Studio Tamer Photography Guide

Store Closing

2010-07-12T09:16:00.001-05:00

Studio Tamer is starting a going out of business sale effective immediately. We have lowered our prices on all items, so if you are in the market for any photography supplies, now is a good time to stock up.

We've enjoyed getting to know so many photographers over the past couple of years and wish you the best in your future endeavors!

Read more at http://studiotamer.com/announcement

Nikon Custom White Balance Settings

2010-04-13T11:35:00.004-05:00

In the past few weeks, we've gotten quite a few questions from Nikon users on setting custom white balance on their camera. There are several work flows that will accomplish this goal, but the shortest and easiest one we've found, which appears to work on most models, is shown below.

1. Press the WB button on the back of your camera. The WB menu will come up on the top LCD and everything else will disappear.
2. Rotate through the WB menu using the main command dial until “PRE” appears as the WB setting. Release the WB button.
3. Press the WB button on the back of the camera again, and HOLD it until a new symbol, “PrE” appears, and starts flashing.
4. Aim your camera at your grey card. Try to fill the frame with the card – it should at least cover the centre area. Turn Auto-Focus off, as the reading is better if the card is not in focus.
5. Press the shutter release.
6. If you have made a successful Preset exposure, the word “Good” will flash right at the top of the LCD. If not successful, “no Gd” will flash instead. In this case, try again until the LCD shows “Good”.
7. Return your camera to normal shooting settings and take your photograph.

Critically Reviewing Your Photos V

2010-03-31T08:00:00.001-05:00

- What are you trying to accomplish? - Get a cute photo of the baby for the parents to send to friends.
- Can you identify the subject? - Yes.
- Is there a message? Can you find it? - This baby is exploring herself and learning what she can do, and this lends to the 'cuteness' the parents desired.
- Is it properly exposed? - Yes.
- Is it in focus? Is the right part in focus? - Parts are in focus, but more should be. Since the baby is focusing on her hand, at least this also needs to be in focus.
- Is the subject in a position on the photo that draws your interest? - Yes, the viewer is almost immediately drawn to her eyes.
- Does the photo feel balanced? If off balance, is this intentional? - No, because the upper hand is cut off, it seems to lack a little balance.
- Can you distinguish between positive and negative space? - Yes.
- Is the background non-distracting? - Yes.
- Are frames present? Are they appropriate for the photo? - No, they are not present, but are also not needed.
- Do any leading lines draw you in or are they working against you? - The diagonal created by her eyes draw the viewer to her hand.
- What can be removed from the photo that would give a more desirable result? - If the right hand were added back into the photo, removing some of the extra background from the right would add to the balance of the photo.
- What could have been done better to accomplish your goal with the photo? - Get more of the baby in focus, and don't cut off her right hand.

Critically Reviewing Your Photos IV

2010-03-29T08:00:00.001-05:00

- What are you trying to accomplish? - The bride wanted a photo of herself gazing into the distance before the wedding.
- Can you identify the subject? - Yes, the bride.
- Is there a message? Can you find it? - The bride is looking forward to the upcoming wedding. This is a little hard to tell.
- Is it properly exposed? - No, it is slightly overexposed.
- Is it in focus? Is the right part in focus? - It is in focus, though too much is in focus. It would be easier to focus on the background if the background were not in focus.
- Is the subject in a position on the photo that draws your interest? - Yes.
- Are buildings standing straight? - No, they are leaning slightly to the left.
- Does the photo feel balanced? If off balance, is this intentional? - It is off balance, and not intentionally.
- Can you distinguish between positive and negative space? - Some things that should be negative space do not appear that way due to the brightness of the gazebo. This distracts slightly, and is not intentional.
- Is the background non-distracting? - Parts of the background (the trees) are good. However, the gazebo does distract and should be blurred more.
- Are frames present? Are they appropriate for the photo? - The vertical posts of the gazebo act as frames, and they do help keep you drawn to the bride. However, they are not well positioned.
- Do any leading lines draw you in or are they working against you? - The lines of the gazebo in the background do draw you to the bride, but they also draw you away from her to the gazebo.
- What can be removed from the photo that would give a more desirable result? - The image could be cropped so there is not quite so much empty space on the right side, and the photograph could have been taken from an angle that prevents so much of the gazebo from appearing.
- What could have been done better to accomplish your goal with the photo? - Getting the correct exposure and depth of field on this photo would have the largest impact. Reframing the image to contain less of the gazebo and empty space would also help. Get the vertical lines of the gazebo straight up and down.

Critically Reviewing Your Photos III

2010-03-24T10:37:00.001-05:00

- What are you trying to accomplish? - Showing how the chairs are arranged at a wedding while waiting for guests to arrive.
- Can you identify the subject? - The chairs are the subjects.
- Is there a message? Can you find it? - The message is meant to be excitement and anticipation, and I think the chairs show this well with the bright colors.
- Is it properly exposed? - Yes.
- Is it in focus? Is the right part in focus? - Yes, all of the chairs are in focus.
- Is the subject in a position on the photo that draws your interest? - Yes.
- Are buildings standing straight? - No, the building in the background is not straight, nor was it straight in real life.
- Does the photo feel balanced? If off balance, is this intentional? - Yes, there is about equal amounts of light and dark areas.
- Can you distinguish between positive and negative space? - Yes, the brightness of the sashes and of the white chair covers make it easy to tell the difference between the subjects and everything else.
- Is the background non-distracting? - Yes, it is very clean and the green of the grass provides a nice contrast against the chairs.
- Are frames present? Are they appropriate for the photo? - There are no frames.
- Do any leading lines draw you in or are they working against you? - The arrangement of the chairs themselves are leading lines, curves, that cause the viewers eyes to travel up and down the entire shot.
- What can be removed from the photo that would give a more desirable result? - The wall in the background and the shadow it creates.
- What could have been done better to accomplish your goal with the photo? - Take a wider shot and get the end of the row with pink sashes in the shot as well. Try to remove the wall from the shot, either by changing positions or cropping the photograph later.

Critically Reviewing Your Photos II

2010-03-22T08:00:00.002-05:00

- Can you identify the subject? - Yes, but with difficulty.
- Is there a message? Can you find it? - The message was supposed to be isolation from nature, with the person alone on the bridge above the creek and just their shadow watching. However, this is hard to see, and made harder by the presence of a second person's shadow.
- Is it properly exposed? - Yes, you can see the detail both in the light and dark sections as desired.
- Is it in focus? Is the right part in focus? - It is in focus, although perhaps too much of it is. The detail visible on the shore and branches is not necessary and is slightly distracting.
- Is the subject in a position on the photo that draws your interest? - Not really, especially because it is hard to find.
- Does the photo feel balanced? If off balance, is this intentional? - There is balance, there is an equal amount of dark and light. However, given the message trying to be shared, it may have been better to leave it off balance with slightly more dark space.
- Can you distinguish between positive and negative space? - Not necessarily. At first glance, the dark is negative and the light is positive. But, since our message is defined by the shadow, in reality the dark is the positive space.
- Is the background non-distracting? - There is not anything in the photograph that is easily identified as a background.
- Are frames present? Are they appropriate for the photo? - There are no frames present.
- Do any leading lines draw you in or are they working against you? - The edge of the creek is distracting and actually draws away from where the viewer should be looking.
- What can be removed from the photo that would give a more desirable result? - The second person should not be in the photograph, nor should the edge of the creek.
- What could have been done better to accomplish your goal with the photo? - Pay more attention to details surrounding the shot and leave out things that should not be there. Add a little more shadow. Shift the focus to the shadow of the person on the bridge.

Bracketing

2010-03-19T08:00:00.002-05:00

What is it?
Bracketing is pretty simple, really. It is a system that allows you to take more than one picture in rapid succession with different settings. Most cameras will take 3-5 photos when you use bracketing.

What kind of settings?
Most DSLRs (and even some point and shoots) can bracket based on exposure. Other cameras, such as the Nikon D90, can bracket all kinds of things like white balance.

Example
When you bracket based on exposure, you will end up with a series of photos of your subject with slightly different exposure settings. For example, in the photos of the fountain below, the first photograph in the series is properly exposed, the second is under exposed, and the third is over exposed.

Why would I want to do that?
There are a lot of reasons to use bracketing. The most common use for bracketing is to try and capture a picture at several exposure settings just in case the default is not what you were looking for. You can even stitch the multiple exposures into a single picture where you take the best from each shot. There is even an automated way to do that which is gaining popularity called HDR (which we'll discuss in a future blog post).

The image below is a combination of the images shown above to create the final picture.

Focusing

2010-01-27T08:00:00.002-06:00

Nowadays, modern cameras are capable of focusing better than the human eye, so in many cases it is a great idea to let your camera do this work for you. Use your eye to frame the shot, and your camera to focus.

While you camera can do the actual focusing, we would still recommend that you choose where it will focus. On most cameras, you can change the focal point very easily; check you user manual for instructions for your particular camera. This allows you to determine the focal plane and make sure the important elements of the photograph are in focus (the eyes, for example).

Most digital camera have two focus modes: fixed and continuous. Continuous focusing modifies the focal point as you move, which is ideal when either you or the subject won't be still.

