More Creative Photography Please!

Why play it safe when planning your photos retouch work. Just because the photo came out of a camera a certain way doesn't necessarily mean that you should only spend a little time to touch up the photo to keep it as close to the in-camera result as you can. There is nothing wrong with expressing your creative freedom to get a quality look that you are happy with.

There are two popular types of philosophies shared by creative photographers. There is the purist who believes in-camera technical settings rule over any post processing creative freedom. Another words, a photo should look exactly as the camera produces it with little help in post production. When I say little help, I mean minor color correction and brightness/contrast adjustments as well as cropping. The integrity of the frozen moment in time should be the art of photography-technical know-how at his purist form. Most professional photographers who stick to this rule can accomplish their needs, please their clients, and save a lot of time by avoiding time intensive post production work.

The other philosophy shared by creative photographers is that of the self-proclaimed artist, photo enhancement specialist, touch up artist, or whatever cool sounding title you can think of. This philosophy is based on taking a photograph that is good and making it much better through post production, including obvious changes that would obviously never be performed by a photographer who prides himself on the purist philosophy. This photographer prides themselves on the fact that they know they will be spending a lot of time at the computer making basic cosmetic enhancements to all out metamorphosis with their photos. This creative photographer wants to be sure that he/she has left a lasting impression on the photo by altering it through his/her own creative vision.

While I can appreciate both philosophies, I tend to lean toward the latter philosophy. With the emergence of technology, you really can make a believable square wheel nowadays; well, you know what I mean... And I have always had that itching mentality as to how I can get something to look even better than it does in it's current state.

I should mention, however, that I am not condoning the practice of settling on taking crappy pictures just because you know you will be editing them in Photoshop later. That is indeed a tremendous waste of time. It's very important that you use solid shooting techniques, so you have the best possible photographs to work with before you get to the post production steps.

I think the ultimate point I am trying to make is that you shouldn't let anybody, including your art teachers or professors, tell you how your images "should" look. Believe it or not, this applies to both philosophies. Make your work/art your own. Express yourself freely and be proud of your accomplishments!

I hope you find this article interesting. If you do, please link to it.

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http://california-photography.blogspot.com/2009/05/test-shooting.html
5 Easy Tips to Improve Portraits of Children
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Test Shooting

Test shooting in portrait photography is interpreted many different ways in regards to a model test shoot. After doing a little browsing around on the subject I see that there is still information online that is quite dated and doesn't really apply anymore with the evolution of digital photography. I am going to share my philosophy behind test shooting and how models and photographers can benefit.

What is a test shoot? Simply put, a test shoot for the photographer is a means to get acquainted with future talent and/or test photography equipment. For a model it is to start or generate a quality model portfolio quickly on a budget and introduce themselves to the industry. Although it is not uncommon for experienced models to participate in a test shoot, that is basically it in a nutshell.



Test shoots are almost always done on a trade agreement; an investment of time straight across for both photographer and model. As payment for the models time, the photographer typically provides the model with copies of the photos that were taken during the shoot. As payment for the photographer, a photog gets a beautiful subject to work with, the opportunity to work with a potential long term client, as well as knowledge to improve skills and portfolio. TFP and TFCD are popular acronyms that go along with test shooting in the photographers models world. TFP stands for Trade/Time for Prints (printed photos of the shoot), and TFCD stands for Trade/Time for Compact Disc (CD or DVD that contain photos from the shoot). While these types agreements often go beyond test shooting, when a Test shoot is offered or suggested, trade should always be considered by both parties. But don't take it personally if you are turned down.

Photographers Model - As a photographer, when I do a test shoot with a model, it is usually to figure out a couple of things. The first thing I want to figure out is how much experience he/she has in front of the camera. If the model is relatively inexperienced, and could use a lot of improvement in their modeling skills, as well as taking direction from a photographer effectively, it doesn't make sense to invest time and money into a large setup that requires all the elements for a nice shoot. Those elements could be a nice location, hair and makeup, and wardrobe to name a few. Taking the time and money to set all that up while running the risk of getting mediocre results at the very best can be avoided by doing a test shoot before hand.

