PictureCorrect.Com – How to Avoid Blurry Photos

How to Avoid Blurry Photos

I’ve heard too many new photographers telling me that they were often frustrated with blurry photographs being captured. They did not know what the reasons were, nor were they able to resolve this issue effectively.

We always understand that knowing the source a of problem can help in problem solving. In this article, I am going to share with you some key reasons that cause blurry photographs. After helping you better understand the problem, I will go on to share how to capture sharp photographs like a professional photographer.

“***” captured by Serjio. (Click image to see more from Serjio.)

Focus Settings:

One of the common reasons for blurry photographs is having a wrong focusing point. It is important that you know exactly where to focus before composing the frame and pressing the shutter button. For example, when photographing portraits, professional photographs will typically focus on the model’s eyes. It is very important that your model’s eyes are sharp and in focus in the photographs. This is especially so if you are using a wide aperture where depth of field is shallow.

Instead of using matrix focusing, 51 point focusing or other fanciful technology, I strongly recommend using single point focus. It must be the photographer telling the camera where to focus, rather than having the camera make this important decision for us.

Although technology advances in leaps and bounds, a camera’s intelligence is still unable to read a human’s mind. The camera will not know exactly where or which area in the frame we want to focus on. Therefore, always reserve the rights to make this important decision yourself.

Setting a Fast Enough Shutter Speed:

Another key reason causing blurry photographs is having a shutter speed that is too slow. A slow shutter speed will likely cause “camera shake”, especially when you are holding the camera without any sturdy support.

The general rule of thumb to prevent “camera shake”, is to have the denominator of the shutter speed 1.5 times greater than the focal length. In other words, if your focal length is 50mm, your shutter speed shall be at least 1/80 seconds to avoid blurry photographs. If your focal length is at 100mm, your shutter speed shall be at 1/160 seconds or faster.

Using a Tripod:

The other get around is using a tripod for enhanced stability. This technique is good for landscape photography or photographing static objects. Pressing the shutter button may potentially cause “camera shake” too. As such, it is a good habit to use a remote shutter or camera’s self-timer when your camera is mounted on a tripod.

“Macro” captured by Trek. (Click image to see more from Trek.)

Firmly Holding the Camera:

When not using a tripod, ensure you are holding your camera using the correct technique. If you are holding your camera to shoot, your left hand acts as a support and your right hand serves to adjust the settings and press the shutter button.

With the above information, I am sure you now understand who the main culprits for blurry photographs are. More importantly, you know how to resolve the problem. With that, what are you waiting for? Grab your camera, start shooting, and have fun!

About the Author:
Yong Sak is a passionate Singapore Freelance Photographer who enjoys taking photographs and sharing his knowledge on photography. He owns a Photography Portal which houses many Basic Photography Fundamentals which are essentials for those who are new to photography and are hungry for more information.
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PictureCorrect.Com – Six Reasons to Try Long Exposure Photography

Six Reasons to Try Long Exposure Photography

This article is written by Andrew Gibson, author of this new eBook: Slow – The Magic of Long Exposure Photography

The purchase of a nine stop neutral density filter two years ago changed my approach to landscape photography. It allowed me to take photos using shutter speeds of one minute or longer and gave me a new way of photographing the sea (I live on the coast at the bottom of New Zealand’s North Island).

long exposure photo

17mm, 30 seconds @ f11, ISO 800

Long exposure photography is very enjoyable and rewarding, and if you haven’t tried it yet then what are you waiting for? Here are some reasons you should:

1. Long exposure photography is easy. It’s a very simple and pure genre of photography. It’s just you, the camera, a wide-angle lens and a tripod. The success of the shoot comes down to the drama of the landscape and your eye for light and composition. If you shoot at dusk, a neutral density filter isn’t required as the low light will let you use shutter speeds of 30 seconds or longer.

landscape exposure

40mm, 201 seconds @ f13, ISO 200

2. Longer exposures help you appreciate the beauty of the landscape. One of the things I like about it is the natural slowness of the process. It gives me time to slow down and enjoy the beauty of the landscape and the light.

