How To Be Professional Photographer

If you are naïve, passionate, and want to do something exclusive, If you'd like to consider photography as something more than just a creative outlet or a hobby you may be on your way to discovering a new career path, the one that would lead you the success and top profiles.

This is not to say that becoming a photographer is easy, nor is it to say that all the people who want to become professional photographers will attain their goal. The photography industry is cutthroat and competitive. There are more people who want to become world renowned photographers than there are spaces to fill. The result is that, those who want to fill those spots, or even just become successful at photography on a local level are going to need to have immense creativity and business acumen like no other.

First of all becoming a working professional photographer has to do with one main element; Becoming recognized in the field. People don't only buy your art; they also buy your credentials. In a sense, their buying what you represent. Often those things you represent will be of intrinsic value to your customers. Such as with whom you've worked in the past, where you've been published, how long have you been a photographer, where have you traveled to do work and so on?

Secondly you will also want to get as much education under your belt as possible. Throughout your education as a photographer you should also be taking as many photographs as possible to help build your portfolio. You will need to ensure your photography portfolio stands above the rest by paying extra special attending to detail. Look at the book itself, the paper it's printed on, the font of descriptions, your borders, your themes, picture sizes, colors, layout and so on. Do not simply fill a scrap book or photo album with photographs. Once finished, you should be able to walk away from your portfolio and be impressed with your own work, which is not easy task for many photographers, as most of them are their own worst critics.

Further you should also start looking around for assistant or internship work. Often this work doesn't pay well but still it will help you learn more about the industry and art. You should try and work under the most respected photographers you can find. By doing this you are adding to your credentials without knowing it. You only want to surround yourself with the best and present your best side all the times.

Moreover you will also need to have a strong sense of business acumen. If you are planning on being like the 50% of other photographers who are self employed, you'll need to make sure you have a good sense of networking skills, pricing, public relations knowledge and on top of that have a strong sense of creativity and imagination. Being an artist and a business person will be no small feat. It will have you on your toes at all times.

Lastly, you'll want to narrow your professional interest to one or two main fields. For example you may want to work with press and other media, or you may be interested in photojournalism. Others may be interested in scientific or sports photography. Whatever your interest is, make sure you find the best people in that particular industry and study them. Model your success after theirs.

Remember, nothing worth while comes easy. There will be times when you think "what am I doing?". Stick with it and there will be a payoff at the end of the tunnel. There will be a ray of light in the end of the day. Most importantly, enjoy your whole journey. The success at the end wouldn't be as welcome if there wasn't the struggle at the beginning.
With best wishes from www.microglobe.co.uk

Amin Khan

Microglobe Photographic Eqquipments Retailer In London UK.

Basics of Photography (By Christopher Haslego)

Understanding light is one of the very basic principles of learning to be a photographer. When you have a group of people in front of you with smiling faces ready for you to say ‘cheese’ or if you are taking a shot of a scenic area, the most important consideration is the light factor. Light controls the type of exposure and therefore the quality of the photo is dependent on the quality of the light on your subject and the amount of light that impacts on the film or digital sensor when you click. Controlling the amount of light is a good pre-occupation in the mind of a photographer keen to get a good shot. It should be one of the key considerations.


The word ‘exposure’ is a very important word in the lexicon of both amateur and professional photographers and is based on the understanding of light in creating good photographs.


--If there is too much light, the photo will look overly bright and over exposed.


--A happy group of people will not look as vibrant if there was inadequate light when you took the picture.


--Bright sunlight can create shadows under the eyes.


--Poor lighting may not bring out the colors in the scene to maximum effect


There are a few basics that you can apply to circumvent poor picture quality due to unfavorable light conditions:


--Change the position from which you take the shot


--Change the light if clicking indoors


--Use the flash


The use of the flash can be a boon when you operate in different light conditions. If you have an overcast sky, the flash in your camera will serve the purpose of letting some light into the image that you are trying to capture and brightening it up. The flash also works to your advantage when your subject is not too close but slightly away from you. But you have to check the ‘flash range’ of your camera in your manual. The flash works best when your subject is within a recommended range that is usually at least 4 ft and generally not more than 10 ft.


Most simple cameras have an automatic flash. Slightly better models will have settings for fill-flash. The concept of fill flash revolves around filling light in areas of a picture that may turn out dark or shadowed. Fill-flash has the ability to balance the amount of light on different parts of a subject to ensure that the exposure is adequately bright. For instance, a portion of a person’s face may appear shadowed and the fill-flash setting can help iron out this problem.


The angle of light is another important consideration. You have to pay attention to the direction from which light falls on your subject and there are several approaches in manipulating the angle of light to improve the visual appeal of a picture.


Sideways lighting: Light from the side is used to creates depth in the picture and is considered one of the best ways to use light if you are taking a portrait photograph.


Light from the top: This is a method used to brighten up most of the scene but does not work as well when you take a photograph of a person. It tends to create shadows on the lower half of the face when the lighting is high.


Light from behind your subject: This strategy is sometimes used by photographers to amplify the impact of the picture. It can create a halo like effect; it can add artistic shadows and can also create a striking contrast between the subject and the background if used effectively. When you use a ‘back light’ it is recommended that the fill-flash settings on your camera are also adjusted in order to avoid shadows in your photograph.


The second issue in photography is the aesthetics of the picture. Aesthetics is the creativity and attention to detail that you bring to your photograph. It is the most interesting part of photography since it is almost like a visual equivalent of composing a poem or writing a story. Aesthetics requires the use of visual skills to compose and deliver a pleasing, eye-catching and captivating image. It is a type of vision that you have for your photograph in terms of look and appeal.


Aesthetics requires a good eye for detail. The following factors have to borne in mind in creating an aesthetically appealing photograph:


Background


--Periphery


--Distance from subject


--Changing the direction of your camera based on picture dimensions


--Objects impinging on the picture


--Avoiding too many elements


Each of these factors that go into aesthetics are described and explained below-


-->Background


The background in a photograph requires much consideration. It influences the manner in which your subject is portrayed in the photograph. Depending on your choice of background, your subject will be shown to effect or may be overshadowed. The background also makes the difference between a boring and an interesting photograph. The colors, the type of background and the context add to the vibrancy of the photo.


-->Perphery


A common problem among beginners in photography is not paying attention to whether the image is being captured fully. When you view your subject through the viewfinder, you may think you have clicked a person from head to shoulder or from head to toe in a full shot. But when the actual photograph is processed, the top of your subject’s head or part of the hair may be missing! Or, if you did not center your subject when you composed the shot through your viewfinder, a part of the shoulder or hand may be lost into the edges of the photo. You need to concentrate when you view your subject through your camera before you click, in order to get the picture exactly the way you want it.


-->Distance from Subject


The distance from a subject is another critical aspect in getting a good picture. You want to see facial expression, not a mass of faces when you take a photograph. To do this, you have to be at a suitable close distance from your subject. On the other hand, when you click pictures of a campus, the distance that you click from can give you a wide view and take in a lot more of the scene. To take close up pictures of flowers or crystal or any decorative item, you have to move into close range and use suitable lenses to achieve the right magnification.


-->Changing the Direction of Your Camera Based on the Picture


Many a time you may not be able to capture the subject in it’s entirety in the conventional horizontal position in which the camera is usually held. You can easily change the direction. Hold the camera vertically and then view your subject. You will be able to capture more of a longish subject like a tall monument, a full-length picture of a child, and so on.


-->Objects Impinging on the Picture


At times there are certain objects in a scene that seem to almost invade into the picture. For instance, if you take a picture of a group of your friends on a street, chances are that a street sign may gain prominence in the photograph unbidden and may seem to sprout out of the head of one of your friends in the photograph. Or the light fixtures in your living room may find a place in the picture and appear in the form an unseemly blob in your photo. And the tough part is, when you take the shot you may not be aware of this because the eye is focused on the people in the picture.


-->Avoiding Too Many Elements


A picture cluttered with too many objects may detract from the actual subject. For instance, a wide view of a room in which your subject is sitting may create a photo in which too many objects vie for attention. If the person in the picture is your main target then narrow down and concentrate mostly on clicking the subject. While a good background adds value to a picture, too much paraphernalia could take the attention away from the main subject. Your picture may be focused and the lighting may be good but there is so much going on in the picture that it becomes aesthetically lacking and maybe even a little jarring.


Besides Light and Aesthetics, the third issue in photography basics refers to ‘focusing’ the picture. Getting the right focus is the difference between a blurred image and a sharp image. If you have an auto focus camera, the camera will do the job for you. This is available in most basic models. You can also achieve focus manually in other cameras using the mechanism to adjust the focus and to lock the focus on the subject before you click.


To achieve the right focus, it is important to decide on the artistic elements of the final picture. There are areas of a scene that you may want sharper and clearer. For instance, when you photograph a famous monument, you may want the building as well as the blue sky against which it is silhouetted to be crystal clear. If you are photographing a camel in a desert, you might want the camel to be clear and a slightly hazy/blurred effect of the surrounding sand. If you are taking a shot of a room containing a priceless vase, when you look through your viewfinder, you want the finer details of the intricate patterns on the vase to be clearer than other objects in its vicinity. So, it’s also a question of the portion or key part of your picture your focus is really on.


This area that you identify for your focus is referred to as the ‘depth of field’. You can lock the focus on the depth of field that you choose. You can control the focus and depth of field depending on your objectives for different shots.