Some higher end digital cameras have a feature that uses 3D matrix metering to find a predictive path. This allows you to keep up with an object as it moves (so long as it doesn't move erratically). 3D matrix metering is ideal for getting shots of the bride walking down the aisle at a wedding or whenever someone is walking towards or away from you.

Posing: Gotchas

2010-01-22T08:00:00.002-06:00

Even when you take into account all of the techniques, there are still small things that can make a well composed photo go wrong. Make sure to keep these things in mind so they don't add unnecessary distractions.

Inspect your subject's clothing for stains that can distract from the photos. These may not be very obvious to the naked eye, but some stains appear more obviously in photographs.

If your subject is wearing articles of clothing that are not appropriate or are distracting, try to remove them. This most often occurs in outdoor photos when hats and/or sunglasses should be removed. Notice how the sunglasses in the photo below are not appropriate for the wedding scenario.

Also pay attention to anyone wearing glasses to make sure there are not reflections showing. Photos can accentuate any reflections, as shown in the photo below.

Catch Lights

2010-01-20T08:00:00.001-06:00

A catch light is the "gleam of reflected light in the object of a photograph, esp. in a person's eye." Whenever you use a light source such as a strobe or light bulb, you add increase the potential for seeing a catch light in your photograph. Catch lights can bring a sparkle to your subject's eyes and make a portrait have more dimension.

Catch lights take on the shape of their light source, so if you use a rectangular softbox, you will get a rectangular catch light. If you prefer a more round shape, try working with an umbrella or beauty dish (make sure to use a diffuser to get a better effect). If you use more than one light source, you will see more than one catch light.

In the photo below, notice how the catch lights impact the photograph.

When you zoom in on her eyes, notice how you can see both the number of lights and the shapes of their modifiers.

Posing: Curves

2010-01-18T08:00:00.001-06:00

When talking with photographers, you may often hear the terms 'S' curve and 'C' curve. What these mean is the shape that the body takes on when you pose the subject. 'S' curves look better for women, and 'C' curves look better for men.

To create either curve, start by positioning your model with their body 45° from the camera (towards either your key or fill light). Then, turn their head back straight towards the camera plus a little more (about 15°). For the 'S' curve, tilt their head away from the light they face; for the 'C' curve, tilt the head towards the light they are facing.

In the photos below, notice how the positions of the individuals work with curves that best suit them.

Posing: Kids and Pets

2010-01-15T08:00:00.001-06:00

Working with kids and pets involved at lot of patience, but the reward is well worth it if you enjoy spending time with either. Keep in mind that you will need to get on their level and be ready to move around. Young children especially will not sit still for long periods of time, so make the most of your shots by decreasing your shutter speed.

To help hold the attention of younger children, have an assistant with you who can hold their attention by talking to them, making noise, or shaking toys. You can also have younger children sit with their parent (or other trusted person) and let the parent know the shot is coming so that they can have the child ready for it.

School aged children like to help you, so you can also try to ask them to 'be your helper' at the beginning of the shoot so that they will feel more important and be more cooperative.

When working with pets, pose the group on ground so that it is easiest to include the pets. To keep the family clean, place a blanket of neutral colors on the ground.

Posing: Couples

2010-01-13T08:00:00.004-06:00

Again, you will find that posing of couples pulls together many of the elements of posing different body parts to achieve your desired photos.

With couples, it is important to try and show intimacy so that when people view the photograph they can get a sense of how the couple feels about each other. To help bring this out, there are a couple of poses that work best. Place the hand of the female on the male's chest. Try hooking the couple's arms. Have your subject tilt their heads towards each other, or try rest the female's head on the male's shoulder. Don't be afraid to tell or show the couple where to place their hands.

Remember to show what is important. If a couple is newly engaged or married, show off their rings by posing them in ways that accent their jewelry. Even try getting photos of only their jewelry, or a close up of them holding hands.

Also, show the eyes of both subjects as much as possible. However, this doesn't mean you need to put them in the center of the photograph, as this will not follow the rule of thirds and will create an odd amount of negative space above their heads. If there is a large height difference between the subjects, try poses that have them sitting. If this shows the bottom of their shoes, make sure that they are clean.

With the scenery, find a porch or covered area with directional light to make it easier to work with the lighting. Remove background distractions so that the couple remains the focus of the photograph. This can be done fairly simply by blurring your background (changing your aperture). Avoid misleading lines in the background (such as fences or gates), and keep other people out of the photo.

Posing: Families and Groups

2010-01-11T08:00:00.002-06:00

When posing groups of people, we will still use all of the techniques for posing individuals, but we'll be using them on multiple subjects.

Start off by choosing where your group will look: the camera, each other, or off camera. Make sure when you pose them, they all look the same spot, or the group will appear disjointed.

Next, pose your subjects. Make each person look good individually, then bring them together as a group. Place each person's head on a different level (especially their eyes) to bring complexity to a group. Use the rule of thirds to position, and create leading lines (diagonals and triangles) to make the arrangement interesting. Most importantly, get the peoples eyes.

When working with large groups, apply these same techniques, but keep in mind the spacing between people. Make sure they are not cramped, but do not put in too much. This will keep the subjects comfortable, while keeping them all part of the group.

In group shots, clothing can play a large roll in making folks look like part of the group, like they belong together. Try having the group dress in similar colors and styles. Similar tones will keep all family members equal (no one will look more important than someone else). If there are small children, avoid white, as it will get dirty as the kids move around.

Finally, try having the group have similar expressions. This is tricky, but if you can do it, you'll notice the cohesion it brings to the group in the final photographs.

Notice how these concepts were applied to the photos below.

Posing: Individuals

2010-01-08T08:00:00.004-06:00

There is a lot to consider when posing individuals, but mainly keep in mind the tips we've posted so far for different body parts. Using those pointers will go a long way towards helping you position your subject.

In addition to the information we've previously posted, below are some tips to help you pull it all together (some may look familiar).

- Have you subject put their weight on one leg and extend the other. This typically works best when they put their weight on the back leg and poke out that hip a little.
- Ask your subject to tilt shoulders to the camera, placing the front subject lower than the back one in the frame.
- Don't have women cross arms; this is a mascualine pose. Instead, have them place their hands on their hips (trying to keep them in different plains).
- If your subject places their hands in their pockets, loops their thumbs on the outside. Do not place their whole hand into the pocket.
- Focus on your subject's face and eyes.

Posing: Traditional

2010-01-06T08:00:00.001-06:00

While casual photos are fun and can capture a unique moment in time, there are many times when traditional poses are more appropriate or required. Consider using traditional poses for executive photos, school photos, engagement shoots, and any time you are not sure your client is open to more casual options. You do not have to stick with these exclusively in these situations, but keep in mind that many couples, parents, clients, etc. have a preset notion of what they expect, and in many situations this includes traditional poses. Discuss this with your client up front if you are not certain.

When sticking to a conservative expression, use a slight smile and watch for your subject's chin, while focusing on your subject's eyes. Remember the techniques for posing each body part and use them together to get a pleasant pose. Ask your friends or family to come pose for you in exchange for their photos on a CD so that you can get practice.

Posing: Casual

2010-01-04T08:00:00.001-06:00

Some of the most fun and natural photographs happen when you try to capture everyday events. Get to know your subject and what they like to do, and work that into the photograph. For example, have a musician with their instrument, a child with their toys, or an athlete with their sporting gear. When your subject concentrates on something they are passionate about or enjoy, they won't worry about posing and you will get some very natural looking, casual photographs. This also helps you keep the subject relaxed, but their head and hands interesting.

Some things to consider if your subject does not have their own props available are bubbles, books, or flowers - anything that is easy for you and fun for them will help make the shoot a success without a lot of hassle.

Posing: Clothing

2010-01-01T08:00:00.002-06:00

Do your best to avoid bright colors and non-busy patterns. Have your subject's wear Earth tones outdoors to avoid clashing. Matching clothes for families will make them appear as a group.

Posing: Hair

2009-12-30T08:00:00.001-06:00

Make a person's hair a complimentary part of the composition. Be careful of too stylish hair, as it will become dated. Don't use hair lights with people with little or no hair, as this will draw attention to it.

Posing: Eyes

2009-12-28T08:00:00.002-06:00

Your subject's eye should be the main focal point in any picture you take. In portraits, eye contact important. You can also try having your subject look past the camera, to the left or right, or down or up. Try different options and see what is best for that person. Consider adding flash, even outdoors, to get a catch light in your subject's eyes. This will add sparkle to their eyes.

Posing: Heads

2009-12-25T08:00:00.001-06:00

The posing of the head is very important because it contains the focal point of a photograph - your subject's eyes. To highlight your subject's features, tilt the head slightly. Pay attention to the angle to ensure that the hair does not cover their face.

Position the head to provide the best view of your subject's neck. If you subject has a long neck, have them nod down towards the camera. If they have a short neck, have them look up. If they have a large or double neck, try to pose the head to hide it, but keep in mind the feelings of the subject. Have them stick their chin out and shoot the photo from above.

