PHOTOGRAPHY

The importance of wedding photography is emphasized by the fact that most weddings seem to pass by very quickly for brides and grooms. If you ask most married couples to describe their special day, they will tell you it went by in a blink of an eye. This is the main reason wedding photography is so immensely important; it captures in sharp focus the moments of a day that requires months of planning and then so often passes by as blur for the bride and groom.

BUILDING A RELATIONSHIP
The most important part of wedding photography is the relationship you build with your clients. That relationship begins with the first meeting and continues to grow with each step of the wedding planning through the presentation of final photographs. In fact, great wedding photographers continue the relationship with past clients long after the couple has received their final product. You might be the best photographer and technically brilliant, but to be a great wedding photographer also requires the right kind of personality. You need to sincerely want to be friends with your clients and fully gain their trust.

As a wedding photographer, a bride and groom will be sharing one of the most intimate days in their lives with you. You will be there as they are getting ready, when they see each other for the first time that day, when the bride walks down the aisle toward her future husband and when, as a couple, they walk back down the aisle after the ceremony. You’ll be there when the couple is introduced as a married couple for the first time, when they have their first dance, and all the other noteworthy moments during the wedding day.

To best capture all of these intimate moments, you must develop a strong and trusting relationship with both the bride and groom. When you meet new clients, try to begin to build this relationship from the very first time you speak with them, by focusing the meeting on their needs, not yours.

INITIAL MEETING
When meeting by phone or email, it is really important to clearly convey your thoughts and information. Unfortunately, it’s entirely too easy to have miscommunications and misunderstandings when only communicating by phone and email. To counteract this, always try to be really specific and when in doubt, make sure to ask questions and get clarifications.

When you do get to meet potential clients for the first time in person, let them pick the location. Many people want to meet at a coffee shop and that can be a good choice, but try to suggest one that isn’t very busy so that you can talk with little interruption. Other great locations are nice hotel lobbies or even a quiet restaurant. There will be times you’ll be invited to the client’s house, which is great because it lets you get a strong sense of who they are and assess their personal style. Meeting at a client’s home also allows you to meet them where they are most comfortable and it will help you understand what direction they may be leaning in regards to their budget and style of photography. You can also learn more about their personalities and interests.

At this initial meeting, bring a couple of wedding albums so prospective clients can see more detailed examples of your work. It is important to let them see samples that cover the entire wedding day. For most couples, choosing a wedding photographer is a new experience. Often, they don’t realize the depth of services you can provide, so this is a great opportunity to show them how you can fully capture their special day. Also bring along a pricing sheet so you don’t have to discuss or barter about price and service. Don’t ask for a deposit or expect the couple to make a decision immediately. In fact, don’t discuss pricing unless the couple brings it up. Just leave them with the pricing guide so they can take the information home and discuss it.

Choosing a wedding photographer is an important decision to make and there is no need to rush it or be pressured into making a decision. Make sure potential clients have enough information about what you do and how you do it so they can make an informed decision. Tell them to go home, discuss the meeting, look over your images, and contact you with any additional questions they might have. If they hire you, make them feel confident that they chose the best photographer for their special day.

The initial meeting is not just about a business negotiation, but it is a chance to get to know the couple, to see how they interact and to find out about their wedding day. Regardless of whether you are meeting the clients in person, on the phone or through email, try to get as much information about the wedding and the couple as possible. For example, the choice of wedding location and reception are usually significant choices for the couple. Perhaps they picked the historic church because they love the architecture or the museum reception location because they are lovers of art. Knowing these elements would be beneficial for you to know as the photographer and possibly incorporate in the shots.

An important aspect of this initial meeting is that it gives you a chance to educate potential clients about how you work and what they can expect from you. While price and their budget can come into play, most people will book you because of your personality, your work, and the experience you bring to the table. The impression you make at the initial meeting will help potential clients determine if you will be a good fit for their wedding.

Questions to ask the couple at the initial meeting:

* Bride’s name and contact information
* Groom’s name and contact information
* Where will the wedding be held?
* Where will the reception be held?
* What is the wedding date?
* What is the wedding schedule?
* Will there be a rehearsal the night before?
* Is there a wedding coordinator? If so, need contact information.
* Why did they choose the locations and date?
* What are they looking for in a wedding photographer?
* Find out more about their families
* How do they want to handle their first meeting—before the wedding or when the bride fi rst walks down the aisle? This will determine the wedding schedule.
* How did he or she propose?
* What is the location of the honeymoon
* Estimated number of guests at the wedding
* Names of all the people involved in the wedding (family, wedding party, main relatives, helpers)
* List of all the vendors (which you can use when you credit them in your blog and also for sending your work for publication)
* Learn more about bride’s and groom’s backgrounds, including how they met, what they do, and their hobbies and interests


Initial Meeting Checklist:

* Meet in person when possible
* Let the client choose the location
* Dress appropriately for the occasion
* Pay for your clients’ coffee or drinks
* Take sample photo albums
* Take a calendar updated with all previous obligations
* Provide a price list for the client to take home
* Discuss expectations, both yours and the clients’
* Take a laptop or notebook for notes
* Don’t expect or require the couple to make an immediate decision


BEING ON THE SAME PAGE
While it isn’t usually great business practice to turn down clients, it is important to recognize when a couple may not be a good fit for your business. While there’s an innate desire to want to book every wedding, it is not usually possible from a scheduling standpoint, and certainly not desirable. You have to select wisely, ensuring that you and the client will both be happy in the end. Chances are, if you are booking every wedding, you’re not being selective enough. The case may also be that you are not pricing yourself appropriately.

CONTRACT NEGOTIATIONS
Often the biggest hurdle in finalizing a deal is price. Weddings are expensive, and there are lots of unexpected costs that couples won’t anticipate. But after the food has all been eaten, the thank you notes written, the dress hung up and their life as a married couple well on the way, the photographs from the wedding will still be there to transport them back to that day, that time. Even if the couple doesn’t understand how important their wedding photos will be, you must know how much your work is worth.

Negotiating is fine, but too often wedding photographers (photographers in general really) are tempted to lower our prices just to get the job. As photographers, we need to value the time and the investment we have made in our businesses, and when you negotiate lower prices, you are potentially losing profit in your business. If you respect yourself and your talents, clients will too. Remember that even if you do not get this client, there will be another opportunity waiting for you.