3. No reciprocity failure. Long exposure photography has become popular since the rise of digital cameras. The instant feedback of the LCD screen, plus the lack of reciprocity failure take the guess work out of exposure, leaving the photographer to concentrate on light and composition.

light trails with long shutter speeds

17mm, 6 seconds @ f5.6, ISO 400

4. If you have a nine or ten stop neutral density filter, you can take photos during the middle of the day during overcast conditions that traditionally are not considered suitable for landscape photography. Neutral density filters give you a new way of taking landscape photos, and extend the time in which you can create beautiful images way beyond the golden hour.

nd filter picture

23mm, 30 seconds @ f14.5, ISO 400

5. Long exposure photography appeals to photographers who work in black or white or see themselves as fine art photographers. The simple style and composition of the best long exposure photos lends itself to the fine art approach.

6. Long exposure photos are a new way of looking at the landscape. When a non-photographer sees a long exposure photo, they know that they can’t get the same result themselves on their compact cameras or smart phones.

motion lights imagery

40mm, 1.5 seconds @ f11, ISO 400

The photos in this article are all taken from Slow, which explores multiple ways of using slow shutter speeds creatively; including panning, slow-sync flash, intentional camera movement and long exposure photography.

How to Get a Discounted Copy:

Only a few days left in the launch sale, if you use the promotional code SLOW4 at checkout, you can have Slow for just $4 OR another option is using the code SLOW20 to get 20% off five or more eBooks from the Craft & Vision collection. These codes expire at 11:59pm Nov 18, 2012.

It can be found here: Slow – The Magic of Long Exposure Photography
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PictureCorrect.Com – Photographing in Dark Indoor Settings

Photographing in Dark Indoor Settings

Here are several tips to help you capture the best images in dark indoor settings.

1. Camera Stability. You will be taking long exposures, and any camera motion could impact the quality of the image. Try to utilize a monopod or stabilize the camera on the back of a theater seat. Do not hold the camera in front of you without support.

“the sanctuary” captured by Federico (Click Image to Find Photographer)

Some cameras and lenses have stabilization features which help, but will not be able to compensate for large movements in the camera. If you have an SLR, you may want to tuck your elbow into your belly, relax, hold your breath and gently press the shutter button.

2. Equipment. A digital SLR with a fast (2.8 or better) lens and the ability to capture images cleanly at high sensitivity is best. If you are using a point and shoot, you may have some challenges in getting clean images in a dark room.

3. Flash Off. Most indoor settings that allow photography specifically state “no flash photography”. In many cases, you’ll just ruin the existing lighting, distract the other viewers and get yourself ejected from the event. Also, from seating distance and angle, many on-camera flashes will be largely ineffective.

Photo captured by Dmitriy Bashaev (Click Image to Find Photographer)

4. Exposure parameters. You will generally need to set your camera for high ISO or sensitivity (800 to 1600, some newer cameras will go to 3200 or more), low shutter speed (depends on your subject), and wide open F-stop (2.8 to 4.0). For those of you with point and shoot cameras, there may be a “night mode” or other preset which will attempt to deal with these conditions.

5. Shutter Speed. Integral to the exposure parameters above, you’ll need to set a preferred shutter speed for the activity being photographed. Indoor sports events are often well lit, but you’ll still want to stop motion at 1/120 or faster speed. Indoor dance performances may be much darker, but also require at least 1/60 to 1/100 to stop motion.

Speeches and plays may have less motion, so you may be able to drop below 1/60. For images of still items such as museums, you can afford to drop to a low speed to get a better exposure at higher f-stop or lower sensitivity. Just remember that low shutter speed amplifies the need for camera stability.

“Girl on the chair” captured by Arman Zhenikeyev (Click Image to Find Photographer)

6. Underexposing. Sometimes, to get the right shutter speed, you may not have enough sensitivity and aperture to get a good exposure. Instead of lowering the shutter and getting a guaranteed blurry image, keep the shutter where you need and underexpose the image. In your image editor, you can push the exposure a couple of stops and get a good image, even though it looked too dark on the camera preview.

7. White Balance. Getting this right in the camera will save you time. Many SLR’s have a white balance custom fuction, where you photograph a white or gray image and tell the camera to use that for your white reference. If you can’t do that, try the canned settings on the camera and review the playback of samples to see the best playback of color tones to the actual room colors. Or, you can shoot RAW and fix it at import.

8. Focus. Often cameras will have trouble focusing in dark settings. You may want to switch to manual focus, compose a test shot at the same distance to your subject, playback and zoom in the image to verify crisp focus on your subject. Then you’ll avoid the “hunting” and missed focus of your images when the action starts.

