Monthly Archive for September, 2008

Use your hand

Published
by
Tommy
on September 30, 2008
in Tuesday's Technical Tips and advice on photography
. 3 Comments

On last weeks “Tuesday’s Technical Tips”, we discussed how using a 18 % gray card can and should be used to measure available light outside and how you can use it to meter TTL (through the lens). Today’s technical tip will be similar. I’ll tell you a quick top for quick exposure on skin if you don’t have a gray card available.

My tip is to use your hand. Let’s say you want to know what a good exposure would be for skin, use TTL metering on the palm of your hand. As was stated last week, using a gray card is a sure fire way of metering TTL and getting accurate exposure and using the camera’s automatic metering system can fail if you just point it at a scene. The reason again for this is that the scene may be really dark or really light in tonal values. It may, as we’ve already discussed be a scene of snow. Or, it may be a dark scene of asphalt, for example. The meter will attempt to expose the image “correctly” taking all values that it “sees” into account. The problem with this is, it may not be what you want. Take, for example, a woman with light skin and she is wearing black and the scene around her is black. The camera, if set on automatic setting or aperture priority or shutter priority will meter the entire scene and make a judgment upon what it sees as a whole rather than just for the part that really needs to be exposed properly, namely here the light skin. In natural light settings, using a hand is a good idea because it will help to get similar skin color and tones from one individual, namely yourself and be able to properly record the correct meter reading for your subject.

Let’s think about this for a minute. Think for a second with me. You are sitting in the bleachers at a ball game and the sun is hot, the guys on the field are tiny and your lens is only so long, that you just can’t get a proper reading off the subject’s faces. As you know, if you want to meter someone, you can just go up to them and meter right off their face, TTL, of course. But in the case when you are too far away, if your light where you are is the same light where they are, all you have to do is aim the camera at your own hand and take a meter reading. The only difference would be if your lighting is different than the subjects lighting or the skin tones are darker or lighter than your own. If for example you are white and your subjects are black, you will have to compensate slightly, though not much, for this, or let’s say the subject is very pale in skin tone and you are not, then you will also have to compensate slightly for this as well. But don’t make huge adjustments because the variation is not very much actually; perhaps a stop at the very most. But you see, in most pictures with people, the faces are what is most important when it comes to metering. So using this technique will help tremendously when you don’t have a gray card. It is better than nothing.

I’ll give you one example where I had to use this recently. We were shooting a wedding and the son was blaring hot. I was standing outside waiting for the bride and groom to exit the building for the reception and everyone was going to shower them with lavender. I waited there and took a few shots with aperture priority and because they were taken under an overhang, the shots were much underexposed in the shade. It was too bright outside to make an accurate assessment by just looking on the back of the camera, so I had to think quick. I metered off my hand and got a quick and very accurate reading that I was able to use when they came skipping out. It was quick, easy and accurate. The best part is I stayed on manual setting and when they went out to the sun out from underneath the canopy, I quickly adjusted to the new setting for their skin in the sun. It was a quick method that helped me get the shot when I needed it without worrying that I was blowing out detail in the skin or underexposing it too much. As good as cameras are, they are not as good as you’d like them to be all the time. They don’t have minds, so they just do what they are programmed to do and what they are programmed to do is not always what you as the photographer wants from them. Of course, remember if the light changes because of a cloud or something like that, you will need to adjust. And if the light is falling fast because it is late afternoon. I would suggest checking it even as often as every minute. I mean, it doesn’t take hardly any time at all and it will save you heartache and grief later.

So, next time you are in a pinch and you need an accurate meter reading, use your hand.

Quick tip for easy variation on the same pose

Published
by
Tommy
on September 29, 2008
in advice on photography
. 1 Comment

My common way of photographing subjects, especially groups is straight on or slightly above their eye level. And unless there is a reason to, I normally never shoot up at them. There is times when shooting up at my subjects is appropriate and has an interesting look to it. Yet the norm is I almost always shoot straight at them. But recently, I have been trying something new. It’s been done for years but it is just something that I haven’t done very much before. So, it’s pretty simple actually. Let’s take a single of a girl for example. Just pose her leaning into something. For example, with her arm extended out leaning on a lower object than where she is sitting. It doesn’t have to be much lower; just six inches lower or so. Then, have her bring her head towards the lower shoulder, (the shoulder that is closer to the camera) and look towards the lens. Bring the camera up above the subject about a foot or so and have the subject look up towards the camera without wrinkling their forehead. This will cause different parts of their face to look different. For example, it will enlarge their forehead and make their chin smaller. But if they have a small forehead and large chin, this would make a good pose. If you shoot straight on and then switch camera position to this, you can have a totally different look with a minimal amount of work. Of course, this is just one quick example and many variations could be done on this concept alone.

