23/01/2008 by admin.

How To Make Money From Digital Photography?

“How to start my own digital photography business?” Has that crossed your mind? Well just imagine if you could and what if you really enjoyed doing it as well. There are many websites on the internet that hold online classes that will show you what you need to do. They will also point out what should be avoided. The crucial thing is for you to find a mentor who could guide you.

What do you need most to start a Digital Photographic Business?

The most important thing besides the equipment is a mentor. A mentor will coach you in almost everything you need from the hardware to the art of digital photography.

This person need not be someone who you know personally. He or she could be a person who has a good knowledge base in photography and is willing to help you get started in your own digital photography business and most importantly they will assist you in making it profitable. If you find a good mentor you should be able to access help via emails as most of them love what they do and are more than willing to get you started in your own digital photography studio?

Find someone who specialises in digital photography for beginners or intermediates. They are more patient and are willing to take the time to walk you through all the steps in your new digital photographic business.

Like all businesses you will find that getting your digital photography studio up and running will have its own share of heart aches in the beginning. However, with the right type of advice you should have your own digital photographic business up and running in no time. All you need is some guidelines to get you off the ground as most probably you do know how to take photographs. Taking digital photography is no different than any other 35MM camera. In fact you will find it so much easier. If you has a fondness for photography and find it’s something you would like pursuing as a career then there is a lot of online as well as off line help around.

Benefits of having a Digital Photographic Business

The benefits of having a digital photographic business is that you will benefit from the word go. There is hardly anytime wasted as you could start earning money almost immediately. Most of the photographic classes will give you an abundance of tips on how to get customers and keep them. Some of the digital photographic tips will mentor you on how to work your business locally as well as globally.

There are different areas of photography you can specialise in: landscape, weddings, nature, fine-art or just portrait photography. The exciting thing is that you can develop your business from home and work around the family. All you will need is a digital photographic camera and some editing software to commence!

For more information visit Digital-Photography-Tips-For-Beginners

Claude Fullinfaw, writes, and publishes full-time on the Web. Copyright of this article: 2008 Claude Fullinfaw. This article may be reprinted if the resource box and hyperlinks are left intact.

Article Source: http://EzineArticles.com/?expert=Claude_Fullinfaw

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13/01/2008 by admin.

Learning The Basics With Digital Photography Tutorials

Most of the latest cameras come with a digital photography tutorial that literally takes you by the hand and teaches you all that you need to know about taking photographs with the digital camera you just bought. For best results use those lessons of the digital photography tutorial that matches with your level of knowledge; you would find three types of tutorials basic, advanced and expert.

What Are The Major Highlights That A Digital Photography Tutorial Gives You

The first thing that you would learn from the digital photography tutorial is how to handle the camera. You will find that the most complex digital camera would require no more than ten minutes to master its use. This is because in a digital camera everything is computerized and all you need to learn is to how to give it your command.

The next thing that the tutorial would teach you is how to take a picture in different circumstances, i.e. in full sun, on a cloudy day, when the sun is in front of you and when it is behind you, when the lighting is very poor or very bright and so on. Though generally the lighting conditions are taken care of by the camera automatically, the tutorial would explain to you the different aspects so you would understand its function better and be able to use it manually when shooting special subjects.

Next comes the shutter speed, aperture and exposure which normally would be set manually in a regular camera; with a digital camera your work is very much simplified as its inbuilt sensors are meant to understand the conditions and type of subject (whether moving or still) you are shooting and give you the best possible combinations for shooting your target. The digital photography tutorial would once again explain how the camera functions and why you do not need to worry about these aspects as you would have had to do if you used a regular camera.

Lastly, the digital photography tutorial would take you through the use of the photography software with which you could edit and further perfect the pictures you shot. Most of the software in question would allow a vast range of manipulations to the photographs you download would open for you a new world of creativity.