Posing: Hands

2009-12-23T08:00:00.002-06:00

When posing, pay close attention to your subject's hands. Highlight special jewelry (engagement rings, for example), but be careful of distracting jewelry. Keep the fingers straightened and relaxed; curled fingers look nervous or deformed. Try not to use fists. Use props to focus the subject if they are uncomfortable or distracted.

Notice the the difference the position of his hands make in the photos below.

Posing: Arms

2009-12-21T08:00:00.001-06:00

When posing arms, try filling the frame with them to create more positive space in the photograph. Make them triangles and allow the viewer to see through to the background. Position shoulders at a diagonal, and try keeping one hand away from the body. In torso shots, put head weight on arms.

If you cross your subject's arms, be aware of the end result. In many cases, this is a masculine pose and can cause confusion in photos of women. Also, it can cause your subject to appear disinterested or standoffish, so use this pose with care.

Posing: Tips

2009-12-18T08:00:00.001-06:00

There are several tips out there, and to start off this series of posing techniques, we'd like to share some posing tips with you.

- Keep people busy to add spontaneity.
- Let people react with things around them.
- Place subjects off center (rule of thirds).
- Make them laugh.
- Pose with shoulders at an angle to get a slimming effect. Make sure the shoulder closer to the camera is lower.
- Tilt your subject's head so their eyes are not level to make them more interesting.
- Establish details of the session up front: what does the client want to get from it?
- Ask your client how they want to be posed.
- Keep a portfolio of poses for subject to look at to get ideas.
- Keep it fun to get more genuine smiles.
- Don't put people square to the camera. Turn their hips one way or another.
- Pose top down or bottom up and keep it consistent.
- Shift weight to hip closer to camera.
- Avoid full length where legs are close together.
- Keep separation of thighs where possible.
- Baggy clothing does not make folks look thin (overly tight clothing does not help either).
- Have folks lean on something that elongates or compresses body.
- Pinch baggy clothing back with clothes pins.
- Show subject how to move rather than moving them. Even if you look silly, subject will understand more and will make it their own.

Flash Quality

2009-12-16T08:00:00.002-06:00

There are many factors that can cause your flash to produce less than ideal results. Since flashes are metered to work at only specific distances, being too close or too far away from your subject can cause them to be over or under exposed. If you are in a dark room, using a flash can cause your subject to be much brighter than their surroundings, looking out of place. The most common problem, however, is when the light bounces back in an unexpected manner. This can happen with your subject's eyes, walls, and especially with glass or mirrors in the background.

To make things better, move your subject away from walls so there are less shadows and less chance of unexpected reflections. Try separating your flash from your camera by setting the flash in slave mode and the camera in commander mode. Avoid using auto mode so you can make sure the flash does not overcompensate.

Using a Tilt Flash

2009-12-14T08:00:00.002-06:00

Sometimes, it may not be desirable to have your flash directly on the subject. It may cause red eye or shadows from the lens to appear in your photograph. In these cases, it is a good idea to tilt the flash so that it bounces off of the ceiling or wall to change the angle of lighting that hits the subject.

Practice with tilt flashes before using them on a location, as the height of the ceiling and angle of the flash may not direct the flash where you wish for it to go. Also, ceilings that are too high may cause less powerful flash units to lose their effectiveness altogether. If you bounce off of walls, be aware that they may impart color casts, so avoid using green walls that may cause your subject to appear sickly.

When to Use a Fill Flash

2009-12-11T08:00:00.003-06:00

Fill flashes are highly effective to help show details not normally visible in your photograph. They are most appropriately used when the main light casts dark shadows on your subject, when the background is exposed more brightly than your subject, or when you want to add a catch light to your subject's eyes.

When using a fill flash, there are some things to keep in mind. If your subject is wearing glasses, be careful about a glare on the lenses. Either take them off or tilt them slightly to eliminate the glare. If you are shooting in a mode other than manual, it is possible that your on camera metering system may cause overexposure. If that is the case, use flash exposure compensation or try flash bracketing to achieve better results.

Flash Modes

2009-12-09T08:00:00.003-06:00

Different camera manufacturers may call some of these by different names, but here are some basics about each flash mode.

TTL
- through the lens
- auto controls flash for appropriate exposure
- ITTL: Nikon more advanced auto meter
- can exchange without flash attached

TTL BL
- balanced fill-auto balanced for foreground and background fill

AA
- auto aperture
- controls based on the aperture with aperture priority mode
- ISO from camera

A
- non TTL auto flash
- not used often
- uses sensor built in to measure illumination reflected back
- entirely on the flash
- used in very dark situations

GN
- distance priority
- based on distance value entered
- use chart included in flash manual

M
- manual
- set intensity down to 1/32 power

Flash Photography

2009-12-07T08:00:00.001-06:00

In some situations, introducing more light into your photos is desirable so that you have adequate lighting or to remove harsh shadows. The effectiveness of your flash is based on the flash you use, where it is positioned, and how you use it.

Most cameras come with an on camera flash, but in many cases, these will not provide adequate lighting. To help select your flash, refer to the guide number, which measures a flashes ability to illuminate and can be used as a power of flash comparison. Below are some common flashes and their effective ranges.
- Canon EOS 50D: on-camera, 43ft, ISO 100
- Nikon D300: on-camera, 56ft, ISO 200
- Canon 580EX II: off-camera, 190ft, ISO 100
- Nikon SB900: off-camera, 157ft, ISO 200

The brightness of your flash and the distance from subject diminish based on the rule of inverse squares. The farther away the flash is from the subject, the less intense the light. Most flashes will only light correctly at one distance (normally a metered distance).

You also need to consider the angle of your flash and where it may cause shadows to fall. Sometimes using the flash straight on can be unflattering, and this is where using flash brackets to off-set the flash (move it to the side of the camera instead of the top, for example) is useful. It is also great to off-set the flash if you are using a longer lens; sometimes the lens itself can cause a shadow in your photograph.

Like studio lighting, there are modifiers that can be applied to flash lighting that can alter your lighting quality. Diffusers are effective in softening the light that hits your subject, softening shadows. You can also change the color of the light or the direction of light.

A typical setup for off camera flash includes a light stand, a flash mount, and a shoot through umbrella.

Photo Contests

2009-12-04T08:00:00.004-06:00

By taking a lot of pictures AND critically reviewing each one on your own, you should begin to see an improvement in your photographs. Make sure to make this a habit so that you can correct small issues before they cause a big problem. Remember, you are your own toughest critic.

That being said, sometimes you need the feedback of others so that you can get other perspectives and assistance from more experienced photographers. This is where photo contests and forums are particularly helpful. One photo contest site we recommend is dpchallenge, which always has several contests going at the same time, so you should find something that interests you. Many photography forums will have contests or threads to post your photos in for feedback. Any of these venues should generate some critiques of your photos and ideas on how to improve.

Critically Reviewing Your Photos

2009-12-02T08:00:00.008-06:00

By now we've covered most of the major composition principles and camera settings. Lets see how these elements work together by critically reviewing some photos.

Critically reviewing your photos is a key step in becoming a better photographer. If you keep taking the same photos over and over again without taking the time to understand why previous photos may not have worked and what needs to be changed to make it better, you will find yourself with a collection of photos that may be unimpressive and unable to see where it went wrong. Critically reviewing takes time, but if you practice it regularly and effectively, the benefit in the end is more than worth the time upfront.

When you critically review a photo, there are certain things you should look for each time. We've come up with a short list of questions to ask yourself, but you may want to add to or remove from it based on your preferences.

- What are you trying to accomplish?
- Can you identify the subject?
- Is there a message? Can you find it?
- Is it properly exposed?
- Is it in focus? Is the right part in focus?
- Is the subject in a position on the photo that draws your interest?
- Are buildings standing straight?
- Does the photo feel balanced? If off balance, is this intentional?
- Can you distinguish between positive and negative space?
- Is the background non-distracting?
- Are frames present? Are they appropriate for the photo?
- Do any leading lines draw you in or are they working against you?
- What can be removed from the photo that would give a more desirable result?
- What could have been done better to accomplish your goal with the photo?

Some of the questions above and photos below will look familiar from previous posts, and a few new ones have been brought in to provide you with new examples. We'll go through the list of questions above for each photo and end with an idea on how we could have done better on each.

