Practical advice for family photography
Wibbly gets some joe
For today’s “Saturday’s Slick Pick of the Week” I want you to visit Wibbly Pig’s flickr feed. He’s a contact of mine there and I find his photos of his cute plush pig entertaining and adorable. It’s a source of creativity. It sort of has a childish feel to it (in a good way) but with an adult’s touch. I think that you’ll find it entertaining and possibly a source of inspiration. Let me know what you think in our comments section.
Will you be my friend?
A few months ago while looking around flickr, I found a photographer that goes by “Dandelion Sky“. I was very impressed and amused by her work. I found her work to be beautiful, dramatic, family centered yet eccentric. I was captivated. I asked for an interview and she agreed. I am so excited to share her work with our readers. I know you’ll love what you read and the portraits you see of hers as well.
What my wife noticed most about her work was that it had a fairy tale taste to it. I agree. I think that’s what makes her work so appealing. So, Let’s get started.
P.O.T.P.: Hi Diana, tell our readers a little bit about yourself. I am extremely excited to introduce you to our readers and I am so happy that you agreed to this interview. So let’s get started. What’s your story?
Di: My name is Diana Fisk, and I go by Di. I live in the Metro Detroit area, and I am a mom of two. I’ve been shooting with a DSLR for just over two years now. I launched my business in February, and am still working on being as comfortable as a businesswoman as I am a photographer. I started shooting seriously to capture my two beautiful children, and it has become my obsession and passion. My photography has been such a beautiful outlet for me, encompassing my feelings about the wonder and drama of childhood. I usually have a particular image in my head when I shoot, and I work in post-process to match the shot I took with what I m visualizing in my head. I wanted to find my own style, so I never used actions…now that I feel like I have a style that defines me; my challenge is to streamline my editing. Right now I am editing each shot individually…
P.O.T.P.: I am certainly guilty of that as well. I edit one at a time, but yes actions definitly are a time saver! Okay, tell our readers about your photography look. I’d like you to define your style:
Di: My style is intense, emotional and intentionally dramatic. I seek to tell a story, to wrap a moment in light and capture it forever. I grew up when fairytales were just a little darker than they are now. When I look at the forest, I think of “Peter and the Wolf”… I remember, as a child, feeling as if the woods contained wondrous possibilities, and I was an adventurer, a hero, a magical princess. I try to bring a little of that to my photography. I love the simultaneous serenity and vibrancy of childhood. I love all of the wondrous contradictions.
P.O.T.P.: What did you do before you became a photographer?
Di: Before I became a photographer, I was actually employed as a statistician. I think my background in mathematics has been a big help to me as a photographer…I love the harmonies which parallel and perpendicular lines create in a shot. Also, the ratios used in calculating exposure made sense to me straight away.
As a child I always painted and sketched, and I have been fascinated by light for as long as I can remember. In the eighth grade, I completed a career test, you know… one of those …“Do you prefer to work with people or things” type of questionnaires, and the occupation Photographer came up at the top of my list. Unfortunately, I chose my first career to please other people, took lots of math and found work as a statistician in the automotive industry. I satisfied my creative impulses by taking mental pictures.
We had a point and shoot, but I refused to touch it. I used to tell my husband I couldn’t get the photos I took to match the photos in my head. He basically told me to put up or shut up…and he bought me a Nikon D80 and I became obsessed with it. I gradually learned some of the technical aspects of photography and Photoshop and shot literally every day. I taken art classes, but have no formal training in photography.
P.O.T.P.: Besides shoot, shoot, shoot, best advice to photographers just starting out?
Di: Besides shooting every day, I think the best thing that I ever did to further my photography was get my first prime lens. It got me on my feet and thinking about perspective. A few inches to the left or right, up or down, and how it changed the shot. It got me thinking about framing…
P.O.T.P.: That’s very good advice! So, what tell us then, what gear do you use?
Di: I have a D3 and a D80 backup, my lenses are Nikkor 1.4 85, Nikkor 1.4 50 a Nikkor 2.0 35 and a Nikon SB800 speedlight
P.O.T.P.: How do you generally direct subjects?
Di: I scout out a location that I plan on using, and get a good idea of the light. I don’t necessarily pose, but I try to get the subjects where I want in relation to the light. I talk a little, shoot a little, brush the hair out of their eyes and then once they are comfortable with me I scoot back. I pretty much talk quietly the whole time I shoot.
A great example of simple direction and staying out the way that leads that lends itself for producing images that are beautiful.
P.O.T.P.: Do you have a favorite photography quote?