Another idea would be with a single male. Head on would be fine, but try raising the camera about six inches to a foot above him while he leans forward and rests his elbows on his knees. He could either bring his hands to his chin or not. Either way would be fine, but just have him looking in an upward direction toward the camera. This is an interesting look that is a bit different from the typical head shot. It also stretches out the neck and hides any double chins that someone may want to hide. Actually anytime you do this pose with hand near the chin, that is just another way of hiding any unwanted double chins from showing. And a third way to make the neck even less visible is to use a light ratio that is high enough for the neck to be in the shadows. Just light in such a way that you do not illuminate the neck. This is called retractive lighting. I call it carving and sculpting with light. We are painters and sculptors and our medium is light.

The raise in the camera position is about one foot. It isn't much but if you look closely, you can see subtle differences that make these two photos distinctly different.

The raise in the camera position is about one foot. It isn't much but if you look closely, you can see subtle differances that make this photo distinctly different. A subtle change and you have different image.

With large groups, having a raised camera position is good for getting everyone’s faces in the shot. If you have a group of thirty for example and you try to capture all of them standing in rows next to each other, the likeliness is that you will get some people covering other people because they are standing behind someone who is almost as tall as they are. You may have seen examples of shooting large groups of people like this for school classes or high school reunions or maybe large companies that want photos of all of their employees. But you know when an amateur is photographing a large group because you will have people’s faces completely blocked by others that are standing in front of them. You may want to consider this technique next time you are photographing a large group.

One last to thing to keep in mind. The distance you are from your subjects makes a big difference. If you are photographing a single person and you are 12 inches above them but you are only three feet from them, those twelve inches will look very dramatic. Conversely, if you were 12 inches but were 30 feet away, it would appear that you were at eye level. You could even be three to four feet above their eye level yet you would still look like you were near eye level if you were 30 feet back.

Remember, the customer wants something different. The more options you give them the better. And the great thing is, you don’t have to reinvent everything, every time you snap an exposure. Sometimes, simply changing your camera’s perspective can make a dramatic change that the customer will love.

 

Where are we going?

Published
by
Tommy
on September 27, 2008
in Saturday's Slick Pick of the Week
. 1 Comment

My friend David once proposed the idea that there may be a time in our future or after we’re gone that photography as we know it may be extinct. I did not agree with him but he said, yes, it is possible. It is possible that in the future, the future may hold holographic images for us rather than stills. If you told people film years ago that film would be extinct, most would probably look rather confused at you. There would be no way of comprehending what you were proposing. However, while my friend may be wrong, and I hope he is, that doesn’t mean that technology will not change things dramatically regardless.

My friend Nathaniel has written an article on a brainstorm he had. He hasn’t really come to any conclusion with his idea, yet he is just thinking about the possibilities of new technology and how it can affect and benefit us and our businesses.

As today’s “Saturday’s Slick Pick of the Week”, I would like you to read his very short but thought provoking blog post and think about how we can possibly use new technologies to do more with our subjects.

Spotlight Interview with Kelley Ryden from Kelley Ryden Photography

Published
by
Tommy
on September 26, 2008
in Spotlight Interviews
. 6 Comments

All babies are beautiful. - Jeanne Calment

The masterful infant portraiture of Kelley Ryden

The masterful infant portraiture of Kelley Ryden

Kelley Ryden

Kelley Ryden

Thinking back to the first time I saw Kelley’s work on flickr, I distinctly remember sitting there in awe. Her work was simple. It was beautiful. It was amazing. I could go on for ever, but what really struck me about her subjects and her treatment of them was just how perfect her images looked. I was so excited about what I saw, I told everyone, “Look at this woman’s work!” I even showed her work to clients of mine that I was photographing and trying to sell my photography services too! That’s how intrigued and taken I was and still continue to be with the unrivaled work of Kelley Ryden. I asked Kelley if she would be so gracious to sit down for an interview with us. She agreed and I know that you will love her work and what she had to say!