The basics of photography are better applied when you put into perspective the capabilities of the camera model that you use or plan to purchase. Simple point and shoot cameras require minimal knowledge in operating them. They are easy to use and have the bare minimum controls. The user has to just compose and aim the shot on the subject and presses the shutter button. ‘Click’ and the job is done. The camera handles its functions automatically.


For those of you who want to work with a slightly more sophisticated camera, you have the option of a Single Lens Reflex camera popularly called the SLR system. This type of camera is available in both 35mm film format as well as digital format. Digital cameras have no film but the image is captured on an image sensor and stored in photo memory. Digital cameras in general provide superior picture quality. The internal system of the SLR camera is made up of angled prisms and mirrors that actually work like a lens when you click. But you have a few things to learn about this camera system before you can achieve better light exposure, sharpness and good focus. While it is imperative that you study the instruction manual of your SLR camera system thoroughly to understand the features and functioning, given here are some of the features and a brief explanation on how these features can help you in achieving the right exposure.


-->Additional Lenses for Close Up Shots


An additional feature in an SLR camera that makes it far superior to a simple ‘point and shoot’ camera is the ability to use add-on lenses. When you attempt to take a close up shot of objects in nature like a flower or a butterfly, you might want a very high level of clarity. You can add power to your camera by attaching an additional lens onto your camera lens for greater magnification of your subject. These supplementary lenses are available at reasonable prices in different powers like +2, +3 and so on.


You can also look for a model with an optical zoom lens that gives you the flexibility of variable focal length and a range of lens options within a single zoom lens.


-->Shutter Speed


The shutter in your camera lets light in during a shot and keeps light out at other times. When the shutter opens for an exposure, light is allowed to impact on the film or image sensor. If you set a slow shutter speed, more light impacts on the sensor and affects the type of exposure. When you use a faster shutter speeds your picture is sharper and clearer. There is a maximum shutter speed that is available to you in your camera system. The shutter speed is set at a fraction of a second- for instance, 1/1000th of a second. It could also be 1/2000th or even the much-preferred higher speed of 1/4000th of a second that is available in certain models. Professional use models boast of even higher shutter speed of 1/6000th or 1/8000th of a second. If you want to freeze action such as in sports, you require fast shutter speeds.


There are many more features that when used effectively can add value to the impact of your photographs. Most 35mm SLR cameras have a TTL viewfinder. TTL stands for ‘through the lens’ metering system. This device has the ability to measure (on a scale) the amount of light impacting the film. Using this device is the key to control the exposure and get the right amount of light in order to capture a proper image. You can also use a tripod with your SLR camera. A tripod is your answer to achieving the right exposure in a close up shot and in low light conditions. It holds the camera steady, helps in focusing and ensures a sharper picture even when shutter speed is slow.


The guidelines discussed here on the basics of photography and the additional features of the SLR system, will not only get you started but also help you avoid the common mistakes that many budding photographers make. Study your manual thoroughly for insights and ideas. Learning photography requires patience and the ability to constantly experiment and teach yourself through a process of trial and error.

The author, Chris Haslego, is founder of http://www.cameramanualstore.com, the internet's foremost source of camera manuals. With over 4000+ camera manuals available from all major manufacturers.

The Arizona Desert Museum (By Carolyn Wright)

The vast beauty and richness of the desert can be easily seen in one place in Tucson, Arizona. Known as the Arizona Sonora Desert Museum [“Desert Museum”], this gorgeous and convenient site is host to a cornucopia of plants, birds and animals native to the desert. Home to more than 300 animal species and 1200 plants in natural settings, it is a photographer's paradise.

Located in the Tucson Mountain Park just a few miles outside of Tucson, the Desert Museum was founded in 1952. The private, nonprofit organization, dedicated to the conservation of the Sonoran Desert, offers a zoological park, a botanical garden, an art gallery and a geology museum.
The Desert Museum is a 15 minute drive from the heart of Tucson and is open every day of the year. Hours are from 8:30 a.m. - 5:00 p.m. from October through February, and 7:30 a.m. - 5:00 p.m. from March through September. The entrance fee is $9 for adults.

While this is in fact a “museum,” don't be confused by the name. The facility is out in the open and feels more like a zoo or a park. It includes almost two miles of paved and dirt paths through 21 acres of desert.

WHAT YOU CAN PHOTOGRAPH THERE

The hardest thing about this location is deciding what to photograph. Should you spend your time shooting in the cactus garden or the hummingbird aviary? Do you first go through the pollination garden filled with bees, butterflies and moths, or visit the several exhibits of mammals, including black bears, mountain lions, bighorn sheep, wolves, bob cat, fox and coyote? It will take several visits to take in all of this.

Docents - trained volunteers - wear white shirts and are available throughout the Museum to answer your questions and to give demonstrations. One docent enthusiastically shared his Mexican Boa snake with me, while another held a screech owl and explained the differences between the many species of owls.
While there is much to photograph, don't become so enamored with the various subjects that you forget about making your best images. Backgrounds and people will be your biggest challenges. Tripods are allowed everywhere, but signs advise photographers to be mindful of the other visitors. Put your lens right up to the birdcages so that the cages are so out of focus they can't be seen in your final photo. Avoid photographing the animals in dappled or spotty light (where parts of the animal are in shade and other parts in light). Like many zoos, the animals often are sleeping around corners where they are difficult to photograph so talk with trainers, docents and museum staff to see when they feed the animals. This is when they will be most active.

TIPS FOR SHOOTING THERE

You also have to practice your technique. For example, the hummingbirds move fast as lightening, so it's impossible to follow them to shoot. Instead, look where they roost or feed, set up your shot for the best background, and then patiently wait for the hummingbirds to return - they will. While the light is best both morning and afternoon, the animals are more active early in the day. Be careful to avoid the bright background where the mountain lion likes to perch. Note that the Desert Loop Trail, home to the javelina and coyote, is a relatively steep and hot trail.

You'll want a long telephoto lens in the range of 300-400 mm to frame the wildlife. An extension tube or telephoto/macro will allow for close focusing of the hummingbirds. For the full compliment of images, add a wide-angle lens for the few landscape shots and a macro lens for the cactus garden.
In addition to the birds and mammals, the Desert Museum has excellent reptile, invertebrates and underwater exhibits, as well as a mineral display. The light in these areas is inadequate for photography, however.

The heat of the desert makes it a difficult visit to the Desert Museum in summer. In October during my visit, the noonday heat was tolerable with a hat and sunglasses, but the temperatures were more comfortable during the early morning and late afternoon. One docent advised that April is the best time to visit for desert flowers, but she tells her friends to visit in March when it's cooler.

DIRECTIONS

For more information, check the website at www.desertmuseum.org, or call 520-883-1380. The address is 2021 N. Kinney Road, Tucson, AZ. To get there, take I-10 to the Speedway Boulevard exit and go west for about 10 miles. Note that Speedway Boulevard turns into Gates Pass Road along the way, and be sure to stop at the two scenic view turnouts there. Turn right at the dead end onto Kinney Road, and drive for three miles. The Desert Museum will be on your left. If you arrive via the Tucson airport, signs will direct you to the Desert Museum by way of Highway 86. I found this to be the longer and less efficient approach, but you see more of the beautiful Tucson Mountain Park this way. Also use this route if you are carrying a trailer, because the Gates Pass Road is steep and winding as it travels over a mountain pass.
The Desert Museum provides a tremendous abundance of wonderful photographic and educational opportunities in one place, and is worth many visits.

MISCELLANEOUS

Food: There are four food facilities on the Desert Museum property, ranging from a snack bar to casual fine-dining. No picnicking is allowed inside the property due to the presence of animals, but a small picnic area is available just outside the entrance. Additional large picnic areas are located throughout the Tucson Mountain Park, including the San Juan Carlos picnic area adjacent to the Desert Museum on Kinney Road.

Lodging: Since the Desert Museum is close to downtown Tucson, there are lots of places to rent a hotel room. Convenient hotels include the Four Points Sheraton Hotel (800-843-8052), the Marriott University Park Hotel (520-792-4100), and the Red Roof Inn (520-744-8199). The Gilbert Ray Campground (RV friendly) is located on Kinney Road about two miles southeast from the Desert Museum (take a right turn when leaving the Museum).

Other Necessities: Restrooms, shaded rest areas and water fountains are scattered conveniently throughout the Museum, including on the relatively long, hot Desert Loop Trail. The Museum has two gift shops stocked with a supply of batteries, film and other necessities. Bring a wide-brimmed hat, sunscreen and comfortable, sturdy shoes. Pants will keep the cactus needles at bay, especially if you venture into the desert for that sunset shot. The closest gas station and convenience mart are located four miles southeast (a right turn from the Desert Museum exit) on Kinney Road.

Caution: The sun can be harsh and the air is dry. Drink lots of fluids. Also note that pets are not allowed in the park because of the wildlife, but do not leave them unattended in your car. Wildlife, including snakes, lizards and coyotes, can roam throughout the Museum's grounds.

