Photography Tips And Tutorials

Without the hands-on experience that comes only from attending a live ceremony, it’s challenging to improve wedding photography or to envision the techniques of master wedding photographers. But this presentation gives us a chance to see an acclaimed wedding photographer at work by staging and recording a mock wedding at the West Side Jewish Center in New York. The seminar was presented by Andy Marcus. His portfolio includes the weddings of Kelsey Grammer, Donald Trump, and many other celebrities. Follow along as he demonstrates his wedding work flow: During the full-length video seminar, Marcus touches on his equipment, camera settings, lighting, logistics, and interacting with clients. Marcus’s helpful tips, along with his gift for story-telling through images, show us what it takes to be a professional wedding photographer. It’s about the consistency of the work. It’s about story telling. Go to full article: In-Depth Wedding Photography Seminar with a Staged Wedding What are your thoughts on this article? Join the discussion on Facebook or Google+ Article from: PictureCorrect Photography Tips

Too often you see photography projects that yield incredible results and think, “If only I had the money to do something like that?” Well today’s video shows you that you don’t need a lot of money to create an amazing image. Photographer Matthew Drozd had a great idea for a photo, but no budget to shoot on. But that didn’t convince him to give up: Despite his meager one camera, one flash, and one model (and horse) setup, Drozd is able to capture a stunning professional-looking image. Without money to hire a model, he simply asked his father to pose for him. As for his one flash, he puts it to good use, mixing it with ambient light to create a very dramatic tone for the image. Basically, you don’t need a lot of money to get great images. Sometimes you just have to think outside the box. Some ideas for shooting on a budget: Ask your family and friends – Using the people close to you for modeling purposes can not only save you money, but it can help you become more comfortable with posing and shooting people. If they support you and your passion, then they’ll most likely be glad to help. Just be cautious about asking them for the 20th time. Use ambient light – Many professionals use strobes, but natural and ambient lighting can be just as dramatic when used properly. Don’t think you need to invest in a big name brand flash either. There are many smaller, much more affordable off brand strobes that work great. Shoot somewhere nearby – Travel expenses can be a hassle, especially if you have a lot of gear or subjects. Be resourceful - There are many photo and lighting accessories that you can make yourself for much less. A poster board makes a nice substitute for a reflector. A curtain or large piece of fabric can make a nice backdrop. And a friend can make a nice substitute for a light stand. One camera, one flash, one model, and a good location. What else do you need? Go to full article: Capturing Interesting Photos in the Forest on a Low Budget What are your thoughts on this article? Join the discussion on Facebook or Google+ Article from: PictureCorrect Photography Tips

Portraiture can be one of the most satisfying forms of photography for an enthusiastic amateur. The tips below can be of use whether you are using a digital compact, a DSLR camera, or a fully manual SLR. “Amy 4″ captured by Glass Portraits by Elijah. (Click image to see more from Glass Portraits by Elijah.) Simplicity Background clutter will interfere with a good portrait. Similarly, use natural light where you can, and if you must use artificial lighting, use as little as possible. Preparation So you don’t keep your subject waiting, know which location you’re using. If shooting in a studio, have the lighting set up and the camera ready. Take some test shots before your subject arrives so that when they do turn up they won’t have to wait while you fiddle around. Composition It is important to master the rules before you choose to break them. One of the primary rules governing composition is the rule of thirds, which deals with where focal points, or points of interest, should be placed in a photograph. In portrait photography, the primary area of interest is usually the eyes. Experiment by putting the eyes in the middle of the frame and then off centre to see for yourself. It can help if you imagine drawing a grid across your photograph, i.e. two vertical lines down and two horizontal drawn across the image, dividing it into nine equal squares. The four corners of the middle square in the grid make better locations for your focal points than do points with the square itself. Again, experiment. In some shots, it might be best to place your subject dead centre, in others, on one edge. Eye contact The direction of a subject’s eyes has an enormous impact on a photograph. Having the subject return the gaze of the photographer can give a sense of connection for those viewing the image. However, focusing on something else can give a sense of mystery and engages the viewers in speculating as to what they are looking at, and what it is that is intriguing them, amusing them, or surprising them. An alternative is to have your subject looking at someone or something within the shot, which sets up a relationship or a story within the image and gives a second point of interest. “Bria’s Prom” captured by Yvonne Perkins. (Click image to see more from Yvonne Perkins.) Perspective Portraits are most commonly taken at the same eye level as the subject. Playing around with the angle can give a completely different perspective, literally and metaphorically. For example, shooting down on your subject from above, or up at them from ground level can change the viewer’s perceptions of the subject’s power or vulnerability. Lighting It’s worth experimenting with lighting your subject, as there are boundless possibilities. Silhouetting, back-lighting, and side-lighting can enhance the atmosphere you are trying to create by emphasizing or hiding your subject’s features. Action Posed portraiture can look very unnatural. Photographing a subject doing something they love or spending time with friends or family can result in a much more natural image, especially if you can lurk at a distance using a powerful zoom lens. This works well with children and with people who are particularly self conscious. Props Adding a carefully chosen prop can both add insight to the subject and give the eye another point of interest within the image. “Katrina at Springbrook” captured by Trish O’ Donnell. (Click image to see more from Trish O’ Donnell.) Close Ups A close up on a body part can be a powerful way of photographing a subject. A section of the face, the hands, or the feet can speak volumes about what has been left out. Covering Up Obscuring part of your subject’s face or body is another way to draw attention to or away from parts of your subject. Continuous Shooting Firing a number of shots at a time gives you either a series of images that work together or it c

