Photographing Lightning

Lightning can be both a beautiful and yet frightening part of nature. Many of us find awe in watching the momentary bolts of lightning and have seen photographs which seem to have captured more bolts of lightning than are possible in a split second. When photographing lightning, as with any unpredictable subject, the ability to capture that one fleeting moment is something we do not have the luxury of doing. Yet, what we can capture is quite impressive when we use the proper techniques. With lightning, the key is to let it do its show for us, and not to attempt to capture a momentary bolt. Here are some helpful lightning photography tips. As lightning is a split second event, and often lightning bolts come in groups, we can use the lightning for our source of light. We do this by using a slow speed film (a low ISO on digital cameras), a small aperture, and a long exposure time at a point when the lightning's activity has increased. This exposure can be from 1 second to many seconds depending on the amount of lightning activity, and if we are taking the shot during the day or night. Even if we are taking the exposure during the day, often lighting conditions are very reduced during a storm; by as much as 7 stops or more from sunny conditions. The idea is for us to pick our spot from which we are going to shoot during the storm; such as a cityscape, farm, church, or any other area we feel would make a good background (or subject) for the lightning. We can select areas from which we would like to shoot during a non-storm period and go to those locations when a storm is brewing. If we are to set up the camera in an outside location, we need a sturdy tripod with some additional weight to hold it down during potentially high winds, and some waterproof cover for the camera. The use of a cable release is a must, for the sake of safety, and the best type to use is an air-bulb release as it does not use metal in the tube; not giving a source of continuity back to us in case the camera is struck by lightning. We need to set the camera to the bulb (B) setting for shutter speed, and probably an f/16 with the lens set to infinity, or a pre-determined hyperfocal distance. We then need to get to our safe place from where we are to trip the shutter. An alternative to setting up the camera in an outdoor location is to use a windowpod we can attach to our car windows and attach the camera to it. The window should be rolled up as much as possible and the camera still needs to have a cover for protection. For those of us lucky enough to have a good view from our home, we can position the camera at a window, either opening the window or pushing the lens up against the window glass, making certain that any interior lights for the room we are using are turned off. Taking pictures is a matter of holding the shutter open for a few seconds so we can capture one or more bolts of lightning. For the best results, we need to do this several times as we cannot pre-measure the exposure value of the lightning. We should plan to kill of a full roll of film (here, digital cameras have an advantage) doing this for different exposure times and various lightning effects. The end result will be several successful exposures with some really neat lightning effects. A lesson on taking pictures of lightning cannot be closed without mentioning the potential danger in doing such. Lightning is electricity with an equivalency of thousands of volts of potential delivering enough joules to make the electric company salivate. Capital punishment by electrocution uses less power than what a lightning bolt can potentially deliver. Safety during a lightning storm involves keeping yourself in a protected place such as a shelter where you are not exposed to an opening or a vehicle which is well protected from lightning due to it not being grounded, as lightning is attracted to portions of the earth which have an imbalance in their electrical state. Being separated from the ground breaks the continuity and prevents you from becoming an attractor for the lightning. If you find yourself outside during a lightning storm and you feel the hair on the back of your neck and limbs stand up, quickly get away from the area as this is a precursor of a lightning strike. Wearing protective clothing such as a rubber raincoat and boots with rubber galoshes over them can add protection, but it is not a cure. Staying away from trees during a lightning storm is advised, not due to making you a better target (as it does not), but if the tree is hit and the ground is moist enough, you can still be struck due to continuity of the electrical charge or the splitting of the bolt; not to mention having a tree fall on you. The effects on someone from being struck by lightning can range from the loss of fingernails and toenails, loss of hearing, severe burns, loss of sight, loss of all body hair, organ and tissue damage, organ failure, brain damage, fusion of skin, to outright death which is not uncommon from lightning strikes. I hope my warnings about the dangers of lightning have not fallen on deaf ears. Taking photos of lightning can be quite a rewarding experience. Being alive to share those photos can be an even more rewarding experience. You do not want to end up being the butt of the old photographer joke where their last picture was a beauty. Bob This article is copyrighted 2005 by Robert Meeks. All rights reserved. Webmasters are allowed to use this article on their site so long as the content and copyright information stays intact and a link is provided, on the same page as the article, to Zhorkow's CargoShip.

About the Author

I have been involved with portrait and wedding photography professionally since the early 90s and been into photography since 1980. I presently write articles on photography and entertainment subjects as well do web design.

