PictureCorrect.Com – Last Minute Wedding Photography Tips

Last Minute Wedding Photography Tips

In the eleventh hour, your best friend who’s getting married is in tears.

The professional she hired to photograph her wedding bailed. You happen to have a digital SLR and all of a sudden you’re it. Here’s my survival guide for you.

Photo captured by Olesia Kliots

Photo captured by Olesia Kliots (Click Image to Find Photographer)

1. Make a “Shot List”

Think of this as your “storyboard.”

A guide to the different scenes you want to see if you were doing a movie.

This shot list will break down what you might concentrate on in the 3 phases of any wedding: preparations, ceremony and reception.

It’s your cheatsheet on the order of the events, various arrangements for the formal portraits, so go over this with the couple.

2. Shoot lots of candids

Just because you have everyone bossing you around, telling you to take their picture, it doesn’t mean you have to pose all your subjects in every picture.

"Amanda and Taras" captured by Tatiana Garanina

“Amanda and Taras” captured by Tatiana Garanina (Click Image to Find Photographer)

3. Scout out the location

If the ceremony, reception and preparations are all at one location, then you can thank your lucky stars. Count on starting your day with the bride wherever she plans to get dressed. She may do this at the church or at home, so count on knowing the route.

4. Borrow or rent a second camera body similar to the one you own

Since you’ll be working quickly, having identical camera bodies will allow you change settings faster. Consider renting identical flash units if you don’t have one. Never shoot a wedding with just one camera. Always have a backup. If you have to rent more memory cards and batteries for the cameras, do so.It will be worth your piece of mind.

5. Do as many of the formal group portraits beforehand

If the couple is open to this and don’t mind seeing each other before the ceremony, do as many of the formals portraits beforehand.

Photo captured by Ksenia Ashihmina

Photo captured by Ksenia Ashihmina (Click Image to Find Photographer)

6. Shoot closeups or details

Be on the lookout for tight shots of the diamond rings, bouquet of flowers, party favors, textures on the bride’s gown et cetera. These will make good backdrops for albums and backgrounds for DVD menus. These detail pictures will also give you variety in your coverage.

7. Enlist the help of Maid-of-honor

Women like this role more often than men. (Must be their maternal instincts)

The Maid-of-honor is usually more than happy to help. If you don’t hit it off with her, try the Best Man.

8. Establish a rapport with the DJ & Wedding Coordinator.

Get to know the DJ & Wedding Coordinator. Being on the same page with both of them means you will be scrambling and out of position for the toast, the bouquet toss, the garter toss, the first dance and so on.

Photo captured by Tatiana Garanina

Photo captured by Tatiana Garanina (Click Image to Find Photographer)

9. Be considerate of the other guests.

Even though what you’re doing is important, don’t be obnoxious. If another guest is in your way, ask politely for them to move.

10. Don’t forget to enjoy yourself.

You can’t be expected to be everywhere especially if this is your 1st wedding. Generally speaking, once the ceremony and the formal portraits are done, you can catch a breather. The rest of the proceedings will not happen without the DJ & wedding coordinator consulting you if you followed tip #8.

Remember if you’re not having fun taking pictures, your images will reflect that.

About the Author
A Riverside-based freelance photographer, Peter Phun, who also teaches photography at Riverside City College. He does portraits, weddings and editorial work. He writes about photography, Macs and the internet. He also designs websites and is a stay-at-home dad.

For Further Training on Wedding Photography:

Check out Simple Wedding Photography, it covers everything you need to know to photograph a wedding and the business behind it. From diagrams of where you should stand throughout the ceremony to advice on all the final deliverables to the client. This 200 page ebook will be useful to wedding photographers of any experience level. It also carries a 60 day guarantee, so there is no risk in trying it.

It can be found here: Simple Wedding Photography eBook

Go to full article: Last Minute Wedding Photography Tips

Copyright © 2003-2013 PictureCorrect, Inc. All Rights Reserved.

PictureCorrect.Com – Keeping Your Camera Functioning in Arctic and Sub-Zero Temperatures

Keeping Your Camera Functioning in Arctic and Sub-Zero Temperatures

Most SLRs cope remarkably well with freezing temperatures. I’ve had no problem using Canon EOS SLR cameras below zero for weeks on end, often down to -20°C and in extreme down to -30°C. This article is for those trying to keep such a camera going under expedition conditions, such as an icecap crossing or mountaineering expedition in the arctic: ie no power sockets, adverse weather, sleeping in tents on the ice and for a period of weeks. However much of the advice also applies to using a camera in cold conditions generally.

"ten men on a natural wonder" captured by David Hobcote

“Ten Men on a Natural Wonder” captured by David Hobcote (Click Image to Find Photographer)

THE TWO MAIN TECHNICAL PROBLEMS TO OVERCOME ARE:

1. Condensation
Condensation forms when moving from a cold to a warmer environment, you don’t need to worry about damage to your camera moving from a warmer to a colder environment. Even in arctic conditions the temperature inside a tent is often well above zero yet well below zero in the shade. this means there is often a temperature gradient when bringing a camera into a tent which leads to condensation forming. Condensation on the front element or view finder is an inconvenience, but condensation on the electronics can give permanent malfunction, and condensation in the inside glass elements can write off the camera off for hours or days till the lens totally dries out.

2. Reduced Battery efficiency
Batteries are many times less efficient in cold weather due to the reduced speed of the chemical reaction that powers them.

"Into the Light" captured by David Hobcote

“Into the Light” captured by David Hobcote (Click Image to Find Photographer)

TIPS FOR REDUCING CONDENSATION

1. Place camera in plastic bag
The camera should be placed inside a polypropylene freezer bag, loosely knotted or twisted and then placed back inside the camera bag. You don’t want to put a waterproof bag around the entire camera bag as any moisture in the camera bag would then condense on the camera body. Ziploc bags, and Ortlieb style dry bags may sound better but often don’t fit neatly inside the camera bag and are much heavier and more expensive. The freezer bag also has the major advantage that you can stuff it below your camera in the bag when not in use, but you need to take spares for when it gets damaged.