“launching” captured by Federico (Click Image to Find Photographer)

9. Post Processing. I already mentioned pushing dark images and adjusting white balance. Another good tool for dark image editing is noise reduction. When you shoot at high ISO, you often get digital noise on the image. Running a noise reduction will remove some of that noise, but at the expense of image detail or sharpness. You’ll have to weigh the amount and benefits of noise reduction in your case.

Please make sure that you don’t take photos where you are not allowed, but given permission and these techniques, you can take some great indoor images in dark settings!

About the Author:
John Huegel is a photographer in the Erie, Pennsylvania area who specializes in Seniors, Dance Studio, Families and other groups (http://jhphotomusic.com). He is active in many charitable and volunteer activities in the Erie area.

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How to Bounce a Flash: Professional Guide

So… You get pretty good results shooting in natural light, but every time you use your flash, you suck! Washed out faces and dark backgrounds, yuk! You know it’s time to master flash-lighting, but who can afford expensive studio lights, soft boxes, backgrounds, etc?

bounce flash

Three Speedlights Used: 105mm lens, F7.1 x 1/200 sec., ISO 400, WB 6000K. 3 speedlights bounced off of 3 white plastic 4’ x 4’ DIY reflectors attached to 3 walls of the baby’s bedroom. One is behind the camera, one left and one right of camera, slightly behind the baby.

You don’t need all that stuff to get professional results. Bounce your speedlights on location! Almost any quality of light can be produced when you know how!

Bouncing light usually softens it. (Bouncing into mirrors and shiny surfaces are the exceptions.) How soft is determined by the size of the surface the light is bounced off of. The larger the surface, the softer the light is.

speedlight flash photography

One On-Camera Speedlight Used: 150mm lens, F5.6 x 1/100 sec., ISO 400, WB 6000K. On-camera speedlight bounced against a 4’ x 4’ white plastic DIY reflector attached to a wall, left of subject. A small mirror close to subject created the bright highlight on the baby’s head.

This article demonstrates the following techniques:

Bouncing one speedlight
Bouncing multiple speedlights
Light modification and control
Lighting in tight quarters
Creating a lighting ratio
Dragging the shutter

The keys to effective bouncing are:

Neutral color – Avoid nasty color shifts
Create a lighting ratio – Not just flat even boring light
No hot spots in the image area (blown out white areas where the direct flash is striking)

Neutral Color

Bouncing works wonderfully when the bounce surface is neutral in tone, preferably white. Unfortunately, with modern construction there are few white walls available. Avoid bouncing light off of colored surfaces. The light you create will be the same color and probably cause you post-production nightmares.

Ceilings are usually white, but just bouncing off the ceiling can cause shadowed eye sockets (raccoon eyes). You need some light to strike your subject from a lower angle. Seek out the white areas of interiors, such as doors, window shades, etc. You can also drape a door or tall furniture with a white sheet to bounce light off of.

A white reflector on a stand is a better solution, position it anywhere. In tight quarters attach DIY plastic reflectors to walls. The camera should usually be 3-10 feet from the bounced surface. Rotate the speedlight’s head to the perfect bounce angle(similar to a bank shot in billiards).Remember, the closer the distance between speedlight and bounced surface, the harsher the light will be.

DIY Lightweight Plastic Reflector

flash bounce reflector

4’x4’ white plastic DIY hanging reflector (only weighs 5 oz.)

Buy a large rectangular 54” x 108” plastic tablecover (under $2.00) at a party supply store.
Fold it in half and tape together with two-sided heavy duty tape (carpet tape).
Temporarily attach it to a wall with the same stuff – careful not to do any damage! Remove slowly!

Lighting a Subject with a Complicated Background

The best way to evenly light a background is by bouncing light off a white ceiling.

complicated background flash lighting

Five Speedlights Used: See Setup Details Below

Use snoots to shield direct light from striking your subject(s) and visible background.

diagram for bouncing flash A. On camera “Master” speedlight (set on manual) rotated and bounced off a white reflector for fill light. Light set at ½ power.

B. Speedlight placed into an Umbrella Softbox for the main light. Set at ½ power.

C.D.E. Speedlights were positioned out of camera frame with short snoots attached and aimed upward bouncing light off the white ceiling. Lights provided background and accent lighting. All three lights set at full power.