Back in 2008 I asked our readers to contribute images of their loved ones who they would like to have remembered and I would use those images to make a Memorial Day slideshow, below are the results of their contributions. The first men featured are "The Lanni Brothers", they are my uncles, first generation Americans and they could not have been prouder of it. It was because of their example that during a time when some were worried about being drafted, I enlisted. Each year I mean to create another slideshow but always seem remember too late to get the process started, so forgive me for repeating it again this year. If you are having trouble viewing this, or would like to view it larger, simply follow this link. And if you would, please share this with others, because these brave men and women (and the others just like them) deserve to be remembered, to be honored.

Many look at this weekend as the official start of summer, as the weekend they open up their BBQ for the season, or because of all those sales... but it's about something so much more, it's about remembering, remembering those who have paid the ultimate price, those who have "gone on ahead". Memorial Day was established over 150 years ago as a day of remembrance of those men and women who have died in the service of their country. Which brings me to an important movie that I recently watched (yet again), Taking Chance. I implore you to watch this little known, seldom seen true story about taking a fallen soldier home. It's not pro war, it's not anti war... it's not about war period. It is about honor, dignity, and respect, Taking Chance tells the story of the final trip home for those who have given it all because they were asked. Chance Phelps died in Iraq in 2004 and this movie is about his last trip home. I promise that if you rent this movie you will be moved, and if you're not, if you think it was a waste of your time simply drop me an email and I will give you back double what ever you paid to rent it. Because I think it's that important. Please... kick off your summer, have that BBQ, and maybe even take in a sale, but if you would... please... remember too. If you are a subscriber and won't see the video trailer because they are not pushed through, come back to the blog or view it on YouTube.

This new eBook, Vision is Better III, is a collection of 50 articles, tutorials, and photographic essays by David duchemin. Duchemin is a professional assignment photographer who has worked on 6 continents for a growing list of commercial and non-profit groups. This is the 3rd in a series of books, Vision is Better III can be purchased by itself or in the Vision is Better Bundle New: Vision is Better III This is a messy book. It’s random, doesn’t particularly hold to one topic or theme very well and will in no time convince you the author has more time on his hands than is good for him. This book is a collection of thoughts, essays, and ill-advised rants. In short, they act like a yearbook that gives readers a no-holds-barred vantage point into the adventures and life of duChemin while at the same time providing you with fresh ideas and insights about making the most of your own photographic journey. “Photography is not merely a technical pursuit, it is a craft many of us pursue because we love the act of creation and the opportunity to express ourselves. It is, for many of us, more than a hobby, it is a passion. It is for me.” -David duChemin Pages from Vision is Better III How to Get a Copy: The guides come in PDF format that can be read on computers, phones and most tablet computers. It can be found here: Vision is Better Bundle Go to full article: New: Vision is Better III What are your thoughts on this article? Join the discussion on Facebook or Google+ Article from: PictureCorrect Photography Tips