2. Use camera bag insulation
The padding on most camera bags (especially the holster style common on expeditions) offers some insulation value which can reduce the dramatic temperature change, when moving from environments of different temperatures.

"On Into the Light" captured by David Hobcote

“On Into the Light” captured by David Hobcote (Click Image to Find Photographer)

3. Try and warm up slowly
If there are environments of differing temperatures try and make the warm up process for the camera as gradual as possible.

4. Avoid breathing on the lens
Obvious maybe, but If you need to clean the lens just use a camera cloth to avoid ice forming.

TIPS FOR DEALING WITH REDUCED BATTERY EFFICIENCY

1. Carry multiple batteries
As a rough guide plan to take 2/3 times the number of batteries you’d need for equivalent shooting in temperate climates. My personal strategy if to take multiple batteries for an extended trip in the wilderness rather than deal with the uncertainties of solar chargers. This makes planning easy as one can ration a battery to last a given amount of time.

"Mist and Ice" captured by David Hobcote

“Mist and Ice” captured by David Hobcote (Click Image to Find Photographer)

2. Warm batteries by keeping close to skin
Carry your spare close to your skin so your body can warm then. An apparently dead battery can be given more life by warming in this way so on very cold days you may find yourself rotating batteries in this way.

3. Adjust shooting style to conserve power
Accept you will get less out of your batteries so adjust you shooting style to conserve power. The biggest thing you can do is turn off after shot preview and reduce to a minimum previewing your images later. Addition power saving tips to get the most out of your battery are to turn off image stabilisation, don’t use flash and minimise half-press pre-focus.

About the Author:
Quintin Lake (http://blog.quintinlake.com/) is an Architectural and Fine Art Photographer based in Cheltenham with strong links in London, available for work worldwide.

What are your thoughts on this article? Join the discussion on Facebook or Google+

Article from: PictureCorrect Photography Tips

Copyright © 2003-2013 PictureCorrect, Inc. All Rights Reserved.

PictureCorrect.Com – How to Protect Your Photography Online

How to Protect Your Photography Online

When it comes to protecting your online photography there are many ways to prevent people from copying or distributing your artwork.

lombard street san francisco

Lombard Street, SF

Protecting Your Imagery:

If you are like me you have probably uploaded your precious photography at one time or another to either your own website / blog, or to an online gallery such as PictureSocial, 500px or Flickr. The benefit to showcasing your imagery is obvious, you want visitors to see your work, but you want your work to be secure and represented the way you want and, importantly, where you want.

Locating photography being used without your permission.

Google Images

The first thing I recommend is to visit the mighty Google Images page. Where Google.com is unmatched for searching textual data, Google Images is the king of pixel based searching. Google Images utilizes a special algorithm to find imagery that is exactly your work and imagery that is visually similar. The interesting thing with Google Images is that you can drag and drop your photos directly onto the search bar. Of course, if you want to be boring, you can always just use the camera icon.

TinEye

TinEye is another reverse image search engine. Very similar to Google Images but it offers many additional services including the ability to register your imagery. You can submit an image to TinEye to find out where it came from, how it is being used, if modified versions of the image exist.

Additionally, you can use it as a tool to locate higher resolution versions of imagery (which seems extremely hypocritical considering the nature of this article – but, I digress). Either way it’s tremendously useful for tracking down your online imagery.

Steps to Protect Your Photography From Being Stolen:

Watermarking is one of the most critical anti-plagiarism tools that you can deploy to combat the theft of your work. First off, it’s free and it solves 2 issues at once. One being that it visibly demonstrates that you want your work protected and that it’s not free or licensed for distribution. Secondly, it provides a level of self promotion back to your blog or online gallery which enhances the opportunity that your work will be credited or for that matter you get new clients / fans or stalkers.

central park

Central Park, NY

Where there are many options for watermarking including visible and invisible the standard for most photographers is to add your name to the bottom or side of your image. I personally recommend that you add your website / blog or online gallery like 500px or Flickr to your watermark.

The option of visibly watermarking your image comes in 2 forms. One being my preferred method, a simple stamp at the bottom or along the side of your image. It’s a tasteful way of claiming ownership without obstructing the image. This way the experience for the viewer is pristine and if done correctly it will not steal any attention from your artwork.

The second version is the full image watermark. This method is reserved for those that absolutely want to maintain full control of your imagery. Unfortunately, this technique also obscures the photo and in my opinion ruins the ability to appreciate the art. However, I have used this watermark technique for a client that knew their work would be stolen. You can often see type of watermarking being used in stock art photography. Of course if the person stealing the image really wants they can take the time to clone out most watermarks albeit it’s never really done well.

Making a Legal Difference

If your watermark is removed by someone you have a case under the copyright law for infringement which can provide additional damages against the accused violator. You can reference – 17 USC § 1202 – Integrity of copyright management information.

new zealand

Photo location NZ

Metadata – The Good and the Bad

Many photographers are aware of the hidden data that is embedded into your digital files. One being EXIF which stands for “Exchangeable Image File Format” and is a standard that specifies the formats for images, sound, and ancillary tags used by digital cameras and now smart-phones, scanners and other systems. The other 2 forms of metadata that can be embedded are IPTC “International Press Telecommunications Council” and XMP “Extensible Metadata Platform”.

What Makes Metadata Amazing

Let’s talk about the good part of metadata. For one unless it’s deliberately removed it’s permanently attached to your image. In terms of this article, which is preventing photographic piracy, this is a digital blessing. Not only does it keep track of your cameras technical data, it also contains your copyright information.