The other thing I like to figure out is how to improve my own technique when working with models. Trying something new and different, or trying to improve on something that didn't turn out as well on a previous shoot. That can include posing, angles, camera settings, and most importantly... Communication. Communication is paramount.

Of course another good reason for a test shoot is new equipment. If you have a new camera or flash gun, and you want to put it to good use right away, scheduling a test shoot is very effective to understand the different nuances that come with new equipment.



Models Photographer - Test shooting for new, young, and/or up and coming models is a great way to build a portfolio fast on a minimal budget. A great way to get quality images for their portfolio quickly is to introduce themselves to reputable photographers who produce high quality images. Nowadays a good place to achieve this goal is to browse modeling photographer networks online where you can view photographer profiles and portfolios. Models should be prepared to provide images upon introduction.

One very popular network in the industry is Model Mayhem. As a model you can sign up for an account as long as he or she meets the minimum requirements.

A model shouldn't be surprised to find a good number of inquiries from photographers to set up a shoot over a few simple introductions. In some cases, it's quite possible a new model could be booked right into a major commercial shoot right out of the gate without any mention of a test shoot. Not everyone will experience such fortunate timing, but it happens.

If a model really likes a photographer's portfolio, it never hurts to express appreciation in an effort to fuel the incentive to work with him or her (insert small photographer chuckle here). It's quite possible you will generate some long lasting successful business relationships from just a simple test shoot.

Regardless of what type of shoot, models should be up front with the photographer, and vice versa. Inform them of personal boundaries and expectations, if needed, to avoid anything that might make the shooting scenario uncomfortable. Having a fun test shoot means optimal results as well as a promising business relationship.

The Details:

The details of the shoot should always be arranged up front as to the type of the agreement and what both parties will get out of the shoot. Even though it is a test shoot, models should be prepared to sign a model release. Photographers should also provide clear instruction on how, and how long, copies of the images will be distributed to the model(s). Test shooting is typically a 1-2 hour shoot, although I have heard from models that they can go on much longer. It's probably a good idea, for both parties, to have an idea of the time frame before the shoot actually takes place.

I hope you find this information useful. Please link to it if you do. Check this out: Photography Posing Secrets

Sacramento Photography

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5 Easy Tips to Improve Portraits of Children

In my experience, I must say that when it comes to portraits of children, the most important part of the shoot is keeping them entertained throughout the process. Once you lose a child to boredom, it can be very difficult to win back their attention and keep it.




I don't shoot an overwhelming number of portraits of children, but when I do get the opportunity to shoot children portrait photography, I am always looking for new ways to entertain my young subjects. Although different techniques work better for different age ranges of kids, here are 5 basic tips that I have found to be effective when working with kids.

1. Squeak Toys: For younger children, a squeaky toy can be a photographers best friend. Kids love the sound of funny noises, and they typically react positively toward them. If you're going to use squeak toys, try to keep them small. You want your subject to hear the noise, not beg you to hold the giant dog toy making the noise through the entire shoot.

2. Cartoons: Older children can be very passionate about their favorite cartoons or superheroes. Ask a couple of questions about their favorite cartoons, and you will be amazed by the animated emotions you can draw out of them (sorry for all the puns there).

3. Something Shiny: Babies tend to find shiny objects interesting enough to stare at for long periods of time. Whether it is a set of car keys, a small compact mirror or jewelry, you can usually use it to get their eyes to look in a certain direction long enough to get some good shots.

4. The goofy Face: I use this one most, but you have to be careful with this one. This one can easily backfire on you if you don't use it properly. You need to make a game out of it. What I will do is make a goofy face at them. If they smile, great! I snap the shutter. If they don't, I dare them to make a face goofier then the one I just gave them (and they usually take the bait). When they make the goofy face, I snap the shutter and immediately claim, in a joking voice, that I didn't mean to take a picture of that goofy face or that he/she may have broke my camera because that face was so scary. That kind of reaction often gets them to giggle or laugh. And it is at that very moment, you should be clicking the shutter.