First of all Kelley, thank you so much for letting our readers get to know you a little bit about you and your photography. So what’s your story?

Kelley: Married for 5 years this month to a wonderful, encouraging and understanding man, two beautiful boys (3.5, 1.5), and a crazy photography schedule that has turned me into a midnight proofer!

P.O.T.P.: How long have you been in the business?

Kelley: I started my business the summer of 2003.  I was still working full time as a software engineer, and getting many requests from my co-workers, family and friends to take images of their children.  I took the next 2.5 years building up my clientele, then went full time with photography January of 2006.

P.O.T.P.: What would you say is your specialty?

Kelley: Newborn art is my absolute favorite, so I guess that would be my specialty.  When I first started my business it was not an area of children’s’ photography that I enjoyed.  But after much practice and inspiration from other photographers, it is now a passion that keeps me motivated to grown and try new ideas.

Kelley's love for photographing brand new people comes through loud and clear!

Kelley's love for photographing her beautiful and delicate subjects comes through loud and clear!

P.O.T.P.: How much time generally do you spend with a newborn?

Kelley: Up to 4 hours at the session, and then generally 4-5 hours proofing the session and getting the online gallery ready to view.  LOTS of time, but so rewarding.

P.O.T.P.: One thing that I’ve noticed about your subjects is that while they are extremely young, they have such amazing expressions. What’s your secret? How in the world do you get to smile like that?

Kelley: When you spend 4 hours with a sleepy newborn the are bound to smile… but to help out, a little rub on the cheek, or some sweet talking (high voice helps) usually does the trick.  Once they start, then they usually continue to do it throughout the session.

Having a strong technical knowlege base is crucial for putting your artistic vision into existance.

Having a strong technical knowledge base is crucial for putting your artistic vision into existance.

P.O.T.P.: You mention that your style is foremost technical. What do you mean by that?

Kelley: I’m a stickler for a correctly exposed image, which means an image that doesn’t have highlight areas blown out or areas that have lost detail in the shadows.  Also sharp focus on the subject, interesting in-camera compositions/angles, and picking locations that will result in good outcomes are important.  How I achieve this is by shooting in manual mode and adjusting the settings (aperture, shutter speed and ISO)  and looking at everything around the subject and evaluating how it will add or take away from the final look of the image.

P.O.T.P.: You are very specialized. How do you feel this helps or hurts your business?

Kelley: My interest is with children 4 years of age and under, and especially newborns 2 weeks or newer.  I have found that when I’ve done other areas of photography that my heart just isn’t in it.  So I made the decision to only photograph children and feel that this has been a good way for me to stay motivated and create the best possible images for my clients.  I don’t feel like this has hurt my business, since I do stay plenty busy!

P.O.T.P.: The portrait on the main page of the two boys is just amazing. Their expression. Their pose. Can you tell me a little bit about how you posed and set that up?

Getting the perfect shot can take hours. But be patient. It's well worth it!

Getting the perfect shot can take hours. But be patient. It's well worth it!

Kelley: This was not an easy image to get!  We had one twin that was being difficult… but, I am relentless and the parents were very willing to stick around.  This happened at the end of the session, after working with them for about 4 hours.  The bottom twin was already in position and we were trying to get the other asleep.  My sister Tracy was helping with this session and our goal was to get their faces close together and get them comfy.  Once in place, I just loved how they looked and I just kept firing at all angles, then the smiles started happening.  It was such a rush and a once in a lifetime moment.  You never know what will get them smiling (or when)… we talked to them, rubbed their cheeks, but I think the trigger was a noise that came from a point and shoot camera that sounded like a chime.  Every time it went off they would start smiling!  Such a thrilling moment, and with all the excitement I was so lucky to get it in focus and avoid camera shake.  We ended the session right after that, on an extreme high note!

P.O.T.P.: How did you get your start?

Kelley: My husband Kevin signed us up for basic film based photography class at a small community college.  I have always enjoyed photography, but I think this class really pushed me to learn and get my fundamentals sound.  From this class I was able to really understand light and how changing the camera settings created different results.  After this class I began to experiment more, bought my first digital camera, then jumped into teaching myself Photoshop.  I was completely obsessed with learning and growing as a photographer.  I knew I wanted to do children’s photography, so I really focused on just the specific area.  I have a background in teaching, and a minor in early childhood development, so I really felt like this would be a good fit for me.