Many people might know James Cameron only as the lauded director of Titanic, Avatar, and the Terminator movies, but his otherworldly adventures aren’t confined to the silver screen. He was recently awarded the Explorer’s Club Medal for his work on the oceanic submersible which allowed him to dive to the “Challenger Deep” – the deepest known point in the ocean. With this medal, he takes place among the ranks of other recipients such as Neil Armstrong and Jane Goodall. For this reason, he is being featured on the cover of National Geographic’s June 2013 issue: In this video, photographer Marco Grob describes how he created the concept with National Geographic’s creative director Bill Marr, and all the thoughts and considerations that went into it. He then details the process he used to capture the illusion of a deep, underwater scene within the confines of his studio. Grob solves his problem by bringing in a massive tank of water that Cameron can be fully submerged in. With the help of a few assistants, he sets up several studio strobes around the tank, including a few Elinchrom Rotalux octoboxes to cast light from the front, and some smaller, more precise lights to create ethereal beacons from the back. When he arrives, Cameron quite comfortably dons a wetsuit and crawls into the tank. Being a visual artist himself, he enthusiastically offers ideas throughout the shoot, to help solve problems that arise. June 2013 National Geographic Cover This style deviates a little from National Geographic’s usual reality-based photography, but it complements its subject very aptly. Between James Cameron’s legendary affinity for special effects, his hyperbolized approach to storytelling, and his attachment to new scientific possibilities, the product of this manufactured session describes not only the man, but what he is all about. Go to full article: How the New National Geographic Cover was Captured with James Cameron What are your thoughts on this article? Join the discussion on Facebook or Google+ Article from: PictureCorrect Photography Tips

Public perception of any person with a camera in their hand in and around public landmarks, was forever changed as a result of Sept 11, 2001. It didn’t help that the paparazzi contributed to Princess Diana’s death. “back home” captured by zeynep arkok (Click Image to Find Photographer) The hordes of paparazzi through their dogged pursuit of their quarry, contributed to her untimely demise and in the end, they lost a source of income. Still, if you’re a people watcher like I am, those changes in attitudes shouldn’t dissuade you from pursuing street or candid photography of people. Psychology 101 1. To ask or not to ask. Most folks in public places don’t mind being photographed if you ask. But sometimes asking first, ruins the moment, especially if that something they’re doing is spur of the moment. Shooting your pictures first and asking for forgiveness afterwards is my advice if that’s the case. “Farmer, Hoi An, Vietnam” captured by Thomas Jeppesen (Click Image to See More From Thomas Jeppesen) But under no circumstances should you run off when discovered as if you’ve done something wrong. My years as a newspaper photographer has taught me no 2 situations are alike. You probably don’t want to read that, I know. But it’s true. Here’s why. If you ask first and they say no, then you risk tipping them off. Then they’ll either be hamming it intentionally for you, or they’ll stop and growl at you. 2. Be a good sport Just remember if they’re not happy with your presence with the camera, be a good sport and move on. Most times if you remain calm, smile and explain yourself, saying something like , “I took your picture because that looked like such a special moment between your wife/girlfriend and you.” Photo captured by Christopher Rye (Click Image to Find Photographer) I would have asked before hand but I didn’t want to interrupt your spontaneous display of affection. Place yourself in their shoes for a moment and see if you wouldn’t want a great picture of you and the love of your life smooching against a wonderful setting. Take no for an answer unless you’re a paparazzi-in-training. Never be so insistent on photographing someone to the point they consider you a stalker. Even if the law says no one should expect privacy in a public places, that doesn’t give you any special right to literally point a camera in a person’s face. 3. Be sure to smile and appear friendly. When you’re walking around with your camera and that long lens, acting aloof, distant and avoiding eye contact or sneaking around is bad body language. It suggests you’re hiding what you’re doing, so that is a no-no. “walking home” captured by andre stoeriko (Click Image to Find Photographer) You are engaging in a fun activity which is not illegal. Do I need to elaborate about your attire as well? So if your wardrobe is just a trenchcoats, sunglasses and large hats because you’re sensitive to the sun, you might consider a different kind of photography. With those caveats out of the way, here’s some suggestions on equipment and technique. EQUIPMENT A telephoto lens and a wide angle. A telephoto lens is a necessity, something in the range of 80 mm to 200 mm works well. The lens even with the lens hood doesn’t look that imposing. Longer focal lengths like a 300 mm or longer are of course better, but you will surely stick out like a sore thumb. Another lens of necessity is a wide angle something like a 15 mm or 16 mm if your camera has a magnification factor and doesn’t have a full-size sensor. Photo captured by Mike’s Photography (Click Image to Find Photographer) When you’re in a crowd and you can’t possibly move back, the wide angle lens is more versatile and easier to work, especially if it’s a zoom. Wide angles also allow you to s