Other Local Areas of Interest: The Saguaro National Park (http://www.nps.gov/sagu/), another significant member of the Sonora Desert, borders the Tucson Mountain Park. Famous for its giant saguaro cacti that sometime reach heights of 50 feet, the Park offers several hiking trails and scenic drives that provide access to great photo opportunities. The Old Tucson Studio, where many cowboy movies have been shot, is just southwest of the intersection of Gates Pass Road and Kinney Road. On your way to the Desert Museum via Speedway Boulevard, you will pass The Wildlife Museum, full of stuffed animals from around the world. A couple of visitors to the Desert Museum told me that the Colossal Cave located in Vail, Arizona (about an hour drive from Tucson), which is on the National Register of Historic Places, is a must see. www.colossalcave.com

Copyright 2005 Carolyn E. Wright

--- ABOUT THE AUTHOR ---

Carolyn Wright is a professional photographer with an active portrait, event and nature photography business. Shooting for 25 years, her award-winning images have been used in books and corporate marketing materials. Her wildlife photos will be included in the upcoming book, "Captivating Wildlife - Images from the Top Ten Emerging Wildlife Photographers" by Scott Bourne and David Middleton. She also is working with Scott Bourne on "Wolfscapes," a photo book documenting the beauty and strength of wolves. Her wildlife images can be viewed at http://www.vividwildlife.com..On the faculty of Olympic Mountain School of Photography, Carolyn’s passion is enhanced when teaching photography. She enjoys writing and speaking on the subject, as well, and is a regular columnist for PhotoFocus, an online magazine for serious photographers.

Photography Has No Gender (By Carolyn Wright)

Women photographers are fortunate. Unlike other titles, photographer has no gender. Women photographers don’t have to force stilted language like “flight attendant” instead of “stewardess,” or “letter carrier” instead of “mailman.” “Photographer” doesn’t have the historical male/female titles such as “author” and “authoress,” or “actor” vs. “actress.” Women photographers may not even have to battle the associated gender that “doctors” or “nurses” do. Did you know that bank tellers always were men up until WWII because it was thought that women couldn’t handle money?

So when you visualize a photographer, is it a man or woman? It probably depends on your most recent contact with one. But when you look at a photograph, can you tell whether it was taken by a man or a woman? Probably not. So, at least on one side of the lens, it doesn’t make a difference that the photographer is a woman.

So why is it important to talk about women and photography? Because, according to a recent study conducted at the University of California at Irvine, women’s brains are different than men’s.

The study found that women have more “white matter” than men. White matter handles the connections of the brain’s processing centers. Men, on the other hand, have more “gray matter” than women. Gray matter controls the information processing centers in the brain. According to Rex Jung, a neuropsychologist and co-author of the study, “this may help to explain why men tend to excel in tasks requiring more local processing (like mathematics), while women tend to excel at integrating and assimilating information from distributed gray-matter regions in the brain, such as required for language facility.” Although different, the study found that both types of brain designs are “capable of producing equivalent intellectual performance.” http://today.uci.edu/news/release_detail.asp?key=1261

It therefore makes sense that when women think and learn about photography, and even when they take photos, their approach is different than men’s. What should women photographers do, then, with this information?

First, women should acknowledge and celebrate their differences. There is no right way to approach photography, as long as it works for you. Don’t try to imitate male photographers, and certainly don’t be uncomfortable with how you shoot. Second, study the work of women photographers who were pioneers, such as Imogen Cunningham and Dorothea Lange, as well as current women photographers such as Linde Waidhofer, Lisl Dennis and Joyce Tenneson. They may have created easier paths for you to follow.

Most important, you should look for support as a woman photographer. There are organizations that specifically serve the needs of women photographers. A primary example is “Women in Photography International.” Its mission is to promote the visibility of women photographers and their work through a variety of programs, exhibitions, juried competitions and publications.

Seek programs like that provided by the Professional Photographers of America (“P.P.A.”). It held its 2nd annual “Women in Photography Retreat” this past August. The purpose of the event was to “embark on an exciting journey of self-discovery . . . to forge new friendships, cultivate your strengths, and shape strategies for your personal, professional and creative development in a relaxing, stress free resort.”
You also should evaluate your situation. Does your local camera club involve you as a woman photographer? Do you get the support you need from your friends and family? You may have to make some careful choices about your associates if they don’t encourage your art.

Likewise, you should examine whether you are getting the photography instruction that you need. It doesn’t have to come from a woman for it to help you. Choose photography workshops that offer the opportunity to share the passion and inspiration with all photographic artists in a welcoming environment.
Finally, you should use your female advantage in photography. There are the obvious areas. You can be in the bride’s dressing room and you can make a connection with the crying baby. There are the less obvious items, too. You can “communicate” with the person who speaks a different language, connect with the wild animal or see the unique lines of the landscapes. Let your vision expand to its fullest, female state.

This is not to suggest that you become a ranting feminist photographer. The art of photography is to be cherished and appreciated, regardless of whether it is done by a woman or a man. The point is that photography has no gender. As a photographer, you should create superb images of enduring quality. The viewer won’t care who it came from. Don’t let any artificial designations get in your way. But you also should acknowledge, celebrate, explore and nourish your difference. You may be pleased with what you discover.

Copyright 2005 Carolyn E. Wright

--- ABOUT THE AUTHOR ---

Carolyn Wright is a professional photographer with an active portrait, event and nature photography business. Shooting for 25 years, her award-winning images have been used in books and corporate marketing materials. Her wildlife photos will be included in the upcoming book, "Captivating Wildlife - Images from the Top Ten Emerging Wildlife Photographers" by Scott Bourne and David Middleton. She also is working with Scott Bourne on "Wolfscapes," a photo book documenting the beauty and strength of wolves. Her wildlife images can be viewed at http://www.vividwildlife.com..

On the faculty of Olympic Mountain School of Photography, Carolyn’s passion is enhanced when teaching photography. She enjoys writing and speaking on the subject, as well, and is a regular columnist for PhotoFocus, an online magazine for serious photographers.

9 Tips For Taking Great Digital Photos (By Christopher Thomas)

Introduction

Modern cameras are highly automatic in operation. They have auto focus and auto exposure. The camera will focus on the subject - often identified by a small circle or square at the centre of the viewfinder - and calculate an appropriate exposure by detecting the level of reflected light - usually from the same spot. A slight pressure on the shutter release will activate those two functions, without taking a picture. Further pressure on the shutter release will result in a photo being taken.

1 Take care to Focus and Expose on the Subject of the Image

Imagine you are taking a picture of your girl friend against the background of an interesting harbour. Your girl friend is six feet away while the harbour is around 50 feet away. You position your girl friend carefully - she is important to you - at one side of the picture with an interesting view of the harbour in the distance. Now do you want to focus on the harbour - or your girl friend? Position the square or circle at the centre of the viewfinder over the spot that you want to focus on and correctly expose - take a slight pressure on the shutter release - and keep that pressure while you move the camera to frame the image you want to take - then, and only then, push the shutter release fully down and take the photo. If you want to have everything in focus - then see 7 Depth of Field.

2 Carefully Compose Your Shot

Before taking the picture take a careful last look through the viewfinder. Check the composition, and particularly that heads nd feet are included, and that all faces are visible in anything other the smallest of groups. With the camera taking care of focus and exposure - you have the time to concentrate on getting the composition perfect. Photographic amputation of limbs is unforgivable!

3 Set the Colour Balance Correctly on the Camera

Digital cameras have controls that allow the operator to set the nature of the lighting illuminating the subject. In general they will default to daylight, since shots are likely to be taken outdoors. On this setting, pictures taken indoors under artificial tungsten lighting will look yellow - they will have a yellow cast. Pictures taken under strip lighting will look green. Setting the camera appropriately will produce consistent balanced photographs. Look in the camera manual to see how to set the control - it is very easy. Flash guns produce a light, which is very similar in colour 'temperature' to that of daylight.

4 Don't Expect Too Much from the On Camera Flash

The on camera flash is designed for convenience when shooting a small group of people. It will not illuminate a hall. When
watching public events on the television it is somewhat surprising to see members of the audience in the Albert hall take a pocket camera out and shoot a picture with their flash. This is unlikely to be successful. Better to turn the sensitivity of the camera up - say to 800ASA - the 'film speed', or sensitivity. This might produce a better result. Do not confuse sensitivity of the camera with shutter speed. They are different. An on camera flash will illuminate only a short distance - as a guide pick up your cat firmly with two hands by the tail and swing it around at arms length - that is the sort of distance the flash will illuminate!

5 A Tripod is Essential for Long Distance Shots

Most modern digital cameras come with a zoom lens that can take both wide angle and telephoto shots. This is extremely useful. However remember that when the camera is on its furthest telephoto setting, camera shake will become a problem. If you are taking a telephoto shot and the camera chooses a slow to medium shutter speed, the result might be blurred due to the movement of your hands while taking the exposure. Use a tripod - all wildlife photographers use them. They are a pain to carry but improve quality by orders of magnitude.

6 Fast Moving Subject Require a Fast Shutter Speed

The shutter is that part of the camera which opens briefly to allow light to strike the sensitive surface of the detector to
produce an image. Fast moving object require extremely short shutter speeds in order to capture a crisp sharp image. Slower
shutter speeds will produce a blur as the object moves.
In general outdoor photography a shutter speed of 1/60th or 1/125th second will be acceptable. In contrast, shooting a formula one car in motion will require shutter speed of say 1/1000th of a second.