Continuing on the plus side of meta data is the ability to add keywords to your photography. The value that this adds is often overlooked by most photographers. While the debate is out on if metadata is used by search engines, I have found through my experiences that it enhances SEO. I will be covering this with an article in the future.

horse in new zealand

Friendly horse in Glenorchy, NZ

Adjusting the Copyright Info in Your Camera

Most DSLR camera’s today will allow you to add some metadata directly into your photography via a menu in your camera settings. This ensures that every shot made with your camera is injected into the digital thread of your image. This is something that I HIGHLY recommend that you do.

Typically you can add several lines which include your copyright, name, and URL. While most photographers add this info when they are processing their imagery I prefer to have the data embedded to avoid forgetting to attach it later on.

Never Upload a Full Resolution Photo

If you are planning on uploading imagery to your blog or to your favorite social media site I recommend, more than any other tip on this page, to hold back from uploading the original resolution. For example, if I shoot with my Canon 7D at full res–18 mega-pixels–I will only upload, at the most, a 4 mega-pixel photo to any social site or online gallery. I tend to keep my imagery at about 1200px on the longest side for most of my online portfolio work.

First off, there have been many photographers lately who’ve had their work ripped off of social media only to be used overseas for stock art companies which sell the photos without paying you. Secondly, you can prove that the image is absolutely yours in the case that someone claims that they took the photo. Understandably, you can up-res photos to mimic a higher resolution but pixel peepers will be able to distinguish the fake.

Unless you’re selling your imagery online for digital prints or canvas work I would stay away from larger imagery. It just opens the door for digital thieves to plunder your talent.

lake wanaka

Watersports Flyer over Lake Wanaka, NZ

Ongoing Photography Vigilance

Google Alerts

This is a gem of a tip. If you are serious about keeping track of your imagery then Google alerts may be one of the best hidden tools you can utilize. Google Alerts allows you to set up keyword triggers that sends you an email based upon the criteria that you enter. In essence it can monitor the Web for the exact content that you want.

This basically turns Google Alerts into your own personal spider bot. You can use it to enter your name, (I would use quotes to surround any specific term–for example, I have one set for my name “Erik Sacino”– this weeds out getting false readings). Also, you can search for specific names of your images. You will want to make sure that you have a good nomenclature established to differentiate between your imagery and others. In the past, I have used a special alphanumeric combo such as “dragon_one_solargravity_3s88z2g3q.jpg. The chances of someone using “3s88z2g3q” is pretty rare and you should have no problem finding your work.

Give All of Your Photos a Unique Name

The interesting thing that I have found is that most digital thieves will not rename the photo. This works in your favor.

Additionally, I have discovered that when people steal your work they often rip the description directly from your image. This is actually a good thing since you can digitally tattoo your own words.

downtown la

Downtown LA

My Example of a Unique Description Trigger

“This photo represents one of the most spectacular evenings I have ever photographed. The cloud to sky ratio, the majestic colors, the open field that I was in, all these variables aligned for me this evening. I knew at the time that this combination would only happen a few times in my life.”

In Google Alerts I have set up an alert to trigger on the phrase (notice the quotes) “cloud to sky ratio, the majestic colors, the open field”. This unique combination of words is as unique as a special 56 digit alphanumeric when used.

In Conclusion

With a few easy steps you can really make a difference in preventing your photography from being uncredited or, even worse, sold online without your knowledge. Remember to watermark your imagery and to embed your copyright info into your metadata. Using a passive search tool like Google alerts will help assist you in your battle to guard your intellectual property.

times square

Times Square, NY

About the Author:
Erik Sacino is a motion artist, tech geek, photographer, blogger, designer, science fanatic, author, marketing addict and perpetual dreamer // visit his blog and discover more (www.solargravity.com). If you’re interested in reading how you can read your Metadata or strip the info out of your photos visit for further info.

Go to full article: How to Protect Your Photography Online

Copyright © 2003-2013 PictureCorrect, Inc. All Rights Reserved.

PictureCorrect.Com – These Photos of a Ukrainian Roofer Will Give You Vertigo

These Photos of a Ukrainian Roofer Will Give You Vertigo

When people think of being a professional photographer, they don’t often think of it as being a high risk career. But, once taking a look at these photographs one might reconsider. The subject, aUkrainian roofer, risks his life by climbing and hanging from towering buildings and scaffolding. The brave photographer follows suit, putting his own life in danger to create the images you see below:

ukrainian skywalker

man risks life by hanging from side of building

brave photographer captures friend

Ukrainian roofer photos

extreme roofer captured in photographs

man climbs buildings with no harness

photographer seeks birds eye vew

daring photographer suspended above city

extreme sports photography

thrilling photography

incredible photos of roofer

skywalking photos

Many find the images nauseating to look at, much less partake in; however, it appears as though these types of high risk activities are on the rise. The Ukrainians are not the first to do this type of stunt. In fact, this group of daredevil photographers is not unlike the group of Russian skywalkers we featured in a previous article. These collections make you ask yourself: At what point does getting the photo stop becoming worth it?

Go to full article: These Photos of a Ukrainian Roofer Will Give You Vertigo

What are your thoughts on this article? Join the discussion on Facebook or Google+

Article from: PictureCorrect Photography Tips

Copyright © 2003-2013 PictureCorrect, Inc. All Rights Reserved.

PictureCorrect.Com – Don’t Be Afraid Of High ISO on Modern DSLR Cameras

Don’t Be Afraid Of High ISO on Modern DSLR Cameras

This article is written by Andrew S Gibson, author of Understanding Exposure – a guide to controlling your camera to achieve perfect light exposures.