If you’ve ever tried to photograph a shiny object, you know how reflections can throw a wrench into your shoot. Likewise, if you’ve ever shot anything larger than a small group of people, you’re probably familiar with the challenges of illuminating wide, often multi-faceted areas. If you combine these two situations, you might start to get an idea of the challenges behind lighting  and photographing an automobile. In this video, photographer Tim Wallace explains in great detail how to “shape” light around a vehicle – specifically, a high-end muscle car: Because the surfaces most cars are polished to a high gloss, it’s important to pay close attention to where the lights are showing in the finish. You should use clean, simple lighting accessories (soft boxes and strip lights) that can blend nicely and create attractive reflections, as opposed to barn doors, grids, or snoots which will create odd, awkward shapes. Carefully position your lights where their reflection will be minimized. In order to set this up effectively, you must compose your frame before setting up the strobes; leave it stationary on a tripod, and reference your lighting through the viewfinder (or live view). Because of the nature of reflections, they will look very different depending on what angle you view them from, so keep that angle invariable. Be patient and experiment with an ideal placement of your lights that obscures the shapes of the sources, while also lighting the vehicle broadly, evenly, and with attention to the fine detailing that gives the car its unique personality. Most sedans or coupes will require three or four different lights to cover it; trucks and vans may require five or more. Strip lights are your friend (He uses a couple of Profoto 1′x6′) for these types of shoots – they cover a wide (or tall) area, while concentrating the flash and not spilling rays in every direction (they will light the car’s length, rather than the floor below it). Once you get those principles down, automobile photography is just like any other product, except on a much larger scale. Ask yourself what it is about this vehicle that makes it more special than any other, and emphasize that strength with your lighting, composition, and choice of setting. Go to full article: Muscle Car Photography Lighting Techniques What are your thoughts on this article? Join the discussion on Facebook or Google+ Article from: PictureCorrect Photography Tips

Whenever Air Force Master Sergeant Jeremy Lock raises his camera to his eye, he becomes a man on a mission. “You look for the moment, that brief second,” he says, neatly summing up the objective of photojournalism. Lock’s exceptional work with the US armed forces, shot on 40 countries across 6 continents and spanning 2 decades, have earned him Military Photographer of the Year honors a record 7 times: In the short feature above, Lock talks about what he looks for when he wants to capture war, the sacrifices that come with the profession, and the things that he appreciates about the job. He points out how a military journalist differs from a civilian journalist — in 2006, he earned a Bronze Star for an incident in Iraq where he put down his cameras to pick up a rifle and provide covering fire while others pulled a wounded soldier to safety — while still essentially having the common goal of trying to tell the story as best as they can. He uses Nikon simply because that is what the military issued him, specifically the D700 and D800. “Whenever I am on assignment, whether its in war or on a local shoot, I carry two cameras, one with a long lens and the other with a wide. And I will have usually a 50mm lens in my pocket. I pride myself with carrying as little as possible to get the job done.” Towards the end, he speaks about how it will be tough to hang his cameras when the time comes to leave the military (Via The Washington Times & Petapixel). Still, he says will always be thankful for being given the chance to leave a photographic legacy, his mark on this world. “To truly capture war is to capture it on the face of the soldier next to you.” “You’re only as good as the last photo you’ve taken.” When Lock received his 6th MPOY award last year (Q&A at Imaging Resource), CBS made this video about him. When CBS’s Bill Plante asked him to show his favorite photo, he said: “I haven’t taken it yet. Still waiting for that one.” Go to full article: The Stunning Work of Jeremy Lock: 7 Time Military Photographer of the Year What are your thoughts on this article? Join the discussion on Facebook or Google+ Article from: PictureCorrect Photography Tips