As you finish the tutorial, immediately apply what you learned and practice the maneuvers until you are fully conversant and comfortable with the procedures taught. In case you have started with the basic, remember you would still have two more levels to cover. With each level you cross you would be able to understand and use your digital camera better and get some exceptional results with the photographs you shoot.

Digital photography tip (Rays company) is our recommended resource for all types of articles on Digital photography on the internet. http://digitalphotographytip.blogspot.com

Raymond Nwambuonwo is the founder of Digital photography tip. He can be reached for more information at his website http://digitalphotographytip.blogspot.com

Article Source: http://EzineArticles.com/?expert=Raymond_Nwambuonwo

Learning The Basics With Digital Photography Tutorials

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12/01/2008 by admin.

Simplified Studio Lighting for Elegant Portraits

When you are new to studio portrait photography, studio lighting can seem difficult, mysterious, and perhaps even ominous at times. You may read ten different books on lighting by the “experts”, and quite likely you will get ten totally different opinions about what constitutes proper lighting. Maybe this is because “proper” lighting for studio portraits is just that; a matter of opinion. Yes, there are classic styles of lighting such as: open loop, closed loop, butterfly or Paramount, broad lighting, short lighting, and so forth. But, ninety nine times out of a hundred, clients who come into your studio do not care about the technical aspects of lighting, or even the classical styles of lighting. They simply want to look great in their portraits, and it’s your job as a professional portrait photographer to help them do just that. The system of lighting used in my portrait studio is simple to understand, easy to work with, and it helps our clients look their best.

Our typical lighting scheme consists of three strobe lights with a forth strobe “hair light” used as needed. First, the key light is the main light source in the lighting scheme and is used to contour the face and add depth and interest to the subject. The key light is what enables the three dimensional subject to be rendered in a two dimensional plane, yet perceived as a three dimensional image. The key light in our studio’s light setup is mounted on a Studio Titan Side Kick stand. The beauty of this stand is that it is very stable, has lockable casters so it is easily repositioned, and the height of the key light is very easily adjustable with the “single touch” adjustable arm. The key light is usually the only strobe in our setup that is repositioned during the course of a photo shoot.

The key light is modified using a parabolic reflector, a shoot through umbrella or a reflecting umbrella, a soft box (several sizes may be used), or by other means, thereby achieving in each portrait the desired effect. A guideline to remember is: at a given distance between light source and subject, the smaller the light source, the harsher the incident light and the sharper (more contrast) the shadows. Choose the modifier accordingly to achieve the desired effect for your portrait (i.e. light modifiers in order of decreasing contrast: 6” parabolic reflector, 16” parabolic reflector, 40” reflecting umbrella, 40” shoot through umbrella, 3’x4’ softbox, 4’x6’ softbox). The key light is then metered (independently) to f11. This may be accomplished by adjusting the power to the strobe, and/or the distance between key light and subject.

During the photo shoot, the illumination of the subject will remain constant when you reposition the key light, as long as the distance between the key light and the subject remains constant. This simple fact is useful to keep in mind for one reason. It enables you to quickly relocate your key light for different desired effects without re-metering everything. Visualize your subject being at the hub of a wheel, the radius of the wheel being equal to the distance (between the key light and your subject) that gave you f11. The key light may be relocated to any position around the perimeter of the imaginary wheel, with the illumination on your subject remaining a constant f11.

Second, the fill light serves as contrast control by filling in the “sockets and pockets” of your subject. The fill light in our light set up is permanently positioned about 15 feet from the subject, directly out in front of the set. It is elevated to a height of about ten to eleven feet above the floor, so we are able to shoot from directly underneath the fill light if necessary. The fill light is diffused by a large soft box, and oriented (angled) to directly face the subject. It is typically metered (independently) to f5.6, by adjusting the power to the strobe. This gives a light ratio on your subject of about 1:4.