Di: I try to live by this one:
There is nothing worse than a brilliant image of a fuzzy concept – Ansel Adams
And also this one:
Photography, as a powerful medium of expression and communications, offers an infinite variety of perception, interpretation and execution.
Ansel Adams
I love that the same scene coming out of different photographer’s cameras will most likely turn out totally different. That as a photographer we have the ability to leave our stamp on the moments we capture.
P.O.T.P.: Coke or Pepsi?
Di: Diet Pepsi (no ice), Iced Tea…lots of it.
P.O.T.P.: What’s on your to do list for photography?
Di: Next on my photography to-do list is to work on integrating an off camera flash into a natural light setting. The sort of thing Zack Arias does in his “One Light Workshop” I love that look, especially when used just before dusk. I’m completely smitten with dramatic lighting. I’d also love to shoot underwater.
P.O.T.P.: What would you say is your specialty?
Di: My specialties are newborn and child portraiture, natural light.
P.O.T.P.: What do you love about photographing babies?
Di: I love everything about photographing newborns. I try to shoot within the first two weeks, and the “newness” is just palpable. I fall in love with every newborn I shoot. I know, as a mom, that the memory of those first few hectic days are so fleeting, and it is such a joy to be able to capture it for their parents. On a black background, I usually try for dramatic lighting.
I love focusing on the tonal range, with a very tiny baby just seeming on the verge of being encompassed by the shadows.
Something photographic that I do every day…I heard another photographer say that they are so obsessed with studying the light that they have become a menace while driving on the freeway….um, yeah, that might be true with me…I am invoking the right to self incrimination on that one.
P.O.T.P.: Name a major photographic rule that you find yourself breaking frequently.
Di: I break the rule of thirds all the time. I just try to do what I can to keep a viewers eyes moving across the page.
P.O.T.P.: What photographers have influenced you?
Di: Red Leaf Studios has inspired me a lot to learn about perspective, and got me really working to frame a shot. For babies I love Kelley Ryden, Carrie Sandoval and Brittany Woodall.
P.O.T.P.: Well, those certainly are all amazing photographers. What is your favorite subject to photograph?
I have a special place in my heart for newborns, and I love the tweens. They have such an interesting vibe, completely together at one moment, and all awkward edges the next.
P.O.T.P.: Name a subject, dead, that you would love to photograph?
Di: Albert Einstein
P.O.T.P.: Windows or Mac?
Di: Windows
P.O.T.P.: Alrighty, a quick tip that has helped you that might help other photographers.
Di: Sidelighting for texture
P.O.T.P.: That’s basic but oh so important. Great tip! You’re on location, would you rather shoot urban scenery or nature?
Di: I love kids in the great outdoors. I’m in Michigan, and with the seasons constantly changing and all the perennials in bloom, I just love the creamy bokeh of nature.
P.O.T.P.: Okay then, in an urban setting, would you rather shoot beautiful architecture or grungy warehouse?
Di: Definitely grungy warehouse! Also graffiti covered industrial alley.
P.O.T.P.: Which describes you best? Beethoven, Beetles, Bon Jovi, Brooks & Dunn or Beastie Boys?
Di: Beetles
P.O.T.P.: Where did you grow up?
Di: Michigan girl, born and raised.
P.O.T.P.: How many settings do you do in a week?
Di: Right now I’m averaging two or three. I’ve done 5 in a week before, the shooting was fine, but I’m still recovering from all that proofing…
P.O.T.P.: Film or digital? Why?
Di: I’m completely digital. It’s all I know.
P.O.T.P.: What would you say sets you apart from other portrait photographers in your area?
Di: We have a lot of great photographers in my area, who are fun and fresh, more lifestyle, slice of life photography. My style is more about the interaction between the light and the subject. I find myself drawn to a more moody style of portrait photography, since I don’t really pose; I’ve developed some ways to get the look I want with mirroring body language and kind of a conversational patter…
P.O.T.P.: Tell us about your biggest photographic nightmare.
Di: I had big dreams of capturing a little boy in a navy blue pea coat, among a forest full of fall leaves. I even custom white balanced. The yellow leaves threw a gigantic color cast all across his face. Since the yellow leaves were so light, they reflected the ambient light in a horrific way. The boy looked like he had jaundice. It took like eight hours in photoshop to just make it look like he was reasonable healthy…my new motto with fall colors…all things in moderation.
P.O.T.P.: Name something or something or somewhere you never want to have to photograph:
Di: Funerals, crime scenes…
P.O.T.P.: Any non profit organizations that you’ve been involved with:
Di: Littlest Heroes, and I’m in the process of becoming affiliated NILMDTS.