- Can you identify the subject? - The motorcycle is the subject.
- Is there a message? Can you find it? - This photo was taken to show the shiny, clean motorcycle against the old, gummy wall.
- Is it properly exposed? - No, the left side of the photo is overexposed, and there are also some overexposed areas on the metal of the bike.
- Is it in focus? Is the right part in focus? - The motorcycle is in focus, and the gum on the wall in the foreground and background is out of focus, as desired.
- Is the subject in a position on the photo that draws your interest? - The position of the motorcycle itself it not particularly interesting, and the wheel at the bottom of the page is slightly distracting and could be father from the bottom edge of the photo.
- Are buildings standing straight? - Yes, although you can see some fish eye effect on the edges farther from the center of the photo.
- Does the photo feel balanced? If off balance, is this intentional? - The smallness of the pieces of gum on the wall, along with the number of them, balance the size and presence of the motorcycle.
- Can you distinguish between positive and negative space? - Yes, although it is hard to tell if the door and window are positive or negative space.
- Is the background non-distracting? - It depends on how you look at the photo. If you look first at the motorcycle, the gum is only slightly distracting. However, if you look first at the gum, it is hard to focus on the motorcycle later. For the most part, it is distracting, but is also part of the purpose of the photo.
- Are frames present? Are they appropriate for the photo? - The corners of the entry way towards the outer edges of the photo help to frame the photo, but they are not very effective as they blend into the background.
- Do any leading lines draw you in or are they working against you? - The angle of the motorcycle draws you into the center of the photograph.
- What can be removed from the photo that would give a more desirable result? - The corner on the left edge of the photograph could have been left out or cropped from the photo.
- What could have been done better to accomplish your goal with the photo? - Get the exposure correct. Remove the left edge of the photo. Decrease the depth of field. Add a small amount of space below the tire.

- Can you identify the subject? - The subject is the flower.
- Is there a message? Can you find it? - This shows the gentleness of the flower against the hard edges of the background.
- Is it properly exposed? This is mostly correct, but there are some highlights on the pedals of the flower and the glass items, caused by the flash.
- Is it in focus? Is the right part in focus? - The background is in focus, but the subject is not correct. The pedals appear in focus, but the stem and the bottle used as a vase are not and should be. The background is more in focus than the subject.
- Is the subject in a position on the photo that draws your interest? - Not particularly. It is in the foreground, but its position is not really interesting.
- Are buildings standing straight? - The windows and posters are straight.
- Does the photo feel balanced? If off balance, is this intentional? - It is a little busy, and the blank space of the table balances this fairly well, but this is more by accident than design. The size of the boxes in the background also work well to balance the photo.
- Can you distinguish between positive and negative space? - Like the balance, this is hard to distinguish, and it doesn't seem discernible.
- Is the background non-distracting? - No, actually it seems to draw the attention from the subject.
- Are frames present? Are they appropriate for the photo? - No frames are present, but they are not necessary in this photo.
- Do any leading lines draw you in or are they working against you? - The frame of the cart in the background draws you to the center of the background. The stem of the flower brings you to the pedals. The curve of the edge of the table leads you to follow it. The line at the top of the photo is distracting.
- What can be removed from the photo that would give a more desirable result? - The top part of the photo could be removed to eliminate some distraction, the most bottom edge could be removed to get rid of the white napkin to make that clean.
- What could have been done better to accomplish your goal with the photo? - Zoom in more on the flower to eliminate some of the distractions in the background. Set the exposure correctly so the on camera flash is not used (to remove the shadow of the flower). Focus on the flower so that the flower, stem, and bottle are in the focal plane (and possibly the salt and pepper shakers).

We will have more photo critiques in the near future. If you want to see one of your photographs here, please email it to us with your own critique.

Create Depth

2009-11-30T08:00:00.000-06:00

When taking photos, include objects in fore-, middle-, and background whenever possible. This can help your viewers identify with your subject by helping them to place it in context or to give scale. It is also common to deliberately obscure part of one object with another to bring in a little mystery and create tension.

In the photo below, notice the torch in the foreground, the tree and walkway in the middle, and the gazebo in the background. What part of this photo do you focus on as the subject?

In the next photo, we are using trees in the fore- and backgrounds, with the bridge as the main subject in the middle. Notice how the tree in the foreground is also acting as a frame.

The next photo shows how this technique can be used in everyday situations. The baby is clearly the subject in the middle (see how the focus is on her eyes), with normal household items in the background and a small part of the arm rest in the foreground.

The last photo uses the foreground for the main subject, with similar items out of focus in the background. Can you see how the extra bouquets in the background give a more welcoming feel to the photograph?

Try this with your photos and see the difference it can make.

View Point

2009-11-27T08:00:00.001-06:00

The view point from which your photo is taken has a massive impact on composition. It can make your photo unique and interesting. Try taking photos from multiple view points - high, low, side, back, far off, close by, unusual angles, etc.

The first pair of photos is of the same fire place outside of a hotel entrance, but taken from different sides. Which view do you think tells a better story?

In this second pair, notice how changing the view point results in a more full photograph of the subject. Parts of the structure not visible in the first photo because of buildings in the foreground are shown and give more detail about the subject of the photograph.

For this last photo, take a look at the angles of the train cars as they round a curve. You can see different details of each car because of the angle at which this was shot. Also notice how the train forms a leading line and draws you into the photograph.

Cropping

2009-11-25T08:00:00.004-06:00

Often a photo will lack impact because the details are too small. Zooming makes the subject more interesting because the viewer can get a more full view of the elements that compose it. For photos that are already taken, cropping in an image editing software can help you to achieve the desired effect.

For example, take a look at the following two photos. Notice how by cropping the photo and removing the left part, you are able to get a more full view of the flower that is the main subject.

Now look at the two photos below and look how cropping changes that view.

Notice how when the two sets of photos above were cropped, they began to fit the rule of thirds and begin to look more like a well taken photo than a snapshot. What other compositional elements do you notice?

Our third photo offers you a chance to practice. Take a look at the photo below and see what you can do by cropping it to make it a more appealing and well composed photo. Download the full-sized photo for better results.

Symmetry and Patterns

2009-11-23T08:00:00.000-06:00

Most people like the appeal of symmetrical objects. Even more so, they like the tension created in a photograph when something should be symmetrical, but something is not quite symmetrical or is irregular, not quite complete.

Looking at the photo below, take a look at how the constant pattern of the wooden planks is broken up by the irregularities in each piece of wood.

In the next photo, see how the shapes of the flowers are the same, but the brighter color on one makes it stand out.

Leading Lines

2009-11-20T08:00:00.002-06:00

Like frames, our eyes like lines and want to follow them. Diagonal lines draw you into images; curved paths entice you to follow them; curved lines suck you in to see the background; leading lines draw you to the center. Each line in a photograph is an opportunity to bring the viewer closer to the story the photograph is trying to tell.

In the photo below, notice how the line drawn by the railing pulls you into the picture. What story do you think the photo is trying to tell?

Framing

2009-11-18T08:00:00.002-06:00

The human eye likes to feel the safety of being in a frame and the world is full of objects that make frames. Trees, tables, cars, doors, and windows are very common elements that are easy to use as a frame.

When you use elements to form a frame, make sure that they do not distract from the subject. It is very easy for a frame to become a distraction, often by making it too busy or too large. Typically, a frame will be negative space and help bring balance to the photo, helping to draw attention to, rather than away, from the subject.

Notice in the photograph below how the two trees in to photo act as frames. Note how the tree on the left does so without becoming too significant a part of the photograph. Then look at the tree on the right and notice how its branches reach to the center of the photograph and almost become a part of the wall. How effective are the trees in acting as a frame for the wall behind them?

Background

2009-11-16T08:00:00.001-06:00

When taking photos, especially in busy areas, you have to be aware of your background. There are many cases where the human eye can distinguish between the foreground and background, but the camera cannot. Look around for plain, non-obstructive background, or move to a spot where there are fewer distractions in the background.

Notice how in the picture below the background is not busy and does not distract from the checkers.

Copyright and Photography

2009-11-13T08:00:00.000-06:00

We will preface this blog post with the following: we are not copyright lawyers nor do we know much more than most citizens in this regard. However, we have put together some things for you to keep in mind, and some links for you to take a look at to learn more. Everything written here is to bring topics into your thought so that you can look into them and make your own decisions regarding how copyright applies to you.

Copyright your photos

Original photos are automatically copyrighted at the time they are taken, but unless you can prove that you are the author of the original, most cases do not stand up in court.

There are many ways to do this, and most photographers we know do this using the metadata stored behind the scenes of digital photos. Some cameras allow this to be set at the time a photo is taken, but for most people this is something that will need to be done when the photos are downloaded from your camera. It is a good idea to make this a habit, as it could be the only way for you to prove that the photos are indeed yours.

Another option is to add a watermark to your photos; this is extremely common on the internet. It is a more obviously mark to would be thieves and most often is a better deterrent that placing the information in your metadata. However, it does not always hold up as well if something ever came into question.

You can also register your work with the copyright office; check out copyright.gov for more information. There is time and money involved, so most photographers will only go through this process if they have photos they believe have a great potential to be stolen.

If you go through the trouble of copyrighting your work, advertise that you do so. This can help your case stand up in court if needed.

Your rights

Depending on the agreement you made when you agreed to take photos for someone, your rights may differ. We recommend reading up on the following terms so that you can be prepared: exclusive photo rights, one time or lease rights, electronic or online media rights, print rights, all rights, first rights, transfer rights, and work for hire.

More information

We recommend checking out the links below to get more information.

- 10 Big Myths about copyright explained
- KODAK: Copyright Guidelines
- What is copyright in photography?
- Common Questions & Answers About Photography

Positive and Negative Space

2009-11-11T08:00:00.003-06:00

In art and photography, positive space is the area of a work covered by the main subjects; negative space is the remainder of the area. So, your point of interest in a photograph is your positive space.

