Great Wedding Photography

By Beth Campbell

Some feel that taking wedding photos is only a casual affair, just do it and get it over with as they are only doing it for a family or friend. Others view it as a serious matter as it is their professional. Wedding photos can sometimes be difficult to take as there is a flurry of activity as well as varying lighting conditions, not to mention dealing with a nervous bride that wants everything to be perfect. Here are some strategies you can use for taking great wedding photos.

If you are going to take wedding photos, preparing ahead of time is vital. Many recommend that you prepare two months ahead. To start preparation, you must get to know the bride and groom taking, careful note of their needs and wants. Ways this can be done is by asking them the following questions:

1. How many photographers will there be at the wedding.

2. Do the guests consist of mostly family or, is there going to be a mixture of family and friends?

3. Which locations will be used? Will the wedding be at a church or in a backyard? Will there be a reception?

4. What types of photos would you like? Would you like formal group portraits or do you want romantic and candid couple pictures? This is an extremely important question. Be sure that you understand what type of photos the bride and groom want. Ask them to describe some of the favorite wedding photos they have seen. This will give you an idea of what they have in mind.

It is questions such as these that will help you understand the requirements of the wedding which will, in turn, enable you to take better shots.

After you have learned of the wedding locations, it is a good idea to go and scout them out. You will want to take note of the types of lighting as well as other features of the environment. If the wedding is going to be in a church, go there and check out the decor. It will also be beneficial to figure out where you will position yourself. Some churches do not allow flash photography so, it is a good idea to get a fast lens. If there will be a reception, check out the dance floor and ask for the seating arrangement.

Organizing the gear that you’ll need for taking the photos is another critical step. It is usually a good idea to do this a month ahead of time as it will leave you enough time to check and double check to see if you are missing any equipment. Here is a list that may help you keep in check;

1. Digital camera. You should also have a camera for backup.

2. Camera lenses and filters.
3. Tripod. This is critical for taking pictures indoors under low lighting conditions.

4. Memory cards. Bring ones that have a lot of space as you’ll be taking a great number of photos and always have an extra.

5. Portable drive. This is critical to bring along just in case you should run out of space on your memory cards.

6. Make sure the battery is charged and that you have a backup battery.

7. Assistant. It would be helpful to bring one along as he or she could help you set up and position the group. The assistant can be a family, friend, or whoever you decide to bring along.

Now, the wedding day has come, and there is a great deal of excitement. To help you keep in check, here is a sequence of events that will occur;

1. If you are taking pictures at the house, be one of the earliest to arrive so you will have time to set up your equipment as well as your positions.

2. When taking pictures at the church, take note of where the priest and couple will be standing and position yourself where you can get the shots you need but will be as unobtrusive as possible.

3. When it is time for the reception, get there faster than everyone else. This will give you time to set up your equipment as well as your position. This is the time where you can take all of the fun shots!

4. When taking formal photos, have your assistant there to help you. Start out with the large groups and then go smaller removing family members so you can get a variety.

5. It is common now to upload all the photos to an online gallery so that the couple can choose which and how many photos they wish to have edited and printed. You will need to know this information so that you know how much to charge them for the number of photos they have chosen unless an agreement was reached before hand. Even if an agreement was reached before hand, once they see the photos, they may want more than was originally agreed upon and you may have to charge a per photo price for photos in addition to the number that was originally agreed upon.

6. Once the couple chooses the photos they want, cleaning up and editing the photos is important as you want them to be as perfect as possible and be pleasing to the couple.

As taking wedding photos can be a challenge, it can also be rewarding as you have played a crucial part in helping the couple capture those precious memories.

To learn more about digital photography, visit mastering digital SLR photography. Want to improve your photography techniques? See digital photography technique. Find out more about how to take great wedding photos at digital wedding photography

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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

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

Photography Tip- Let's Do The Twist

I'd like to share my model slenderizing photography tip with you, so that you can use it to help slim your subjects and trim their waists. The better your subjects look, the more they will appreciate your photos.

I was recently on a photo shoot with a couple at the lake. During the meet and greet before the shoot, the female subject said to me, "make me look thin and I'll buy a ton of photos", I told her "not-to-worry, I've got a magic lens!" Why was I so confident? I've got some tricks up my sleeve. I work on commission, so my life depends upon making her look good. I knew exactly what I was going do.

