, a diminishing, flatter curve with the smallest person nearest the camera, and a stacked triangle in a vertical format. Groups of three generally look more together when the outside persons face in to the center. Enough body should be included in the composition so an not to appear bodiless. A general rule is to leave twice as much space above the heads as below the feet or hands in the picture. Spacing between heads are measured from the center of the eyes, not the edge of the head. Please do not crop off at the wrists and ankles.

Hands play an important part in the language of the portrait. To look graceful and slender, hands should present their edges to the camera. Oppositely, to appear strong, the backs of hands should face the lens. Never allow the arms to hang down vertically, but find something for the hands to do so the arms are bent at the elbow. Arm rests, furniture and other people are handy tools for creating a dynamic angle for the arms.

Shoulders look best when placed at a slight angle to the camera. Views across the back play up the curve of the spine and the jut of the jaw instead of the breadth of the shoulders. Too much of an angle will make the near shoulder appear too large, due to foreshortening.

Groups of four present an interesting challenge. You don’t want to place one head in each corner, making a square. People are basically made up of curves, not straight lines and appear mechanical and lifeless in this configuration. So what can you do with four people? An inverted curve can be formed with the two highest people in the middle. Make sure one is higher than his neighbor. For a more compact composition, overlap the shoulders, fitting them together like a jigsaw puzzle. This places the heads closer together without dead, empty spaces in between shoulders. Remember to turn the outside faces toward the center for a cohesive look. Other shapes that fit the quad portrait are an off center vertical diamond or rhomboid, a staggered vertical or horizontal zigzag line and an inverted curve of three with the smallest below in the center. Be aware that vertical faces should never be in line.

Five is an interesting and easy number to pose. Spacing becomes more important, informing the viewer of the warm relationship between family members. Basically, the faces place themselves in two triangles, the lower middle person sharing the triangles. A vertical composition stretches the space vertically and compresses the spaces horizontally. Six faces can be grouped as two uneven triangles, one slightly higher than the other. The classic oil paintings of large groups of people contain masterful examples of group posing.

Environmental settings play an important part in the balance of a portrait, creating a foil of shapes against the more important faces. If there are masses of light areas, they must be balanced with the appropriate mass of darker areas elsewhere in the picture. The eye travels an omega curve, starting in the lower left corner and wandering through the centers of interest (faces) until exiting out the lower right corner. The centers of interest should fall along this comfortable line.

The skills of the photographer retain the interest of his subjects with a constant patter, all the while making decisions pertaining to height and placement of faces pertaining to the over all pattern. Time should be allotted to the straightening of clothing without seeming too fussy. All eyes should be in one direction, that is on the photographer for a cohesive look. An exposure where one person is looking at the camera lens can not be considered as a viable pose. Try to make the process fun so that your subjects appear relaxed and natural. To quote a famous philosopher, they’ll never look younger.

A retired portrait photographer would like your comments.

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