As the internet grows and grows, photography tutorials are becoming more and more abundant. All that information can be a good thing, but it can also create problems as it sometimes has the magical effect of turning one’s opinion to fact over time. Read around about digital photography and you will come across the ‘stock’ advice that some people give. Over time, this gets repeated until it becomes part of the conventional wisdom about photography.

dont-be-afraid-of-high-iso-1
One of these is in relation to ISO. The usual advice is to use the lowest ISO possible when you take a photo. There’s a good reason for this, as the image quality is always higher at lower ISOs than higher ones. But, what the authors don’t mention is that the quality at high ISOs on modern DSLR’s is now very good indeed.

dont-be-afraid-of-high-iso-2Given that high ISOs, especially if combined with prime lenses, enable you to take photos with a hand-held camera in low light conditions, when the quality of light can be amazing for subjects like portraiture, I think they are worth experimenting with. Embrace high ISO. Use it whenever the light is low. It depends on what camera you have, but you may be surprised how little noise there is at ISO settings like 1600, 3200 and 6400, especially if you follow the tips presented later on in this article.

ISO Improvements

There are several factors that make the high ISO settings more usable on recent digital cameras:

  • Sensor technology and noise reduction. For example, the latest EOS cameras use the DIGIC V processor. The DIGIC V is faster and more powerful than previous versions and one of the benefits of this is that it’s better at reducing noise when you use the JPEG format (if you use RAW, noise reduction is carried out by your RAW processing software instead).
  • Sensor size. If you have a full-frame camera it produces images with less noise at high ISO’s than cameras with APS-C sensors. (All of the photos in this article were taken with a full-frame EOS 5D Mark II).
  • Better software. The noise reduction algorithms in the latest versions of Lightroom and Adobe Photoshop work amazingly well. As RAW processing software gets better over the years, so does its noise reduction function. (The photos in this article are processed with Lightroom.)

dont-be-afraid-of-high-iso-3

High ISO Techniques

There are a couple of things that you can do to help avoid excess noise at high ISOs. These apply no matter which ISO setting you are using, but the improvement in quality is more noticeable at high ISOs than low ones.

Expose to the right. This requires that you set an exposure that gives a histogram that leans all the way to the right without crossing the right hand side of the graph. In other words, there are no clipped highlights. This technique works well in low contrast conditions when the brightness range of the scene is less than the brightness range the camera’s sensor is capable of recording.

dont-be-afraid-of-high-iso-4

Aim for your photographs to be exposed more the right side of the histogram, trying to avoid clipping.

In the above example, I was able to increase the exposure by two stops over that recommended by the camera without clipping any highlights. This was made possible by the low contrast of the scene.

Post Processing

Take care in post-processing. If you lighten an area of your photo that is dark, you increase noise levels. The higher the ISO used, the more noticeable this is. If you have dark areas in your image, it’s best to leave them that way. Incidentally, you can make light areas darker without increasing noise, and this is one of the reasons that the expose to the right technique works.

dont-be-afraid-of-high-iso-5

Using Texture To Reduce Noise

Be aware that you will get noise in blue or black skies. Noise shows up most in areas without much texture, such as sky. It is also more pronounced in the blue channel. If you take a photo at high ISO and include blue sky or the night sky in the image, you will see a lot of noise in the sky. I don’t want to put you off taking photos that include sky (such as the one above) as you can create some beautiful images that way, but you should be aware that they will contain more noise than photos without sky.

dont-be-afraid-of-high-iso-6

Alternatively, if you take photos of something that contains a lot of texture, such as the books in the photo above, the texture has the effect of obscuring noise. Using the noise masking capabilities that texture has on an image can effectively boost the quality of your high ISO photography when it is taken into consideration during the composition phase.

dont-be-afraid-of-high-iso-7

Grain and digital noise can be used as a creative tool

A little critical thinking and you may be able to visualize new ways to frame your photograph so the texture is at its most beneficial position inside the image.

Use Noise Creatively

With early digital cameras noise was so pronounced, even at low ISOs, that most photographers wanted to reduce or eliminate it. But, now that high ISO performance has improved so dramatically, maybe it is time to start exploiting the aesthetic qualities of high ISO?

For example, photos taken at ISO 3200 and 6400 on my EOS 5D Mark II and processed in Lightroom 4, such as some of the images used in this article, have qualities similar to that of grain on fast films. Photographers like Sarah Moon and Robert Farber used high speed film and grain to create beautiful, evocative images in the seventies. Their subjects predominantly included portraits and the female nude. Maybe the day will come when a photographer makes their mark by using high ISO creatively the same way?

Get creative and start experimenting with whatever DSLR you have, you may discover new ways that you can use digital noise to add drama to and even enhance your photographs.

Copyright © 2003-2013 PictureCorrect, Inc. All Rights Reserved.

PictureCorrect.Com – How to Gain Your Client’s Trust as a Photographer

How to Gain Your Client’s Trust as a Photographer

There are a lot of things that make for a great photographer. Understanding composition, light, and the technique required to make a great picture are only part of the puzzle. One of the most important aspects of being a really great photographer is being able to make your clients feel comfortable in front of the camera. Some people have a natural gift for this, but some don’t come by this gift so easily. Here are just a few things you can do to help your clients feel at ease in front of your lens.

"Model" captured by Trandinhkhiem. (Click image to see more from Trandinhkhiem.)

“Model” captured by Trandinhkhiem. (Click image to see more from Trandinhkhiem.)

Relax

If you, yourself, are tense… odds are your clients are going to feel that. The easiest way to help others to relax is to relax yourself. Stand up straight when you talk with them; it portrays confidence. If you portray yourself as confident in your craft, this will also help your clients feel comfortable.

Choose Your Words Wisely

The way you speak can have an impact on how your clients perceive you. Saying “um”, “like”, and “uh” can give the impression you don’t really know what you’re doing. You also never want to say “whoops”, “uh oh”, or “that doesn’t look good”. You will never imbue confidence into your clients if they catch you muttering dissatisfaction to the LCD screen on your camera.

Give Guidance

Most people are not comfortable in front of the camera. They don’t know how to pose themselves or what to do with their hands. You are the expert. You are the professional. Take control and help guide them into poses that are going to be flattering. The more you take control and help them, the more relaxed and natural they will feel.