P.O.T.P.: Di, before we wrap this up, I have been wondering about your name “Dandelion Sky Photography”. That’s an interesting name and one that has a memorable sound to it. How did you come up with that name and what is the significance behind it?
Di: I knew I wanted my photography to be kid focused, I started trying to think of imagery that I associated with childhood. I love the simplicity of childhood, I remembered laying on the front lawn with my friends, looking at the clouds in the sky, and watching the seeds from the dandelions blow by. I think that children live in an honest and sincere world, where the beauty of everyday things is not forgotten, and my name reminds me of that.
Thank you so much to Diana Fisk for taking time out of her busy schedule to be with us here on Pieces of the Picture. We are so grateful. I hope her photography has inspired you as much as it has us. We will continue to bring the best portrait photographers for your reading pleasure on Fridays!
Thanks again to all our readers for your loyalty and keep learning!
While passing the movie section in Wal-Mart earlier today I noticed a deal. A DVD box set of 150 cartoon classics for only $5. There were classics on there. Mickey Mouse, Woody Woodpecker, Popeye, Mighty Mouse… You get the idea. One hundred and fifty episodes of great classics. I was so excited.
One thing you have to know about me is the fact that at our house we don’t have cable, satellite or even rabbit ears. So Holly, Moses and myself don’t really entertain ourselves on the couch in front of the tube. We’re really busy and don’t really have time in the first place, but we when we do have time we still don’t really watch many movies. Sometimes we buy box sets of old classic shows like “I Love Lucy” or something like that but for the most part we are not television people. There is a lot of garbage on cable. So we like to spend our free time reading, surfing the web or doing other fun activities together.
But when I saw this for only five dollars, I had to have it. If we had cable, I probably would not have bothered. So, I brought it home, popped it in my computer and began to watch an episode of Popeye with my very excited fifteen month old son Moses.
One of the first things that occurred to me was the quality of the production. There was scratches all over the screen. The sound quality was poor. Crackling and popping in the background throughout the episode. I forgot just how degraded the quality of these things were. I also forgot how far we’ve come along in technology. In today’s world, this would certainly be the last thing you’d see in a cartoon production.
Regardless of the quality, the show was entertaining and fun. It just made me think upon this fact. Though today’s technology, like our cameras, have come along so far, and are far superior in many ways to older technology, the old stuff is still adequate and still good and still created more memorable material than almost anything being created today. Things created in the past by much more archaic equipment is much more recognizable than by the amazing equipment of today’s technology.
How many people world wide recognize work by Ansel Adams yet would not recognize a famous modern day photographer’s work? It is not because of this fact, however, it is in spite of it.
What photographer seeing this photograph, would not know that Ansel Adams was the author?
Anyway, my point in saying all this is that while we as photographers look at who’s new and upcoming or who inspires us today and who is the newest, best and greatest new photographer, we should never forget our history, our past and where we’ve come from. Our photographic ancestors paved the way so we could have it as good and easy as we have it today.
I guess this makes a good Thanksgiving day post. Something that we as photographers should all be thankful for.
This is one of those things that should go without saying but it needs to be said because of the fact that without it, there are not good portraits. Without the fundamentals of good technical work, there is no room or way you can have beautiful, artistic, pleasing portrait photography. Who cares if a portrait has a beautiful subject and beautiful colors if the focus is completely off. Or who cares if the pose is unique and emotive if the exposure is completely blown out. There is room for fudging on technicals once you’ve mastered them for the purpose of creative license in breaking certain rules to make the photo more interesting, however without a base knowledge of fundamentals in portrait photography, you will not go far as a portrait photographer.
In today’s digital world, there are many people with a digital camera and therefore there are many people who think that they are photographers. The fact is when I see an advertisement for photography in the phone book or newspaper and in those photographs I see bad technicals, I wonder to myself who told them they were portrait photographers. In all photography, but especially portrait photography, one of the most crucial areas that we must master before we can master any other areas is the area of technical fundamentals.
So what exactly do I mean by “technical fundamentals”? I mean those areas that are the fundamental basics of good photography. The key ingredients of what goes into making a photograph the standard that all should go by. For example, if you were to go to a steak house and order a piece of chicken but they brought you out either a piece of chicken that was undercooked so that it is raw or a piece of chicken that is so overcooked that it has ashes on it, who would care what the spices were that the master chef placed on the skin. It wouldn’t matter because the fundamentals of cooking have been butchered. The same goes in photography. Before you can learn to make amazing portraits, you must learn the basics of photography. The fundamentals.
So what are these fundamentals? Well, things like focus. Perfect focus in the eyes is what most portraits demand in order to be great work. Another thing is composition. How you compose and arrange your subjects in relation to the foreground and background and the things around them such as props and other objects around and near the main subject.