7 A little About Depth of Field

In days past, a photographer would measure the level of light at a location with a light meter and then calculate the best
combination of shutter speed and aperture to correctly expose the film. This is now done automatically by the camera. Aperture is the measure of how much light is passing through the lens. The lens has an iris, which can be 'stopped down' to reduce the amount of light passing through the lens. A fully open lens will pass the greatest amount of light - full aperture - but this also reduces the 'depth of field'. The depth of field is the band of distance over which the subject is in focus. In 1 above, with full aperture either your girl friend or the harbour is in
focus - but not both. By 'stopping down' the lens - reducing the aperture - both can be brought into focus. But as a consequence the amount of light passing through the lens is reduced. The length of time which the shutter is open will have to be increased to compensate.

8 When taking Landscapes Avoid Putting the Horizon Across the Centre of the Image

Drawing the picture horizon in the middle of the image simply looks naff. It divides the picture in to two and fails to engage the viewer. Best to concentrate on the sky or the foreground. Photograph a setting sun with red sky, or a rainbow with the horizon low in the picture. Or concentrate on the landscape and place the horizon high in the picture.

9 Be Aware of the Effects of Back Lighting

Let us go back to the example given in Hint 1. Imagine that in the picture of your girl friend in front of the harbour, the sun is setting, casting its golden rays across the sea and reflecting on the masts and other metal objects of the harbour
with white clouds illuminated red in the dying rays of the sun. An evocative and romantic shot. Taking the shot with the camera will result in a beautiful background but a black shadow of a girl friend! Now that might be appropriate should you have had a particularly bad day with her and it might correctly reflect the mood. However using the on camera flash to fill in the darkness - to illuminate her face and show her features might be more appropriate on a better day!

Christopher Thomas is both keen photographer and company director of Viewlink Ltd based in Amersham, Uk. The company focusses on digital photo developing for both amateur and commercial photographers. For more articles by Christopher Thomas please visit the company website at http://www.view-link.com

A New Way to Use Old Snapshots (By LeAnn R. Ralph)

If you're like me, you have hundreds of photographs sitting in envelopes. Pictures from birthday parties, weddings, family gatherings, anniversaries, the Fourth of July, Thanksgiving and Christmas. You have already put the best snapshots into albums and these are leftovers. You don't want to throw them away, but you also don't know what to do with them.

Instead of letting your snapshots take up space and contribute to the clutter in your home, use them to make collages (at a cost of less than $10 each) that you can give as Christmas gifts to family and friends. Here's how:

1. Assess your collection of pictures. Do you have several dozen of your spouse or significant other? Your parents? Your children? Grandparents? A friend? A beloved pet? Decide which person would like to receive these pictures and divide them into groups accordingly.
2. Buy a picture frame with glass (either 5x7 or 8x10) for each collage you are going to make. Department stores sometimes have sales on picture frames, and you can often purchase a suitable frame for $5 or less.
3. Cut a sheet of paper (use cardstock, 24# paper or light cardboard) to match the size of the opening on the picture frame.
4. Cut out the background of the pictures, leaving just the people (or pets). Cut out enough pictures to cover the sheet of paper.
5. Arrange the cut-out pictures on the paper. Mix and match and experiment. Try placing the pictures at different angles.
6. After you have an idea of how you would like to arrange the pictures, glue them to the paper. (Check the label to make sure that you can use the glue with photographs.) Cover the entire sheet of paper with pictures.
7. When the glue is dry, insert the paper into the frame.

Collages are not only a good way to use your old snapshots, but the recipients also will cherish them for years to come as a special and thoughtful gift.

© 2003 LeAnn R. Ralph

About The Author

LeAnn R. Ralph is a freelance writer in Wisconsin, is the editor of the Wisconsin Regional Writer (the quarterly publication of the Wisconsin Regional Writers' Assoc.) and is the author of the book: Christmas In Dairyland (True Stories From a Wisconsin Farm) (August 2003; trade paperback) http://ruralroute2.com

bigpines@ruralroute2.com

How to Take Great Photos of Your Child (By Kelly Paal)

Children are naturally photogenic. Ive worked in studios and children are so easy to photograph. What I hear from parents is that they dont think that their kids are that easy to photograph. Thats only because they dont know some basic tips.

1. Young children especially infants take beautiful photos while they are asleep. Keep the light natural avoid flash if at all possible. Keep the image tight on the child and crop out distractions. For infants when theyre awake youre better off having another person in image, it gives the child someone to interact with and you can crop the shot to keep the other person out of the image or you can keep the adult and child in the photo.

2. Toddlers look best when they dont know that youre taking their photo. Candid shots are the way to go for this age group. Keep your camera handy and when they start doing something cute snap the photo quick. Remember your child doesnt have to be looking directly into the camera to take a great photo. Dont ever say to the toddler, Oh how cute, now look here. It wont happen.

3. Children ages 4 plus are really good at sitting for photos. But if youre going to dress them up make sure that they are comfortable and dont put them in some outfit they hate, it will show in the image. Crop tight on your subject, keep the light natural, and if youre using a toy to get their attention make sure that it makes them laugh and doesnt scare them. (I learned that lesson the hard way.)

4. Older children are really good at dressing up for photos. The hardest thing will be getting a natural smile from them. Say, cheese is a sure fire way to get a fake smile. Most of us learned young to smile automatically at that cue. Here you have to get silly. One time I was working with a young boy and his older sister. She was a natural smiler and loved being dressed up. He was not happy and kept pulling at his tie. His mother straightened it for the tenth time. I posed them and addressed the young boy I said, Now on the count of three I want you to say, I hate this tie! His sister smiled surprised at what I said, and he grinned. I took the photo. He then screamed, I hate this tie! Again both smiled wide and I took a second photo. The images turned out beautiful.

I hope these tips help you to take better photos of your child. With a little practice and a few tips youll see better family photos immediately.

If you have some specific questions please visit my Photography Forum at: http://kellypaalphotography.com/v-web/bulletin/bb/index.php and post your question there.

About The Author

Copyright 2004 Kelly Paal

Kelly Paal is a Freelance Nature and Landscape Photographer, exhibiting nationally and internationally. Recently she started her own business Kelly Paal Photography (http://www.kellypaalphotography.com). She has an educational background in photography, business, and commercial art. She enjoys applying graphic design and photography principles to her web design.

Guidelines for Printing Great Photos at Home (By Kelly Paal)

So you have this great digital camera and you’ve taken lots of great photos. Now what? Well you could go to a store and have them print your images for you, but isn’t that what you did with film? The point of all this great digital technology is that you can print your own photos at home without having to pay someone else to do it. Here are some tips to help you get started:

1. It’ll seem like a lot of money at first but spend the money to get a good printer. Six color at least. Ink jets are wonderful for printing snapshots. You won’t need more than that. Also look around at the computer brands that sell computer packages for digital printing, the printer that they recommend is perfect for printing photos at home.

2. Buy some photo editing software. There are lots of brands out there many of them for pros but you can easily find software under one hundred dollars that will have lots more options than you will ever use. Look for software that has automatic settings so that the computer can automatically color correct, auto focus, brighten, or darken, etc. At least until you learn number 3.

3. Learn your equipment. Take the time play with the settings. Don’t try to print perfect photos right away. Most people with a little time and practice can learn to do basic photo special effects. Give yourself the time to learn.

4. There is one place that you are going to have to spend some money and it’s on paper. You can have a great image but unfortunately you cannot skimp on paper. Get the nice thick glossy paper, it’s worth it. I’ve tried the cheaper paper, which is good for test prints, but you need the high quality stuff for good prints.

5. DPI, dots per inch. Depending on your printer and your software you may be able to print up to 1200 dpi which is probably unnecessary for what you’re doing. For up to a 4 by 6 inch print you only need about 300 dpi. Most people cannot see the difference between a 300 dpi an a 600 dpi at 4 by 6 inches. For 5 by 7 or 8 by 10 you can go up to 600 dpi.

These steps will help you on your way to printing great digital photos at home. Remember though make sure that you have fun printing all those memories.

FYI Just so that you have a frame of reference, I’m a professional photographer and I have a six color ink jet that I paid less than $300 for and photo editing software that I paid less than $100. I print my 5 by 7 images for shows at 600 dpi.

About The Author

Copyright 2004 Kelly Paal

Kelly Paal is a Freelance Nature and Landscape Photographer, exhibiting nationally and internationally. Recently she started her own business Kelly Paal Photography (http://www.kellypaalphotography.com). She has an educational background in photography, business, and commercial art. She enjoys applying graphic design and photography principles to her web design.

Photography: The Basics (By Colin Hartness)

Photography comes from the Greek words meaning “light writing” and first became known back in 1839 by Sir John Herschel. For many years prior to this, people had discovered ways of causing certain chemicals to change color when exposed to light but they did not discover ways of getting the images to remain permanent until later on.

Now photography is a big part of our culture, something that everyone recognizes. Most everyone has family photos lying around their house, many people take these photos on a regular basis, preserving precious memories for years to come. Even if you don’t have your own camera, you have seen photos in magazines, used on billboards and advertisements and more.

What is Photography?

Photography is defined as “The art or process of producing images by the action of light on surfaces sensitized by chemical processes.” (www.ncpublicschools.org/curriculum/ArtsEd/vglossar.htm)

The average person never has to deal with this technical definition because they take their photographs to a lab to be processed. They simply take pictures with their camera and then drop them off somewhere to be developed. They get their prints back on nice glossy paper that they can then keep to see the images at any time they wish.