5. The secret weapon: When everything else fails, and you just can't get them to smile or react the way you want them to, this timeless entertainment device works every time. Enter the comedic excellence of... The Whoopi Cushion. That's right! The old fart bag. Place it under your arm, and squeeze it against your torso to let out a nice burst of noisy air that will surely make your subject(s) laugh and smile. Of course you'll want to play off the noise by asking your subject(s) if they just did that. This may seem a bit crude to some people, but when your desperate for results, reaching down for a little harmless potty humor can work wonders. And let's face it, farts are funny!

These are things that have worked for me in the past, and techniques that I will utilize in the future to improve my portraits of children, and I am always open for new ideas. I would love to hear some other techniques photographers use to get great results for children portrait photography. Please share what works for you.

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Camera Shy Subjects - The art of dealing with photo portrait nightmares

A camera shy subject can be a very frustrating ordeal for a photographer trying to take a photo portrait. There are a many different reasons why a subject reacts to the camera in a certain way. Some people love having their photo taken, some feel a serious wave of anxiety roll over them when someone starts pointing a camera in their direction. The latter is where it sometimes becomes a difficult situation for a photographer, or anyone who would just like to get a snapshot of a family member or friend.

I am sure the vast majority of people who will read this have come across an encounter where someone has held a hand in front of their face so you could not get a clear shot of the moment you were trying to capture. It could be that they don't find themselves to be physically attractive in general, or they don't feel presentable for a photograph at that particular moment, or they even have a genuine fear of cameras. I don't know if there is an actual phobia for fear of cameras, but I do know that there is a phobia called Ophthalmophobia. That is the fear of being stared at, and that could easily be a reason why someone would react negatively to a big giant lens pointing at them and making noises whenever the shutter is clicked.

It's pretty safe to say, that if you can not help the subject overcome this temporary, or permanent, bout of camera shy behavior, your photos will suffer as a result. A good photo portrait requires a relaxed subject, in other words, a scenario that doesn't appear to be forced. Even when people pay a portrait photographer for photo portraits, coming across a case of camera shyness is not uncommon. Regardless of the elements creating the tense moment, it is important that you find common ground with the subject.

Finding common ground is using communication effectively to find something you and the problematic subject can relate to. Telling your subject to relax and smile, or begging them to give you the look you want is not going to work to your advantage. More often than not, it will make the situation worse. Trying to help someone, who is uncomfortable, feel relaxed can be quite rewarding at times. Striking up light conversation, and not over-communicating, will often get you the results you're looking for.

Here are a few tips I can offer up to help in this situation:

1. Put down the camera. That's right. Put down the camera and talk to your subject. Take a few minutes to get to know your subject. Find common ground.

2. Find common ground. I usually ask a subject what they like to do in their free time, what hobbies they have, or mention a current event in the entertainment world (almost everyone enjoys television, music, or going to the theater). Try to keep the conversation on an upbeat keel. You want your subject to smile and laugh. Talking about negative things like death or politics won't work as well as the lighter side of things like Jon Bon Jovi hosting Saturday Night Live or a referrance to a scene in the movie Meet the Parents starring Ben Stiller and Robert Deniro. As long as you can get them talking, and fuel the conversation with questions that don't obligate the subject to provide you with a yes or no answer, you are well on your way to winning their trust.

3. Pick up the camera and wait. Once you have your subject motivated to speak openly without being nudged, pick up your camera. Don't immediately point it at your subject. Make sure he or she is continuing to converse with you while you are holding the camera. Keep the conversation going while holding your camera (this is a great time to double check your settings). You should be able to tell when the subject is starting to relax.

4. An animated expression is your green light. Once you have your subject expressing themselves beyond standard conversation, there's a pretty good chance that your subject is a little more comfortable than they were minutes earlier. Make sure to show the same level of appreciation for the expression they are exhibiting and point your camera. It's very important that you continue to talk to your subject while the camera is hiding your face. Keep the conversation going, and take a couple of shots. Tell your subject they are just test shots to check your settings if you feel the need, but keep them talking!

5. Reward the subject for their trust. Once the subject has heard the shutter click a few times during your conversation, you should be able to start suggesting subtle direction. Compliment them for their participation (i.e "dip your chin a little. Great, yes just like that. That looks great"). Once you know you have their undivided trust, you can get into more complex direction. Make it fun.