"Sunny Girl 2" captured by Tracy DePaola. (Click image to see more from Tracy DePaola.)

“Sunny Girl 2″ captured by Tracy DePaola. (Click image to see more from Tracy DePaola.)

Be Yourself

People are more likely to be comfortable and act natural in front of your camera if you are yourself. Don’t try to be anything you’re not. Be yourself. If someone hires you, it’s because they like you and your work. So be yourself, so your clients can be themselves.

Be Ready to Shoot

The least professional thing you can do is show up to your shoot without the equipment you need–batteries not charged, memory cards full. The best way to approach a shoot is to have already talked to your clients about their expectations, know the location, and be prepped and ready to go. Nothing looks more unprofessional than a tardy photographer who is not ready to go.

Be Aware of Boundaries

Not everyone is comfortable being touched. Always ask permission before touching a client, even if it’s something small like brushing their hair out of their face or adjusting their hand. You never know what a person might be uncomfortable with, so avoid this by asking permission first.

Show Them A Few of the Pictures

Not everyone agrees with this advice. But I often find that if my client is nervous or doesn’t think they look good, showing them a few of the pictures we just took gives them an immediate confidence boost. Just make sure the pictures you show them are good pictures and ones you’ll be presenting them in the finished product.

"By The River" captured by Natalie Milissenta Shmeleva. (Click image to see more from Natalie Milissenta Shmeleva.)

“By The River” captured by Natalie Milissenta Shmeleva. (Click image to see more from Natalie Milissenta Shmeleva.)

So whether you have a natural gift for making a person feel at ease or if you struggle with it, you can see how these simple tips can help your clients feel more comfortable. Remember to be relaxed and confident and to always be yourself. Don’t forget to give your clients guidance and encouragement along the way and you are bound to see your clients relax and feel at ease in front of your lens.

About the Author:
Stephanie lives in Central, Illinois, is married to her best friend, Ryan, and enjoys the company of her rambunctious lab-beagle pup, Kit. She is the owner of Green Tree Media (http://www.greentreemediaonline.com) and is passionate about photography.

Copyright © 2003-2013 PictureCorrect, Inc. All Rights Reserved.

PictureCorrect.Com – Wedding Photography Checklist

Wedding Photography Checklist

A wedding photography poses checklist is crucial to get all the shots right on the big day. But with all that’s going on, even with loads of preparation, it can be easy to miss some vital shots. It’s important therefore to put together a full list of all the poses you need to include.

The following sections of this article will list all the important shots and you can use it as an aid memoire on the day and tick off the shots one by one.

wedding photo checklist

“Thinking” captured by Natalie Milissenta Shmeleva (Click Image to See More From Natalie Milissenta Shmeleva)

Bride’s Preparations:

  • Bride preparing herself
  • Bride or Maid of Honour/Chief Bridesmaid adjusting Bride’s gown / veil
  • A shot of bride in mirror
  • Mother of the Bride adjusting Bride’s veil
  • Bride with Mother (full length & closeup)
  • Bride with Father (full length & closeup)
  • Bride with Bridesmaids (full length & closeup)
  • Pinning on the corsages
  • Flowers being delivered
  • Bride with Grandparents (full length & closeup)
  • Bride with other family members; sisters, brothers etc (full length & closeup)
  • Various shots of clothes hung up, close up of shoes etc (the clutter and the chaos can make excellent candid shots and a lovely reminder to the couple of all the stuff that goes on around the main event)

Groom’s Preparations:

  • Groom getting ready, putting on tie for example
  • Groom with Best Man (full length & close up)
  • Groom with Best Man shaking hands (one looking at eachother & one with both looking at camera
  • Groom with Mother (full length & close up)
  • Groom with Father (full length & close up)
  • Pinning on the corsages
  • Groom with Grandparents (full length & close up)
  • Groom with other family members; sisters, brothers etc (full length & closeup)
  • Some fun ones with Groom & Best Man (make them look as natural as possible)

Before Ceremony:

  • Bride’s arrival
  • Bride and Father walking into venue
  • Bride kissing father
  • Bride with mother, parents and bridesmaids
  • Guests on arrival
  • Usher showing guests to their seats
  • Various guests being seated
  • General shots of all the guests seated

The Ceremony:

  • The Bridal party walking down the aisle
  • Bridesmaids, ring bearer, best man walking down the aisle
  • Father giving away bride
  • Bride & Groom exchanging vows
  • Bride & Groom exchanging rings
  • Bride & Groom – The First Kiss
  • Signing the registry
  • Close up of hands/rings

During the Reception:

  • Guests arriving
  • Main guests arriving….Bride & Groom’s immediate family and friends especially
  • Take a lot of shots of venue – especially any special features
  • Photos of table placings and decorations
  • Bride and Groom greeting guests
  • Each of the speeches
  • Children playing/dancing
  • The first dance
  • Lots of informal shots of guests – especially any children dressed in their best wedding outfits – they look adoreable
  • Shots of musicians / the band
  • The cake (on its own)
  • The cutting of the cake
  • Bride and Groom – close up of hands (with napkins and/or flowers)
  • Groom dancing with his Mother
  • Groom dancing with Bride’s Mother
  • Bride dancing with her Father
  • Bride and Groom leaving
  • Bride and Groom in car
  • Bride and Groom looking out of rear window of car

Conclusion:

Professional photographers consider all these factors seamlessly and it would appear to the observer that all the shots on this wedding photography poses checklist come fairly naturally to the professional, but for the amateur wedding photographer, this will be much harder, as there is so much to think about, so the details of the poses will need a concerted effort to get right. However, this one wedding photography tip can make a huge difference to the final set of photographs.

Don’t rush, step back a little and take a view of the composition and guide everyone to stand in the right position and this can really pay dividends and give a more relaxed and natural look to the images.

