Enhance Your Family Photos Without The Expense Of Photoshop
My studio has been using Adobe Photoshop for years. I am about to date myself but I remember learning Photoshop on my first Mac computer. It was a Macintosh Performa and it didn’t even have a CD drive,only a floppy drive. As if you can save a Photoshop file onto a floppy disk. Well photo editing has come along way since then. If you can afford Photoshop, I highly recommend the software. It does amazing things. As many of you have realized, even the best digital photos files need some adjustments. If you don’t want to mortgage your home to purchase a professional photo editing program, give Gimp a try. I came across this photo editor while searching the internet trying to find a fix for some photos that I was assigned to correct. The Gimp program seems to have most of the tools that any beginner would need to simply edit photo files. It has layers, cropping, levels, color balance, mode and almost all the features that Photoshop has and the best part, it is free. Just go to http://www.gimp.org/downloads/
and download. Just so you know, I have no affiliation with this company and I am not receiving any compensation for mentioning the product. Give it a try and let us know what you think.
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Shooting in Artificial Light-Do your family pictures come out yellow when shooting indoors?
Artificial lighting is not always as fun and easy as sunlight, but you can use it to create some wonderful photographs once you know how.
Indoor lighting is often fluorescent and tungsten bulbs. Tungsten bulbs are used by professional photographers, as “hot lights” because of the high temperature they produce. In photography it is important to understand the temperature scale in relation to the colors they will produce. A hot light will produce more red and reduce the blue. Firelight and candle light though not artificial can be used in doors to create shadows and depth.
When using indoor lights, specifically artificial light you will need to understand exposure. When you have less light it will take longer to expose the film to capture a photograph. First in a darker room where you have direct light on the object you will not want to use the flash. The flash will bounce the light back at the picture. The next step is to get as close to the subject or object as possible. The third consideration is the angle. Taking the picture head on of the object will bounce the light and shadows about. You will need to angle the camera to the side or up from the ground to attain the photograph. Shooting any subject head on is likely to create shadows and take away from the print. The best angle for shooting portraits is often up into the face.
When shooting faces or other objects you usually want a three dimensional contrast. You will need to search for the planes and contours of the subject, especially in portrait photography. The planes and contours will help you determine the angle you will shoot the subject from. The shadows will often provide the three dimensional contrast if you find the correct planes and angle to shoot from. This helps with pictures that you want to stand-alone.
Artificial lighting needs to be movable. Just turning on your home lights will not give you the desired affect. Instead it can wash out the subject, place the light at the wrong angle, or create too much shadow in one area. You need to have lights set up on tripods to change the angle to suit your needs. Rooms are small which is one reason over head lights can either be too powerful or not direct enough. Following lighting tips will increase your photography skills. Most amateur photographers find taking a class on lighting and having a few books on the subject will help them learn proper lighting techniques.
As for that yellow or pink cast that you sometimes get when shooting indoors, white balance, white balance, white balance. There is a setting on your camera that probably says WB. That is the white balance setting. Most people never touch this setting unless you are a professional photographer. The white balance set on auto can produce a yellow cast to your pictures. This is easily remedied by taking a custom white balance before you start shooting. All you really need is a white peice of paper. Read your manual and this can solve most of those indoor problems.
Artificial lighting has advantages over outdoor or natural lighting, but sometimes the picture turns out better with natural light. It might be a matter of preference or the desire of a subject for that matter. You never have artificial lighting outside for the most part; you usually rely on your camera flash to help with the picture quality. When you choose your lighting, look for the best lighting situation to enhance your subject and make your picture as natural as possible.
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#1 Complaint ” Why can’t I have a high-resolution CD of my pictures if I paid you to take them?
As a photography studio owner, our number on concern is why can’t I own my pictures if I paid you to take them:
What most people don’t understand is that producing a quality photograph is not as simple as putting batteries in a camera, pointing the camera and clicking. Most photographers have camera equipment that runs in the thousands of dollars. Education, experience and other factors that took years to acquire went into that final photograph. That aside, let me take you through what goes into your photo-shoot.