My first photographic pose was a standing shot of the couple. I used a technique I call, The Twist! To make the models appear thinner in the standing full length photograph. Here's how I did it:

I posed the subjects for a full length (head to toe) standing image, with the models standing together next to each other and facing me. Both models kept their feet together and parallel. The subjects turned their feet towards each other, not completely facing each other but definitely turned towards each other. They turned to the same degree so the couple was evenly balanced.

I had the models do The TWIST in which they rotate the upper body to the outside while keeping the lower body turned towards each other. In other words, they kept their feet planted and facing in towards each other. Then I had them twist at the waist and brought the subjects-chests around so they were pointing at me. Photography Tip: Men and women alike generally look better when the chest is facing the camera rather than a shoulder.

It was amazing at what The Twist did. It made the hips appear narrower and the tummy look tighter! It also brought attention to the chest so that the viewers eye is drawn away from the mid section. This technique also produced neat, tidy and balanced subjects.

I adjusted a few more subtle details from this basic position to change the look and feel of the pose. I had the models move their outside feet straight ahead, say two inches. Then I had the models turn the toe on the outside foot out slightly. and lastly I had the female subject place the outside foot on it's toe and turn the heel in and then bend the knee in for a zesty twist.

A couple more more last minute adjustments like straightening posture, sucking in the belly, and some silly antics to spark genuine smiles up on the couple and I had the shots I was after. From each variation of the pose, I quickly shot several vertical full length and horizontal full length portraits.

I then zoomed in for some waist-up shots and even more for chest/head close-up portraits of the couple. Photography Tip: If you have a client that is self-conscious about their bodily appearance, shoot extra head shots.

Experiment with these photography tips and add your own variations of The Twist. Implementing these and other posing techniques can eliminate potential objections on the sales floor in the studio. Take control of the portrait from the start, It's your job! Your clients will appreciate your attention to detail.

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 tips and techniques.

Photography tips are great, but if your really serious about having fun as a professional photographer, it begins with a photography education. Compare online and campus based photography schools for the program that best fits your field of study.

Photography Tips
Photography Tip

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.

Article Source: http://EzineArticles.com/?expert=Brandon_Baumgarten
Photography Tips

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

Photography Tip- When Is Permission Required

By Rohn Engh

Q. I just read a question answered by you about model releases of people in public. I have wondered about the same question. My specialty is creating shots that evoke a strong mood, and I need a human element to make the photo successful. My question is, I always thought that the rule was, "if the person is recognizable in the photo" you need a release. Alot of times I have shot pictures of people afar off, or as a silhouette, or with their back to me (so no parent or other person could threaten to sue me because they saw their son or daughter's face in a book or magazine without their permission). How do you avoid this from happening? If I remember what you said, if the picture is used for a book or magazine or newspaper and isn't being used for advertising, then a release is not required. I know that it may not matter to the photobuyer, yet again, if the parent sees the picture, could this pose a problem for the photobuyer as well as for me?

A. Ken, you said it best: "If the picture is used for a book or magazine or newspaper and isn't being used for advertising, then a release is not required." This is thanks to our Freedom of the Press.

As you know, in the past – many regimes only let the public know what they (the ruling regime) wanted the public to hear. (Stalin, Hitler, Tojo, Mussolini, and more recently, Saddam). It's a convenient way to run a totalitarian government. But it isn't pleasant for those being ruled.

The wisdom of our forefathers was to recognize that despite how much it might hurt, we have to report (and display photographically) what is happening around us. And yes, it might hurt the mother of a child who is photographed in public beating up on a smaller kid, or a drunk strolling down the street, or two lovers on a park bench. Our Freedom of the Press protects us, and sometimes embarrasses us. As you know, that's the way it is in a democracy.

Most photographers who enter the field of editorial photography from a commercial background (fashion, corporate, aerial, real estate, food, photography and so on) are surprised that their new field, editorial photography, knows no restrictions.

It's up to the PUBLISHER of a photograph to decide whether the picture might not be acceptable to his/her public, whether that might be in New York, Alabama, or California – where each location might have a different cultural outlook on the same subject matter.

I've yet to hear of an editorial photographer being sued and losing the case on the kind of situations mentioned in the second paragraph above. Anyone can sue anyone. But smart lawyers know it's an uphill battle to try to win a Freedom of the Press case, let alone get any funds out of a freelance photographer. An attorney would always ask for a retainer first before taking on such a case.