P.O.T.P.: Do you work alone or do you have assistants?

Kelley: I generally work alone, but I am fortunate enough to have my sister Tracy help me on most of my newborn sessions.  We have a great time working together and this often leads to new ideas.  Some of the newborn images just take two sets of hands!

P.O.T.P.: Why are you a photographer?

Kelley: Personally I have an enormous drive to document my own boys’ childhood.  My mother lost most of our childhood images in a fire, so I want to save in print as many memories for my boys that I can.  For my clients, it’s to also capture who their children are at that time of their life… milestones, details, personality.

Kelley creates images for her clients that they will cherish for generations to come.

Kelley creates images for her clients that they will cherish for generations to come.

P.O.T.P.: What gear do you use?

Kelley: I’m a Nikon girl –

Nikon D2x
nikkor 50mm f/1.4 - indoor
nikkor 85mm f/1.8 - outdoor
nikkor 17-55mm f/2.8 – just newborn work

P.O.T.P.: What is the biggest challenge being in business for yourself?

Kelley: The biggest challenge for me is balancing time with my family and keeping up with the workflow of a business.  I find that being self-employed with a job that I love, that I work ALL the time.  It’s hard for me to turn down a booking, but it’s also important to know limits on how much can be done each month in order to maintain top quality.  I like to take my time proofing a session, and in order to do this, I need a certain time in front of my pc working in Photoshop.

P.O.T.P.: What’s your secret to satisfied customers?

Kelley: Be a good listener and pay attention to what the client is wanting.  I take notes during phone conservations and document specifics about the session.  I use these notes to refresh my memory, since it’s impossible to keep everyone’s details straight.  I’m always impressed when people can remember little things about myself, so I try and do the same.

P.O.T.P.: Any quick tip(s) for getting your subjects to smile?

Yes, even infants can smile! But you have to be patient!

Yes, even infants can smile! But you have to be patient!

Kelley: For little boys – stinky feet (and can I smell them?), jumpy frogs (yes, me jumping like a frog and making ribbit sounds).

For little girls – tickle wiggle fingers, and pink bunnies inside my camera.

P.O.T.P.: I’ve noticed your backgrounds are quite unconventional. What do you like to use to pose infants on?

Textures, props and colors, if excecuted creatively and subtley can add great interest to your portraits.

Textures, props and colors, if excecuted creatively and subtley can add great interest to your portraits.

Kelley: I’m always on the look-out for newborn props.  Anything that can add texture to an image… bubbly blankets, bamboo mats, antique dough bowls, hand knit hats, wraps, etc.  Combining textures, along with an adorable newborn, really pulls a viewer in and makes them want to stare at an image.

 

Great textures like these only emphasize the beauty of the baby even more.

Great textures like these only emphasize the beauty of the baby even more.

P.O.T.P.: Do you have formal training?

Kelley: I’m all self-taught with digital photography, and have taken one class with film and darkroom processing.  I’m an info junky, so when I first started I was spending all my spare time learning.  I’m a firm believer in fundamentals.  Once you have fundamentals (camera technique, understanding light, and working with the subject), then the creative side of photography can start to develop.  I’ve always said that I’m much more a fundamental photographer than an artistic photographer.  Also, having sound fundamentals makes digital workflow in Photoshop much faster.

P.O.T.P.: Did you always know you wanted to be a photographer?

Kelley: Nope, but I’m glad I finally did!  I’ve been a software engineer, elementary teacher, postal worker, basketball coach, and pizza maker.  Finally I’ve found a good fit for me that keeps me satisfied and working hard.

P.O.T.P.: What are your favorite photography related websites?

Kelley: I’m a flickr addict!  A great way to learn and help other photographers.

P.O.T.P.: What have you found to be an effective form of advertising and marketing?

Kelley: My website and client referrals have been my biggest marketing.  I always send out a sneak peek by email to the client and tell them to forward it on to family and friends.  This email usually gets forwarded on and on and on.  Great way to advertise your work!

P.O.T.P.: That’s a really great idea! Who is your dream subject? Who would you most like to photograph.