The third strobe in our studio light setup serves as the background light. The background light may be mounted on a short stand positioned directly behind the subject, and angled upward to illuminate the backdrop and eliminate any shadows behind the subject. Positioning the subject at least six feet from the background also helps to eliminate shadows on the background. For a vignette effect on a low key back ground use a small parabolic reflector and possibly a grid spot or barn doors to direct and focus the light where you want it. For a more evenly lit mid key backdrop substitute a soft box strip mounted on a boom stand, high and angled downward and toward the back drop. Typically for low key to mid key portraits we meter the background light to f5.6 or f8. This is a matter of preference depending on the desired effect. You can easily create elegant low to mid key portraits using this setup.

For super hi key shots, to get the snow white seamless background look, you must overexpose the background relative to the subject by two stops. For example, if you meter your key to f8 you should meter the background to f16 to achieve the desired effect. The trick is to get your subject far enough out from the background so they don’t pick up too much reflected light and you are able to blow out the background while maintaining proper exposure on your subject. The fill is still metered one or two stops below the key to maintain a nice contrast ratio on your subject. Super hi key portraits may best be accomplished using two background lights, angled in on each side of the background. This gives a more evenly distributed background light.

The forth strobe often used in our studio light setup, is the hair light. It is used to separate the subject from the background and to accentuate the subject’s hair and shoulders. The hair light may be positioned low or high behind the subject depending on the desired effect, and modifiers such as a snoot or a grid spot may be used to direct and focus the light as desired. Whether or not the hair light is used depends on the subject’s hair color relative to the backdrop and on the desired effect for the portrait (e.g. dark hair disappears on a dark backdrop and requires the hair light as a separator)

Beyond posing your subject in a flattering way, lighting your subject is the single greatest skill you must master in order to create exceptional portraiture. Your lighting scheme does not have to be overly complex, and your equipment need not be the latest and greatest. However, you must develop a basic understanding of light contrast ratio and how to control the light, in order to masterfully create elegant and beautiful portraits. The lighting setup described above may be a good starting point. It is very simple to understand and easy to use, generally, only the key light is repositioned during the course of a photo shoot. From there, experiment and practice to achieve the results that you imagine. As always, good day and happy clicking.

Steve Barnes is a professional portrait photography, a free lance writer, and co-owner of Hayley Barnes Photography, in League City, Texas. Please visit his website at, www.hayleybarnesphoto.com

Article Source: http://EzineArticles.com/?expert=Steve_Barnes

Simplified Studio Lighting for Elegant Portraits

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09/01/2008 by admin.

Fashion Photography Tips For SuccessWe see them all over the place; in television advertisements, in magazines, and on the runway. They are the beautiful men and women who strut their stuff while showing off the latest styles from the hottest fashion designers. These are the fashion models of today and tomorrow, and the subject of high fashion photography. It is through photography that these models and fashionable clothing are brought to the public. Therefore, these photographs must be taken with a certain level of precision and a special attention to color, style, and lighting composition. Learning a few key fashion photography tips will help to make this possible.

High fashion photographers such as Mario Testino and Eva Mueller may not be as famous as the models they shoot, but they are actually sought out more than their model counterparts by fashion magazines and designers. While the dream of huge paychecks and hobnobbing with the rich and famous might appeal to the aspiring fashion photographer, it is not easy to become successful in fashion and model photography. For every one talented young photographer who makes it big, there are hundreds are left dreaming about the moment their photo will be chosen.

Here are a few fashion photography tips for anyone interested in getting started in the field of fashion photography. The first thing you must do is study your subject. As with any field, you can never learn enough. Read as many fashion magazines you can possibly get your hands on. There are a number of fantastic books on the subjects of fashion and model photography available. They can be purchased cheaply online at sites like Amazon.com or even cheaper if you get them used on eBay. You will also need a good camera, a tripod, and a lighting system. One of the more often overlooked fashion photography tips, is to ensure that you always have plenty of film and extra batteries available.