Making Money With Digital Photography And Live Events

By Richard Meredith

A few years ago I became interested in digital photography, mainly for web publishing and personal reasons. You know, how nice is it now to NOT have to deal with film, scanning pictures, and the costs of developing all of those "not great" photos that you didn't know were so bad until you paid to have them developed!

So, at the time I got my first digital camera a friend of mine was playing in a rock band, and needed pictures for their web pages and promotional printings and ads. When I first began to do their photography, I had NO IDEA what it all would lead to... and now I will reveal to you some of the MANY ways to make money, part-time, with your love for photography!

Now, at the clubs my friend's band played in- a lot of the time they would be in a line-up of 3 bands for the evening, of which I shot live pictures of my friend's band's performance. Then I got another idea, I'm there already, usually to finish the night with the band, so I started to take pictures of the other bands. Afterwards, as they were breaking down their equipment, I introduced myself as the other bands photographer, and explained that I liked their music and look- and also took pictures of them also.

I got the names of the band members, jotted down notes about which instruments each one played, and then got a mailing address to reach them. I told them that I was going to print up some proof sheets and send them off to them... all were very agreeable and willing (and why not, it doesn't cost them a thing).

Then I printed the proof sheet(s), and selected three of what I thought were the best- of which I made a little bigger on a separate sheet and used Photoshop to refine and enhance the images
prior to printing (all on my little ink-jet printer).

I composed a form letter that I could customize for each mailing explaining details like:

- The first proof sheet was all of the raw digital images

- The second one with the larger images was digitally self enhanced

- I would professionally print any pictures they wanted for XXX cost (considering mailing costs, printing costs at a local printing shop, labor for digital enhancement, and healthy profit margin)

- For any order I would give them a CD with ALL of the photos in digital form for them to use any way they wanted

- Add my contact information

- And finally my availability to book shootings with them in the future

Now I could personalize this form letter and send it with the proof sheets to the band, and when I would call them about a 8 days after I made the mailing to ask them if they received the proof sheets and which ones they liked (and I liked)- and I simply asked for an order.

It was amazing how well this worked, and I expanded the idea.

I would go to fund-raising events, marathons, special events hosted by radio station
personalities... always getting the contact information for reaching whoever is in charge of promotions and following the same system!

As you go along, you realize some other benefits to you new "business"- like free admissions (and no club cover charges), press passes, exciting opportunities to meet
interesting people and celebrities, discount drinks, and much more! It's amazing what people will GIVE you, if you just ask!

Then there are the home-business tax deductions that are eye-opening in themselves!

As soon as you can, upgrade to more professional equipment so you can not only "play" the part, but also "look" the part. Print up business cards, and make up your own portfolio of your "best" digitally enhanced photos of all kinds of subjects and previous shootings.

Seriously, this could turn your love for digital photography into an exciting lifestyle and an income that could surpass your present one!

But then again, I know I have only just scratched the surface with professional digital photography, and I'm sure you now have just entered a "think-tank" that will spur many more ideas for you to make digital photography more than just a love. Make it a great life!

Richard Meredith is the Author of
"The BLACK BOOK of Online Business"- An amazing FREE SOURCE ebook for the online business person!

http://www.straight-talkmarketing.com

Feel free to distribute or publish this article conditional only by including the by-line intact.

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Photography Tip- Stock Photography - How To Counter Image Thievery

By Eric Imboden

Most photographers who come to me raise this issue at the beginning: "How can I make sure no one will steal my photographs?". There is no way to be a 100% sure that your images won't be stolen but there are a few things you can do.

On the technical side, some photographers point out that if the right-click "Save image as..." option is disabled, their images are safe. No, there are not. First, on the Mac and on Linux, this doesn't work. Second, on Windows, if you turn off Javascript, this right-click option will work. Third, any image on displayed on your web browser (FireFox, Internet Explorer) can be saved if you look at the source of the page: it doesn't take a Computer Science degree to do that.
Also, some software vendors try to sell you plugins that should solve this problem. Usually these "solutions" are quite expensive and truth is that even those most complicated software that require server-side and client-side implementations cannot prevent a screen capture. It's as simple as that. Not matter how much money/time you spend, there is no technical solution.