It is important to make sure your clients understand what they will be getting in return for their money, and help them see the value in what you will provide. When a couple wants to hire you, send them a contract, which details the services you will provide so there are no surprises later on. Include an advance fee due to reserve the date and lock you in as their photographer. Do not use the term “deposit” because legally a deposit can be refunded. Make sure they are clear that this fee is non-refundable because you are setting this date aside for them alone, and cannot take on any other jobs that day. It is not acceptable for them to cancel when you may have turned down other potential clients.

Some of the important information in a contract includes:

* Client contact information
* Venue location
* Event date
* The amount of time you will be shooting on their wedding day
* Engagement photos
* Assistant costs
* Second shooter costs
* Incidentals and travel costs
* Album costs
* Prints
* Fee schedule, including amount due for “date-reservation”
* When the clients can expect to receive their final images
* What happens if you cannot make it due to an act of God, accident or other legal issues?
* What happens if they are forced to cancel or reschedule their wedding?


SUMMARY
As you begin your relationship with new clients, it is important to gain their trust and remember that while you may shoot dozens of weddings each year, this is most likely a once in a lifetime experience for them. Imagine the positive impact you can have on the couples you photograph. Let them know you understand the significance of this event and want to be part of their special day. They will appreciate you for rest of their lives.

Shrouded by the plethora of ceremonies and rituals that mark an Indian Wedding, the work of a Wedding photographer becomes much more challenging and unpredictable. The diversity in customs and conventions from one wedding to another paves way for a need to get acquainted with commonalities of Indian Weddings, so as to not miss the crucial events.

How different is an Indian Wedding? Well, completely different if it is not a Church wedding. (Even in the case of a church wedding in India, as a photographer you can be stumped.) A Hindu wedding can run into a couple of days or can also be condensed into a couple of hours.

Here's a few suggestions to keep in mind while planning to shoot an Indian wedding:

1. Meet the Couple
Might sound silly, but in most occasions at Indian weddings you could end up meeting the couple for the first time on the day of the wedding. A quick rendezvous earlier will help set the expectations, plan shots with the couple & get them in the comfort zone to be clicked by you. This would make it easy on the D-day & you will be sure not to miss that imperative moment!

2. Planned Shots Vs Candid
It is extremely difficult to get exclusive time with the couple during the wedding for pictures and hence you would have to get most of your shots as the event is happening. If planned properly, you could get a window of 20-30 minutes with the couple for your planned shots. Make good use of it! Ensure to schedule the planned shots before the wedding begins or a day before the wedding. After the rigors of the Indian wedding, the couple won’t be greatly amused to pose for you

3. Photography Co-ordinator
Well before the wedding, ask the couple to nominate a family member who would help you. Even in the “small” Indian wedding, you can end up with hundreds of “close” family thronging to be in proximity to the couple, hence creating a framing catastrophe. You definitely would need the photo co-ordinator to introduce you to the close family members who ought to be covered in the photographs and also help in getting you to the Bride and Groom on the day of the wedding. A co-ordinator would come extremely handy in handling crowd while you are busy taking pictures.

4. Know your Wedding Process
As mentioned earlier, each Indian wedding is unique in its own way. Speak to the couple and the family well in advance and understand the wedding, the events, and their importance. In Indian weddings, the photographer is expected to capture certain specific moments of the event. If caught unaware, you might end up missing key moments.

5. Second Photographer?
The bride and groom in Indian weddings have their own set of events even before they arrive at the wedding venue. At times, these events could clash and the photographer surely cannot be omnipresent. Irrespective it helps to have a second photographer else you could miss out on some events or you would have a good cardio session running between places with the entire camera gear.

6. Family Photo?
Ironically, you have to be careful with “Family” pictures in Indian weddings. Every one amongst the hundreds that make it to the wedding consider themselves close to the couple and would expect a standard flat “happy” picture with the couple. Plan well ahead with the couple on family group pictures and make use of a family member to help you here. Else, you would end up shooting Gbs of photographs. Also, it may be advisable to suggest a regular photographer to those who may find it a must, while you remain exclusive for the ‘special moments’.

7. Lights!
As a part of scouting the venue, check on the lights that are going to be used to illuminate the stage. In most occasions Indian weddings have extremely warm incandescent lights illuminating the stage and can be a spanner in your lighting plans. Also, ensure you carry enough portable lights. Studio lights are a logistical nightmare with a big crowd. It’s a lot easier to shoot with a handful of portable light on a wireless trigger.

8. Go for the shot!
Indian weddings are like a BIG carnival, hence don’t hesitate to move around and get the right frame. Be polite but firm with the hordes of invitees who obstruct your frame with the zillion mobile phone cameras. I volunteer to take the picture with their camera, this makes me look good and I get my frame! Indian weddings are extremely colourful and it is OK to saturate your frame with colours!

Some Important Events/Ceremonies in a Hindu Wedding:

Pre-Wedding
Mehndi: The process of getting ready for the wedding starts with painting the Bride’s hands and feet with an intricate artwork of henna.
Sangeet: An evening of music and entertainment for the close circle of family and friends. It can vary from a traditional night out to a wild party.

Wedding
Barat: The groom is decked up in finery and brought in a procession to the heavily decorated wedding venue. This procession could be on a horse, elephant or in a trusted four wheeler. The groom’s family would be accompanying the procession and in most ‘barats’ you can expect folks dancing to a live band along with the procession on the move.

VarMala: The Bride and groom exchange colourful garlands of flowers on a small but decorated stage called “Mandap”.

Pheras: The Bride and Groom exchange vows in front of the holy fire and go around the fire holding hands seven times.

Mangal-Sutra: The Groom ties a Golden Locket/Thread around the Bride’s neck as a mark of them getting married. The Mangal Sutra is the Indian equivalent of a ring in most cases.

Kanya Daan: A ceremony where the Bride’s family formally hands over their daughter to the Groom’s family. It’s a symbolic ceremony which involves the first family.

Bidaai: A symbolic ritual these days where the Bride leaves her parents and joins her husband in the journey to his house. An emotional event; where the Bride and her family usually break down into tears.

Most Indian wedding proceedings do not pause for photographs. So plan well and have fun!