Once a session has been booked, your photographer meets you at a designated location. In about 30-40 minutes, that photographer takes over 100 images. Your images are then brought back to the studio where someone painstakingly goes through each image to decide which photos can be presented to the client. This could take up to an hour. From there, the chosen images are then adjusted for printing. This process is long and arduous. If you are having a session on the beach, many times, there are people walking behind you, there is wind so hair is out of place, there is trash or trash cans in the shot. All of these things have to be fixed in order to create the family portrait that you finally choose. This takes many hours on the production end of things that the photographer has to do himself or the studio has to pay an expert to do. Now lets take those 100 photographs that we previously mentioned. Imagine having to correct every photograph so that the print will come out the way the client expects.
There are only two options here, one is to sell the images as is which would give the client for the most part, unusable images or correct every image which could take as much as 20 or more hours. Corrections are going to range from cropping every image, color correction, removing unwanted background clutter, fixing hair, eyeglass glare etc. Lastly, every printer and every monitor is calibrated to the individual photographers and their camera. Even the corrected photos will not print the same as they print on the photographers equipment. This opens up a whole new can of worms. The photographs the studio printed for you look completely different than the ones you had printed at the pharmacy or Walmart. It is impossible for a photographer to give you a quality CD that is worthy of their work.
Now, ask yourself, how much would you expect to pay for a finished product CD knowing all of the work that went into it. So as you can imagine, taking the professional equipment, the photographers professional experience, the post shoot work that goes into each photograph and the problems that can arise in printing, you can hopefully understand that so much more goes into your professional portrait than just copying the images out of the camera and burning them onto a CD. We love photographing your families and we love giving you the family portrait that you have always wanted. Just keep in mind, nothing is ever as easy as it seems.
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Posing-Large Groups
Some Posing Challenges:
* one or more subjects always seem to be looking away or in different directions
* subjects blinking
* someone being missing from the photo
* different moods in the group (some smiling, some serious, some playing up to the camera etc)
* the group being too far away or not all fitting into the shot
Some Tip You Can Try:
1. Prepare
* scope out the location of your shot before hand
* think ahead about how you will pose people and frame your shot
* one of the group’s head hiding behind another person
* make your your camera is on and has charged batteries
2. Location
Give the photo context – A football team photo will be more pleasing on a football field rather than in someones front yard.
Choose a position where your group will fit, where there is enough light for the shot and where there is no distractions in the background. Also avoid setting up a group shot directly in front of a window where the light from your flash might reflect back in a way that destroys your shot.
3. Take Multiple Shots
One of the best ways to avoid the problems of not everyone looking just right in a shot is to take multiple photos quickly. Try shooting some frames off before everyone is ready
Also mix up the framing of your shots a little if you have a zoom lens by taking some shots that are at a wide focal length and some that are more tightly framed.
4. Get in Close
Try to get as close as you can to the group you’re photographing The closer you can get the more detail you’ll have in their faces – something that really improves a shot.
If your group is a smaller one get right in close to them and take some head and shoulder shots. One effective technique for this is to get your small group to all lean their heads in close to enable you to get in even closer. Another way to get in closer is to move people out of a one line formation and stagger them but putting some people in front and behind.
5. Pose the group
In most cases your group will pose itself pretty naturally. Tall people will go to the back, short people to the front. But there are other things you can do to add to the photo’s composition:
* If the event is centered around one or two people (like a wedding or a birthday) make them the central focal point by putting them right in the middle of the group (you can add variation to your shots by taking some of everyone looking at the camera and then everyone looking at the person/couple).
* For formal group photos put taller members in the group not only towards the back of the group but centered with shorter people on the edges of the group.
* Try not to make the group too ‘deep’ (ie keep the distance between the front line of people and the back line as small as you can). This will help to keep everyone in focus. If the group is ‘deep’ use a narrower aperture.
* Tell everyone to raise their chins a little – This will help to minimize double chins.
6. Timing Your Shoot
Pick the moment for your shot carefully. Try to choose a time that works with what is happening at the gathering.
Also towards the start of events can be a good time as everyone is all together,
7. Think about Light
In order to get enough detail in your subjects you need to have sufficient light. The way you get this varies from situation to situation but consider using a flash if the group is small enough and you are close enough for it to take effect – especially if the main source of light is coming from behind the group.
If it’s a bright sunny day and the sun is low in the sky try not to position it directly behind you or you’ll end up with a collection of squinting faces in your shot.
8. Take Control
Communicate with the group of subjects. It is important to keep talking to the group, let them know what you want them to do, motivate them to smile, tell them that they look great and communicate how much longer you’ll need them.