If reading this statement makes you anxious, please consider this: How customer-friendly do you want to be? The more protective you are of your work, the harder for your clients it will be to see it. If they have to install a plugin to see your work, they might as well go next door. Besides, I personally dislike to be treated as a thief or a threat when I go shopping: that's bad security because it scares your customers away. In other words, don't "punish" 99% of your clients because 1% of them are thieves. If you don't trust people, don't get into any business at all.

So, what can you do? First thing, be careful to what you display and where you display it. It's never a good idea to make your high-resolution photographs available for download on photo-sharing websites like Flickr. Icelandic photographer Rebekka Guoleifsdottir had a bad experience about this: her work was supposedly taken from Flick, printed and sold by some third party. This is every photographers' nightmare. Of course, you can call your lawyer but it's going to cost a lot and, in this case, the supposedly thief was located in another country making things much more difficult.
First quick fix: if you are using these services, make sure you do not upload photos larger than 500 pixels (largest side). Even if someone would take the 500 pixel wide image, he would not be able to sell it: it's too small. Using Photoshop to make it bigger would only result in a pixelated image.
Second quick fix: apply a watermark. Don't be too aggressive with the watermark because it's visually annoying. If your image is no wider than 500 pixel, there's no point in putting it in the centre: your image is already small enough and remember, you do not want to scare your customers away. On your watermark, you should display the copyright symbol, your name, and optionally a web address where to find your work.

To sum up, there's no ultimate solution about image thievery but you can take some proactive step to fight protect yourself against this. However, scaring away your customers won't do any good. In fact, don't forget that the web works differently than the "offline" world: your competitor is just a few clicks away and if someone steals one of your low-resolution image and put it on a personal website, ask him/her to delete your work or give you credit for it: they usually comply. After all, it's not a physical good: no money was lost.

Eric Imboden is passionate about stock photography. He can be seen at http://www.kumaru.com/ where he helps photographers promote their photos and sell them commission-free. He always welcomes new ideas or comments about his website or articles. Email him at: info@kumaru.com

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Photography School- Choose The Right School

Thanks to the revolution in digital photography, the industry is growing quickly, photographers are more in demand than ever before and some very specialized fields of study are facing shortages, while other fields are extremely competitive. The key is to choose the right specialty and then a photography school to prepare you for your field of study...

By Brandon Baumgarten

Why go to school for photography can't you just freelance? Well, you could. But a degree from photography school opens up opportunities that would be out of reach without a formal education.

You have the opportunity to learn the occupational skills necessary to become a professional photographer. You'll also make contacts that help your career as a professional photographer. In fact many photography schools have placement programs to assist graduates connect with employers after they graduate. Plus, photographers attending college, can enhance their future resume by completing an internship with a major newspaper or magazine during the summer months.

There are many things to consider prior to selecting the school you will attend.

• Choose a field of study- Thoroughly research each field of study, to get a feel for which one is best for you. By narrowing down your field of photographic study, to the job profiles you are most interested in pursuing when you graduate. You can concentrate on learning the occupational competencies for your specialty.
  
• What is the demand for your field of study? In some specialized fields of photography photographers are really in demand. For example medical and scientific photographers with a chemistry degree or degree in medicine are highly sought after right now. Other fields like media photographer jobs are much more competitive.

• School Location- The location of the photography school is an important factor. If the schools are not nearby, consider the cost of living in the area. Search CraigsList to get an idea of rent cost, job availability etc. If moving to another location is not feasible, community colleges and online classes are a popular option.
• Tuition Cost- The cost of tuition while attending photography school can play a major role in your ultimate decision. Research scholarships and financial aid that may be available. Keep in mind that a good education isn't expensive, it's invaluable.

• Read school reviews- When choosing the right school from your top picks, do some research for objective reviews of the institution and it's staff.

Request information from each photography school you are considering attending and maybe even a few more just for reference purposes. Most schools will send you a free no-obligation information package. Compare programs for the schools that match your goals and narrow the list down to two or three that provide the curriculum required for your field of study.

Narrow your choice of photography schools down to two or three that match your field of study. Now go check them out! There is no substitute for visiting the school in person. You can meet with the faculty, inspect the facility and get a feel for the local community.

Find out more about choosing a field of study and compare online and campus based photography schools for the program that best fits your field of study.

Brandon is a professional digital photographer from Lake Tahoe, California. Brandon specializes in on-mountain action and portrait sports photography during the winter months, photographing skiers and snowboarders on the slopes. Brandon also has a digital photography website which is full of excellent tips and techniques.