There are several ways this can make an impact on your photos, and a key rule to using positive and negative space is to keep a clear cut between the two. Don't have equal positive and negative space or it may be difficult for a viewer to perceive the meaning of the photograph. Remember, tell one story, and use the positive and negative space to assist you.

Positive space will typically have more detail than negative space. If you photo have more positive space, it will generally feeling more happy and energetic. Conversely, if there is more negative space, the photo will have a more lonely feeling to it.

Take a look at the photo above and think about it in terms of positive and negative space. What do you think the main subject is? What is the negative space?

Balance

2009-11-09T08:00:00.001-06:00

As we mentioned in the post about composition, photos should have a purpose and tell a story. Balance is a great element in helping that come to fruition - placing elements of of the photo in such a manner as to produce an aesthetically pleasing whole.

Place subject off center to make the photograph more interesting (think rule of thirds), and balance the main subject so that the photo is not overwhelming. A couple of ways to bring balance to the photograph is to leave empty space or to add more subjects to the frame.

Notice how in the picture below the size of the concrete structure is balanced by the surroundings.

Play with a scene several different ways and see what is most appealing to you. Notice how changing the balance of the photograph can change the perception you have of it as a viewer.

Planning Ahead

2009-11-06T08:00:00.002-06:00

The ability to plan ahead is important in photography. It helps you ensure that you have the right location, everyone gets there safely, and you have all of the equipment you need to make your shoot a success.

For locations, take into account the time of day and angle of the sun, as well as the weather. Will you be able to take a great photo at this time using the available light, or might you need to bring along a fill flash or reflector to help you out? Is there mud or tricky terrain that may not be suitable for the elderly? Does the location require a permit? If so, make sure to obtain it ahead of time so that you can be prepared or find a new location in advance if you can not get one.

Arrange for the safe transportation of anyone who will meet you at the location. Provide them a map and let them know exactly where you will meet them - especially if meeting in a large park. Provide them with your cell phone number in case they get lost or are running late.

Make sure you have your equipment well in advance of the shoot, preferably before you even set a firm date. Give yourself plenty of time for the equipment to arrive, you to inspect it, and for you to become familiar with it. There are several things that can go wrong during shipping; unexpected delays, damages, or losses are not overly common, but they do happen without notice, and if you do not allow enough time you may not have received everything you need. Not giving yourself enough time to get familiar with your equipment before using it on a shoot can make you appear unprepared or unprofessional, and can damage your reputation.

Rule of Thirds

2009-11-04T08:00:00.001-06:00

The rule of thirds is a long standing concept in photograph. It is a method by which photographers arrange their shots to position the most interesting elements away from the center of the picture, on the third lines. This keeps your subject off dead center, and creates more appeal and tension in the photograph.

The most common way to implement the rule of thirds is to position the horizon on one of the horizontal thirds. You can also place the eyes on a horizontal third if shooting a close up, or a street size on a vertical third if taking pictures of the city.

To aid in the use of the rule of thirds, most cameras have a setting that allow you to turn on a grid with the horizontal and vertical third lines as a guide.

For an example, take a look at the photograph below.

Notice how the main subject of the photograph (the couple) is not positioned in the center of the picture, but rather, on a vertical third. You can also see that the bottom tree branch and the edge of the foliage fall on (or very close) to one of the third lines. You are still drawn to the couple, but the area around them is more interesting than if you cropped of the right side of the photograph and centered on the couple.

Pull out a few of your recent photographs and see how the rule of thirds applies to them. Think about how you could have shot the same photograph with the rule of thirds in mind and how that might have changed the overall impact.

Thinking about Composition

2009-11-02T08:00:00.002-06:00

Starting with this post, we are going to shift focus from some of the more technical aspects of photography and begin discussing composition.

Composition can be defined in any number of ways, but to a photographer, it is the grouping of different elements of a photograph so as to achieve a unified whole. There are numerous elements to consider in this, and we will take a look at them one by one in the next several blog posts.

We will start off a simple set of questions to get you thinking about your photographs a little differently. This should aid you in determining the intention of each photo you take and get more meaning out of your work.

Can you identify the subject?

Every photograph should have a clear subject - the element of the photo that the photograph is about. It could be the sky, a person, a pet, a tree, just about anything. But, you need to be able to look at your photograph and see what the subject is, or it is unlikely that others will be able to do the same.

Is there a message? Can you find it?

In addition to a subject, each photograph should send a message to the viewer. What story are you trying to tell with the photograph? When you look at the photograph, do you see that? Do you think others will see that as well?

To get into the mind set, gather a few photographs you have taken and try to answer these questions. You will find it is much easier with some photos than other, and it may give you a hand in determining areas you can improve upon in future photographs.

dpreview.com

2009-10-28T08:00:00.003-05:00

Digital Photography Review (dpreview.com) is an excellent source when getting started in photography. Their website hosts reviews and feedback for an extremely wide selection of cameras, and they have educational material to help getting you started or expand your current knowledge base.

If you are struggling with terminology, we strongly recommend checking out their glossary of terms.

And, if you are thinking about purchasing a new camera, check out their camera database for specifications and reviews.

RAW versus JPEG

2009-10-26T07:00:00.000-05:00

There is usually a debate about this topic on any photography message board that you read, and it pops up frequently. In our opinions, there are advantages and disadvantages to both formats, and if your camera supports it, we recommend shooting in RAW+JPEG so that you can get the benefits of both formats.

RAW advantages
- You can decide on settings after the photo is taken by adjusting settings during post processing.
- No lossy compression.
- Images are not processed in the camera, and for some cameras this means you can take photos more quickly.
- Greater color depth - 36 to 48 bit as opposed to 24 bit for JPEGs.
- As technology improves, you can use future image editing software to create photos with newer styles.
- You can use the original RAW file to create different versions of the same photo.

RAW disadvantages
- Files are large.
- Have to take photos into post processing and develop them; you cannot use the photo right away.
- Not always noticeably better.
- Storage becomes difficult overtime, as the files take up a lot of room.

White Balance

2009-10-23T08:00:00.009-05:00

White balance is a camera setting used to ensure that the colors in your subject are not affected for the color of the light source. Setting your camera's white balance varies by camera, but most modern cameras have settings to make this a simpler process for you. For example, most cameras include the following options as presets for white balance: auto, daylight, incandescent, fluorescent, and flash.

If you would prefer to manually set your white balance, you can use a grey card or target to do so quite easily. Instructions for setting this will be in your camera manual. Some cameras go a step further and offer you the ability to save your grey cards settings for later use.

In about 80% of cases, the automatic white balance settings will work well for you. In special situations, such as shooting with multiple types of light sources, it is recommended to set your white balance using a grey card. We also suggest doing this when taking photos you may not get a chance to retake, such as family reunions or weddings.

The following images were taken with the same ISO, aperture, and shutter speed, but varying white balances, taken under an incandescent light source. Color temperatures are approximate.

	Fluorescent - Sodium Vapor	2700K
	Fluorescent - Warm White	3000K
	Fluorescent - White	3700K
	Fluorescent - Cool White	4200K
	Fluorescent - Day White	5000K
	Fluorescent - Day Light	6500K
	Fluorescent - Mercury Vapor	7200K
	Direct Sunlight	5200K
	Flash	5400K
	Cloudy	6000K
	Shade	8000K
	Manual	2500K
	Manual	5000K
	Manual	10000K
	Incandescent	3000K
	Incandescent (with added green)	3000K
	Incandescent (with added magenta)	3000K

When you adjust your white balance, it is important to remember to change it back, or your next photos may not turn out correctly.

Random Facts

2009-10-19T08:00:00.001-05:00

The word photography is derived from the Greek words for light and writing (read more).

The Brownie camera was first sold in 1900 for $1 (read more). Today they go for anywhere from $10 to $300 on eBay (see listings).

In 1988, Fuji DS-1P became the first digital camera that captured images as a computerized file (read more).

What facts do you know? Add them here as a comment to share with everyone!

Lens Filters

2009-10-16T08:00:00.000-05:00

In film days, filters where added to the front of a lens to correct for colors added by the environment. Now, with digital photography, these needs can be met by adjusting your camera settings or by modifications in image editing software.

However, there are two filters that can still prove advantageous. The first is a UV filter, which is used to filter out ultraviolet light. These filters are good for everyday use and are ideal for protection of the front piece of glass on a lens (it is cheaper to replace a filter than buy a new lens). They do cause you to lose a little bit of light, and if you buy an inexpensive one can add blur and distortion to your images.

Polarizing filters are also useful for removing glare from entering the lens, especially when outside if you are shooting in an area where light reflects off of water. Polarizing filters block more light than UV filters, but due to their effectiveness in keeping photographs from getting washed out are well worth using.

If you choose to use filters, make sure to purchase higher quality glass lenses so that you see the least blur and distortion. Even the expensive filters are worth it if they prevent you from needing to replace an expensive lens.