-100mm lens, ISO 400, WB 6000K, F7.1 x 1/200th sec.

Lighting Ratio

A lighting ratio is the comparison of the main light to the fill light. The light from your speedlight can be either. When the flash is brighter than the existing (ambient) light it becomes the main light and the ambient light is the fill. When your flash is less bright that the ambient the reverse happens (flash = fill ; ambient = main).

A photograph is more dramatic when the main and fill light are not the same brightness. The greater the difference between the two, the higher the lighting ratio (more contrast).

Bouncing light usually creates a large light source. Sometimes too large! Super large light sources can create flat, boring light (like an overcast day).Move your flash closer to the bounce surface to increase the contrast (higher lighting ratio).

Don’t bounce your flash directly behind you, except for fill light. Angle it to your left or right, side lighting your subject.

Lighting in Tight Quarters

flash lighting in tight quarters

One On-Camera Speedlight Used: 16mm lens, F8 x 1/50 sec., ISO 800, WB 6000K. Light bounced behind the camera into a 4’ x 4’ white plastic DIY reflector. Shutter dragged @ 1/50 sec. to back light the subjects. Built- in wide panel pulled over front of flash head for maximum light spread.

No Hot Spots

Another problem (especially noticeable when shooting with a wide angle lens) is hot spots in the image area (blown out white areas where direct flash is striking). The simplest solution is to crop them out of the photograph. This is easier to do when using medium and longer focal length lens.

Dog-gone-it! Sometimes you just have to shoot wide. Wide angle shots can be very dramatic. The problem is that lots of background shows in the frame. How do you hide the hot spots? The answer is to control the shape of the light you are creating.

You can zoom your flash to its longest focal length, flag the light with something opaque or snoot your speedlight. The best solution is usually snooting. Zooming is less precise and flagging requires cumbersome equipment and takes forever (unless you just flag the speedlight.)

A snoot is a tube shaped light control device placed on the end of your speedlight. It creates a circle of light with defined edges. Snoots are easy to make. Buy 2 mm thick black craft foam and give it a try. The longer the snoot, the smaller the circle of light. It needs to be loose enough to slide up and down but tight enough not to fall off easily.

Speedlight Modifiers Used in Sample Photos

flash speedlight modifiers

Left – DIY Snoot; Middle – white/silver 60” pop-open reflector; Right – umbrella softbox

Dragging the Shutter

dragging the shutter

Two Speedlights Used: 70mm lens, F6.3 x 1/60 sec., WB 6000K

Off camera speedlight bounced off ceiling behind subject. Speedlight set to ¼ power. It created background & hair light.
On-camera speedlight rotated and bounced into light gray wall behind the subject. Speedlight set to 1/8 power. It created the fill light. No color cast since the wall was gray.
Slow shutter speed (1/60 sec.) correctly exposed the x-rays and created the highlights on the doctor’s face and hand. This is “Dragging the Shutter”.
Camera attached to a monopod for stability.

Creating a Lighting Ratio in Flat Open Shade

flash lighting ratios

One On-Camera Speedlight Used: 155mm lens, F5.6 x 1/160 sec., ISO 400, WB 7000K

A. Pop-open white reflector was leaned against a lightstand approximate 6 feet from the cat.

The on-camera speedlight was set to ETTL+1, head rotated and aimed at the reflector. A 4 ½” snoot was attached to prevent direct light from striking the cat.

bounce lighting diagram

The bounced light created a nice lighting ratio adding interest to the flat lighting of open shade.

About the author:
John Rogers is an award winning photographer in Boise, Idaho and owner of prolightsecrets.com.
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Wedding Photography Guidelines for Amateur Photographers

As a photographer there are two common questions asked at a wedding. The first question is invariably how much did that camera cost? My reply is always honest and is usually met with a sharp intake of breath by the individual who have passed question.

Photo captured by Gary Walters (Click Image to See More From Gary Walters)

The second most common question that is asked is “what advice do you have for anyone wishing to become a wedding photographer?” This is a difficult question to answer as the individuals usually thinks that being a photographer is simply owning a camera. It is important that anyone who wishes to become a professional photographer understands that they have a certain responsibilities when it comes to taking photographs of an event that is both as special and as unique as a wedding.

Nevertheless, there are certain guidelines that can help any amateur photographer achieve a good results when photographing at a friend’s wedding. It must be stressed however that these guidelines cannot and will not make any one into a professional photographer.