Wedding photography is the one of the most difficult and interesting to do. Amateurs face it as a challenge to do something creative at wedding where the professional is hired for getting the essential moments photos. Wedding photography has crept into the society to capture the precious moments of life which comes once. All the photographers are competent users of state of all the art equipment. At wedding ceremony, both of the people suffer, one is the hosts and other is photographers. Wedding photographers work with those models whom they have not met before for this purpose. In other words, the people at wedding do not know how to pose. People wear clothes which photographers do not pick. Photographers have to work with those incredulous models without hesitation. Now you will be thinking about how to pose or take photos at ‘wedding photography’. So, here are some of the suggestions or instructions to follow to make your precious moments more precious.

You should select the style of photography which suits you to capture the moments of your wedding. You just need to tell it to your photographer what you like, after that he can do everything. As the change has come in every field, in the same way, the field of photography has also taken a turn from old traditional style to new evolutional style. Traditional photography sounds to be taken a rear seat as a variety of exciting modern styles are becoming popular. Some few old style photographers include the family group photos, signing the register and cutting the cake, all the usual things which have been seen in the last few years. All the photographers are not same. Some of them have the artistry and eye to create images that are dynamic similar to those photos which you have seen in magazines with an interesting composition.

Reportage photography has been working for the last few years very successfully. This photography includes composing or posing only very important and real events rather than capturing everything in camera. All the emotions, laughter and tears should be captured. You can also have a mixture of styles in ‘wedding photography’. So, these are some of the suggestions which you should follow before hiring a professional photographer for your wedding. A photographer should be competent; you should make sure about his photography by asking different peoples before hiring. It is a good to capture a few loving and precious moments rather than capturing every moment of wedding.

A camera, lens, and flash are the basic tools of the trade for a photographer. Just like a painter has a set of brushes and sculptor a set of chisels, a photographer needs to have the basic equipment to capture the scene. When we think of history’s great artists, the one thing they all had in common was they knew how to use the tools of their trade.

USE THE BEST
There are types of photography where using the best gear is not necessary; wedding photography is not one of them. Use the top-of-the-line Canon cameras, lenses and flashes. Many professional photographers use comparable equipment from Nikon. Regardless of the manufacturer you prefer, invest in the best camera body and lenses you can afford—ideally, the top-of-the-line.

It is important to use the best camera body and the best lenses available for a variety of reasons. Let’s start with the least obvious. When you pick up a great top-of-the-line professional camera and lens, you just feel better about everything. It’s like when you put on a great suit or great pair of shoes. It gives you a feeling of confidence, makes you look more professional and gives you more credibility.

Using the best also means your gear is built to withstand heavy use and, at times, abuse. Weddings can be fast-paced, requiring you to quickly change locations and move gear. Often, there are large numbers of guests to work around and equipment can easily get bumped. Since high-end camera gear is designed for professionals, the manufacturers strive to produce durable tools that can withstand the rigors of the job.

Top-of-the-line equipment will also result in higher quality images. Camera manufacturers know their best advertising comes from people seeing what images the professionals produce using their equipment. The newest top-of-the-line cameras usually have more features, better controls and improved image processing. For example, the new direction is for camera manufacturers to increase the ability to shoot great photos in low light, which really helps wedding photographers who regularly deal with low light situations. In essence, there is also a lot of truth to the saying “you get what you pay for.”
This certainly holds true when it comes to camera equipment.

THE CAMERA
One of the main features to look for when selecting a camera is reliability. At weddings, there are no second chances, so it is important to make sure you have good working gear. The bride and groom will not be very happy if you asked them to stop and “re-do” their first kiss as husband and wife because your equipment malfunctioned and you missed the moment.

Having good working gear is a must. Keep a second camera body in your camera bag and a backup third camera body in your car or somewhere close. That way you are covered if something goes wrong, twice over.

Camera Feature Checklist:

* Rugged construction
* High ISO quality
* High resolution
* Strong image quality
* AutoFocus capability
* Frames per seconds
* Vertical grip
* Extra battery pack
* Full frame vs. Cropped Sensor

THE LENSES
A good lens will last a lifetime, and it really pays to get the best “glass” possible. You may use the L series lenses from Canon. The L stands for luxury, and these lenses are truly built with the professional in mind. Even though they cost more than other lenses, they’ll let you create the best images possible.

Nikon has the same lenses, but they do not have an easy way of identifying them. When it comes to Nikon, look for the following:

* AF-S means the lens has a silent wave autofocus motor built-in
* DX means the lens is designed for a cropped sensor only
* IF means the lens has internal focusing and doesn’t change size
* ED is the good glass
* VR is vibration reduction technology

With Nikon lenses, the best bet is to look for lenses that fit your focal length needs and have the widest aperture possible. The easiest way to find these is by price, they are much more expensive than the other lenses. Again, whether you choose Canon, Nikon or another manufacturer, when it comes to SLR cameras, having the best lens is the best investment you can make.

Lens Checklist:

* Maximum aperture for use in low light
* Constant aperture lenses are useful when the maximum aperture doesn’t change and the focal length does because you don’t have to worry about changing the settings when zooming in or out.
* Variable aperture lenses, for use when the maximum aperture changes when the focal length is changed, are usually less expensive than constant aperture lenses. However, they are not as useful, especially in low light.
* Protective filter for the front element of your lens
* Focusing speed for capturing important moments. Lenses with large maximum apertures actually let the camera focus fast as they let in more light.
* Overall quality because the better quality of the lens will mean better image quality
* Rugged construction to withstand the rigors of any location

THE FLASH
Light is the most important part of photography, there are times when you need to add a little to the scene. That’s when the Canon 580EX Speedlites come into play. Carry three of the Canon Speedlites with you, along with the Canon CP-E3 battery packs. The extra power from these battery packs improves the recycle times and increases the number of images you can take before the batteries need to be replaced. The 580EX Speedlites can be used on the camera or they can be used as slave lights on their own light stands and triggered by a master flash located on the camera. This allows you to add the light where it is needed and control how much light is added to the scene.

Use three Speedlites, two for extra fill and one on the camera for a little extra light. The flash on the camera also triggers the two external lights. The problem with Speedlites is what makes them so great for wedding work is also their biggest drawback. Because they are small and portable, they can be moved and used just about anywhere, but this also means they put up a very small hard light. There are a ton of extras that can be used to help turn the hard light from a small flash into a bigger, softer, more pleasing light.