This is not an extensive list of wedding photography poses checklist, but should serve to give some guidance. Have fun and take more rather than less, but try to include all the above as a base.

About the Author:
Are you puzzled by what to include in a wedding photography poses checklist, or need general advice on wedding photography tips, then click on http://weddingphotographytipsandtricks.com for a wealth of valuable information.

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PictureCorrect.Com – Photography Tips For Creating Tack Sharp Shots

Photography Tips For Creating Tack Sharp Shots

There are lots of ingredients to making a spectacular photograph, but the most important is for the picture to be in sharp focus. Even the slightest blur takes away from the picture, no matter how good the subject, lighting and color.

Photographers have somewhat varying opinions on what constitutes a tack sharp picture, but generally, a tack sharp photograph has good, clean lines. The picture has clear definition, instead of a soft blending of lines, or even downright blurry.

sharp photo

“Floating Mosque” captured by Jet Rabe (Click Image to See More From Jet Rabe)

There are several things you can do to increase your chances of getting that coveted tack sharp picture.

Hand-Held Digital Photography Tips

If you’re hand-holding your camera, brace your arms against your sides to help steady the camera. If your camera has anti-shake technology such as Vibration Reduction (VR) or Image Stabilization (IS) lens that can be switched on and off, this is the time to have it turned on.

You can also lean against a wall or tree or whatever sturdy object that’s handy, and help keep yourself and your camera steady. Alternatively, lean or lay your camera or lens on some readily available sturdy object to help steady the camera.

Steadying your camera by hooking the strap under your elbow and wrapping the rest around your forearm will also help stabilize the camera and hold it steady in your hand.

Getting those tack sharp photos while hand-holding your camera can be difficult, so to increase your chances of getting that perfect shot, use the burst or continuous shooting mode on your camera to take several shots at once. That increases your chances that at least one of the pictures will be in sharp focus.

"save us 1" captured by Raluca Mateescu

“save us 1″ captured by Raluca Mateescu (Click Image to Find Photographer)

Tripods For Better Focus

There’s no getting around the fact that it’s easier to get a tack sharp photo using a tripod. You just can’t hold the camera as steady as a tripod will. And like most things in life, with a tripod you get what you pay for. A cheap tripod will help, but won’t hold your camera rock steady like a more expensive tripod will. The moral of the story is to buy the best tripod you can reasonably afford.

The more expensive tripods don’t come with the head attached. You have to buy it separately, but that means you get to choose what suits you best. To get a sharp photo, buy a quality ballhead that won’t let your camera slowly slide to one side.

If you’re somewhere that carrying a tripod just won’t work, beanbags make a nice cushion for cameras in these settings. They cushion your camera, helping to steady it and increase your ability to situate the camera to focus on the subject you want.

To improve your chances of a tack sharp photo even more, use a cable release instead of pressing the shutter. It may not seem like much, but the movement from pressing the shutter will make the camera move enough to prevent getting those tack sharp photos.

If you don’t have a cable release, the self timer will also work. It allows you to press the shutter, while giving the camera time to stabilize before it actually takes the picture.

sharp pictures

“Our Finest” captured by Derrick Smith (Click Image to See More From Derrick Smith)

Advanced Photography Secrets For Sharp Shots

If you have a digital SLR camera, there are even more ways to make sure your camera stays steady while taking pictures.

The first is to use mirror lock-up. This locks your camera’s mirror in the up position so when you take a picture the mirror doesn’t move until after the picture is taken, limiting the movement inside the camera. This means to take a picture, you will have to press the shutter release button twice on your remote or cable release (you’re not going to all this trouble and pressing the shutter release on the camera are you?). The first press lifts the mirror and the second press actually takes the picture.

The second method is to turn off the Vibration Reduction or Image Stabilization. That may sound counter productive, but when you’ve stabilized your camera with a tripod and other methods, the vibration reduction keeps looking for shakes/movements. If there isn’t any movement, the vibration reduction actually causes some shaking while looking. A good rule of thumb is to keep these turned off when shooting with a tripod, and only turn them on when you’re hand-holding the camera.

One last way to increase the sharpness of your pictures is to have good glass. The lens you use makes a big difference. A quality lens with good glass is more expensive of course, but it’s another instance of getting what you pay for. Think of it as an investment in great photos.

Use as many methods as you can to steady your camera, and you’ll have a much better chance of getting those lovely tack sharp photographs.

About the Author:
Digital Photography Tips has information on digital cameras, digital photography and more athttp://www.thephotographylearningcenter.com/.

PictureCorrect Comment: A gorillapod is a great portable solution for insuring that your camera will be steady in difficult situations. It is a unique kind of tripod with flexible legs.

For further training, check out this recent eBook that is an invaluable resource for photographers who want to further develop their technique of on-camera and post-production focus. Finding the best expression of your photographic vision can only happen when your working knowledge and skills produce images that direct the viewers’ eye to what you intended, found here: Finding Focus

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PictureCorrect.Com – Make Your Photo Subject Really Stand Out

Make Your Photo Subject Really Stand Out

Great photography subjects are all around us. You don’t have to go far to find interesting people, flowers, or wildlife. The real test is to use your skills to create a photo with genuine impact.

How do you make your subject really stand out in a photograph? It is tempting, but quite wrong, to blame the camera when your photo doesn’t work out the way you want. You need to know right now that a more expensive camera will not automatically make you a better photographer. In truth, the techniques in this article will work for almost any camera. All you need are manual aperture and shutter speed settings, and a decent zoom lens.

"1 Flag" captured by Keith Willette

“1 Flag” captured by Keith Willette (Click Image to Find Photographer)

Here are a few simple tips for adding impact to your subject.

Tip #1. Highlight A Brightly Lit Subject Against A Dark Background. If you are shooting a subject in full sunlight, with a shady background, the subject is always going to stand out. This is a simple principle to understand, but it is a little easier said than done.