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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?

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The Rule of Thirds- Some Rules Are Meant To Be Broken, But Not This One!

By Warren Lynch

The "Rule of the Thirds" is a fundamental truth among photographers and artists. I suppose that it's not really a rule though. You can think of it more as a "guideline". So, in that case, I guess that there are times when it can be broken. Before we talk about breaking the rule, let's talk about what the rule is all about. It's tough to know when to break a rule if you don't know when to apply it.

The "Rule of Thirds" calls for you to draw imaginary lines that divide the scene into a grid of horizontal and vertical thirds. That is, you mentally "draw" two horizontal lines which divides your image equally into three rows or bands. Then you draw two vertical lines which divides your image equally into three columns. The end result is a checkerboard of nine evenly spaced squares.

Now all you have to do is compose your image so that the main elements which are the most important or interesting are placed at any of the four intersecting points of a horizontal and vertical line. Yes, you can use "any" of the four points. Which one you use will be determined by the scene you are shooting and the natural placement of the subjects in it.

Experts say that by using the lines as a guide it's easy to produce a nicely composed image that avoids the common practice of centering your subject in the middle of the shot. Since there is no intersecting pair of lines in the center of the image, it's impossible to place your subject there if you follow the rule.

Camera manufacturers aren't big supporters of the "rule" because they design their auto focus circuitry around the assumption that the subject of the photograph will always be centered in the viewfinder. So, when shooting using the Rule of Thirds, you may need to switch to manual focus if your camera refuses to focus properly.

Now that you understand the rule, let's explore the wisdom of breaking it from time to time.

An interesting result of drawing those imaginary lines is that not only do they intersect, but they also run parallel to each other. That results in a side benefit which can give you an entirely different perspective when composing certain shots.

Let's suppose you're in the desert on a clear night with a full moon and a sky full of stars. You've got nothing but a miles of white sand, glistening in the moonlight, between you and a large butte in the distance.

Instead of placing the butte at one of the intersecting points, like the rule requires, center the butte horizontally in the viewfinder and then move the camera so that you place the top third of the butte slightly above the bottom horizontal line. The result will be a dramatic dwarfing of the mountain by that magnificent night sky and a perspective that the average photographer would have never seen if it weren't for the "rule".

The nice thing about the "Rule of Thirds" is that it always works when there isn't something else that will work better. That means that if you don't have time to compose a perfect shot, you'll at least end up with one that's better than ordinary if you let the "Rule of Thirds" take over.

Have more questions about rule of thirds. This digital photography tip article is brought to you by award-winning professional photographer Warren Lynch. Exciting articles gives both beginners and advance digital camera enthusiast the leg up. With cutting-edge digital photography blogs, forum and review resources.

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How to win at Photography Competitions

By David R Butcher

Entering photo competitions is a great way to practise and improve your photography and have some fun in the process. One of the greatest morale boosters a photographer can get is to win or even placed in a highly regarded competition. It means that others have seen your work and judged it worthy. There are a few pointers that you need to know about competitions that will increase your chances of winning however

First find your competition. Luckily photographic competitions can be found in many places such as in magazines (both photographic and other specialities), local newspapers, local promotions as well as here on the Internet. Why do people run competitions and give away lovely prizes? Well photographic clubs use competitions as one of their chief sources of entertainment and encourages the members to take photographs. Competitions are also used as promotional or advertising tools for products or companies.

The prizes offered can vary from cash, certificates, film, photographic goodies to cars and exotic holidays. Some photographers make a handy bit of extra cash by entering competitions on a regular basis. Though prizes are a definite draw, many just enter competitions to test their skill against others.

If you are thinking of entering a competition or you have had little success before, here are a few tips to set you on the right track toward entering and hopefully winning a photographic competition.

Shoot for the competition!

The best pictures in a competition are often those that are shot especially for the competition in question. Most competitions have a theme and certain guidelines to be followed. Sometimes even the organisation running the competition must be considered before even composing that winning shot.

The Theme - This is the most important thing to remember. Most competitions have a theme or a specific subject they want portrayed. For example, entering a dog picture for a landscape is a sure fire way of joining the rejection pile. Far too often shots are sent into competitions which, seen on their own merits are technically superb and artistically excellent. But, if the picture doesn't fit the them then the judges have to reject the image.