There are also instant develop photographs, commonly known as the Polaroid, in which the paper itself contains the chemicals needed and when the paper sits for a few seconds exposed to light the photo will develop. Many people enjoy these because you could view your photo almost instantly but over the years, the quality has improved with other films and many people migrated to other types of cameras.

The common types of film are 35mm and 110. These film rolls come in different speeds that are meant for different lighting and situations and are loaded into your camera, used until the end of the roll and then sent for developing.

What Are the Different Types of Photography?

Photography is more than just a fabric of the average family’s memories, it has become an art form taking on many different types. Some types of photography are artistic photography, photojournalism, documentary photography, portrait photography, event photography, family photography, nature photography, advertising photography, underwater photography, satellite photography and more. Each of these types has many different directions in which they can go.

Photography is a common hobby or pastime for many people. It is a career for many other people. There are so many different venues of it. One of the most recent revelations in photography is the digital camera and digital photo. In an age of computers and computer technology, digital photos have become increasingly popular. People no longer have to deal with film and developing because digital photos can be downloaded onto a computer and viewed instantly.

Digital photos can be shared on the web and through email. They can also be saved on CDs. Many digital cameras come with LCD screens so the photos can be viewed from the camera itself. You see what the picture looks like instantly instead of waiting for developing. Digital cameras are advancing every day and new technology is released on each one. Lower quality ones can be picked up at a local retail store for about $15 now. These often do not contain flash and the quality is not as great. Other digital cameras can range anywhere from $20 to $1,000. The most high-tech camera for normal individual use is about $200. This may seem like a lot but when compared to the price of film and developing, you can save a lot by going this route. You can also send as many copies of your photos as you wish through email and the web so copies are unlimited. You can even print copies of your digital photographs from your computer.

Photography has come a long way since its early days but its popularity has not waned. It will likely be with us for thousands of years to come.

Looking for information about Photography?Go to: http://www.asaphotography.com 'ASA Photography' is published by Colin Hartness - An excellent resource for Photography! Check out more Photography articles at: http://www.asaphotography.com/archive

Who Had The Better Brushes Leonardo or Michelangelo? (By Robert Hartness)

Ordinary photos of dull subjects do actually sell, but the dramatic shots generally have an unusual element that makes them stand out from the crowd. They are well-composed and they carry no excess baggage.

One of the best photos I've seen was taken many years ago in New York Central Station (1928) It's quite famous and you've probably seen it. Sunlight streams in through the windows dominating the scene, while people mill about the expansive floor in a hustle-bustle atmosphere.

Photographers of yesteryear were past masters of judging the best exposure for a dramatic shot, without the benefit of modern gadgetry. I just wonder about that when I hear the death knell being tolled on the use of film.

We're told that 60% of the income of Kodak UK came from digital cameras last year, as Kodak announced big job cuts. Immediately, the media produced a knee-jerk reaction that claimed film is dead. True the public are totally won over by the short-term gains of the digital camera, but what about the professionals?

Many studio photographers may well switch to fitting a digital back on to their Mamiyas, but what about fieldwork? Big shots with view cameras and 6'9's, not to mention the use of long lenses for wildlife and sport, will still be dominated by film rather than digital.

Digital cameras are great for the mass market, where shots are generally taken with the subject a close range. Some of the photos of flowers that I've seen for example, are quite exceptional. In many cases, using film for these shots would be beyond most average users because judging the best exposure would be too difficult.

The public are happiest when they can they can just point and shoot. The modern digital camera allows them to do this and produce exceptional pictures of family events, so they're happy. However, put these same cameras to a stiffer test and film wins hands down. Even the latest, best and most expensive cameras still fall short of the best that film can produce, especially where the subject is at a fair distance e.g. most landscapes.

Coming back to old-time photographers, I just can't see anyone producing, or rather reproducing the same quality shots of say, Ansell Adams, using a digital camera instead of film. For Ansell Adams, substitute Man Ray, or a host of other cult photographers and you'll soon catch my drift.

Regarding photos that sell, the type of camera used is irrelevant when the client looks at the final result. I'm sure that Michelangelo never crossed swords with Leonardo about who had the better brushes. It's the masterpiece that counts, not the tools used to produce it.

And yet this epic battle between digital and film cameras is important, because a lot of time and effort can be wasted, trying to produce shots that sell with equipment that just isn't up to the job.

Without being prescriptive or dogmatic, it seems to me that any prospective Freelance photographer must weigh up the pros and cons of digital versus film carefully. It is the nature of the photograph being attempted that should decide the matter rather than personal prejudice.

Another key factor is, of course, the preference of the client. Where the customer is happy with small digital images then convenience may suggest using digital. So, for someone who shoots a range of photos it seems sensible to become conversant with both. Digital and film cameras are totally different beasts, especially with regard to exposure ' rules of thumb'.

After excellent composition, shots that sell need perfect lighting - so the modern freelance photographer should use the best tools, digital or film to achieve the perfect shot of his chosen subject. That's the kernel of truth I've yanked out of the splinters of this hoary old chestnut for you.

About The Author

Robert Hartness

One of a series of articles by Robert Hartness, successful freelance and author of an hotlinked, flip-over, e-book, published on the web in October 2004. It offers a step-by-step guide to those on the threshold of freelance photography and is illustrated with 40+ published photographs. Acclaimed as a great reference source for serious freelancers. More information and order link - http://www.cashfromyourcamera.com

Selecting Good Stock Photography in the Age of Digital (By Beth Brodovsky)

The business of stock photography has drastically changed over the last few years. Ten years ago, selecting photographs for your brochure or newsletter meant spending hours pouring over stock photography catalogs and ordering photo research to find the exact image. When the order came in a giant overnight package, designers would spread transparencies out on the light table, squinting through a magnifying loop to check every detail.

Enter the digital age.

High speed Internet connections. CD’s. Searchable Archives. Royalty-free stock. These elements have changed the face of communication design forever. The quality, quantity, affordability and accessibility of stock imagery have made it the resource of choice for many organizations.

The advantages of instantaneous access to searchable archives of good images are numerous.

• Speed :: We can never have enough of it. Search. Download. Import. It’s remarkable.
• Choice :: Searching "stock photography" on Google delivers 1,470,000 results. You can find pretty much anything out there.
• Price :: While there are free resources, unless you are doing a school report, you may need something slightly more exclusive. Also, many of the free images are only good enough for online display and the selection is very limited. Royalty-free images are reasonably priced, you pay for only the size you’ll use and images can be used as needed with no extra charges.
• Flexibility :: Image selections can be grouped, saved and emailed to others in the review cycle. People in different locations can simultaneously review ideas.
• Archiving :: Some companies even keep a record of your buys that you can re-download whenever you need them. To use this resource effectively, there are a few things you need to keep in mind.
• Plan ahead :: Will you ever need the picture to be printed? The low cost of "low resolution" images can lure you into costly mistakes. Images need to be 300 dpi (dots per inch) at the size they will be printed.
• Low-cost tradeoff :: Pictures are now so affordable, everyone’s buying them. That means your image could show up in your competitor’s brochure. Some projects call for more exclusive imagery.
• Image-enhancement :: When you need something totally unique, such as your product in the shot, it may be more economical to hire a photographer than to have your designer spend countless hours in Photoshop trying to get it just right.
• Availability :: Good images still cost money. While many firms have images on file, don’t expect your designer to have a database full of images right for your project.

When searching on the web, search for "stock photography" rather than doing an image search in Google or another search engine. Google returns all images from the web -- including those that are the property of others and not legally usable.

About The Author

Beth Brodovsky is the president and principal of Iris Creative Group, LLC. Brodovsky earned a Bachelor of Fine Arts in Communication Design from Pratt Institute, New York. Before launching her own firm in 1996, she spent eight years as a corporate Art Director and Graphic Designer, providing a sound foundation in management and organizational standards and structure. Iris Creative specializes in providing marketing and strategic communication services to clients in service industries and small businesses. For more information contact Beth at bsb@iriscreative.com or 610-567-2799.

Light and Depth of Field (By Jakob Jelling)

With such a fantastic device as the digital camera for the recreation of magic in arts, a lot of care needs to be taken so as to maintain the perfection of the end product. This perfection is not only obtained by the artistic feeling of the photographer but also with the intricate knowledge of every minute aspect of the medium of creation of art (in this case the digital camera). And these minute aspects play a vast role in defining the ultimate perfection. The digital camera, light and depth of field are one such factor that would come into light in this subsequent discussion. Basically, the depth of field is a measurement of the acceptable sharpness. Yet this is very strictly a personal preference, and varies from person to person.

Thus to be more formal, the depth of field can be defined as the area inside an image that demonstrates an ample sharpness that can be considered more or less in focus. So the depth of field is the range of distance, measured along the lens axis, as per which the image is caused to be sufficiently well and sharp in the photograph. The rest is as follows!

The depth of field defines the zone where all elements show clearly from foreground to background. Three factors control the depth of field in an image, they are the distance of the subject, the focal length, and the aperture used to capture the photograph. For people using compact digital cameras, one of the subjects of out of the ordinary interest is the depth of field because depth of field is more easily said than done to control with a compact digital camera than with earlier conventional analog film cameras. The minute imaging sensors of compact cameras need the use of short focal lengths, and this in sequence gives these compact digital cameras an extraordinarily long depth of field when compared to other cameras. Thereby, with intent obtaining a shallow depth of field is more complicated.