When your photograph has two very different levels of light, the lightmeter in your camera can be confused. It may expose for the dark background, causing your subject to be overexposed. The trick is to expose for the subject.

You can’t do this on automatic. What you need to do is switch your camera to manual, and adjust the aperture and/or shutter speed settings until the photo is underexposed by one or two stops (according to the lightmeter). When you get the balance right, you should have a dark background and a perfectly exposed subject.

Photo captured by Vaughan Nelson

Photo captured by Vaughan Nelson (Click Image to Find Photographer)

Tip #2. Use A Small Depth Of Field To Blur The Background. You have seen plenty of photos where the subject is sharp and clear, but the rest of the picture completely out of focus. You will find this an easy way to add impact to the subject, and a three-dimensional effect to your whole photo.

To achieve this, you use a combination of a large lens and a wide aperture. First, zoom in on the subject with your largest magnification. This will naturally reduce the depth of field. Then adjust the aperture to its widest setting. A wide aperture will reduce the depth of field even further.

The closer you are to the subject the more pronounced the effect becomes.

Tip #3. Use A Wide Angle Lens To Exaggerate Perspective. This technique is almost the opposite of Tip #2. A wide angle lens makes everything in your photo appear much smaller, so objects in the distance seem much further away than they really are. Meanwhile, you can stand very close to a subject in the foreground (a person, animal etc) and still fit it in the frame.

"October leaf" captured by Katrina

“October leaf” captured by Katrina (Click Image to Find Photographer)

As a result, your close-up subject will appear to tower over a background in which everything else seems very small and distant. Although the surroundings will be mostly in focus (the wide angle lens has a much larger depth of field), they will seem relatively small and insignificant, making your subject seem larger and more dominant by comparison.

So there you have three fairly simple ways to add impact to the subject in your photos. Because my background is in nature, I usually think in terms of wildlife, but you can probably think of many subjects that will benefit from these techniques.

The great thing is, you don’t need a professional camera to try these ideas out. As I said earlier, if you have a zoom lens, and manual control of your aperture and shutter speed, you can add impact to your photos with just a little practice.

Even better, in the age of digital photography, practice costs nothing…so get out there and start snapping!

About the Author:
Andrew Goodall writes for http://www.naturesimage.com.au and is a nature photographer based in Australia. He manages a gallery in Montville full of landscape photography from throughout Australia.

PictureCorrect Comment: A popular wide angle lens is the Canon Zoom Wide Angle EF-S 17-85mm f/4-5.6 IS USM. A ring-type USM means both fast and silent AF, as well as full-time manual focus when in the AF mode.

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PictureCorrect.Com – Capturing Birds in Flight

Capturing Birds in Flight

A shot of a bird in flight has always been a challenge to photographers. Seeing a perfect print image only serves to make them eager to create the same result. Photographing a bird in flight presents one problem, but capturing that one special bird-in-flight shot that’s in focus and has good composition plus good light can represent a whole set of problems. Everyone has his share of good flight shots where the bird may be just a tiny bit soft. Those are easy. But, how do you get a great flight shot?

"flying" captured by nelson

“flying” captured by nelson (Click Image to Find Photographer)

The camera technology of the last several years has made flight photography easier than it was before, but there are still lots of variables that need to be added to the equation to make good bird-in-flight photography a common part of your repertoire. Here are some fundamentals to help you increase your supply of flight shots:

Camera Body Features

The camera body equipment out today has made action photography much easier than it was when manual focus was the rule rather than the exception. The first handy feature to set is the continuous focus mode called AI Servo on Canon and Continuous Servo on Nikon. This setting allows the lens to keep changing the focus as long as the shutter button is depressed halfway and the subject is in the set auto focus point.

Second, Canon has a custom function that expands the auto focus point activation area to either 7 or 13 points. This is a great function, as it allows for the subject movement to remain in focus even if you don’t keep up with the movement of the bird in your primary AF point.

Drive mode is the third camera function to set. Here, the best setting is “high-speed continuous” where you get the most frames per second that your camera body will allow. While you’ll burn quite a few shots with this setting, it will allow more shots to choose from for the wing position and lighting you like best.

Photo captured by Beebo Wallace

Photo captured by Beebo Wallace (Click Image to Find Photographer)

Lens Selection

Lens selection is a very subjective topic with plenty of correct answers. Being a Canon shooter, I’ll refer to Canon lenses, but many other brands have some comparable lenses. If you want to do flight photography handholding your camera and lens, the best choices are the 400 f/5.6 and the 100-400 IS. These are, by far, the best lenses on the market for flight photography. (Canon shooters have the advantage here, as the comparable Nikon lens, the 80-400 VR, is very slow to focus. People in my workshops have wanted to throw their Nikon lenses as far as they could when they couldn’t force them to focus fast enough.)

When handholding, try to keep your hand as far out on the barrel of the lens as possible to provide better balance while you’re panning and moving around with the subject. Also, tuck your elbows into your body as far as you can and keep your legs about shoulder-width apart. This position helps you turn your body into a tripod.

Your skill level also plays a part in proper lens selection. When you’re starting out in bird photography, it’s best to use the above lenses as opposed to “big guns” such as the 400 f/2.8, 500 and 600mm lenses. The reason is that shorter focal length lenses will provide easier tracking of the birds in the viewfinder. With the larger lenses, you have a very limited viewing range when the birds are close. You have to get them in view when they’re farther away and stay with them until they move close enough for you to take your shot. After time and practice, you’ll find it easier to focus on them when they’re close, but even then you’ll miss some shots. Longer focal lengths also allow you to work at greater distances with less change in subject position. Birds going across the frame are easier to track, particularly with a long focal length, than those coming directly into the camera, since they stay at roughly the same distance.