Every photographer has his or her own style that is developed over time; therefore don’t expect to have a style of photography without the experience to develop your own personal style. It would therefore be incorrect of me to try and pretend that there are any shortcuts to experience. This being so I will not endeavour to explain the technical side of photography but assume that you will be using your digital SLR camera in the fully automatic mode, and will be recording your images as JPEG files. If however you feel more confident and wish to use either aperture priority, shutter priority, or for the Manual modes on your camera and even shoot in raw, then I would ask that you ensure you are fully proficient as a photographer be free for endeavouring to take control of these settings on your camera.

WEDDING PHOTOGRAPHY GUIDELINES

One: it is important that a couple getting married think about and discussed with the photographer the type of images they are expecting. The bride and groom need to be happy that the finished results will match the expectations, moreover, exceed them. Ask the question; one style of photography do you require? The answer may be traditional, where every one of stands shoulder to shoulder, or reportage where the photographer documents today through the images and hopefully, days both the story and the emotion of the wedding. The couple may also ask for a more contemporary style where the images are both candid and perhaps a little more quirky than would otherwise be expected. Moreover the couple may decide that they would like a selection of styles to match different criteria, for example the traditional style to keep parents and grandparents happy, reportage, to create a wedding album that will tell the story of the day and the contemporary style of photographs to capture the amusement for friends and family.

Having established the style of images required by the bride and groom it is important to convey the necessity of producing a list of important photographs that must be captured. There is nothing worse than discovering ‘great Aunt Bertha’ was missed out of the official photographs, as great Aunt Bertha will think that this was deliberate and that you never liked her in the first place! This can and does happen but by asking the bride and groom to look at their guest list and compile a list of photographs will help alleviate the possibility of embarrassment.

“Dasha” captured by Olesia Kliots (Click Image to See More From Olesia Kliots)

I always find it advantageous to ask the bride and groom if they can nominate a friend or family member who can act as a co-ordinator for the photographs. The bride and groom will not have time to round up friends and family and as a photographer I generally have no idea who the individuals listed are. Enlisting a co-ordinator to assist has a number of benefits, firstly this person should have an idea to all the individuals are at all know if they are not available. Second because this person can be getting one group together for a photograph while the preceding group as their photograph taken this speeds up the process considerably preventing people from getting bored and disappearing. The third benefit is that because the official wedding photographs are taken in a shorter time than would otherwise be possible, both photographer and the bride and groom will be less fatigued by the process.

CHOOSE YOUR LOCATION

I believe it is important that as a wedding photographer you understand the wedding venue. This may require visiting the venue on a date before the wedding or if this is not possible arriving before the wedding party in order to look around and find the best places for the photographs. I usually try to meet the bride and groom at the venue before the wedding day in order to take some pre-wedding photographs.

Understanding your location will also help in the event of bad weather. For many people weather he’s the one thing that they feel will ruin their wedding photographs. However if we understand our environment then we are able to ensure that even in bad weather we are able to produce remarkable images by using our imagination and our environment to greatest effect.

Don’t forget that the couple have often gone to great lengths to choose a wedding venue that is beautiful and often expect to have photographs that reflect this beauty. Try to capture the detail of the day both in the architecture and the grounds of the wedding venue. It is also important to capture the decoration, those details chosen by the bride that make her wedding different from every other. This is another reason why a arriving before the wedding party may be useful as it may give you time to take those photographs that may otherwise be forgotten.

Photo captured by Natalie Milissenta Shmeleva (Click Image to See More From Natalie Milissenta Shmeleva)

CONSIDER YOUR EQUIPMENT

If you are photographing a friend’s wedding it would be very unfortunate if that friendship was spoiled because you lost the images, or indeed whenever able to take them in the first place. My advice would be to ensure that you have two cameras available to you. Perhaps you can borrow one as a spare or perhaps it would be better to hire a camera, but it is important that you do have a backup in case there is a problem. Ensure you have a memory card that will not be filled up in the first 20 minutes. So often I have seen people with expensive cameras running out of space on their memory card and so not able to continue taking photographs.