Considering a general acceptable fact, the depth of field decreases, as the image gets nearer to the camera. This means that as the focal point reaches closer to the lens, the achievable scope of the depth of field ebbs. On the other side, if the image is far enough distant from the camera, and for digital cameras, this must not be very far, the depth of field approaches out to infinity. Another important point to be noted is that the depth of field is proportional to the lens opening.

Having discussed the above important aspects of the light and depth of field of a digital camera, it is clear that the minute details make such great subjects whose knowledge becomes equally important for making appropriate use of the fantastic device, the digital camera! And the digital camera, light and depth of field comes out to be such important factors that can make all the difference if a photographer remains oblivious about this knowledge. A small factor thus can meal a big divergence!

About The Author

Jakob Jelling is the founder of http://www.snapjunky.com. Visit his digital camera guide and learn how to take better pictures with your digicam.

Is Digital Photography Expensive? (By Jakob Jelling)

Being such a fascinating device as the digital camera, this technological masterpiece is of course a precious and priced possession. And acquiring it also means that one time achievement feeling. Thus a person must also be very careful and at the time quite a little knowledgeable in order to make a good purchase and not lose a good bargain in the maze of soaring prices and mist of exaggerated cost myths. This discussion is again focused to pierce that mist and unravel that myth to reveal the truths and facts regarding the actual and economic cost of a digital camera!

As per recent marketing trends, the conventions has it that there are only two types of digital camera users, firstly the average people who only craves to push the button, and secondly the professional photographers, people who looks for good control over the digital camera and its well carved features and are willing to pay virtually any price. Thus with this idea in the back of the entire process of sell and purchase, diverse levels of resolution for such digital cameras are available that are the real culprits in defining the price range of the cameras. United with such singular features the digital cameras come in a spectral variety of price range for an even varying customer range that are willing to pay anything from £30 to £1,500.

The cost of an average digital camera probably lies in the region of £260, however in spite of this a person must be aware of what functionality or resolution that he or she is looking for and ultimate paying for, so that the purchase does not result in too much in exchange of too little of whatever must be desired from the digital camera. A person must self analyze the reasons for purchasing the digital camera before venturing into an expensive rendezvous. He or she must be aware of what the real purpose is, is it only snapping for casual reasons or a serious plan to produce super quality photographs to be printed as art or for professional purposes.

Looking into the price index in a little more detail reveals more facts! SLR (single-lens reflex) digital cameras have attained quite a price shedding with the invention and market release of digital cameras like Canon's EOS Digital Rebel, an SLR priced below $1000, perhaps the very first of its kind. Even with certain add on into the digital camera that even add to the price a bit more, still the Rebel cost remains about $600 below its flanking competitors. However comvention has it that these standard digital cameras cost around $2500 to $4,000.

In an effort to find out the reasons behind such soaring high prices, research reveals that digital camera sensors are, for all intents and purposes, computer chips. The bigger the computer chip, the more likely it is for errors. The reason remains that a single blemish in the silicon wafer may reduce to rubble an entire chip. Thus the random flaw increases with the size of the wafer. This is the exact reason why costly chips like Intel Pentiums processors are basically not bigger than 20mm square and can be also manufactured in greater volumes. Yet with the reduction in size the prices soar up and this proves the high costs of the digital cameras.

Thus it becomes clear from this discussion that a predetermined mind set is required when approaching for purchasing a device like the digital camera. This discussion provides an overview of the price ranges of good digital cameras, but a person must identify his or her own needs and preferences and have an open mind but with some notion of what a good but should be, and the cost of the digital camera would be a guaranteed perfection!

About The Author

Jakob Jelling is the founder of http://www.snapjunky.com. Visit his digital camera guide and learn how to take better pictures with your digicam.

Proper Handling and Storage of Paper Photos (By Paul Olshefsky)

Youv'e taken that perfect photo in the perfect light at the perfect angle and it has turned out beautifully.

How you handle and store the photo from now on will determine how long it will last.

No one wants to pull out their photo album only to to come face to face will faded, yellow and warped photos.

With the proper handling and storage of photos you can help prolong the life of your precious moments until they can be transfered into a digital format for extended storage life.

To simplify things I have broken down the procedures into 10 steps.

1. Never eat, drink or smoke around photographs.

2. Always wear clean white cotton gloves to handle your photos. This will keep skin oils off of the photos.

3. Never bend a photograph to pick it up. Slide it to edge so that it may be picked up in a manner that keeps the photo flat.

4. When removing photos from a bag or sack, hold the photos steady and still in your hand and pull the bag or sack away from the photos. Never pull on the photos. By pulling the sack or bag you are lessening the tork and stress on the photos.

5. Never store photos in an album that uses any type of adhesive to hold the photos in place. The chemicals will only speed up the break down of the photograph.

6. Never store photos in direct florescent or sun light.

7. Always store your photos in the room that has the least amount of heat and humidity. This will help slow down the mold and mildew that will attack photos.

8. Any type of album or plastic used to hold photos must be chemical and acid free.

9. If a photo is showing signs of dust use a very soft bristle brush to lightly dust photo.

10. Never write on the back of photos. This places grooves and places cracks in front of photo that will show up on face.

Paul F. Olshefsky is the owner of "Sentimental Services" a service that specializes in the creation of Picture Book DVDs and keepsake videos. His introduction into the digital world started back in 1987 when he was trained by the U.S. ARMY on teir Tactical ARMY Combat Service Support Computer System. He has continued to further his digital knowledge thru college courses.Paul F. Olshefsky
http://www.SentimentalServices.com

Photography Poses - The Missing Ingredient (By Robert Bezman)

You've read all the "best digital camera" articles, got the best price on your first digital camera, and even glanced at its owner's manual. Are you itching to take some shots of your family, or what?

Slow down, soldier. Before you take 200 shots that seem great at the time, but then upon review of the final picture are less than what you expected, let's prepare. Prepare?!?! I'll bet you thought charging the battery was the hardest part of taking great photos, didn't you? Sorry to disappoint you, but if you want to improve your photo results 50% in 2 minutes, let's review some basic advice of the pros.

There are two categories of GENERAL ADVICE which applies, regardless of whether you're using a digital camera to take family portrait poses, baby pictures, pet portraits, group pictures, funny photos, or even maternity portraits. The first category is...

"Good Planning" Advice for Photography Poses

1) Prepare For The Event

Prepare for the event by thinking about every photograph you want to take and what kind of photography pose or poses you would like to capture. Consider who, where, how, and the type of environment.

2) Take Multiple Photographs

Take multiple shots of each pose (remember, digital memory is reusable, a.k.a. "free"). Regardless of what you say or do, people will blink. And don't count on spotting small problems on the tiny camera LCD screen (even on full magnification); which leads to...

3) Check LCD Screen

Check the digital camera's LCD screen for general framing of the picture, any movement, visibility of faces, and the histogram. Note that you can think up a fantastic photography pose; arrange everyone perfectly; and, have the photograph "frozen" (no blinking, and no shaking of the camera)...but, when you check it out in the LCD, you see 2 drunks fighting in the background! And, my favorite...

4) Funny Phrases

Have some funny phrases handy to use just before you take the photo. Don't use it when setting up for the shot. And, don't use the same phrase all the time. Throw in funny anecdotes, phrases, names, words that you know your family will find more amusing than "cheese." A natural smile looks four times better than a fake one. The second category is...

"Location" Advice for Photography Poses

Taking indoor family photography, is very different than outdoor family photograph (duh!). For INDOOR pictures...

1) Wide Angle

You will tend to use the wide angle more often than your telephoto setting. Pay particular attention to your "end people" (those farthest to the right and the left in your viewfinder), and verify there is enough space in picture, so that if cropping is required, the end people don't have to lose a limb.

2) The Flash

Flash considerations are critical. Do not be outside your "flash range." For example, if at ISO 100, your flash can properly illuminate 12 feet, don't attempt any photography pose that requires anyone to stand at 14 feet (unless, of course, it's evil cousin Ira who you want to appear in darkness).

3) Plan "B"

If you need to be further away than your flash allows, here are 2 things you can try...First, increase the ISO setting (but not so much as to produce to much noise), or second, move to a significantly brighter location.

4) Watch Your Background

If there are distracting features, change your settings to blur the background (see the Techniques page). The best photography pose in the world won't look right with a distracting background. And finally...

5) Mirror, Mirror, on the Wall

If there are mirrors or reflective surfaces in the background and you can't find a different location, only take the picture in such a way that the flash is not perpendicularto the surface, but at an angle (unless you want a nice photo of your flash).

Outdoor family photography has completely different issues. For OUTDOOR photography...

6) The Sun

Avoid photographing in direct sunlight, or in mixed light and shade, especially faces. Optimal lighting results from a slightly overcast sky.

7) Shade

When photographing in shade, use fill-flash (see terms) when necessary. And, really finally...

8) Beauty

If practical, take the picture at one of the beautiful natural settings near you. Imagine the result of a creative photography pose captured in a stunning environment. Can you say: "Over the mantle!"?

To see some sample pictures including more photography tips, go to www.best-family-photography-tips.com/photography-pose.html.

Copyright 2005 Robert Bezman. All rights reserved.

Robert Bezman is a professional photographer and owner of Custom Photographic Expressions. Robert has created http://www.best-family-photography-tips.com to help beginning and intermediate photographers create better photographs. Robert has an eBook for new parents and grandparents that's a must-see for anyone wanting to dramatically improve the quality of their baby's pictures.