The editorial photographer "greats" of the past, who have shown us what life was like during the roarin' 20's, the Great Depression, or the 60's, knew they had a mission: to show the world how they (the photographer) saw the world (Weltanschauung), leaving that as their legacy, and us to judge its merits.

As an editorial photographer, you have to overcome your timidity to photograph some things that might be reprehensible to you: mental wards, homelessness, or unpleasant political or military situations. As the man said, "If it were easy, everyone would be doing it."

Rohn Engh is director of PhotoSource International and publisher of PhotoStockNotes. Pine Lake Farm, 1910 35th Road, Osceola, WI 54020 USA. Telephone: 1 800 624 0266 Fax: 1 715 248 7394.

Web site: http://www.photosource.com.

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TIP- 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 seperate 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 recieved 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 porfolio 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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Ski or Snowboard at one of the major USA Ski Resorts this winter and become an on-mountain photographer. Learn a professional workflow and skills that bring confidence.

Restoring an Old Photo

By Kenneth C. Hoffman

While browsing through a box of photos handed down to you
from a relative, you come across a studio portrait of your great
grandfather and his family. The picture is in sepia tone, the edges
are tattered and there are deep scratches across the picture. To
make matters worse, someone folded the picture to fit into a small
box producing a crease across the center of the picture.

In spite of it’s faults, you would like to enlarge the picture and
frame it for your family gallery. With a photo editor, you and your
computer can make the photo like new. First scan the photo at
400 dpi resolution. Save the file as a .tif and scan again saving as
a .jpg file. Using the JPEG file to work with, choose the clone
tool to extend the corners and to remove any marks in the photo.
The clone size should be about twice as large as the blemish and
set to fifty per cent strength. Save your work after ten or so fixes,
more depending on your RAM memory.

There are three basic methods of fixing missing or damaged areas
in the photo. The source area of the clone tool is centered over an
area similar to the missing patch but undamaged. A fifty per cent
strength (eighty five per cent for skin) clone brush used in a tapping motion will replace the damaged area. A second method drags the
clone brush and source through the damaged area for replacement.
Finally, a third method involves masking out an undamaged area that
is identical to the damaged area, making it into an object and dragging
the object to the new location for a perfect fit. Some edge blending
may be necessary. Work at the highest magnification possible for an
invisible fix.

Most difficult are problems with the nose and eyes. If one eye is undamaged, it may be possible to make an object of the eye area, flip
it left for right and replace the damaged eye. Blend the edges and use
the smoothing brushes for a natural look. Do not sharpen the eyes
too much or they will look unnatural.

When satisfied with the retouching, open the histogram to stretch the contrast to a proper level. I recommend desaturating the image and using the color balance to simulate the original sepia tone. Some editors have a special sepia tool for this purpose. For enlarging more than
two hundred per cent, I recommend using PureImage or equivalent
software to reduce artifacts, smooth out the one tone areas and sharpen
the edges. Your efforts will be well appreciated, for after all, if it weren’t
for your ancestors, you wouldn’t be here.

A retired portrait photographer, not quite as old as some pictures.

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

Check out DigitalPhotographyWebsite.com for lots of great photography related products and information.

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

Visit Digital Photography Website to compare and Buy photography equipment and services.

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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Photography Tip- Photographing Faces

By Kenneth C. Hoffman

Every emotion and depth of feeling can be shown on the human face. To capture that fleeting moment on film is a challenge fit for the most talented of photographers. How can the average photographer improve his chances of recording that one-in-a-lifetime image or at least improve the ratio of interesting,

true life images to the unusable, ‘too-bad-she-turned-her-head snapshots?

First you must prepare your camera for the task. If the social event you are to attend is indoors, an ISO setting of 400 or 800 is recommended. A bounce flash head adds another dimension to the lighting and at the same time freezes that portion of the action not lit by strong ambient light. A fifty per cent mix of bounce electronic flash and available light usually allows a high enough shutter speed to freeze most action. A shutter speed of 1/30th is a minimum speed for hand held cameras and 1/4 sec is acceptable for a supported camera. A tripod is definitely preferred for absolutely sharp photos, but can be clumsy and obtrusive for candid work. The recent invention of the stabilized lens or CCD will add two or three lower shutter speeds without blurring. Using doorways, railings, furniture, or just the two-elbows-on-a-table method is helpful in steadying your shot.