Also use light modifiers to create a more pleasing light without adding much size or weight to the flash. The light modifiers can be used on the two supplementary fl ashes and on the main flash. Since all the flashes are the same, it is easy to switch the modifiers between the fl ashes as needed. To go one step further, put on radio signal transmitting remote triggers on your flashes so they can be controlled wirelessly from your main camera.

MEMORY CARDS
The most important thing about memory cards is to make sure you have enough of them to cover the whole wedding. You’ll never want to take the time during the wedding to do any editing to make space on a memory card. With memory card capacities available from 4GB to 8GB to 16GB and now even 32GB, there is no reason not to have enough cards for every situation. Make sure all of them have been properly formatted and double, triple check that you have downloaded the images from your previous shoots before going to your next job.

CAMERA BAG
A good camera bag lets you keep all your gear close and accessible so you are not searching through the bag at the last minute when you need something important.

Pre -Wedding gear checklist:

* Clean main camera body
* At least one back-up camera body
* Reset all cameras to initial settings
* Check and charge batteries
* Extra batteries
* Clean lenses
* 24-70mm f/2.8
* 70-200mm IS f/2.8
* 16-35mm f/2.8
* 35mm f/1.4
* 50mm f/1.2
* 85mm f/1.2
* 135mm f/2
* 300mm f/2.8
* 15mm fisheye f/2.8
* Macro 50mm f/2.8
* Lens cleaning cloths
* Lens list
* Formatted memory cards (always bring extras)
* Check flash units
* Reset flash units to initial settings
* Check and charge flash batteries
* Light stands
* Light modifiers
* Business cards
* Water bottle and snack bar for extra energy on long days
* One extra dress shirt, in case of stains

SUMMARY
Investing in high quality equipment will give you the reliable tools you need to make great pictures. With a variety of camera bodies, lenses and fl ashes you will be prepared to shoot in any location and can be as creative as you and your clients want. Remember to check and clean equipment before each shoot, and be sure to carry back-ups in case you need them.

Medical Photography. What is medical photography? What are the essential skill sets, technical skills and soft skills required to be a medical photographer? What are the requisite educational qualifications? What would be the work profile and career prospects? Learn it all in this article on medical photography.

The Purpose of Medical Photography

Science is a systematic and logical study of the world around us. And key to such a study is proper documentation of our observations, especially in the field of medicine, as improperly recording one’s findings could lead to incorrect diagnosis with disastrous consequences for the patient.
A picture speaks a thousand words, and hence, a photograph of a medical condition would do more justice than a verbose description. The person responsible for producing clinical images of patients or of disease conditions is known as a medical photographer. Medical photographers are responsible for producing accurate and objective images that truthfully record injuries, disease and the progress of operations and medical procedures. Medical photography serves three main purposes:
1. Education
2. Publication and documentation
3. Diagnosis

History of Medical Photography

Since olden times, illustrations have been used to describe the human body in medical texts. Open any book of human anatomy, physiology or pharmacology, and it’ll be replete with images of body organs in health and disease. These images form the very basis of educating medical practitioners. The first application of photography to medicine appears in 1840, when Alfred Donné of Paris photographed sections of bones, teeth, and red blood cells using an instrument called the microscope-daguerreotype. The first book on medical photography was La Photographie Medicale, published in France in 1893. With improvement in photographic technique, illustrations in medical texts were increasingly replaced with photographs. Soon, doctors began to use photographs to document clinical cases for publication of their findings as well as to aid diagnosis. Today, most hospitals have a full-time medical photographer amongst their staff, whose role is to photograph any medical condition the doctor may require as well as to archive the photos and maintain a searchable database. Such a database, along with patient case history, forms a valuable resource of extremely relevant information.

Skills Required to be a Medical Photographer

1. Should possess a good knowledge of the photographic process and related processes like digital photography, processing slides, special films and even video. Should be able to use various photographic techniques as the case may demand with equal skill, in the real-life settings of a hospital.
2. A reasonable knowledge of medical terminology, and an elementary knowledge of anatomy, physiology, and the manifestations of disease and hospital protocols is necessary. A genuine interest in medicine and science is as equally important as photographic skill.
3. Good computer skills for storage, indexing, retrieval, and distribution of images.
4. Database management skills as a large inventory of images, which are constantly updated, would have to be maintained, archived and linked to patient data.
5. Specialized photography techniques including, but not limited to, infrared imaging, fluorescence imaging, endoscopy, stereo imaging and photomicrography form the domain of the medical photographer.
6. In many hospitals, the medical photographer also manages audiovisual presentations for conferences or publicity events. Hence a knowledge of sound and amplifications systems, as well as projectors and screens, would be helpful.
7. Knowledge of medical ethics, and the laws of confidentiality and copyright, as the photographer would have to deal with information that is highly classified.

Soft Skills

1. The medical photographer should be sensitive to the patient’s condition and should respect the dignity of the patient being photographed. He (or she) needs to make the patient comfortable during the exercise, while himself taking care and precautions against possible infections, etc.
2. Work in operation theatres, trauma wards and post-mortem rooms may be stressful for the medical photographer and he has to be prepared to deal with such situations routinely.
3. He should be able to converse well with doctors and understand their ‘language’.

Medical Photography Equipment Required

A good film or digital SLR camera is a must, with a range of standard and macro lenses. Lighting equipment, reflectors and a tripod are essential. Apart from these, depending on the hospital needs, specialized equipment like large format cameras, endoscopic cameras, ophthalmic cameras, scanners or photomicroscopes may be required.

Work and Career

Medical photographers find employment in hospitals, medical schools, research labs or pharmaceutical companies. Many such organizations also hire freelancers for part-time work. As their work is directly involved in patient care, it demands far more dedication and sensitivity than other areas of photography. Applicants are required to have formal training in biology or medicine with a vocational or formal training in photography, or formal training in photography with elementary knowledge of human anatomy and physiology. There are specialized courses offered by various universities for a specialized degree in medical photography or medical illustration.

Specializations which Rely Heavily on Medical Photography

1. Dermatology
2. Ophthalmology
3. Surgery/Surgical Oncology
4. Pathology

Wildlife Photography Birding. Here is a look at wildlife photography for birding, which is documented bird watching.