When using a flash it is important to use a flash diffuser. Most churches and registry offices have quite low light levels. It is very rare that you are allowed to use flash during a ceremony. Therefore it is advisable to use a tripod or mono pod and a fast lens with engage stabilisation. If you are allowed to use flash can consider balancing the flash off the ceiling or walls, but remember if the ceiling or walls are a colored surface then you will add a colour cast to the picture.

When shooting outside after the ceremony or during the formal photography you may require your flash to fill in the shade. It can be useful even when you are shooting in daylight particularly in an area that is back lit or when the sun is causing harsh shadows. The remember to reduce the power of the flash in order to prevent the highlights from being blown out.

EXPECT THE UNEXPECTED

It is good to remember that even in the best planned weddings things can go wrong. Always be ready to capture the amusement and tenderness of those moments. They can make the day unique. It may be the weather, it may be that the people hired to decorate the reception venue ran out of balloons, the best man mislaid the rings or the flower girl decides she wants her daddy, always be ready to capture those moments.

As the photographer you are the eyes of the bride and groom, but your eyes see what they fail to see and capture those moments for ever.

“Alexander & Galina” captured by Olesia Kliots (Click Image to See More From Olesia Kliots)

Wedding photography is about having fun; we are celebrating the beginning of the two people’s new lives together as they are joined together in matrimony. When we ask people to smile and a smile because they are told to very quickly they get tired and their faces begin to make with the effort. I believe that as a photographer I should engage with the bride and groom in such a way that they have fun and smile naturally because they are enjoying themselves. When this is achieved there are no aching faces because we are designed to have fun and will be reflected in the photographs that will form the final wedding album.

About the Author:
William Johnston wedding photographers Bristol is a professional wedding photography service providing wedding photography and portrait photography throughout Bristol, Bath and Somerset, the South West, Birmingham and the West Midlands, Leicester and Leicestershire, London and the Home Counties.

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CONTRAST AND HOW IT AFFECTS PORTRAITS

BY PETER PHUN

Taming the beast “contrast” is often a photographer’s biggest challenge. As the photographer, your task is usually to decide what’s most important and then compromise on the exposure accordingly, based on the various elements in your scene. Here’s a typical situation: you’re by a lake. It’s late evening and the sun is setting. The warm sunlight is coming off the water and at an extremely low angle.

“Almost Silhouette” captured by Sophia Anin (Click Image to Find Photographer)

Your subject is bathed in warm light but one side of her face is in heavy shadow. Your camera meter suggests 1/250 sec at f8 at ISO 100. You whip out your trusty digital SLR and you shoot your picture hopefully you’re shooting on manual. This is the best mode to shoot if you want to master your digital SLR. Manual mode allows you to see the metadata of each picture you take so that you can troubleshoot when things go wrong. Automatic, aperture, shutter and program tells you nothing if things go wrong so you won’t be able to learn how to correct your picture-taking mistakes. You look at your efforts and you see the picture above. One side of her face is underexposed, but the other side looks perfect at least on the little LCD monitor.

What your eyes see in the monitor depends on how bright the ambient light is. I’m sure you’ve been burned at least once trusting your eyes as they look at an image right after you take a picture. So the more reliable method is to enable the histogram view in the LCD and learn how to interpret that. You may have heard this next piece of advice somewhere. Move in closer and fill the frame or viewfinder with your subject. This gives your camera a better chance of getting an accurate reading. This time you fill the frame and the meter suggests 1/250 sec at f5.6 at ISO 100. That is an increase in 1 f-stop of exposure i.e. opening the aperture from f8 to f5.6. Your next picture shows an improvement, or does it really? Now you can actually see the shadow side of your subject better. But there is a down-side. Her face closest to the light is now so over-exposed, you can’t see any detail in the highlight area. Face it, you have to choose between losing detail in the shadow side of your subject’s face or highlight detail. You have 2 options.

1. Boost the shadow side with a reflector or a flash
2. Have your subject turn so that both sides of her face is lit more evenly by the light.

“beauty definition” captured by Alexandra Catana (Click Image to Find Photographer)

Typically at this late hour in the evening, you have to work fast because the sun is setting and the light levels drops quickly. So why did you choose a shutter speed of 1/250? The foremost reason is: 1/250 sec is the highest shutter speed our camera will sych with our flash units.