The Organisation - Often the company or organisation running the competition will conjure an idea of the type of images they want to see. For example, a travel business that runs a competition for the best holiday snaps. They are probably expecting to use the winning images to promote their business. So knowing what holiday destinations they cover and supplying nice bright images of those destinations will probably score higher than others.

Use Impact in Your Entries
When you enter a competition just think how many other may or will be entering. It could just be a few entries in a local camera club competition or it could be thousands in an international competition. Whatever the numbers your image must stand out amongst them. In order to achieve this the subject of your photo must have an eye catching feature or form of impact.

Landscapes for example are a popular subject for competitions, everybody knows what a landscape is and can usually find a nice location not too far from home. But to stand out from the crowd you have to consider the impact and with landscapes its all about the lighting. Sunsets are pretty, and can be spectacular but if the judges have seen hundreds of them then the sunset is very 'samey' as all the other sunsets and become mundane.

For other subjects for impact use colour, shapes or creative lighting, try unusual angles for shooting common subjects. You must find something that will make your image jump out from the crowd.

Technical ability
The last important aspect of your entry is purely technical. If the image is badly exposed, has washed out highlights for example or is out of focus or exhibits camera shake then the image will be rejected.

So with all the above in mind, happy shooting and just remember, shoot for the competition and go for impact with nice sharp well exposed images and you will increase your chances of winning those prizes.

Good luck

David R. Butcher Bsc., LRPS has over 35 years experience in photography and is a co-founder of School of Photography.com (http://www.schoolofphotography.com) established in 1999. He has been awarded the Licentateship of the Royal Photographic Society of Great Britain.

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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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Photography Tip- Business Practices for Photographers

By Kenneth C. Hoffman

There must be as many business policies as there are photographers

in business. Through the years I have learned by my mistakes and
by observing other successful photography business. Here are some
policies that have added to the success of my business.

Concerning weddings, require the full payment for the basic package that
the bride and groom order. Extras must be paid at the time of the final
order. The argument that no goods are in the hands of the buyer must be
politely put aside.

If actual proofs are supplied for perusal, one successful photographer I
know actually supplies these proofs (over 300 3x5s) to the bride and groom
free of charge. The theory is (and it works) that more people over a longer period of time will see the pictures and place more orders. These proofs are too
small to use as gifts or for display and their gratitude for the free gift is
wonderful for word-of-mouth advertising. I suggest that the proofs be
heavily textured to prevent illegal digital scanning.

I believe that a full guarantee of customer satisfaction be a major policy of
the professional photographer. The consumer is entitled to be happy with
their purchase, even though some criterions are subjective and not the fault
of the photographer. No customer should be left with a bad taste in their
mouth when they leave the studio. You will reap the rewards in additional
referrals and increased orders.

Offer as many free retakes of sessions that have gone wrong for one reason
or another. I know that this policy represents additional costs to the studio
but the clients have no fault when the two year old won’t sit or grandmother
gets sick. Some clients might try to take advantage of this policy by trying
to get free sessions for individuals in a group picture, but the rules must be
stated clearly and posted in the studio for the customers to see.

Some photographers expand the price list lower and higher, quoting higher
and lower levels of quality. I know that the reason is to present more choices
in cost to the customer, but the down side is that the cheaper products will
not represent your best work and the customer may feel cheated. All your
work must be of the finest quality you can produce. Lower prices can only
reflect smaller sizes or fewer quantities.

Promise a realistic date for the work to be completed and make sure that the
work is ready on time. A variable date for completion only serves to undermine
the customer’s faith in your efficiency and good work habits. Reminder calls
are a good idea if the work is not picked up within a reasonable time period.

Assuage the customer’s important concerns and fears early on in your relationship.
Some clients are reluctant to bring up their fears and end up not booking if those
concerns are not addressed.

Never offer any extra pictures you have at no charge to the customer. For some
reason, this never works in favor of the photographer. Be meticulous in preparing
the exact sizes and amounts of their order. On the other hand, you may include a small
(non photographic) gift for their continued support of your services.

Generally, your prices should be commensurate with your major competition, using your
expertise and talent as the reason your customers are satisfied and return for more business.
Bi-annual reappraisal of your price list should be a regular habit. Everything goes up and
you should be no different. Photographers are a dime a dozen but good, successful
photographers are rare.

I was a portrait and wedding photographer for 40 years and enjoyed every minute.