Birding

Birding is an "in word" for the bird watching community. This is often characterized by people who watch birds, identify species, and keep logs of them. This is often the basic version of birding that is unaided by technology, but new digital photography technology has added the ability to take high quality images as documentation of the sighting. This form of wildlife photography for birding is a mixture of creative image capture and the keeping of records, both of which come together as a unique mix of activities. Here are a few tips for wildlife photography for birding with DSLR cameras
.

Be Invisible

The most important principle to follow with wildlife photography for birding is to follow the principles of birding itself. Bird watching is largely based around a non-interventionist policy with the birds. This means that you are meant to be a placid observer off to the side, except this time you are in search of a photo rather than simply a sighting. To do this you have to make sure that you make photographic choices that do not displace the birds what so ever, but also do not disturb them in the slightest.
This means that you should first try to stabilize the camera the best that you can, but with the least amount of associated equipment. A tripod is going to be too difficult to hike into the location for the bird watching, and the set up may be both difficult and draw attention to yourself. Along with this you are going to want to avoid any type of flash as this will scare the birds and likely send them flying. Portable light kits are going to be out of the question entirely, except in rare occasions with nocturnal birds.

Shutter Speed

One of the most important technical considerations you will want to make with your DSLR camera when performing wildlife photography for birding is to bring up the shutter speed. A faster shutter speed is going to do two things for you, lower the overall light that is allowed in and capture motion better. Since you will be in outdoor locations you will likely be able to bring up the shutter speed without brining down necessary light, and this will give you the option to keep the iris where it is at so that you can consider depth of field separate from the light. You also may want to be able to capture a clear still image of the birds in flight, especially with birds that have a quick pattern of movement like hummingbirds.

Telephoto Lens

Though you may be able to work with a standard lens, such as an 80mm, you may want to be able to look further. Since you want to remain as invisible to the birds as possible, you will need to position yourself a respectable distance from the subjects. This is going to require a telephoto lens that will allow you to really draw into the image from a great distance, such as a high impact zoom lens or something running from 180-200mm. This will allow you to remain more stationary from a practical distance and take more chances since your movement will not directly affect the birds.

Old Fashion Photography Techniques. Classic fashion images evoke glamor and beauty. But, this doesn't have to be a dead art. Learn how to take these types of photographs with your own camera.

Classic Imagery

Modern fashion photography often involves setting up a scene, and oftentimes the model him- or herself is not the subject of the photograph. In the old days, however, the model was usually front and center. These shots were meant to be glamorous and sophisticated.
You can also use old fashioned photography techniques in current portrait photographs, especially if you are trying to evoke a classic mood. You don’t even need to revert back to a film camera to capture these photographs, but you may want to switch to your black and white setting. And, you will definitely need some good lighting.

Lighting and Equipment

Generally, classic photography shoots used a lot of front lighting, illuminating the face. They also used backlighting to create silhouettes. If the face was the subject, the hair and body may be slightly in shadow.
Set up your studio, and experiment with front- and backlighting to see what looks better for your subject. Always have all of your tools on hand for your photo shoot. A tripod is also a must. You will need a macro lens more than a zoom lens, but your photographs will definitely be more vertical than horizontal. Even if the photographer didn’t capture the full body in older fashion images, they caught a lot of it.

Positioning and Backgrounds

Positioning is extremely important in classic photography. A hand on the face added a sense of drama while a full-length shot of a woman in a black dress evoked classiness. Figure out the mood that you want to produce. For example, if you take a photograph of a sultry woman staring at the camera, you may place a small table behind her with a photograph of a man. Or, have the photograph face down like she’s dumping an old lover.
While props are a must, only use them to add information or interest to the photograph. Old fashion photography images didn’t have a lot of background noise. The background was usually black, white or gray, and there was very little in the image besides the model. Don’t add unnecessary items to the image. Shoot for minimalism.

Black and White

Now, as mentioned earlier, most of these photographs were in black and white. Black and white fashion photography adds elegance, mystery, etc. to a photo shoot. Modern digital cameras usually come with a black and white setting. If you do take your images in black and white, use the finest setting possible, such as Fine or Extremely Fine.
Or, you can always shoot your images in RAW, and then convert them to black and white in a program like Photoshop or GIMP. This allows you to save the integrity of the image and reduces compression. You can then further manipulate your image, including adding more contrast. Or, you can add just highlights of color. For example, if the focus is on the lips for a lipstick ad, just add color back to the lips.
Just experiment with your photographs, and find a style that you like. Use the older ads to give you ideas, but just use these images as inspiration.

Newborn Portrait Photography Tips & Tricks. If the objective of a portrait is to capture personality through expressions, but how do you do that with a newborn? Most parents will tell you that their children have tons of personality right off the bat, and this article will give you tips to help capture it all!

So there's a new infant in your life, and you're thinking about trying to capture a few newborn portraits. Photography sessions with an infant varies wildly from portrait photography sessions with older children or adults. You've got to follow a couple of rules, you've got to remember that babies are generally not going to care that they might be messing up the vision you have for the shoot, and you've got to remember that above all, you're not in charge of the shoot nearly as much as you think you are. This article will spotlight ten tips to help you take some great newborn portraits, even with the fussiest of subjects.
Image Credit: Recent Infant Session by aaronsteel on Flickr

10. A Stocked Diaper Bag is Your New Best Friend

Babies are needy. Not just a little needy, but extremely needy. You're going to need a stocked baby bag close by, so you're not rummaging around your house, trying to find that pacifier when your little angel gets fussy. This is doubly important if you're not photographing your baby in your own home. If it isn't your kid, just make sure mom (or dad!) stocks a diaper bag and brings it along! Things to put into the diaper bag: bottles, formula or milk, a few pacifiers, some favorite toys or stuffed animals, extra diapers, blankets, washcloths and spit-up rags, and extra outfits.

9. Happy Babies are Warm Babies

One of peoples' favorite ways to photograph newborns generally seems to be with the baby either completely naked (al la bear skin rug shots) or in their diapers. This generally allows you to see the soft, cuddliness of newborns. Even if you're photographing them with clothes on, chances are that what you find warm and cozy, the baby might find a little cool. Turn up the heat or bring out space heaters to warm the area where you're going to be taking pictures. Naturally, if you're using space heaters, keep them at a safe distance from the infant.
Image Credit: ho, hum ... another newborn by jen_maiser on Flickr

8. Blinding a Baby is Generally a Bad Idea

Okay, imagine that you're a few days old. Your favorite things are generally eating, sleeping, and being cuddled. Also, you're not generally a fan of bright lights, which means that you're probably not a big fan of the flash on the camera. When possible, shoot without the flash to avoid bothering the baby's sensitive eyes. Not to mention, the flash generally does strange things to the appearance of infants in photographs. No one wants their kid to look washed out or overly blotchy!