This shutter speed may vary from model to model but the typical highest sync speed whether it is a Nikon or Canon camera these days is 1/250 or 1/200. You could use the equivalent exposures of 1/125 at f8, 1/60 at f11 and 1/30 at f16, but why would you? This is a portrait situation and you want the background to be as blurred out as possible. Besides, our mnemonic device, Seasoned Apples Smell Nutty to Blushing Bachelors, tells us to “Set Aperture to Small Number to Blur out Backgrounds.” And to compensate for that large number f-stop or aperture, you should use your longest lens. If you take a picture with a telephoto versus a wide angle lens, you will find that the longer focal length lens blurs out the background more than a wide angle lens.

Using the the built-in flash So after selecting your lens, you now decide you like the pretty warm light that you see on your subject. To maintain that “look,” you will have to supplement or fill the shadow side of your subject’s face. A reflector is perhaps the easiest fix if you have someone to hold it for you as you shoot. But unless you know beforehand that you’ll have an extra set of hands, the more practical thing to do is to use flash. Most consumer grade digital SLRs like the Canon 20d, 40d, Rebel XTi or Nikon D40x, Nikon D200s have a built-in flash that pops up. They remind me of a crab’s eye. To turn them on, you usually have to switch the camera to “Manual” mode, then press a button somewhere. On the Canon digital SLRs, that button is located near the red dot of your lens. When your little flash pops up, all you have to do is compose your picture and fire away. For those of you who want even more control, you can try this:

1. Push the button to illuminate the LCD panel on the top of your camera.
2. Press the Flash exposure compensation button.
3. Dial in the amount of fill flash you want. This is just a fancy way of telling your camera flash how much light “to kick into the scene.”

“dorotka” captured by bruklin (Click Image to Find Photographer)

If you want to overpower the ambient light by one stop, all you have to do is to turn the Quick Dial on the back of your camera clockwise or to the right and the flash should overpower the ambient light setting by 1 or 2 stops with 1/3 stop increments. The camera figures out that how much power the flash needs to put out to fill the shadow side of the face without any fuss whatsoever. The picture above without fill flash is not too bad but if you were to print it, you’ll see that you can’t see your subjects face that’s in shadow. On the computer screen, it looks alright but trust me. What you see on your monitor doesn’t always print because it is beyond what is reproducible on print. The picture shot using the built-in flash on automatic or the default setting will print very nicely because the range of the brightest highlight to the darkest shadow has been narrowed. For even more control, an off-the-camera extension sync cord is even better. Stay tuned for my next article on why I think this accessory is an absolute necessity.

About the Author:
Peter Phun is an adjunct photography instructor at Riverside City College (http://www.peterphun.com). He is a freelance photographer, web designer and stay at home dad. He previously worked as a staff photographer for 18 years at The Press-Enterprise, SoCal’s 4th largest daily newspaper. Peter is the webmaster for the Mac group in the Inland Empire.

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STARTING A BUSINESS IN WEDDING PHOTOGRAPHY

BY MELISSA FIENE

Creating a successful wedding photography business is a lot of hard work but doesn’t come without its rewards. Just because you can take a good picture doesn’t mean that you are ready to start your own wedding photography business.

Photo captured by Natalie Milissenta Shmeleva (Click Image to See More From Natalie Milissenta Shmeleva)

There are many stages involved in building a successful company. But believing in yourself and your abilities as a photographer is also essential.

Some things to consider when starting out. What makes your images unique, for example, do you have more of a photojournalistic style capturing candid moments, and working in all natural light? or do you enjoy working with off camera flash in a studio like setting?

Always be true to yourself, find your own creative style. If you perfect your skills in a certain style of photography you’re passionate about; this is the best way to building confidence in yourself. Practice on friends and family, but don’t take their word for how good your work is as naturally they are going to be biased.

The average customer you will get as a wedding photographer is going to be more critical about your work. You might be wondering how to get exposure out in the field? You currently have no portfolio to show potential clients, and no experience dealing with new clients.

From my experience, one of the best ways to start building your portfolio is to find work as an assistant or second shooter for an already established photographer or studio. This is a great way gain confidence, and gain first hand experience not just for producing some great images, but also customer service and learning how to direct a shoot. Even at this early stage you should always carry a backup camera.

I wouldn’t recommend taking on a friends wedding as the main photographer, this is way too much of a responsibility, even if you think you are well prepared. Its their special day and shouldn’t be time for you to practice wedding photography.