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Albums - An Arranged Marriage

By Kenneth C. Hoffman

We often put off finishing an album of photographs because of the daunting challenge it presents even to the creative mind.

It’s difficult to discard a not-so-good photograph even though an identical, but wonderful photograph exists right next to it. In order for an album to capture the attention of the viewer and hold it, it must be provocative, show variety, and progress in a timely fashion.

First, separate you photographs in piles representing events. Then choose one photograph with impact that also summarizes the main subject. For example, at you grandmother’s birthday party the presence of most of your immediate family afforded you the opportunity to take lots of pictures including all the action. The aforementioned cover shot would be a close up of Grandma and Grandpa in a hug opening her present.

Next, separate the main groups according to chronological order. Further divide these groups in a series of threes: one scene setting shot, one medium action shot and one close up. Of course, you have to work with what you have, so make the best of it. There will be many posed pictures of various family members, so in order to separate them, distribute the series of three at different points throughout the album. No chronological order is necessary since these photograph could have been taken at any time throughout the evening.

It is important to discard any pictures that an unflattering (unless comedic), especially ones in which the subject blinked. It serves no purpose to embarrass the subject, and only promises to disappoint. If there are two or more snaps of the same subject and you need only one, discard or store the extra images for safe keeping. If they are place in your story album, you risk boring the viewer to death with repetition. Save a particularly nice shot of the main subject (Grandma) for the last photo in the album for a warm, happy ending. I suspect this memory album will take its place as one of her most treasured possessions.

Retired portrait and wedding photographer. What do YOU think?

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

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Photography Tip- Dreamy Studio Backgrounds Made Easy

By Kenneth C. Hoffman

So you’ve got your basement studio all set up with lights, camera, tripod and a plain white background. Great. Wouldn’t it be terrific if you could add one of those beautiful muslin backgrounds you see in the catalogs and used

by the big studios? Yeah, right. Seven hundred dollars for one. Here’s a method to make a background of your own design at a cost of under twenty dollars.

First decide how you would like your background to look. Find a greeting card or postcard you like. It could be a forest of trees with sunlight slanting to the ground, a quiet lake scene, pine trees under a new fall of snow, an old fashioned garden in France or even a picture of yours that you love.

Make a slide or viewgraph transparency of your selection and prepare the surface for the artwork. An old king-sized sheet will do very nicely or you can use the wall itself. If using the sheet, stretch it firmly on the wall and project the transparency on it. Make sure the projector is firmly supported and square to the wall. Mark the position with tape in case it moves. Using a charcoal stick, trace in all the edges of the picture on the wall. If a removeable background is desired, stretch a king size white or light gray or beige sheet on the wall. Make sure it is firmly attached since you w will be drawing on it later.

Buy a gallon of white ceiling paint (for its matte surface) and some tubes of color. Mix enough paint of the needed colors in a few plastic buckets. With a two inch brush, paint the picture on the wall, using the photograph as a guide. You don’t have to be an artist since the rendition should be loose and a water color like representation of the chosen subject. Avoid using black or very dark colors and tone down any brightly hued colors with white or gray paint. If the scene is to portray a high key effect, one further step is recommended. Mix some white paint with an equal amount of water and roll or brush on a semi transparent layer over the dry painting.

If a more classic look is wanted, you may skip the transparency and paint right on the sheet or wall. Start in the lower center with beige and light gray
and work your way toward the edges, mixing the colors on the wall using veridian/brown, alarizen red/brown and brown/dark blue. These colors are sure to compliment skin tones. Use a four inch brush with either a diagonal stroke for the whole background or a quarter moon shaped overlapping brush stroke. Work fast, using the darker colors toward the edges. One warning: never go back to correct an effect after the paint has partially dried. One advantage of the classic background is that the edges can be extended around the corners of the room, allowing larger subjects to be photographed. The character of your unusual and beautiful background will be limited only by your imagination.

My home made backgrounds were so much in demand, other studios paid me $400 to paint one on their studio wall.

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

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Photographing Flowers

By Kenneth C. Hoffman

One of the easiest ways to end up with a frame worthy photograph is to photograph flowers. Their symmetry and beauty makes every close up photograph a joy to behold. Flowers and photographers are everywhere and since almost every digital camera has a macro lens setting, this photographic subject is often overdone and seems to present no challenge to the aspiring photographer.