Image Sizes

2009-10-14T08:00:00.000-05:00

Most cameras allow you to choose the size of image you want to capture, usually in terms of large, medium, and small. The size you select impacts the dimensions of the image that is saved and how many images you will be able to save onto your memory card. Typical file sizes are:

- Large: 4500 x 3000 pixels
- Medium: 3500 x 2000 pixels
- Small: 2200 x 1500 pixels

You can choose whatever size you want, but how large a files needs to be depends on what you want to be able to do with it later. If you want to make small prints, a small image size may be sufficient for you. You can use this formula to determine the image size at which you need to shoot:

photo size (pixels) = print resolution (dpi) x print size (inches)

You only really need high pixel count for large prints. However, if you don't capture the data, you won't be able to use it later, so we recommend higher pixel counts.

Larger image sizes take up more room on the memory card, so you will not be able to take as many photographs at this resolution. Also, larger images take longer to be written to the card, so you may have a slight delay between photos.

Camera Systems

2009-10-12T08:00:00.000-05:00

Your camera is a complex computer that has many subsystems to help you capture your image.

- The lens is used to focus light before it enters the camera body.
- The view finder is used to help you aim and compose your photographs.
- The light meter helps you determine how much light is entering the camera with current settings.
- The shutter opens to allow light to enter the camera.
- The image sensor is used to record the image.
- The storage device is where your camera saves your images, and is usually a memory card.

Some cameras also include a video subsystem that allows you to take videos with your camera.

Choosing Your Lens: Part 4: Image Stabilization

2009-10-09T08:00:00.000-05:00

All major manufactures now offer some sort of image stabilization (IS). The purpose of IS is to allow the user to take sharper pictures with less light. Nikon (Vibration Reduction) and Canon (Image Stabilization) both do the stabilization by moving segments in the lens. Sony (Minolta) does it by moving the sensor. We wholeheartedly recommend purchasing systems that use a form of image stabilization. It makes a significant difference in your ability to take pictures with less light.

Image stabilization is useful for physically longer lenses, where a small movement of the camera has a larger impact and the effects of moving are greater. However, in some cases, a tripod is a cheaper solution. We typically even use stabilization when the camera is on the tripod because it will correct for minor vibrations. Lenses with image stabilization are more expensive though, so you must decide if it is worth the extra cost.

Choosing Your Lens: Part 3: Aperture

2009-10-07T08:00:00.002-05:00

Aperture is the last important factor in selecting a lens. Whenever looking at lenses, the manufacturer will list the widest possible aperture. This can generally be considered a measure of how efficient the lens is. The lower the number, the more light it will let through.

Examples
AF-S VR NIKKOR 300mm f/2.8G IF-ED
This is a Nikon FX lens with a fixed focal length of 300mm. For a lens of this focal length, f/2.8 is a very good rating.

AF-S DX NIKKOR 16-85mm f/3.5-5.6G ED VR
This is a Nikon DX zoom lens which ranges from 16-85mm in focal length. It has a more modest rating of f/3.5-5.6. This lens is more efficient at smaller focal lengths than larger ones and therefore the widest aperture is a range. It requires more light to take the same picture when zoomed in than when zoomed out.

AF-S NIKKOR 70-200mm f/2.8G ED VR II
This is a Nikon FX zoom lens. This is a zoom with a consistent f/2.8 across the entire zoom range. That means this is a very expensive and heavy lens.

Best Ratings
Prime lenses (non-zoom) will often have the best ratings. Standard 35 or 50mm prime lenses can often get down to f/1.2. This offers the ability to take pictures with significantly less light that a comparable f/2.8. You do pay for performance though. A Nikon 50mm f/1.4 lens current retails for about $500 whereas a similar lens at f/1.8 is only $130.

Fast Lenses
Lenses with the best ratings are said to be "fast lenses." Most photographers don't need to purchase the fastest of lenses. They are most important when trying to freeze motion or shooting in low light conditions. Some examples of this are sports photography or weddings.

Math
One important thing to remember is that the relationship between the f number and the amount of light is not a direct relationship. If one f number is half of another, then that lens actually lets through four times the amount of light.

Memory Cards

2009-10-05T08:00:00.003-05:00

As with all things in photography, there are many different options for memory cards. You have to weigh the speed and size versus price.

Speed

You should purchase a fairly quick memory card, but the faster the card, the higher the price. If your camera has a fairly large amount of cache in the camera, you can make due with a slower card since it will write to the card in the background as you shoot. Keep in mind though, that the larger the picture you are taking, the faster your card will need to be. If you have a 10 mega pixel camera and are saving both RAW and JPEG formats, you are going to be writing a lot of data to the card with each picture which will take time. You don't want to be caught unable to take the perfect picture because you camera's cache is full.

You will often see memory cards rated in multiples of a standard. The standard 1X = 150KB/sec. so that makes 15X 2.2MB/sec, etc.

Size

There is some debate on the topic of the perfect memory card size. We prefer to carry more smaller cards than less larger cards. Our logic is that if a card does fail or get lost, we loose less of our images. Others will argue that memory card failure is rare and if you carry less cards, you're less likely to loose them. The decision is yours. Just make sure your camera supports the size of card you purchase. Sometimes the higher density cards are not supported by older cameras.

Type

There are many types (CF, SD, XD, etc.) and brands available. Make sure to buy the type that goes in your camera. When looking at a brand, keep in mind that larger brand names are less likely to fail.

Personal Preference

2009-10-02T08:00:00.002-05:00

As you may have gathered by now, a lot of photography is about your personal preferences and what you are comfortable with. This includes your camera, lenses, tripod, lighting, backgrounds, composition, and so forth. Every photographer will do something differently from another, and every photographer will take something they learn from another and use that to make their experience more their own. Most photographers we know base a lot of what they do on the techniques of the people who taught them what they know.

The biggest advice we can give is to take the time to get to know fellow photographers in your area (checkout meetup.com). Share tips and techniques with them. Become familiar with your current equipment by using it regularly. Read articles online about new trends and ideas.

In short, spend the time getting to know what you like by trying new things. You may find they are a great fit for you.

Choosing Your Lens: Part 2: Focal Length

2009-09-30T08:00:00.002-05:00

What is Focal Length?

It is the distance in millimeters from the focal plane of the camera to the lens plane. The focal plane is usually marked on your camera by a circle with a horizontal line through it (). If your lens only has one piece of glass, then the lens plane is simply the location of that glass element, but lenses with a single piece of glass are rare. On modern lenses, the lens plane is a movable point in the lens that is selected by the manufacturer to mimic the result if there was just one element. On a zoom lens, as you zoom in you will notice part of the lens moves father away from the camera; this is the movement of the lens plane away from the focal plane which causes the focal length to increase and therefore zoom in.

Canon has a great visual for demonstrating focal length.

If you are looking at lenses, such as this one: EF-S 18-200mm f/3.5-5.6 IS, the focal length is between 18 to 200. If there is a range mentioned, that means it is a zoom lens.

Lens Terminology

Zoom: a lens that allows you to change the focal length to zoom in or out.
Prime: not a zoom lens, these lenses are more sturdy and generally allow through more light than zoom lenses, but are less versatile. Since they allow through more light, they are often the choice of photographers that work in low light situations without a flash.

Lenses are categorized assuming that the sensor in your camera is 35mm in size (we'll go into more detail about that below). Different manufactures can vary a bit, but generally prime lenses are categorized as follows, from smallest to largest focal length: Ultra-Wide, Wide, Standard (50mm), Telephoto, Super Telephoto
Zoom lenses are a bit more varied and one should look at the focal lengths of the lens to better understand what it would be good for.

Some specialized lens types:
Macro: Designed specifically for taking close up images
Tilt and Shift: Allows for the user to control depth of field separately from the other controls

Viewing Angle

Wide angle lenses are just lenses with a very small focal length. They are referred to as wide angle lenses because they take in light from a very wide angle, in other words, they can see a very wide cross section of the scene. This also causes the distortion/curvature common in wide angle shots. If there was something called a narrow angle lens, that would just be a telephoto lens; they cannot see a very wide angle, but rather just see a very narrow part of the scene. Telephoto lenses are said to have a long reach or range. This means that they can see things clearly that are far away. The concept is illustrated below:

Crop Factor

We mentioned above that lens designation assumes that you have a 35mm sensor. This is based on the many years that photographers used 35mm film. These days, the size of the sensor inside your camera can vary, but there are two popular categories: DX (Nikon) or 1.6x (Canon) and FX (Nikon) or Full Frame (Canon). We use the Nikon designation below just for clarity, but it applies to both manufactures.

FX
This means the sensor is similar in size to 35mm film. For an FX camera and lens, 50mm is closest to what our eyes see.

DX
The DX sensor size was the first sensor used in digital SLRs and it still dominates the market. Because of its small size though, less area is exposed to light which causes the picture to be more zoomed in than if you were shooting film. This is typically by a factor of 1.6. This means that 50mm on an DX camera will look like 80mm on an FX camera. For a DX camera and lens, 35mm is closest to what our eyes see.