The Beauty of Nature Photography (By Colin Hartness)

Nature is all around us, and its beauties are unlimited. In this fast-paced world of mocha-lattes and traffic jams at rush hour, too many of us take the beauty of nature for granted. Luckily, there are still people in the world who see this beauty and choose to share it with those of us that are too busy to normally take notice. Poets and photographers are great at this. They take what seems like the ordinary and present it to us in a way that shows us the elegance, the magnificence and the amazing that is on this rock we call Earth.

What is Nature Photography?

So what do we mean when we say nature photography? Well, it may seem obvious but let’s go ahead and explain. Nature is our natural environment. It is those things that exist in our world without human intervention; such as trees, grass, flowers, a forest, a river, and animals in their natural environment.

Nature photography is the photography of these things. There is a wide spectrum that is included in nature photography. Pictures of sunsets, sunrises and ocean waves lapping at the shore are all nature photography. So are the trees in the forest and beautiful flowers growing in an open field.

But nature photography can go even deeper than that, showing us parts of the world that we may not be able to see otherwise. If you live in the south, you may not see snow-capped mountains if it wasn’t for nature photography. You may not be able to see a deep canyon, a volcano, or a beautiful beach if it were not for photographs of these places.

The photographers that bring us pictures of these places give us an image of something we may never see. It’s truly an amazing gift to give.

Nature Photographers

But what if you are one of the people taking these pictures? What if you are the nature loving photographer that gives this fantastic gift to someone else? You are giving a gift to other people. But you are also doing something you love. Nature photography can only be achieved by someone who has a love for nature and sees its beauty and can capture it in a photograph so others can view it and have a touch of the same experience.

So how do you take great nature photography? The first step is to have an eye for these beautiful images. The second step is to have a camera. That’s really all it takes. But as you grow as a photographer, you will learn how to take the best pictures and capture the image in a way that others can view it as the amazing sight that you saw. You will learn about lighting and backgrounds and focus and you will take better pictures.

Nature photography is a rewarding experience for the photographer and also for the people who get to view the results. You have taken a piece of nature that may otherwise go unnoticed such as a rainbow, and you capture it permanently in an image that you can look at any time you choose. This is a pleasing and rewarding part of photography. In nature photography, you are able to take two things that you love and combine them in a beautiful and artistic way.

Looking for information about Photography?Go to: http://www.asaphotography.com 'ASA Photography' is published by Colin Hartness - An excellent resource for Photography! Check out more Photography articles at: http://www.asaphotography.com/archive

The Photography Portfolio: Building Your Reputation (By Colin Hartness)

If you have hopes of becoming a professional photographer, or even just of trying to get your work published in a public forum, you will need to create a photography portfolio. So what’s so important about a photography portfolio anyway?

There are many reasons why having a portfolio of your work available for others to view. If you are seeking employment as a photographer, then the need for a portfolio is obvious. If you are not seeking a photography job, there are still good reasons to have a portfolio. For one, you love photography and you take a lot a pride in your work. They are important to you. Most likely, some of them are very good. Why not create a portfolio that showcases your best work so you can show it to others (even if it’s just friends or family that comes over for a visit)?

- Building a Photography Portfolio

Before we get into what goes into your portfolio, let’s discuss the portfolio itself. What should it be made of? How big should it be? You may have seen portfolios with covers made of all types of materials such as plastic, leather and even stainless steel. These fancy covers are usually much more expensive and may not be practical for a beginner. If you are competing for high-price jobs and want to stand out from the crowd, these expensive covers may be a nice touch. But for most people, a regular black plastic cover will work just fine. It’s what’s inside the portfolio that is most important, right?

So, you are probably best to stick with a plain black plastic cover and work hard on beefing up what’s inside. Don’t decorate your portfolio with cutesy stickers and such; this will look amateurish and unprofessional. It’s not a scrapbook; it’s supposed to represent your high-quality work.

Now, as for size, this is going to depend on the size of your largest pictures. An 8 X 10 is probably going to be your largest. If your pictures are not this big, you don’t need a portfolio this big. Your biggest will most likely be an 11 X 14 and it could be as small as a 4 X 7.

The most important thing for you to remember is convenience – both for you and for the person who will be looking at your portfolio. You want to keep it professional and easy to hold, carry and look over.

- Using a Photography Portfolio

So now that you know what a portfolio is and what type to get, how do you actually use it? Well, we mentioned you are going to fill it with your best work. This means you want a portfolio that can easily be changed. You may want to pull out old ones and add in new ones. You don’t want to go for a job carrying along every picture you’ve ever taken. You’re going to want to have 15-20 of your best work. You are also going to want to be sure your pictures are relevant to the job. If you are trying out for different types of assignments, you may want to create portfolios that work for each of the types of work you are doing.

Of course, you only want to show your best work but you want to give the impression that you can handle any type of assignment given to you ad not that you are “stuck” in only one type of photography.

You want to showcase your best work; this is best technically as well. You may have a photo that is really important to you because of the image it represents or the memory it brings but if it is not technically perfect, it doesn’t belong in a business portfolio. Save that one for your coffee table.

Looking for information about Photography?
Go to: http://www.asaphotography.com.

'ASA Photography' is published by Colin Hartness - An excellent resource for Photography! Check out more Photography articles at: http://www.asaphotography.com/archive.

Landscape Photography - Capture the Beauty That is All Around (By Colin Hartness)

There are many different types of photography. You can take pictures of anything and there is someone out there somewhere who would like to see the pictures that you take. So, photography is a great field to get into.

- What is landscape photography?

Landscape photography is a great field of photography, especially if you love nature and if you love to travel. You can travel the world taking pictures of beautiful scenes across many countries. Of course, this is landscape photography on a big scale. Not many people are lucky enough to start off traveling the world.

But you can find beautiful landscapes right where you live. That’s the great thing about nature, it’s everywhere, and landscapes are everywhere. And that same sunset behind the mountain that you’ve seen everyday since you were a kid may look pretty amazing to someone who has never been to the mountains. Seeing the sun rise up out of the oceanfront may be absolutely astonishing to someone who has never been to the beach. It’s all relative.

What you may see every day is someone else’s treasure. If you can open your eyes to the beauty and see it, then other people can see it in your photography. It can be simple and everyday or it can be vast and amazing. It’s all about the great pictures you take. You may see a night city skyline, a series of lightening bolts or an interesting cloud; it’s how you take the picture that makes it beautiful to someone else.

- How to Learn Landscape Photography

If you are serious about landscape photography, you should take a course. You may have already had a course in photography but you will want to take one specifically for landscape photography so you can learn how to get the best pictures possible. You will want to learn what film to use and how to work with the sunlight or other natural light. You will also learn about achieving a sense of balance and scale, how to photograph running water and similar issues that a landscape photographer might face.

If you can’t find any appropriate classes in your area, you can find them on the internet. You can also find many groups and message boards designed for landscape photographers to meet, share photos and tips and ideas. You can get tips and advice for your questions if you join these groups. You can also view the work of others, some that may be much more experienced than you. You can learn from them and their photos.

- How to Make Money with Landscape Photography

If you are considering landscape photography as a career (even part time), the first thing you are going to want to do is learn as much about it as possible; read books, take classes, visit websites. Then you are going to want to practice, and build a portfolio. Your portfolio should be updated often and only include your absolute best work. You may want to send some of your best photos to photo contests or magazines. These are good ways of breaking into the world of professional photography when you have no experience.

Looking for information about Photography?
Go to: http://www.asaphotography.com 'ASA Photography' is published by Colin Hartness - An excellent resource for Photography! Check out more Photography articles at: http://www.asaphotography.com/archive

Freelance Photography: How to Begin Your Career (By Colin Hartness)

Photography is a vast world. There are many different types of photography and many different kinds of people that enjoy it. It’s a hobby that be relatively inexpensive or one that you can invest a lot of money on. Photos are so special because they give us memories of times and places and events in our lives. We can hold onto these memories forever with a photograph.

As much as people love photos, many people love taking them even more. Whether it’s a mother who takes photos at every of her children’s moments in life (first smile, first step, first spaghetti meal) or maybe it’s the father who never forgets his camera for a football or basketball game, or maybe it’s the young girl who loves nature hikes with her camera; these people are not exceptions. They all have an eye for those special moments and they all appreciate the camera’s ability to capture that moment and freeze it in time forever.

- What is Freelance Photography?

What if you love photography so much you wish you could do it for a living? I mean, you actually get paid for your photographs! But you work solely for yourself, selling each photo or series of photos individually. You don’t have a boss. You work sometimes on assignment and you may sell to magazines. That is freelance photography.

Freelance photography may be your entire career or it may start out as something you do in your spare time but begin making money from it. It’s just like freelance writing in this sense that many people turn it into a career and enjoy the freedom of working essentially for themselves on their own time and making money doing something they love doing anyway.

- How to Build a Portfolio

To start getting jobs as a freelance photographer, you need a portfolio. A portfolio will show samples of your work. Even if you have never had photographs published or publicly displayed, you can start a portfolio of your best work and then add onto it if you win photography contests or start receiving paid work.