7. Stoop to Their Level

Don't be afraid to spend a lot of time on your stomach next to a newborn while photographing them. This will be one of the only ways you can comfortably get a close-up without someone holding the infant. Get comfortable with a few pillows and blankets and get up close and personal with Junior! In fact, he probably prefers you to be closer to him anyway, where he can watch what you're doing and enjoy the presence of another person.

6. Diffuse the Light When Possible

As stated, the flash on a camera can be much too bright for anyone, let alone a newborn. Flash will wash out a baby and make them appear to be pale and almost unhealthy, or it'll bring a lot of attention to the natural red in a newborns skin, making them appear more blotchy. If you can angle your flash, bouncing it off a ceiling will lead to a much softer image. If not, you can always try moving lights around the room when possible. Remember, you aren't trying to blind the kid, after all, so make sure that lamp shades or well-placed white sheets are there to make the light soft and diffused and keep the light bulb from shining directly in the baby's face.
Image Credit: Newborn by Liam Wilde on Flickr

5. Wash that Baby Face!

If you've ever spent any time around a baby, you're probably fully aware that their faces are rarely clean. Runny noses, dried milk, spit-up, and sleep in the eyes are par for the course with a newborn. Keep some cotton swabs and a warm washcloth on hand and wipe up anything on the kids face that you don't want in the picture!

4. The Angle Option

You can't really pose a newborn in a lot of different ways. Stomach? Sure. Back? Okay. That's about it without the assistance of swings, chairs, and other people. That being said, don't be afraid to pull in a favorite swing, chair, or even another person. Babies love being cuddled, so there are a lot of options to explore. Try an over-the-shoulder shot, or laying on their tummy in mommy or daddy's arms. And don't forget the classic "laying back in the arms" pose! Don't forget that you can always gently prop a baby against something to get a better view of their faces from an angle. These are all very flattering for newborns, and are a bit more interesting than a baby laying by themselves on their back or stomach.
Image Credit: Charlotte's Newborn Session by Christine on Flickr

3. Don't Expect a Lot of Smiles

Newborns don't spend a lot of time smiling. In fact, they don't spend a lot of time doing too much of anything other than sleeping and eating. That doesn't mean that you can't get some great shots! There's something angelic about a sleeping newborn cradled in someone's arms. And is there anything cuter than a newborn happily nursing from a bottle? Of course not! And if a kid is fussy, don't be afraid to pop a pacifier in because that is melt-your-heart cute! The trick is to take a lot of pictures of the infant doing what (s)he does best. When all else fails, take a lot of pictures from different angles, and see what ones you like best!

2. When in Doubt, Go With Timeless Black and White

Newborns tend to be a bit red in their first week or two of life, and sometimes, no matter how hard you try, it just doesn't look good in a picture. What do you do about this? Simple! Remove the color from the image! Black and white newborn portrait photography is classic and timeless, and allows for you to show all the soft cuddliness of a baby without worrying about them appearing too red or blotchy. This is one of the simplest fixes, and I highly recommend it.
Image Credit: Newborn Nicholas 04 by christopherallisonphotography.com on Flickr

1. Stop When the Baby Says It's Time to Stop

It doesn't matter if you can do a photography shoot for five or six hours at a time, if the baby becomes fussy or upset with what is going on, take a break, or wait until the next day. Bright lights, strange objects, and people shuffling around them are likely to make them a bit irritated or nervous, which doesn't translate well in photographs, and it isn't doing your baby any favors either. Watch the babies cues to see if they're hungry, need a diaper change, sleepy, or if they're just annoyed with the situation, and fix accordingly. After all, when working with such tiny models, you'll quickly learn that you're not the one calling the shots!

Tips on How to Take Pictures of Cities. One of the most overlooked forms of photography is shooting urban landscapes. If not done the right way, the results can be boring at best or gawking at worst! Learn how to take pictures of cities the right way to produce fantastic and awe-inspiring images.

Have you been looking at HDR photos recently and wondering to yourself, "How do they do it?" If you have a digital camera, you can produce the same types of pictures! This article will guide you through HDR photography and how to get the shots you need to make a stunning HDR photograph.

This tutorial guides you through using Photomatix Pro 3.1 to merge photos taken at different exposures into one HDR (High Dynamic Range) image. Utilizing the powerful tone mapping features in this software provides a unique control over your HDR images.

Preparing to Merge

HDR (High Dynamic Range) photography has become a popular technique over the past ten years and is being used more and more. This process involves taking three photos of the same image at different, bracketed exposures in order to capture both the highlights and shadows of an image. Using post-production, HDR software like Photomatix Pro 3.1 will allow anyone with a digital camera to create these brilliant photos.
After launching the software, you’ll click on the Generate HDR Image button on the pane to the left. Then, you’ll need to select the source images that you’ll be merging into one HDR photo. You can browse for these images, but I find it easier just to drag and drop the three photos from Finder into the box (If you’re using a Mac). Click OK. The photos above are the ones that we will be merging. As you can see, one is properly exposed, one is overexposed, and the other is underexposed.
When the Options window appears, Align Source Images is already checked by default, correcting horizontal and vertical shifts. Usually it makes sense to leave these at the default. If I have an image that has very distinct shapes and features, I will change it to align the source images by matching features.
If you’ve taken a photo where there was some movement in the image, HDR can be tricky because the object will take on a “ghost” effect. Ghosting artifacts occurs most commonly with people, animals, nature (trees, clouds, water), and other objects that can blow in the wind or move. Luckily, Photomatix Pro offers a feature in their Options page to Attempt to Reduce Ghosting Artifacts which can significantly help stabilize those images and reduce that effect.