A medium telephoto zoom lens simplifies the task of cropping in the camera. Preferable would be an F2.8 28 - 105mm zoom lens or closest equivalent. Longer telephoto lens settings are difficult to keep cropped, and require a higher shutter speed. Wider lenses introduce too much distortion for rendering the human face naturally and produce too much busyness in the composition.

Once the camera is set on the proper settings and the flash (with newly charged batteries) is bounced backwards and to the upper left portion of the room, you are ready to record those faces. In a room with low ceilings, a flash bounced straight up and used with a telephoto setting on the lens is acceptable and you are now ready to record those faces. Two or more faces in the picture should be relating to each other or to a third party. No one should be looking at the camera or the photographer. Six too ten feet away from the action is sufficient for your compositional purposes and presents a buffer zone that protects you (the photographer) from being included in the conversation. Individual faces should almost fill the view finder for good impact.

Tune your mind to an awareness of uninhibited laughter, serious facial expressions showing concentration, moments of love with hugs and kisses and hands touching. Any and all stiff frozen faces staring into the camera waiting for the flash to go off should be avoided. This is not to say you can’t apportion some time to group pictures and memory shots since they are great to have, too. Try to anticipate reactions and make several exposures in a series. You can always delete the missed shots. Be patient, keep moving and be ready to move to another location if you are discovered. Of the hundreds of images you take, you will only be remembered for that one great shot.

At your first viewing of the photographs, edit them mercilessly, removing all photos which do not meet your standards of acceptable emotional content, composition, facial expression or focus. With any luck, you’ll be the talk of the town.

Three hundred photos per wedding, fifty wedding a year, thirty years - but who's counting?

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Photography Tip- Digital Art Made Easy

By Kenneth C. Hoffman

Everybody who likes to take pictures would love to have some of them enlarged and framed for their walls. Its very presence would give you instant satisfaction and the confidence that you, do have an artistic bone in your body after all. A casual perusal of you snapshots, however, might lead you to believe that not one of these snapshots are good enough for the wall. Now, just for a moment, make believe that you could change anything you don’t like about a picture of yours and that you could match that image to the image in your mind. You can - with the help of a scanner and a photo enhancement program. Of course, if you have a digital camera, you don’t even need a scanner.

There are four basic levels of photo software. Freebee programs meant only to crop, change the color balance, and fix red eye in your pictures. A middle quality program uses a macro to change shapes, improve sharpness, and offer some filters for creating a few special effects, like crude oil paintings or black and white charcoal effects. The next step up often will cost $30.00 to $50.00, but will include all the basic tools you need to create a proud-to-display masterpiece. Micrografx (now Corel) Picture Publisher presents six sizes of paint brushes, an air brush, pastel chalks and colored pencils. You can change the size of your picture, crop it any way you want, and take advantage of dozens of filters which simulate real art textures like water color on parchment paper, palette knife paintings, etc. Turn white skies into blue skies with fleecy clouds, soften some of Grandma’s wrinkles or remove a garbage can from an otherwise perfect picture. A cloning tool permits the addition of outside elements, skin retouching, background cleaning and the filling in of empty spaces. A magic cropping knife can isolate a subject, move it onto another background and let you move the objects in your picture around at will, like decoupage, creating a whole new world of graphic manipulation.

The top of the line is Adobe PhotoShop and its competitors. This program is considered professional software, costing $300 to $700. The basic tools are the same, but many more levels of manipulation are offered. The dozens of filter you used with Picture Publisher have multiplied but keep in mind that dozens of filters and effects can still be utilized by both programs through plug-in filter software. A two week course is recommended in order to learn how to use the Adobe program effectively while the Picture Publisher help boxes are considered sufficient instruction for most people.

Your finished artistic creations can be saved in computer albums against the time you need a nice graphic for decorating an article or for an artistic card. They can be put on tee shires, mugs, calendars, Holiday Cards, stationary, post cards and business cards.
Wall enlargements up to 13 x 19 are easily produce with a Hewlett Packard 1220 Deskjet printer or an Epson printer. Both are available with archival inks lasting over 60 years without fading. But the most of the enjoyment comes from the creating!

As a retiree, I can take any pictures I want.

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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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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?

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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.