Kelley: I would love to someday do celebrity newborns sessions on-location.  Seeing how other people live is really interesting to me.

P.O.T.P.: How many settings do you do in a week?

Kelley: I like to do about 2-3 a week, but during the busy months (Sept-Nov) I can do between 5-7 sessions a week.

P.O.T.P.: I have noticed that you shoot strictly natural light. This is very interesting considering you are a professional photographer. Did you always shoot so?

Kelley: I feel that light is the most important factor in my photography.  I use 100% natural light, all the time.  If the light is not good on a certain day, then I reschedule the session.  The placement of the subject to the light source adds so much to the presentation of an image.  Creating modeling light (light going across the face) is SOOO important to add depth and pop.  I get asked a lot on how to place the subject in accordance to the light.  This is something that can be studied just by looking at other photographers work.  Look to see where the light is coming from in the image and how it flows on the subject.  When I’m working, I lower my camera and just look at the setting and most importantly the light on the subject… does it flow smoothly across the face, are the eyes well lit, is the background too bright or distracting, how can I position the face to get the best angle to the light… etc!

The beauty of natural light.

The beauty of natural light.

P.O.T.P.: Kelley, you say on your website “I love being able to capture images for families that will be looked at for countless hours.  Catching a glimpse of a framed print that makes you smile every time you walk by.” I love that and I know that with your photography, there is no question that you make that a reality for all of your clients. I know that you are an extremely busy mother, wife and photographer. Thank you for being so giving with your time! I have enjoyed this interview and look forward to seeing more of your work as time goes on. You are an inspiration to many. Thanks again Kelley.

Portraits that create lifelong memories for the parents.

Portraits that create lifelong memories for the parents.

Hungry to see more of Kelley’s work? Check out her website: www.kelleyryden.com

Want to succeed? Try Drowning!

Published
by
Tommy
on September 25, 2008
in Uncategorized
. 1 Comment

A successful man is one who can lay a firm foundation with the bricks others have thrown at him.-
David Brinkley


Are you drowning? What do you mean, you may ask? You probably think that it would be a bad thing to be drowning and that you never want to feel as if you were. I will explain why you should want to feel like you are drowning.

What do you want in this life more than anything? I interviewed a photographer that will be on our blog in two weeks. He is an exceptional wedding photographer smack dab in the middle of Orange County. He is successful. Don’t you think his competition is staggering? With photography in general, there is competition. But don’t you think in his area, it is overly saturated? How does he do it? Tomorrow on our blog we have an extremely skilled and talented portrait photographer. Her work is very specialized. She specializes in natural light portraits of infants. She is successful. How do these photographers, as well as others, get to be so successful? How do they get to the point that they do in their careers, with so much competition out there? It’s their equipment right? Wrong! It’s luck, right? Probably not and for the most part, definitely not! Oh, I know, it’s their talent right! NO!!! Haven’t you ever heard the term, “starving artists”. There are many of them out there as well. What is it then?

Well before I answer that for you. I have to tell you something. I have had many opportunities in my life to better myself. I have had many opportunities in my life to do things with myself that would better myself, advance myself and be generally better for not only myself but my family as well. The truth is, most people have many opportunities in their lives. The difference between people is what they do with their opportunities. What do you do with the opportunities that come into your life? Do you just let them slip through your fingers or do you go after them with everything you have?

I recently had one of these opportunities come my way. I have fought for that opportunity with everything I had. My mentality which affects my determination and resolve, as well as actual action to these situations, is to picture myself as if I were drowning. What would you do if you were drowning? You would most likely put every ounce of energy and strength you have into saving yourself. You would give every bit of your ability to save yourself. I have this same mentality when it comes to fighting for what I want in this life. There are so many people who have the same desires and wants in this life. How many people want to own their own photography business? Really, how many? Too many to count. If you don’t do what it takes to make that happen, if you don’t purposely set yourself apart from the competition, you will not survive. In other words, you will drown! You must fight for your opportunities because if you don’t, you will get past up, run over and beat down, everytime. You must possess the skills. You must possess the competency. You must possess the the knowledge. But without determination, skill, opportunity and luck alone will not get you where you want to be. You must put yourself out there, become vulnerable, take risks, have thick skin, and be willing to battle for what you want. Only then will you be a success. If you don’t feel like your drowning, you will not get what you want.

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