- How to Get Jobs

As we mentioned, building a portfolio is the first step in submitting your work for pay but when it comes right down to it, it’s the quality of the photo that will determine if you get paid for it. Some people have more of a natural talent for taking great pictures than others but it is a skill that anyone can learn. There are schools dedicated to the art of photography and you can even get a degree in it. If you are just getting started, you can look into classes provided by your local community center or community college. Some cities have photography groups that meet to share photos and tips. There are also many groups online dedicated to photography and freelance photography.

You need to view as many famous photographs as possible. Take a look at what is getting published and compare it to your own photos. This allows you to compare and learn from other’s work. It takes more than just point and shoot to get a great photo. You need to learn about focus, lighting, colors and backgrounds and much more.

Once you start learning about photography and creating a portfolio, you can start submitting your photos to contests and magazines. Get a list of photography markets and start submitting to ones that accept your type of photos. Don’t expect to make it to the big times right away. Few people actually achieve this but you can start small and eventually make your way into a nice living from freelance photography.

Looking for information about Photography?Go to: http://www.asaphotography.com 'ASA Photography' is published by Colin Hartness - An excellent resource for Photography! Check out more Photography articles at: http://www.asaphotography.com/archive

Photographs Everywhere, But Is It Really Art? (By Sue Kennedy)

I once heard a lady say to a photographer that she would have bought his work if it had been a painting. She liked the image, but for whatever reason didn't consider the medium suitable for her “it's just a photo”.

I am sure that some share her thoughts, whilst others would be quite happy either way, but a growing number of people do recognise photography as an Art form. And collect it.

“There are three fundamental components of what we call art. First, is the artist; second, is the medium; and third is the artwork. All three, clearly are interrelated." Tad Beckman

Defining photographic art

It is true many people do regard photography as merely a reproductive medium, and the photographer as simply the technician. And if this were just about your holiday snaps then it would be a valid point.

So let's start with my definition of photographic art. I say my definition because there is no stock answer it means different things to different people.

For me it's about creating a beautiful image that is an interpretation of the scene that I saw in my mind captured on film, rather than just a recording of what is already there.

It's about the photographer being the choreographer of the various components; the composition is critical, as is the lighting, weather conditions and the colours at play.

It's not just about pressing the shutter release, although timing is everything. Patience comes into play too, as you wait for all the components to be perfect all at the same time.

Some things you can control, but the weather well that constantly throws out surprises that can add that hint of drama to a picture or send you home disappointed.

It's these uncertainties that add the challenge, and this results in creativity as you respond to the situation. Other photographers will have their own criteria, but we all are producing very personal pieces of work that we feel passionate about and that are a representation of our interpretation of the world.

A photograph - more than just a sheet of paper with an image on it?

Oh yes! Typically a photographer will capture an image that pleases their eye. They will create something that is close to their heart, and therefore give a little of themselves in the image.

Effectively they are allowing you to see how they perceive the world to be, one moment at a time. Add into the fact that many photographers print their own work (once they have an order!), and sign it then you could say you are buying a piece of history - or designer art!

In other words you are not buying a mass produced print, and naturally the price reflects this. You are buying into the reputation of that photographer and you will expect to pay more. When someone is starting out and building reputation then you are investing in the potential of that person.

You won't pay as much, but you'll be backing your own instinct and demonstrating your belief in that person's talent. Contemporary photography is affordable art.

Subject matter - does it matter?

Personally I don't believe it does, and I mean this in the sense that people will be drawn to your work because they have seen something of yours and liked your style, and typically that means they like your choice of subject matter too.

My preference is for landscapes and increasingly flowers, whilst other photographers prefer sport, people or a more abstract approach to name but a few.

I think the key to preserving artistic integrity is to shoot for your own personal satisfaction, although naturally as your reputation builds you will develop an understanding of what collectors want, but for me I always have to love the image myself to want to share it with the world. Anything less and it stays in the drawer!

I still experiment, and search for new subject matter, but my photographic style is what it is. It just keeps evolving.

A new language

Understanding the language of the image is something quite individual to the viewer, it does not explain itself in the same way to each person. It is subjective. And although some may view photography as easy, believing that there own point and shoot cameras can produce similar results to a master photographer are confusing the issue.

After all most of us have made paintings at some time in our lives, and may still own paint brushes, but wouldn't necessarily look at a painting by a master and not consider it to be art would we?

It is the heart and hand of the author behind the brush, camera or pen that executes the creative vision not the tools used.

About the author: Sue Kennedy, LRPS & LBIPP Sue Kennedy is an UK based photographer specialising in outdoor photography and works on commission for companies & individuals as well as shooting for picture libraries. To purchase from Sue’s current print and card selection visit her Website http://www.blueeyesphoto.com

Copyright © 2004 Sue Kennedy Blue Eyes Photography Ltd

Photographing Kids (By A. Charlotte Riley)

Kids grow up so quickly and while we are often left with countless memories, most parents have only a drawer packed with school photos, blurry holiday snaps and the forced grin of the inevitable yearly birthday picture to account for the years gone by. It’s time to stop bemoaning the latest photograph of your thumb obscuring your adorable baby and get on with improving your skills as a photographer.

Why should you bother when the near-by mall has a perfectly good photo studio, you ask? Photographing children poses specific challenges but yields numerous rewards. While it can be frustrating when you miss that spontaneous moment, it is also highly satisfying when you manage to capture the joy in their faces as they dance in the summer’s first sun shower. Capturing the day-to-day moments will provide a treasure trove of memories that you will cherish forever. As well, your own images take on a more personal feel and a more meaningful connection, something that can never be achieved in a generic mall photography studio.

Follow these easy steps and immediately improve your snaps of the kids.

Making The Unusual Usual

Friends with children often say to me “My child always pulls faces for the camera and I can’t get a picture without little Johnny sticking his tongue out and crossing his eyes.” Kids --and many adults as well-- are prone to hamming it up for the camera, however, they will be more natural if the camera is a part of their everyday life instead of brought out once or twice a year. By making it a regular part of their lives, it will increase the comfort level and encourage portraits that are more natural. Try bringing out the camera once or twice a week and focusing it on your kids. They will become accustomed to having it around and it will give you a chance to practice your technique, too. And, if they still clown around for the camera, get into the swing of things and enjoy it. Little monkey faces are a part of childhood!

Kids’ Eye View

As adults, we look one another in the eye and photograph our friends at eye level. Do the same for your children. Bend down on one knee or sit on the floor to get a picture that reflects a child’s perspective. To add a little excitement, have fun playing with perspective by shooting the image from the ground up. Lie down on the ground and taking a picture from that viewpoint. Suddenly toddlers become giants and we can witness the world as they see it, by looking up.

Patience, Patience!

Small children have a limit of two or three minutes before they become bored with Mummy or Daddy’s photo session. The urge to run off and play becomes just too much! Don’t force kids to stay in one place for long, unless you like pictures of sullen little faces. If you are taking a formal portraiture-style photo be sure to plan ahead for the best possible results. Check your batteries, make sure there is film in the camera and if you are using a digital camera see that there is space on the memory card. Provide your toddler or small child with a prop, like a ball or a favorite toy to help create a more natural expression, instead of the one that says, “Just hurry up and take my picture, Mom!” Keep it fun and stress-free.

Fill The Frame

Because backgrounds can sometimes be distracting, do not be afraid to move in closer and take a picture of your angel’s face. It creates drama and interest in the photograph and eliminates extra clutter. Unless you are taking a travel photo or an image of the child engaged in a particular activity, feel free to emphasize the most important element of the picture- your child. Use the zoom or macro tool on the camera to get in closer. Pictures of your little one’s hands or feet can also be interesting studies, and one day you may find yourself saying, “I can’t believe they were so tiny!”

Just A Little Off-Centre

Many professional photographers use “The Rule Of Thirds” approach which means that they mentally divide the frame into three sections both vertically and horizontally --like a tic-tac-toe grid-- and place the subject of the photo at one of these intersecting points. It helps to create a more dynamic photograph, than one where the subject is smack-dab in the middle. Take note that if your camera is an auto-focus model, you may have to focus first on your subject and then, with the shutter button still half-pressed, recompose the image.

Natural Light Rules!

One of the tricks of the trade in photography is to use morning or late afternoon light. The sunlight at this time is wonderful and helps to produce pictures that are bathed in warmth. Direct light flatters the subject and adds to a more intimate and natural-looking photograph. It also helps to greatly reduce the bane of every parent photographer- red eye!

Experiment with taking advantage of the sunlight pouring through a window, or march the kids outside on a sunny day and photograph them while they are playing tag. To have a well-lit photograph make sure the light is behind you, shining on the subject. To create drama, try using side light for impressive shading. If you try to take a photo with the sunlight behind your children, a technique known as “backlighting”, you will end up with the subject looking like a dark silhouette.

The Last Word

It really is all about fun. View the time you are taking to photograph your children as time to share in their adventures and imaginary play. A frustrated mom directing kids to a more picturesque location and insisting on a smile does not reflect kids’ reality. Pick up the camera only when everyone is relaxed and happy. Finally, don’t expect every photo to be a masterpiece. The truth is that only a few images from each roll are frame-worthy, but the important thing is to keep snapping away to capture the moments that depict their ever-changing lives, in all its unique glory!

Copyright: A. Charlotte Riley 2004

Charlotte Riley has worked as an Internet editor, content producer, marketing writer and researcher. She has a BFA from Concordia University, majoring in Photography. In her spare time she can be found cooking, working on crossword puzzles or hanging out with her daughter, Kate. Contact: http://www.acriley.com