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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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Seven Ways to Increase Portrait Sales

By Kenneth C. Hoffman

A good portrait photographer can do his or her best but still be plagued with no shows, minimum orders, and low profits. Here are seven tips to help you succeed.

A pre-session consultation is a good idea. It serves to answer any fears your clients may have about having their portrait taken. It also gives them an opportunity to get your opinion about what is best to wear. Tips on makeup and hair can be helpful. A brief description of their available wardrobe will give you an idea of what to suggest for the session. Of course, plaids and wild designs are to be avoided. Naturally, you must compliment them on their chosen outfit.

Secondly, confirm your appointments the day before. A gentle reminder while ‘touching base’ with your client is usually sufficient to ensure their arrival at the studio the next day. Any last minute changes in clothing can be discussed and a reminder that the parents may be included in some of the pictures of their children is wise. If something comes up that will prevent their making the appointment, it is best that you know ahead of time so that you can rearrange your schedule.

The samples on your studio walls should reflect the finest you can produce and instill in your clients a desire to own a similar portrait of themselves or of their family. Display only a variety of large sizes on your walls. A minimum size of sixteen by twenty and a maximum of thirty by forty inches will give the right impression. Eleven by fourteens and eight by tens look much too small on a wall. The profit margin is much greater in proportion to the increasing size of the portrait. A small area near the selling desk can be put aside for samples of these small sizes. I recommend that four by sixes be made unavailable and wallets not be displayed at all. Make sure that the eight by ten and five by seven samples are of a group portrait so that the head sizes are small in the photograph. The larger wall sizes look best when depicting five to seven people. Fewer heads will appear too large and more figures than seven in the sample portrait will seem lost and hard to see.

One key to larger orders is to present a variety of poses to the client. A normal set of head shots is not conducive to large orders. On the other hand, when each pose shows a different side of the sitter’s personality, the parent can not resist ordering at least one of the different poses. First, ensure the regular poses by photographing the sitter from different sides and using different expressions. Since ninety percent of pose decisions are made on facial expression, it is important to get all the different smiles and pleasant looks that you can. When you are satisfied with the head and shoulder portraits, design a seated pose for more interest. A book may be held or a favorite pet in their lap. These middle shots are a natural for larger portrait sizes. Teens and young children often can strike cute full length poses showing off their new Gap togs. Sport equipment, games or accessory clothing give hands something to do. A few super close ups in serious expressions will add spice to the poses and are great for wallet sales.

Word of mouth is traditionally the best form of advertising, but every avenue of spreading the word is to be taken advantage of. Wallet size photos with your name and telephone on the back make great reminders to future clients. It also makes it convenient for relatives to reorder additional and larger sizes. Most digital orders can be placed on the day of the session, but there are many interested family members at home who would order their own preferences if they could see all the poses. An inkjet printer can make a copy of the parent’s favorite poses in a few minutes for them to take home. The draft copy is fine for choosing their favorite expressions but too poor to be copied on a home scanner. I believe normal retouching should be included as a free service with the session fee but extensive time consuming retouching be charged by the hour.

The summer doldrums can be somewhat alleviated with a beautiful child contest. Other variations are the model search or a pet and child contest . A free session for each child is quite attractive to the parents. A requisite that the parents come in with the children ensures that you are afforded the opportunity to photograph the whole family. Grandchildren group portraits are popular as gifts, but are poor profit makers by themselves. You must insist that the studio be able to photograph each individual family while they are in the studio with the grandchildren. This may involve four or five families, so be sure to allot enough time to accommodate everyone. Since orders from this type of portrait session can run very high, it may be wise to waive the session fees for the individual families.

Finally, a word about break downs is in order. When photographing a family, you can suggest some fun pictures with different combinations of family members. Grandma would love to have a picture of herself with the grandchildren, Dad would be interested in a shot of he and his two boys. Mom and her little girl helper make a cherished portrait and a picture of just the two boys and a separate shot of the three girls is an irresistible photograph. Any resistance can usually be jollied along with a request for the Grandma to “Help me out a little”. A little coaxing and good natured joshing will get them over their shyness. Don’t forget to photograph the grandparents together and individually. These portraits may become very valuable in the future. The family pet make a wonderful action portrait with the family as well as with the children. Even a pet portrait can boost your orders.

Retired portrait photographer. Comments welcome, please.

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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.

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