Cameras with DX sensors are cheaper than those with FX sensors, but they do have some minor drawbacks. Since they crop off much of the light from the lens, they use less of the lens. This means that if you were to take the same shot with an FX camera and a DX camera, less of the glass surface is actually used by the DX camera. This means that you are more likely to get to a point where the quality of the glass in your lens will be the limiting factor and not the number of mega pixels. At 12 mega pixels, we are getting very close to the point of diminishing returns for DX cameras and lenses. For the same reasons that professionals choose medium and large format film cameras in the past, professionals are starting to migrate to FX cameras and lenses. However, DX cameras and lenses are going to be around for quite a while and are perfectly adequate for most consumers and professionals.

Common Focal Lengths

Everyday
I use a DX camera and my most commonly used lens is an 18-85 zoom lens. It lets through a reasonable amount of light and has enough reach for most shots.

Portraiture
Most portrait work is done from 70-85mm. It is common for photographers to use a basic zoom lens in the studio since light can typically be adjusted as needed.

Weddings
Wedding photography varies a lot and different photographers prefer different types of lenses. I generally take my everyday zoom for well lit areas, my 35mm prime lens for poorly lit areas and my longer zoom for ceremony shots where I cannot be close to the action.

Choosing Your Lens: Part 1: Overview

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When selecting your lens, there are numerous factors at play from lens features to cost. The most important question to keep in mind is: what do you want to do with it? Knowing what you intend to photograph with a lens can help you narrow down the potential choices.

Some good questions to ask yourself before starting are:
- Am I shooting indoors or outdoors?
- Will I shoot close up or far away? How far away?
- Will my subject be moving? If so, will they be moving slowly or quickly?
- How much of my subject's surroundings need to be in focus?

We will touch on how these different scenarios can affect your choice of lenses in a future post (parts 2 and 3 of Choosing Your Lens).

In addition to being able to answer these questions, keep these following pieces of advice in mind:

- Make sure the lens you buy will work with your camera. If the lens won't fit, it won't do you any good to have it.
- Plastic lenses do not deliver the same quality that metal lenses can provide. The plastic inside is more susceptible to expansion from heat and can cause your camera settings to be inaccurate.
- Some cheaper lenses use cheaper glass, and this can cause distortion of your images.
- Third party lenses may not work well with your camera and your camera manufacturer may not provide support if you use these lenses. However, some third party lenses have superior optics and glass, so this is largely your choice.
- Read the manual that comes with your lenses.

Again, keep in mind that the lens you end up purchasing is largely a matter of personal preference. Cheap lenses can produce great results when used correctly; expensive lenses can be superfluous if you don't take time to understand how to use it properly.

Choosing Your Lighting Source: Part 3: Brightness

2009-09-25T08:00:00.000-05:00

For a lot of beginners, this is a difficult concept to grasp. It comes down to a couple of key factors: what are you photographing and what do you need to make that happen?

If you know exactly the types of photographs you will take, this can help you pose some limitations as to the amount of light you need. However, with many beginners, there is an instinct to buy the most light you can, thinking this will result in better pictures. Unfortunately, too much light can wash out your photos and have adverse effects.

So, where to start? If you can limit the potential lists of subjects, you'll find it easier to select the right light. For example, if you are photographing for head shots, you know your subject will be relatively still so you don't need the brightest light you can buy. For most portraiture, 180 watt to 300 watt lights will be sufficient.

No matter what lighting you decide to buy, make sure that you use an off camera light meter, or the light meter built into your camera, to ensure that you are not over or under exposing the subject.

More About Tripods

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Materials

Tripods are made of many different types of materials. There is no best material for all cases. Most photographers use aluminum alloy tripods because it is fairly light weight and inexpensive while still being sturdy. Carbon Fiber is another popular choice because it is very light weight and strong, but it is significantly more expensive than aluminum. Steel tripods are also available, but their extra heft makes them unpopular with most photographers. Plastic tripods are not as stable or rigid which can cause camera movement. Whichever material you choose, make sure that it is rated to hold the weight of your gear.

Clips versus Screws

There are two popular methods for securing the legs of the tripod. Clips offer quicker adjustments and if designed properly, the same level of stability as screw style legs. When buying tripods with clips, make sure that they are designed to handle the weight of your gear, or the legs may slip. Screws are common on many tripods because they are less likely to give with heavy gear. Make sure not to over tighten them though or you could damage the tripod.

Size

Many of the smaller tripods are great for travel, but are not stable enough for very heavy gear.

Movement

Make sure that you understand how the tripod adjusts before you attach your camera to avoid any accidental damage. A good tripod will offer adjustment on all axises. Some photographers also choose to buy a tripod with a handle to make adjustments easier.

Large Lenses

If your lens has a tripod connection, make sure to check the manual to see if you are supposed to mount it there instead of the camera body. It is common on lenses that are heavier than the camera for photographers to mount the lens to the tripod instead of the camera. This will provide better stability.

Why Use a Tripod

Using a tripod allows you to expose the sensor longer. This means that you can use a lower ISO which will create less noise in your image. You can also take images with less light since you can leave the shutter open longer. You can also use a tripod for really great night photography.

File Formats

2009-09-21T08:00:00.001-05:00

Most digital cameras support three file formats: JPEG, TIFF, and RAW.

JPEG (or JPG)

JPEG is the most commonly used file format on digital cameras. JPEG files are smaller than TIFF or RAW files, so you can fit more of them on a memory card. They can also be uploaded directly off your camera to display online. However, JPEG is a lossy format, meaning that every time you save the file, the file is compressed (gets smaller), you lose information, and the quality of your photograph is decreased over time.

TIFF

TIFF is also a fairly common file format for cameras, but most photographers do not shoot in this format. It will produce larger files than the JPEG format and is not supported by most internet browsers, so cannot be viewed online without first converting it to a JPEG in image editing software. One big advantage it has over JPEG is that it is lossless, so unlike JPEG, when you save, all information is saved. So, you can edit and save these files without losing image quality.

RAW

Almost all high quality digital cameras allow you to shoot in the RAW format. The RAW format saves the photo data unprocessed by your camera, so it records information about everything active in the camera at the moment the picture was taken. As such, RAW files are much larger than either JPEG or TIFF files. Like TIFF files, RAW files are lossless. They cannot be directly uploaded to a website due to browser support and, generally, size. However, RAW files are useful if you have the correct software for processing them; they allow much more versatility than JPEG or TIFF files in this regard.

RAW + JPEG

If your camera allows you to shoot in this manner, we strongly recommend doing so. This way, you get the best features of RAW and JPEG files. If you are happy with your results, you can straight away use the JPEG files, saving you processing time. If you need to tweak some aspects of the photos, you can open the RAW file and make changes, then regenerate the JPEG file.

Aperture

2009-09-18T08:00:00.001-05:00

Your aperture controls the size of the opening in the lens, which in turn controls the focal point of the lens and how much light is allowed into the camera. It is also referred to as the focal ratio, f number, or relative aperture.

When you adjust the aperture, you are controlling the size of the hole in the lens that light can come through. Smaller apertures create a larger opening; larger apertures have smaller openings.

Adjusting the aperture also affects the depth of field, or how wide the lens "sees" before the photograph goes out of focus. The smaller the opening, the greater the depth of field, and the more your photo will be in focus. For example, f16 has a greater depth of field than f2.8.

All of the photos below were taken with the same ISO and shutter speed, but varying apertures.

	F4.5
	F5.6
	F8
	F9
	F10
	F16
	F25
	F29

Shutter Speed

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Your shutter opens to allow light into the camera. When you adjust the shutter speed, you are changing how long the shutter is open and able to let light through. The higher the shutter speed, the more light will be let in.

Your shutter speed also affects your ability to stop action, or to make it appear as if everything in your image is completely still. This is a great plus in sports photography, where there is constant movement, but you only want to capture a moment. For professional sports, you may need to adjust your shutter speed all the way down to 1/2500 of a second; for ordinary activities, 1/250 of a second is usually sufficient.

All of the photos below were taken with the same aperture and ISO, but varying shutter speeds.

	1/10
	1/30
	1/60
	1/100
	1/200
	1/320
	1/500
	1/800
	1/1250
	1/1600
	1/2500
	1/4000

In low light situations, longer shutter speeds are typically required. The images below are example of using much longer shutter speeds to capture images at night.

	8
	12
	30

ISO

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Your camera's ISO setting controls how sensitive it is to light, similar to film speeds in the past. Lower numbers mean your camera is collecting light at a slower rate, while higher numbers mean you are collecting more rapidly.

All of the photos below were taken with the same aperture and shutter speed, but varying ISOs.

	ISO 200
	ISO 400
	ISO 800
	ISO 1600
	ISO 3200

When your adjust the ISO, you impact the accuracy and graininess of your end photograph. Your camera will be more sensitive and less accurate at higher ISOs, causing increasing graininess in your photos. Generally, you can shoot with your ISO up to 1600 before you see a significant loss in image quality.

For the images below, we shot at varying ISOs and allowed the camera to automatically set the shutter speed and aperture. Notice the changes in the graininess and accuracy of the photographs as the ISO changes.

	ISO 200
	ISO 1600

Tripod Selection

2009-09-11T08:00:00.005-05:00

Tripods are great for stabilizing your camera when you need longer exposures or in windy situations. Some key features to look at when making your selection are detailed below.