Three Images

Options

Tone Mapping

Provided that the white balance is the way that you want it, click OK to apply those options. On my 2.16 Ghz iMac, it took only about 10-12 seconds to merge these three RAW files (taken with an 8MP camera). Photomatix is extremely quick with it’s processing, which puts it at a large advantage over other programs.
Where Photomatix Pro 3 really begins to shine (like its previous versions) is when it comes to tone mapping. The tone mapping features allow the user to really customize the HDR image in order to recreate the correct tones that match the original lighting of the situation or give a surreal effect.
In this image, I chose to lower the strength and color saturation a bit. I also made sure that light smoothing was set to high. Spend some time tweaking these images. If you mess something up, there is an undo/redo button at the bottom of the tone mapping palette.
When you have the image the way you want it, click Process. Photomatix took only 7 seconds to process the tone mapping changes that I made.

Working in Photomatix

Finishing Up

With the final image, I would generally open it in Photoshop to remove a few specs from the photo. Some of the specs in this photo are not symptoms of the HDR process, but instead a result of dust on the actual lens of my camera. This photo was taken in Hawaii while I was on my honeymoon. Somehow, I forget to clean my lens that day!
Photomatix Pro 3 only has a few basic editing tools, and they are not the easiest to use. Even the simplest of tasks, such as cropping, is more complicated than necessary, having to use the CTRL key while you’re dragging. So, I leave any editing that I need to do for Photoshop CS4 or Aperture 2.1.
When you have the photo the way that you want it, be sure to save it by clicking File and Save As and saving it as either a JPEG or a 16 bit TIFF. Usually, I will save it as a JPEG if I’m using it on the computer (4.7MB), and I’ll use TIFF if I’m going to be printing the image (45.9MB). You can see that there is an enormous difference in size between the two file types. When you are saving the photo, there is a checkbox below the format that you can click to launch Photoshop and save the image in that program. Doing this can increase the compatibility of the file.
Below is the final product of our merged photos.

Finished HDR Image

Practice

With HDR photography, do not get discouraged if your first few attempts don't work out the way that you want them to. This is not the easiest photography technique to master. It does take some practice. So, don't give up and remember: Practice makes perfect!

Black and white pictures with color are a great way to emphasize a part of the picture. They can be used to show an artistic approach or can even be used for advertisement purposes. Read this article to learn some of the techniques used in composing and editing these pictures.

Making a Statement

Black and white pictures with color certainly make a statement when composed creatively. They can be used to bring out the most important part of the picture without losing detail in the rest of the image. Creating images with a shallow depth of field can be used to focus on just one area and have the rest of the picture remain out of focus, but with the selective coloring technique the entire picture can remain sharp and in focus, yet still have a focal point where the photographer wants to show emphasis. This helps to make a clear statement as to what the viewer should take from it, and the method can be used for different purposes such marketing, advertising products, telling a story, focusing on a character, setting a mood, and more.

Spotlight Without the Light

So you want to emphasize a part of the picture and you don't want to draw a huge red circle around the area to tell your viewer what they should focus on, this is where this technique is ideal. Black and white pictures with color bring the attention where you want it to be. For example, say you have a field of flowers you want to photograph and there is a specific flower that you want to make stand out. If the picture is left in full color, this flower will blend into the rest of the flowers in the field, but if you made the picture black and white but left the flower in color, the viewer's eyes will automatically focus on that.


Which Parts to Pick?

So you have decided to give black and white pictures with color a try and want to know which part or parts of the picture you should leave in color, and which parts you should turn into black and white. First of all, choose a picture which requires this technique the most. If the picture is already focused on a subject and the rest of the picture is out of focus; this most likely will not bring much difference, or worse, will end up looking really awkward. Try to find a picture that is sharp overall.
The second concept to remember is that usually pictures that are somewhat busy tend to be good candidates. One of the best photos with selective coloring I saw was of a man standing in a busy street with his broom, while the public around him was whizzing by without paying any attention to him. What made the picture even more striking was that he was looking at the camera and had a bright colored uniform on which made him stand out even more.

How to Make Black and White Pictures with Color

There are three different techniques that can be used when editing the picture to bring out color on black and white:
1. Desaturate the photo to remove all color. This can be done by selecting "Image," then "Adjustments" and then "Desaturate" in Photoshop. Now click the "History Brush" from the tool palette and choose an appropriate size brush making sure the hardness is set to 100%. Carefully brush the part you want to bring the color back to and you are done. You can zoom in to brush the corners or any tight areas.
2. The second option is to make a duplicate of the image and convert that to grey scale. Then use the masking tools on the grey image to mask the area you want to bring to color by creating a hole in the grey scale picture. Now merge the two images together to show the colored part of the image through the grey scaled image. Masking tools can also be used to mask the area you want to remain in color and then desaturate the rest of the image.
3. Another option for selective coloring in Photoshop Elements would be to convert the image to black and white by selecting the "Channel Mixer Adjustment Layer" from the "Layers" menu. Now choose the "Brush Tool" from the tool palette and brush over the part you want in color. Make sure the color of the brush is set to black. Adjust size of brush for smaller areas when needed.
Choose whichever one of these techniques is easiest for you. The commands may differ slightly depending on which program you are using. Also, be sure to always make a copy before applying any changes so that you have a duplicate on hand just in case.

If you've ever seen the underwater world, you know it can be beautiful. Now you can take pictures that capture that beauty, with three easy rules.

Underwater Digital Photography Course

If you’ve ever been SCUBA diving, or snorkeling, or even just to an aquarium, you know that the underwater world is full of life and color. However, due to the fact it is all under water, taking good pictures is a little more difficult than taking regular pictures. The PADI Diving Society has a course in Underwater Digital Photography that can teach you everything you need to take great pictures, but the class requires a classroom phase, a pool phase, and finally a dive so you can demonstrate what you've learned. I have taken this course and believe it can be distilled into three rules:

• Get Close
• Use a Flash
• Hold Still

What you Need for Underwater Photography

Before you can do much with these rules, you need appropriate hardware. At the least expensive end of the spectrum, you can buy a disposable waterproof film camera with a flash for under $20, and then scan the resulting pictures. The most expensive end of the system requires a DSLR camera (minimum $500) and a custom underwater case (often more than $1,000). I chose the middle ground – a compact digital camera and matching case from Canon.

Canon may not be the only camera manufacturer that makes its own waterproof cases, but they’re certainly the least expensive. They don’t sacrifice quality, however, as their cases are every bit as sturdy and feature-complete as the expensive 3rd-party ones. I use a Canon SD700 IS - it’s no longer being sold, but Canon has other models with more features at better prices. My current recommendation is the SD1000, which won PC Magazine Compact Camera of the Year (2007). It’s available at a very reasonable price ($159 at Amazon), and its corresponding underwater case (WP-DC13) is also available for a reasonable price ($168 at Amazon). The case is good to the range of 100-120 feet deep, which is about the range for standard SCUBA diving. Some cases are only good to about 10 feet deep – they’re OK for snorkelling but not diving.