Also important is to give your subjects a reason to pose for the photograph. For example at a sporting event “lets take a group photo to celebrate our win”. When you give people a reason to pose for you you’ll find they are much more willing to take a few minutes to pose for you.
Another very useful line to use with group is – ‘If you can see the camera it can see you’. This one is key if you want to be able to see each person’s face in the shot.
If there are more photographers than just you then wait until others have finished their shots and then get the attention of the full group otherwise you’ll have everyone looking in different directions.
9. For large groups
Large groups of people can be very difficult to photograph.
One solution to this is to find a way to elevate yourself as the photographer. Try bringing a ladder or standing on something to take a shot looking down on the group. In doing this you can fit a lot more people in and still remain quite close to the group (you end up with a shot of lots of faces in focus and less bodies). It also gives an interesting perspective to your shots – especially if you have a nice wide focal length.
10. Use a Tripod
It gives you as the photographer more freedom to be involved in the creation of the posing of your subjects. Set your camera up on your tripod so that’s ready to take the shot in terms of framing, settings and focus and then it will be ready at an instant when you get the group looking just right to capture the moment.
11. Use an Assistant
If you have a very large group and assistant can be very handy to get the group organized well.
An assistant is also incredibly handy if you are taking multiple group shots (like at a wedding when you’re photographing different configurations of a family). In these cases I often ask the couple to provide me with a family or friend member who has a running sheet of the different groups of people to be photographed. I then get this person to ensure we have everyone we need in each shot. Having a family member do this helps to make sure you don’t miss anyone out but also is good because the group is familiar with them and will generally respond well when they order them around.
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Photographing Sporting Events
To keep it simple, here’s my summary recommendation for equipment and settings (note, you MUST NOT use flash (according to USA Gymnastics rules, for the safety of the gymnasts), so be sure you know how to keep your camera’s flash from firing!). Also, unless you are USA Gymnastics safety certified, you are NOT allowed on the gymnastic floor while gymnasts are performing…don’t argue with the officials…those are the rules!)
Camera: Canon 1D Mark III (or equivalent crop-sensor camera)…
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Lens: Canon 70 – 200mm f2.8 lens or similar wide-aperture moderate telephoto prime lens.
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ISO (light sensitivity): 3200 (stopping the action is probably more important to getting clear images than low noise). In a brightly lit gym, you might be able to get away with ISO 800 or 1600 if the light is bright enough (see shutter speed, below)
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Aperture: f/2.0, Aperture priority setting on camera (Av) (or the “brightest” aperture you can use)
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Shutter Speed: let the aperture priority setting pick the fastest speed available. You will want a shutter speed of 1/500 to 1/1000 or faster if at all possible with the light available to you. If you can only shoot at 1/250…it’s tough, but you will still get some good photos if you take them when the gymnast is motionless (reversing direction in a gymnastics move)
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NOTE: Dimly lit gymnastics events are difficult to photograph with anything less than ISO3200 and f2.8 (or the equivalent combination…e.g. ISO1600 f2.0, ISO800 f1.4, etc.). I recommend “prime” (non-zoom) moderate telephotos because you can get a wide-aperture lens that isn’t huge. Note that the typical f/4 – f/5.6 telephoto zooms … typical “consumer” zooms, just don’t let in enough light to take good gymnastics photos in most gyms. If you have tried to take photos of your son or daughter using an f/4 to f5.6 zoom…getting poor quality images is likely the fault of your equipment, not you! In most gyms, you MUST use a wide-aperture lens and an SLR camera… the typical point and shoot digital camera simply isn’t fast enough to capture a gymnast at the right moment, and the small sensors used are often “high-noise” at higher ISO settings…and they rarely enable an ISO above 800 or so.
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You may find using a monopod helpful, however, it is usually the gymnast’s motion that must be frozen. Neither a monopod nor an “image stabilized” (IS) lens will stop the motion of the gymnast. IS may help if you are shooting a long and hard-t0-hold telephoto.
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For floor exercise, shut off your auto focus, and stand perpendicular to the direction of travel for the gymnast, so they stay the same distance from you. Prefocus your lens and leave it (unless you are using a camera like the Canon 1D MKIII that has 45 auto focus points). Otherwise, you run a high risk of focusing on the back wall rather than the gymnast when they move out of the center of your image! Floor is tough to photograph!
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