Au contraire, I say. There is no limit to the level of composition and treatment you can give your flower pictures. You can go for a color scheme to match your current décor, you can choose a famous artist and emulate his style. Your creations may contain two, three, five or many blooms (try to stay away from the one big bloom in the middle). Attractive compositions can contain two flowers, one large, one small forming a diagonal. Three blooms create a triangle with one acting as the main subject and the other two as their counterparts. Racemes offer a built in curve and specie tulips are in a class of their own.

Photoshop and their like offer thousands of ways to improve your flower photographs. Unwanted items in the background can be cloned out, flower heads may look better moved over to a better location and additional blooms can be added to fill in an empty spot. Don’t neglect the edges, for special treatments like bevels, chalk borders and faded out vignettes can add interest to the piece. With digital photography there are no limits to attaining the image created in your mind.

In the field, special attention must be paid to the overall look of the picture. Try to decide what it is about a particular scene that grabs you fancy. Is it the unusual light descending on your subject, the quality and tone of a different looking background, or is it just the way your subjects relate to each other? Choose one quality and try to capture the peak of that essence in your digital camera. If you are successful in this respect at the expense of another facet of the picture, it can be fixed later on your computer.

Arboretums and botanical gardens are a bonanza of opportunities for the nature photographer. Even the pollinating insects can get into the act. The subject of flower photography may be the easiest to get started on, but can be the most rewarding for the creative artist.

Retired portrait and wedding photographer. Has had three art exhibitions.

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How to Choose Your Photo Paper Wisely

By Ann Woods

Choosing the right paper for printing is one of the most important factors in producing great prints. Be it pictures or text, you usually just borrow what's in the copier. But the right paper makes an immense difference in print quality. To make the right choice, we must know the basics of selecting and printing on paper for general use and pictures.

• Paper Basics:
To choose the right paper for the required print keep in mind –the opacity, brightness, weight, caliper and finish. First, it is important to know what you are printing. Black and white documents are very different from full color photos. There are some multipurpose papers which are good for both. But if you want crisp, vibrant photos that will last a long time, then of course you need to use paper which is designed just for photos.

• Opacity:
This means how see-through is the paper? The more the opacity, less of the printed text will bleed through to the other side. This is especially important for double-sided prints. High opacity paper is considered good for documents such as brochures, newsletters and calendars. Photo papers have high opacity of about 94-97 usually.

• Weight:
Paper weight is expressed in pounds (lb.) or as grams per square meter (g/m2).This ranges from light weight newsprint to very heavy cardboard. Mostly quality business paper is 20 to 24 pound bond; the greeting card paper is heavier – usually in the range of 60 – 65 lb.

• Brightness:
Brightness basically means the amount of light reflected from the surface of the paper. Higher brightness will produce crisper text with better contrast and a brighter background for color and images. It is expressed in numbers 1 to 100. Photo papers have brightness number in high 90's. But then not all papers are labeled with their brightness rating. You will simply have to compare two or more papers side by side to compare their brightness.

• Caliper:
This is basically the thickness of the paper. Thickness affects its handling; whether the paper is stiffer and will resist creases and tears etc. Its unit of measure is 'mil'. Photo paper is usually 7 to 10 mils thick.

• Finish:
The finish of the paper can be matte glossy with lessening degrees of glossiness as semi-gloss, soft-gloss or satin-gloss. It is the coating on paper as glossy photo paper gives the printed photos the look and feel of photographs. Glossy papers take time in drying as the coating keeps the paper from readily absorbing the ink. However, quick dry gloss finishes are available nowadays. Mirror-like finish of high-gloss media is preferred for color photographs and smooth matte finishes for black and white photographs and business documents.

Paper has come a long way in the last decade. Choosing the right paper for printing is one of the most important decisions in creating great pictures. It is also important to know that the paper designed for your printer looks and performs better every time. The print depends upon what happens when the ink hits the paper. The wrong amount of ink can lead to jagged images that are too saturated or sometimes too light.

The synergy of ink, paper and printer is important so as to create color photos that are as bright as your memories. The latest coating technology prevents photo jams, curling and printed pages from sticking together.
Lastly, you know how sunlight damages a printed page. Special photo inks and special coating premium photo papers are available that resist the effects of indoor halogen and glowing light. You will be able to frame your photos and display them proudly as they will resist fading longer than most traditionally developed photographs.

Therefore, the right printer paper will not only give better results, it will also be more economical in the long run. There will be fewer paper jams and the output will look great every time.

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