Size

Most tripods have legs that can be adjusted to bring your camera to level with your eyes. These tripods offer the best support for your camera, and selecting the more heavy duty tripods will reduce the camera shake. However, if you will be working in a small area or portability is a concern, there are many smaller tripods on the market they can let you get on ground level.

Legs

Tripods are extremely stable due to their three feet. However, if you will be moving often, monopods are a good option and are easy to move.

Feet

The legs on your tripod can either have rubber or spiked feet. Spiked feet are great for use outdoors, where they can grip the ground, but can slip or damage the floor if used indoors. Rubber feet work are ideal for indoor shoots.

Head

Most tripods come with either a ball head or a pan and tilt head. Ball head tripods provide a wider range of adjustments, while pan and tilt tripods allow for greater ease of adjustment.

Choosing Your Background: Part 4: Support

2009-09-08T08:00:00.002-05:00

When using a background, it is important that you have a support stand to hold it up. The stand needs to be heavy duty enough to support your background and resist toppling due to wind or children. It also needs to be wide enough to hold the size background you are using - if you are using rolled paper, it is better to order a stand slightly wider than the roll than one that is too narrow (or you won't be able to use it). We offer a single support system that will support any backgrounds you purchase from us.

Hooking Up Your Strobe Lights

2009-09-04T08:20:00.005-05:00

With strobe lighting, it is necessary to sync your lights to your camera so that they are triggered when your camera shutter opens. The strobes we carry support this in three different ways. Whichever way you choose, only one strobe needs to be hooked up to your camera and the rest will trigger automatically from the synced strobe.

Sync Cord

Sync cords create a wired connection between your camera and the strobe unit. One end plugs into your strobe unit and a second plugs into your camera. This is the most reliable way to hook up a strobe.

Each strobe comes with a sync cord. Check your camera's manual to ensure that you have a PC sync port to plug the sync cord into. If your camera does not have a PC sync port, you can purchase a hot shoe with a PC sync port to fit onto the hot shoe of your camera.

One downside to sync cords is that they are a physical connection, so if someone trips on the cord, damange can occur to both your camera and your lighting.

Wireless Trigger

Wireless triggers come with a transmitter that attaches to your camera and a receiver that attaches to the sync port on the strobe. When you release the shutter on your camera, a signal is sent to the strobe that triggers it to flash.

Some wireless triggers work with only certain camera models. The wireless triggers we carry will work on any camera with a hot shoe.

Camera Flash

If your camera has an on-camera flash, you can use this flash to trigger your strobe lighting without any additional equipment. Check the user manual for your camera and ensure that you can turn on pre-flashes and that you can set your camera's flash mode to manual.

Choosing Your Background: Part 3: Size

2009-09-01T12:00:00.002-05:00

There are various sizes of backgrounds available, and each is useful in different situations. Smaller backgrounds are best used for small items and head shots, medium backgrounds are best for larger items (such as chairs), single people, or children. Larger backgrounds are ideal for large groups of people, large furniture, or action shots.

Typically, when taking portraits, you will want to position your subject 6 to 8 feet in front of the backdrop, so make sure your backdrop is long enough for this use.

Choosing Your Background: Part 2: Color

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Solid

Backgrounds with solid colors keep all of the focus on your subject. Make sure to choose colors that compliment your subject and will not make it blend in too much or contrast in an unpleasant manner.

Chroma Key

Chroma Key background colors allow for easy background removal in computer software. Blue and green are the only true Chroma Key colors, and are ideal for creating special effects backgrounds on your computer.

Patterned

There are many different patterns available, from tie-dye to bricks to stars. Patterns are most useful when trying to create a specific feel to a photograph without the need to computer editing later. Tye-dye and crush-dye patterns are some of the most popular background selections and are available in all colors. They give depth to the background without taking your focus away from your subject.

Scenic

Scenic backgrounds are typically hand-painted backgrounds that create an environment for the picture. They can come in basic nature landscapes, windows, or sports themes.

Lighting Modifiers

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Softboxes

Softboxes offer the most control of your lighting and the most uniform lighting output. Our softboxes include two diffusers, allowing you to produce softer lighting than other modifiers. Larger softboxes diffuse light over a greater area, making it more easy to photograph larger items. Softboxes are useful in reducing shadows and can handle a larger amount of light than umbrellas. However, softboxes are generally your most expensive option and the most difficult to setup. If using with strobes, our softboxes include speed rings designed specifically for attaching the softbox to the strobes we carry.

Umbrellas

Umbrellas can be used for shoot-through or reflective light modification. They are the cheapest light modification option and easy to setup and use. Shoot-through umbrellas are useful for diffusing light, while reflective umbrellas can change the amount or color of the light that hits your subject. However, umbrellas are difficult to control and can wash out elements of your photo if used with too much light.

Brolly Boxes

Brolly boxes are a good middle of the road approach that look a lot like umbrellas. They combine some of the benefits of softboxes with the ease of setup of umbrellas. The brolly boxes we carry have a black back lining to keep out unwanted light and a white front lining to diffuse light. The black lining can be closed around your lighting to further eliminate spill. The lighting output is generally greater than softboxes, but too much light will wash out your subject.

Reflectors

Reflectors are lighting modifiers that are not directly hooked up to your lighting. There are several different colors of reflectors available, and this element is the most important factor in choosing your reflector. Translucent reflectors soften light; white reflectors bounce light into shadows without affecting the light quanity, quality, or color; black reflectors remove excess light from your photos; gold reflectors warm up your pictures; silver reflectors brighten your picture without affecting the light color; silver and gold stripe reflectors softly warm up your pictures. The larger a reflector is, the more the light is spread out.

Reflectors can be hand held, but it is most useful to have a stand to hold them to keep your hand frees and yours work space uncluttered during a shoot.

Choosing Your Lighting Source: Part 2: Number of Lights

2009-08-21T12:00:00.004-05:00

Using multiple lights can reduce the shadows present in your portrait. We recommend using at least two lights positioned on either side of the camera to reduce the shadows in the face. A third light pointed at the background is useful to eliminate the shadows created by the subject on the background. A fourth light positioned underneath the camera is useful to provide more lighting and reduce shadows under the subject (this is most useful when photographing still objects).

Choosing Your Background: Part 1: Material

2009-08-19T09:00:00.004-05:00

Paper

Paper backgrounds are useful in creating seamless backgrounds. The heavier the paper, the better it resists wrinkles and creases. Flame retardant paper is available. Because the paper comes in large rolls, when a crease or dirt appears, you can pull new paper from the roll and trim off the excess. However, the large rolls make portability an issue.

Muslin

Muslin backgrounds are extremely versatile and portable. They are the most widely available and offer the most color options. Most are machine washable, although they may fade after repeated washings.

Vinyl

Vinyl backgrounds are made from plastic and have a smooth, non-glare surface. They come on rolls for storage to prevent creases, so again, portability is an issue. It is easy to clean, but not easy to remove creases from.

Choosing Your Lighting Source: Part 1: Type

2009-08-14T12:00:00.006-05:00

Even more than your camera selection, your choice of lighting is the largest contributor to the success of your photography. Depending on your training and experience, you may already have a pretty good idea what you are looking for. Or, you may not. We carry two different lighting choices great for both the beginner and the professional: constant and strobe.

Constant

Constant lighting is lighting that remains on for the entirety of your photography session, independent of your camera. This allows you to position items and determine where the light and shadows will fall without the need for taking test photos or hooking your lights up to your camera. Constant lighting is typically not as bright as strobe lighting, and therefore there are some limitations on its use. While not ideal for portraits or sports, constant lighting is useful and convenient when taking photos of still objects, especially if you are on a tight budget.

Strobe

Unlike constant lighting, strobe lighting is synced with your camera to provide a burst of light at the moment your shutter opens. This creates more intense, bright light, and therefore makes strobes the lighting of choice for portraits.

About Studio Tamer

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Good afternoon!

To start of this blog, we're going to tell you about our company and the folks who work here. We all feel it is important to give you this insight into the company so that you can get to know and trust us - as you can tell below, we have a lot to offer!

Our Company

Studio Tamer opened in April 2009 to fill a need we see in the market for quality photography equipment at affordable prices. That means we offer the most useful photography products available on the net at affordable prices. We test all new products before we decide to carry them to ensure that they are the quality you expect.

At Studio Tamer, we believe in helping our customers find the solution that will best meet their needs. When our site launches, we will offer a custom step-by-step purchase experience geared towards building a studio with the compenents you want most. Our employees are dedicated to the mission of the company and will work with you to make sure you have what you need for a successful business of your own.

Customer satisfaction is our highest priority.

Our Employees

Our employees come from a wide variety of backgrounds and have the experience needed to help you pick out the equipment you need to be successful. This experience includes:

- 20+ years of photography experience
- Weddings, family portraits, children's photography, jewelry, and landscapes
- Film and digital
- Nikon and Canon
- Indoor and outdoor
- Photo printing
- Adobe Photoshop
- Website design and development
- Photography equipment sales

We have a professional photographer available to help answer your questions. In the near future, look for the "Ask a Pro" section of our website. Your questions will be replied to promptly via email and may appear in future blog posts.

We look forward to working with you, and are excited to get started!