I realize the above tips may not be a sure-fire method every time, but they have proven to work great for me when needed during portrait photography sessions. I also think it's fair to say that some stones are harder to turn than others, so you may have to use other methods that will help you get to where you want to go, and don't take it personally if you fail at all your efforts. The only one truly missing out on the opportunity is the subject. There will be other days with other subjects.

Stay tuned for my article on tips for better portraits of children. It will cover generating trust with kids and keeping their attention.

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Post Processing for Portrait Photography

Even though the models in Sacramento are stunning in their own right, it is still no excuse not to at least put some effort into making them look even better once you have their image in your digital darkroom. That would be your computer, if you're wondering. The purists out there who are still using film have a much more difficult, and tedious, task of improving photos in post processing. I can certainly respect their passion and commitment to the original craft, but for this articles sake, I am addressing the trendy and lazy. Ok so maybe not lazy, but let's just say that anyone who is familiar with the inner-workings of a darkroom, who is now using digital, knows how much time they are now saving by plugging their camera into a computer.

There are many software applications that have been developed with a photographer's needs in mind. Some complex, some that have more of a gimmick attraction to them. Some right out of the box can smooth a models skin and remove blemishes with just the click of a button, as well as some applications that will let you easily manipulate photographs into strange shapes, collages or effects. Check out the software section the next time you are at your favorite computer store, and you will be amazed at the number, and variety, of applications for photographers and artists of visual media. It's really hard not to salivate.

While playing with new software is fun for everyone, and I definitely condone the use of multiple applications for your post processing needs, I would suggest that you choose at least one to master. The two software programs I use for the bulk of my work are Adobe Photoshop, and iPhoto. Those two applications can get your "automatic" adjustments out of the way easily, and with Photoshop, you can set up actions to automate certain processes that may be common to all your images. Once I have the easy stuff out of the way, I can use other applications like Lightroom or Photomatix Pro to give my images an extra bit of flair that I couldn't easily do with my primary programs.

Regardless of what applications you are using, it is absolutely paramount that you at least color correct and clean your images in post processing if you want to compete with other portrait photographers for your share of the portrait photography market. Actually, I should say any niche in the photography industry. The more passionate you are about your photos, the more success you will accomplish as a result.

ThinkTunk.com

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Portrait Photography in Sacramento California

Thank you for your interest in Sacramento photography. The whole California photography scene is immensely popular, and every city, town, or dirt road that ends somewhere habitable in the state likely has some kind of club or network of people who share an interest in photography.

My name is Eric Courtney. I have chosen to focus on the photography scene in the Sacramento area, yet I will someday share my experiences that fall outside of that realm. While I was born and raised in the Carmichael area of Sacramento County, I have spent the last 11 years living in Anchorage, Alaska. In October 2008, I made the drive back down the Alcan Highway, filling memory cards for my camera along the way, and found myself back home in California. Since my arrival, I have found myself immersed in a thriving photography scene. To be specific, the portrait photography scene. I have met more models and fellow photographers in the last seven months than the entire 11 years in Anchorage where I worked in the media industry (worked around photographers all the time). Since photography is a passion for me, I think I am going to stick around Sacramento for a while.

Some of the ways I have started to network in the Sacramento photography circles is to attend photography workshops and join online photography Meetup clubs. All niches of photography are well represented, but the portrait photography niche in Sacramento is where I am marketing my services. Using social networks such as Flickr, Twitter, Facebook, MySpace and Model Mayhem also keep my name and work out in the open for all to see and take note for future projects. The higher quality of work you display on those sites, the more popular and sought after you become. I also try to join groups on social network sites that are regional based (i.e. Sacramento, Northern California, California, West Coast, etc.), that way you can put more effort into a workable and realistic marketing plan that is more concentrated to an area like Sacramento instead of trying to market yourself to the world from the beginning.

While the ring of my phone and email alerts are hardly deafening right now, I am looking forward to a prosperous and lucrative portrait photography business in Sacramento as I continue to participate in networking events and resources.

Stay tuned for my next article on post processing.

Keep snapping that shutter!

ThinkTunk.com

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