You need to also be critical of your photography. Know that you’re good, but also know where there is room for improvement. Rather than trying to compete with a million other wedding photographers out there, set yourself a personal high standard. If your not at the level you need to be at, find a photographers work that you admire, research what makes them successful, understand the quality of work they have to offer and know whats involved in producing it. Forget about the rest, there are a lot of ordinary photographers out there too. Remember you need to aim high. Research what you need to get to that high level. You can never spend enough time researching new photographic methods and the latest equipment on the market. Practice using your camera in manual mode, know your equipment like the back of your hand. This will give you the confidence and practical skill that you will need as a professional.

“Cyprus wedding” captured by Vavinov Alex (Click Image to See More From Vavinov Alex)

It is also of great importance to be proficient in post processing, spend plenty of time using Lightroom and Photoshop, buy photography magazines, keep reading articles on here, you can educate yourself, as everything you need for honing your photographic skills is online. I’ve always thought that if you do a course in photography, you are only ever going to be as good as the person that teaches you, their technique is not necessarily the best, teaching yourself builds more confidence, you are learning your own style not someone else’s!

After gaining some experience as a second shooter, and you have your own portfolio, you might be thinking that your ready to begin your own business, but it is best to not rush into it. Try to save as much money as you can from your assisting work to go towards advertising your business. If you have enough work on as a paid second shooter you can think about advertising your business locally and online, and see what kind of response you get. If you have a good contact that you are assisting for that has plenty of work, I wouldn’t recommend moving onto your own business until you are close to fully booked for a year.

When setting your prices an important factor is knowing your value. don’t set your prices too low, people will second guess your quality, even if you do great work, they will perceive it differently. Of course don’t charge too much either if you are just starting out, you don’t want to lose clients because you’re too expensive! I find smack bang in the middle is a good option. That way clients won’t second guess your prices. If they like your work enough they normally have a set budget for their wedding photography, and they’ll hire you. The average for photographic coverage with all images in high-resolution on a disk is $2500, this doesn’t include an album, but with the disk they can print as many photos as they like for their own personal use, and perhaps create their own album.

Establish a relationship with a local print lab, learn about the proper conversion of files from digital to print, get some test prints done and figure out what type of finish best displays your work. Make sure you have a logo, and business email, its these finishing touches that make a big difference in how you present your business.

“The bride and her thoughts” captured by Aiza Cruz-Wing (Click Image to See More From Aiza Cruz-Wing)

Look into wedding album suppliers, and have some ideas for when a client requests an album, getting a sample album made up is a good option, you can take this or an iPad with you to show clients your portfolio.

When running your own wedding photography business, start locally. Pick an area and start advertising with local business linked to weddings. That includes:

Dress makers
Cake makers
Limo drivers
Wedding planners
Wedding venues etc.

Get some quality business cards and brochures made up to give to them. A good idea is to offer a finders fee for any referrals. 10-20% is a good amount. This will mean that they will be actively promoting you by passing on your business cards, and brochures and recommending your work to new customers looking for photographers.

After registering your business, you should be promoting your own website online. A great way is doing some SEO – search engine optimization, again, this takes a lot of time and research, but you will reap the rewards if you put the hard work in. There are great tools online that will scan your website for keywords, meta titles and tags, this is how people find your website. If you don’t promote it online, you will not have a presence. People will never see your work. Pick only your best images to display online.

There are plenty of wedding photography business listings online that are worthwhile to sign up for, a lot are free, and some can charge $100 or more per month, most of the time their reasoning behind charging that much money is because they get so many views per month. Check compete.com, this shows how popular their site is and then maybe you can possibly trial them for a month and see if you get any leads.

Photo captured by Grigoryev Sergey (Click Image to See More From Grigoryev Sergey)

A very important aspect of being a wedding photographer is your customer service skill, always be on the ball and be very clear with your clients, don’t wait to long to reply to their emails, and keep them unto date with whats happening by confirming their payments, and delivering contracts to them.

Its very fulfilling when you start your business from scratch. Your images should speak for themselves when it comes to marketing yourself, but with wedding photography producing great images is 50% and the other 50% is great customer service. If they loved working with you they are going to pass on the good word to their friends and family. Do your job well, and you will find most of your work is in referrals.

About the Author:
Melissa Fiene is a wedding photographer based in Sydney Australia. To view her work please visithttp://www.melissafiene.com. She produces high quality images, providing contemporary, and natural style wedding photography.