If you plan to shoot from a tripod instead of wanting to hand hold the camera/lens combination, a big lens will definitely do the trick. If you’re setting up a big lens on a tripod, by far the best option for a tripod head is the Wimberley head. The gimbal action is designed for action photography and makes panning with the birds easier than you could imagine if you’ve never used one of these heads. You can use a sturdy ball head, but you have to be careful with how loose you keep it. I primarily use my 400 f/2.8, sometimes with an extender, with the Wimberley head and then keep a second body close at hand with a 70-200 f/2.8 lens and either a 1.4 or 2X extender attached.

"Flying Close" captured by trinko

“Flying Close” captured by trinko (Click Image to Find Photographer)

The faster the f-stop of the lens, the better, as quick shutter speeds are imperative in getting sharp flight shots. It’s best to be able to stick with a f/2.8 lens but this isn’t always an option, depending on how much money you can spend. F/4 and f/5.6 are about as slow as you want for getting quick action shots, whether the subject is birds-in-flight or any other fast-moving subject.

Advancing lens technology has made flight photography much easier, but not foolproof. Auto focus is the major development that has helped to capture action. Be aware that owning an AF lens is not a guarantee of sharp results. There is no substitute for good technique. However, auto focus does yield a higher percentage of acceptable images when you’re shooting birds in flight, especially if you have a camera body that can shoot upwards of eight frames a second or more.

ISO

Because digital cameras keep improving the quality of images you get at higher ISO settings, it’s now alright to push the setting to 200 or even 400 to get good flight shots, depending on the available light. The caution to keep in mind is that a shutter speed of at least 1/500 is needed–preferably even 1/1000 or more, if possible. Doing a little bit of testing with shutter speed and f-stop will help you determine what the ISO needs to be for you to obtain the desired shutter speed.

Lighting

As with any other subject, lighting is critical with flight photography. The best light condition for flight photography is front lighting, with the sun at your back and the birds coming towards you or across in front. The best light is still those two golden times of day when the sun is low on the horizon, but because the subject is high in the sky, you can extend your shooting time as the higher sun can still bounce nice light off the bird.

Photo captured by Thomas Hawk

Photo captured by Thomas Hawk (Click Image to Find Photographer)

Composition

A key detail to keep in mind when you’re composing flight shots is which auto focus point is set. You need to become adept at changing the auto focus point on the fly for you to get good flight shots. As multiple birds are flying around your location, you have to be aware of which point you’ve selected for the best composition.

The best compositions have space in front of the bird in the direction the bird is flying. Having its beak/ bill crowded against the leading edge of the shot makes for a potential throwaway image, even if everything else is right with the shot. Your subject needs room to breathe, and continually changing the AF point for better composition will provide the space you need to maintain in front of the bird.

Starting out, keep the AF point on the center point and try to get the bird’s eye focused there. This will ensure there is room in front of the bird for it to fly into the frame. While the eye will be in the middle of the frame, the majority of the bird will be behind it, so you’ll be keeping the full bird from being centered in the frame.

Technique

The farther away you can get the subject into your viewfinder, the better. If you try to focus only on a bird that’s close to your position, you’ll never get a good flight shot. As you see a bird coming in your direction, get it in the viewfinder, and track with it as it moves closer. Once it’s in the position you like (the preferred frame size and in good light), you can fire away.

When you’re panning a bird in flight, continue the panning motion even after you’ve taken the final shot. Following through will keep that last shot in focus better than if you abruptly stopped the movement. It’s the same idea as a golfer doing a follow-through on her shot or a baseball player continuing with his swing. A good way to do this is to continue shooting after the bird has passed you by. The last couple shots will be throwaways, but you’ll have included the shot you really want.

Photo captured by Larry Powell

Photo captured by Larry Powell (Click Image to Find Photographer)

The eyes have it. As with any wildlife photo, you need to have the eye in sharp focus. If the eye is out-of-focus, then the shot is not of a technical quality suitable for publication. If possible, try to set your AF point on the eye. If you can’t do this, at least get the focus on the neck, as the neck of a bird is on the same plane as the eye.

Location

The biggest factor to keep in mind when you’re shooting flight photography is the relationship of the wind and the sun. Birds will always (well, almost always) take off and land into whatever wind or breeze there is. Getting the wind under their wings help them with lift and drag. Putting yourself in the right position to get the best flight shots means having both the wind and the sun at your back, allowing the birds to come towards you.

As you see, there are plenty of factors to keep in mind when you’re taking flight shots of birds. You have to think about how much you want the bird to fill the frame, what the background is like, and the direction of the subject in relation to the sun. Since these variables change from picture to picture, you begin to understand that creating great flight shots requires more than just getting the subject sharp. You’ll need to give yourself time and practice. In the meantime, you always have the delete button on both the camera and the computer.

My 600 f/4 sitting on a Wimberley head with my camera set to high-speed continuous and the sun and wind at my back will keep me happy for a good long time. I try to get caught up with what’s in front of me, fly with it, and become part of the action. The next stop for me will be in front of my computer, looking at lots of shots of birds in flight and, hopefully, lots of keepers.

About the Author:
Andy Long is an award-winning photographer / writer who devotes his photography work to the beauty of the world around us. As a leader of workshops ( http://www.firstlighttours.com ) since 1994, Andy likes to help people explore new areas and to go home with a memorable experience as well as great images.

With more than 100,000 stock images, work has appeared in more than 30 publications and books as well as appearing in National Geographic and Animal Planet television shows. Besides these, Andy’s work has also appeared in Birder’s World, Outdoor Life, Audubon Regional Field Guides, regional AAA magazines, Montana Magazine, Outdoor and Nature Photography, Photo Media, National Cowboy Museum’s Persimmon Hill, Ancient Images note cards, travel brochures, Sierra Photographers Focus and in ads for Rollei cameras. He is a previous winner of the national RoseWater Network Photographer of the Year award.

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