The following is a list of basic fundamentals that I feel you must master before you can have license to become creative in your portrait photography. Creativity doesn’t come before these things are learned, but after:
1. focus
2. composition
3. framing
4. attention to details such as neatness of clothing, hands, jewelry, etc.
5. exposure
6. appropriate use of various depth of fields
7. lighting (this is a huge one)
These are just a few, but they are the essentials to what it means to have good photography. Without these, you cannot have good photography, or at least consistenly good photography that customers will actually want to buy. Good expression is important, but what if you have the best expression but the list above was all done wrong? The good smile wouldn’t matter. You see how having exposure, focus, lighting, etc. are all crucial to having excellent and amazing senior portraits.
I want to touch on one last area and that is this attitude that photoshop can fix anything, while some will not say those exact words, their attitude is that it doesn’t really matter how good you get the image because photoshop will fix it. The problem with that line of thinking is that it is lazy and ignorant. Good photography will always originate in a photographer’s ability to perform good technicals straight out of the camera. Photoshop should be used to enhance great photography, not fix broken work. It is like putting the right spices on that piece of chicken that is cooked perfectly through and through, moist but not raw. If you put spices on a raw piece of chicken and the inside is still raw but the outside looks delicious, then you still have a raw piece of chicken and who wants to eat that? The same goes here. You can only do so much with photoshop. It was never intended to fix things, only polish them.
Even if you can fix certain things, the important thing to remember is that it is crucial to get your image right in the camera and consistently learn to do so.
Thank you for your continued reading in “15 things you need for a great senior portrait” Join us every Wednesday as we explore more about what it means to get great senior portraiture.
Worldwide there is much concern about the economy. This certainly is not in vain as many people are losing their life savings, losing their jobs and losing their earthly possessions. That fact has caused me to consider my position as a photographer and the fact that it is the sole root of income for myself and my family. I know that photography is not an essential part of life such as food or shelter. In fact, many people would go as far as to call it a luxury. However, while I would never call it an essential part of life, I will say it is a very important aspect of most people’s lives and therefore would not call it a luxury. Regardless of the state of the economy, I have found people to still value photography enough to purchase it while times are getting worse and worse. Many people who are not professionals may consider weather or not it is wise to become involved with photography since they see the financial world around them deteriorating. That’s a very valid point and thing to think about, however in this post I’d like to discuss five simple points that I believe make a good counterpoint to this.
I feel that while the monetary world is in a very poor state now and people’s pocketbooks are shrinking, things can still be good for the portrait photographer and there are positive sides to this potentially very bleak financial condition we are in as a nation and for that matter world.
The first thing I’d like to discuss is the fact that equipment is cheaper than ever before. You can find some real bargains on eBay if you are willing to not have the latest and greatest. There are plenty of people out there selling very good equipment at discounted prices to try to pay their bills. One man’s trouble is another man’s treasure. When people are in a financial pickle, you can make the most of these situations by helping them and getting a fantastic deal.
Secondarily, I’d like for us to consider how when things go south, people tend to put less importance in material possessions and more importance on the people they love. Portraits of loved ones are always important to people and our business will never become irrelevant. People may lose their homes, cars and jobs, but they will always treasure the memories they have of their families and friends. These memories come in many forms but one obvious way is the portrait. Therefore, I believe it is a way we as portrait photographers can push that emotional button even in these financially stressed times to get the general public to spend money on portrait photography.
A third thing I would like for us to consider is there are always children being born and growing up. While adults may not change much except maybe over the course of a decade, children on the other hand grow up and change so fast that if one goes without a portrait for more than a year, that is too long and they have changed immensely over the course of those twelve months. So, while the economy is low, people still want portraits of their children who are changing all the time. If you charge an arm and a leg for portraits, you probably won’t get the business you’d like with children as when times are prosperous, but if you are reasonable, I believe you can still be successful during hard times with portrait photography.
Next, I’d like you to consider that regardless of difficult times, people continue to get married. The obvious point here is that people need photographers of their special events. Again, the idea is not to blow people out of the water during these hard times with ridiculous prices but be fair and competitive and you will continue to stay busy.
Lastly, a good point to consider is that while times are indeed bad and may get much worse, if you shoot digital, overhead is very low. Why not shoot as much and as often as possible? Now’s the time to practice while times are not good. It doesn’t cost anything to shoot a digital frame. Shoot, shoot, shoot. It will only make you a better photographer.
I hope that these five considerations will help you as you try to look at the positive side of this potentially depressing situation in our economy. There is a bright side to everything.