The first thing you need to do is practice inserting the camera in the case and closing the case successfully. All cases like this have a giant “O-ring” seal, and this ring must be in perfect condition or it will leak. Even a small hair in the wrong place could introduce a leak. You need to practice installing and removing this rubber ring, and learn to smear it with a tiny amount of petroleum jelly to help get the best seal. Once you have the case closed, you’re ready to test it. Immerse it in water, with the lens pointed up…if any water leaks, it should accumulate at the back and not get into the camera itself. While the camera is under water, press all the buttons to make sure they do not leak.

Get Close

Have you ever wondered why the ocean is blue? It’s because the water reflects blue light, and that’s why your photos will appear blue. The less water between you and your subject, the less blue you will have in the photo. You can get some great photos if your subject is arm’s length away. If the subject is any farther, you will not get as good a picture because you lose color.
[See Image 1]
The shark is a good example – when I removed the blue cast, there wasn’t much color left.
[See Image 2]
On the other hand, the brain coral was shot much closer and the detail is amazing, but it didn’t have much color to start with. If you can get close to something colorful and still, you will get a much better photo.
[Image 3]

Images

Use a Flash

I cannot stress this enough – always use a flash even on the brightest day. It helps bring out the color. Remember, the sunlight comes down from above, but you don’t always take a picture looking straight down at the well-lit parts.

Hold Still

Even if your camera has image stabilization, it may not help if you’re chasing a fish while trying to take its picture. And even if it did, you’d get a picture of the wrong end of the fish (think of the analogy of the North end of a South-bound mule). It’s much better to get yourself in position and hold the pose – many times the fish will come to you if you’re still.

Additional Underwater Photography Tips & Tricks

Many compact digital cameras today are packed with features, including special scene modes. My camera (and most Canon compacts now) has a special underwater scene mode, which I use for all my underwater pictures. However, this mode does not automatically turn the flash on, and it doesn’t remember the state of the flash. The result is that I have to remember to turn the flash on every time I turn the camera on. It took me half a dive before I figured this out, but once I remembered, I got much better pictures. You will probably need to tweak the pictures in a photo editor (here's a list of free photo editors) – this can be used both to remove the blue tint and to increase the overall color saturation.

Try not to move around too much if you’re near the bottom – you’ll just fill the water with sediment or sand, which reflects the flash back into the lens and fills your photo with well-lit specks. However, you can get some interesting artistic effects this way too. Another artistic effect can be had by shooting upwards at a diver or a fish. Take as many pictures as you can – remember they’re free to take. It helps to have a very fast memory card too, and can drop your time between pictures to the minimum time necessary to charge the flash capacitor. Many compact digital cameras can also take movies, so if yours can, play with that feature too.

Look all around you and you'll see images of food in many different forms, from raw to cooked. Taking succulent-looking food images is an art, a science and a profitable branch of digital photography that continues to grow. Here's how you can take better, more delicious-looking images.

Succulent, Eye-catching Food Photography

Do you like to eat? Of course you do, who doesn’t (OK, maybe not if you’re a Bulimic spaghetti legs)? Now think of the myriad of photo opportunities that exist for well-composed, appetite-boosting food images. From succulent, eye-catching hamburgers, gourmet meals at multi-star restaurants, to taste-tempting, ice-cold drinks on a hot summer afternoon, this piece will delve into the unique sensory-appealing photography of meals, dishes and a wide variety of culinary or food items. From how to set up mouth-watering shots that get editors and buyers “biting”, to how, where and who could use food-related photography, you will get an in-depth overview of how to shoot even better, delicious-looking food photographs. Doesn’t this “Mixed Rice” photo make you just a little hungry?

Food Photographs – Cooked or Raw

Did you know that many of the photographs you see in newspapers, magazines and advertising are foods which aren’t even cooked? That’s right, many foods are best photographed when raw. This obviously includes many fruits and vegetables, a number of which are normally consumed raw. However, other foods like fish, pasta and cheeses, are best photographed while still uncooked. Not only that, but they’re much easier to handle and manage for setting up the shots too.

“I don’t want to handle raw fish”, you complain?

Easy, then don’t- at least not with those bare, gunky mitts you call hands. Use tongs or utensils. Better yet, wear thin plastic gloves. You know, like the ones you get at seafood, barbequed ribs or chicken restaurants. They’re so thin and light that you’ll har

Types of Food Photographs You Can Try

What kinds of food photographs should you take? Well, for starters let’s look at some of the wide varieties you’d need to practice with. There are, first of all, ingredients photos for illustrating a recipe. Try some still life “layouts” of common staples like potatoes, onions, green, yellow and red peppers, green, yellow and red (kidney) beans, corn and other colorful fruits and vegetables. Here is a shot of yellow and white potatoes with white corn used in a dish called “Ajiaco”. Remember, clean them up first if need be. Yes, you can wash them. Then carefully dry and “polish” them if necessary. I like to use a little olive oil for the job. The olive oil smells nice and doesn’t render the foods “inedible”. Some photographers use waxes or mineral oils, which do a great job, but then you usually can’t use the food afterwards. If I did that my wife would vehemently object – and I might even miss a few meals as a reminder. (Egads! We can’t have that now, can we?)

Recipe Preparation Digital Images

Next, you’ll want to take some as-prepared, step-by-step images of a simple recipe in progress. Show peeling, slicing, chopping and mixing of colorful ingredients. Use side lighting from a higher angle to get good color saturation in your photographs. Also be sure to move to the right, left or across from your subject if you can get these positions during a cooking – shooting session. Vary the angles of your images so they’ll exhibit more variety than simply a dull batch of straight-on shots. Don’t be afraid to get close up either. When shooting photos of someone using a knife, have them stop at an up stroke for a shot and then again at the finish of a down stroke for another shot. It only takes a moment and most cooks don’t object. The same holds true when grating (as shown) or other rapid actions are involved.

In the next part of this series, we’ll continue with the process of taking better food photographs and look at where to sell and publish your delicious-looking images as well. See you then.