One of the most important fashion photography tips to focus on is having a portfolio. You need to start assembling a portfolio of your work and you need to keep this portfolio handy at all times. You never know when you will have the opportunity to show your work off to someone in the fashion world. Sharp, vibrant images on a 4 x 5″ transparency will best show off your work, so focus on them when putting your fashion photography portfolio together. If any of your work has already been published regardless of whether it was a local magazine, newspaper or contest, add a tear sheet (literally a sheet you torn out of the magazine) is a great addition to a portfolio. You should have a minimum of 20 photographs in your portfolio and showcasing different styles.

In this day of the internet, it is wise to display your fashion photography talent online as well. Setup a simple website displaying your work and submit your digital photos to online contests. Also, submit them to online fashion gallery websites. This will help tremendously with getting your work seen and showcasing your talent around the world. Probably the most important of all the fashion photography tips is to get your photographs seen by as many people as possible. There is no better way of doing this than by putting them online.

Remember that most fashion magazine editors are looking for your personality in the photographs that you take. Each fashion photographer will captures the essence of a fashion design and model differently. Most importantly, if this is your dream, do not give up, ever! Keep learning the latest high fashion photography tips and keep working to get your photographs on the cover of my next hot fashion magazine.

Charlotte Plante is an avid photographer who runs a successful photography website dedicated to the fields of fashion photography, wedding photography, and more. For great digital photography tips, discount offers, and more, visit Charlotte’s website at http://digitalphotographyarticles.com

Fashion Photography Tips For Success

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05/01/2008 by admin.

Low-Energy Bulb Disposal Warning

First an overview:

Since we’re all now all supposed to be going green low energy saving light bulbs has popped up as one of the greatest bright ideas (no pun intended). They’re meant to be energy saving and money saving too! In essence, they use up to 80 per cent less electricity than a standard bulb, but produce the same amount of light. This is undoubtedly a phenomenon meaning you can be good to the environment as well as saving money.

Advances in technology mean that energy saving light bulbs is now available in a wide variety of fittings, shapes and sizes to suit all. They are fast becoming the norm and the recommended alternative to the outdated bulb.

Just recently the Environment Agency has called for more information to be made available on the health and environmental risks posed by low-energy light bulbs.

These bulbs actually contain a small amount of mercury (Mercury(IPA: /ˈmɜrkjʊri/), also called quicksilver, is a chemical element with the symbol Hg (Latinized Greek: hydrargyrum, meaning watery or liquid silver). Mercury is commonly used in thermometers, manometers, barometers, sphygmomanometers, float valves, and other scientific apparatus. There are in fact a few concerns about mercury’s toxicity have led to mercury thermometers and sphygmomanometers being largely phased out in clinical environments in favour of alcohol-filled, digital, or thermistor-based instruments.

The Environment Agency suggests more information is provided about the safe recycling of these products. It also wants clear and precise health warnings printed on all packaging and information exactly how to clear up smashed bulbs in our home.

There is, however, a toxicologist called Dr David Spurgeon that says “Because these light bulbs contain small amounts of mercury they could cause a problem if they are disposed of in a normal waste-bin. “

“It is possible that the mercury they contain could be released either into the air or from land-fill when they are released into the wider environment.”

“That’s a concern, because mercury is a well known toxic substance.”

Advice from the Department of the Environment states that if you accidentally smash a low-energy bulb in your home you’ve got to make sure that the room is vacated for at least 15 minutes, making sure not to vacuum any of the debris and taking care not to inhale the dust particles.

They basically instruct us to use rubber gloves when picking up the low energy bulb fragments and putting them into a sealed plastic bag, then taking it down to your local council for disposal.

A vacuum cleaner should not be used to clear up the debris, and care should be taken not to inhale the dust.

This is written by Joe Polanski Smith. If you’re interested in Environmentally Friendly Products for Sustainable Living check out Nigel’s Eco Store - eco stuff you’ll love or for more information check out

http://www.doeni.gov.uk/ni-ised_rohs_consultation_september_2007.pdf which is a consultation paper by the government.

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03/01/2008 by admin.

Many a photographer starting out would like to know what lighting combination would work the best. A new studio has the advantage of starting with a new slate. Mimicking current studio setups may not always have the best arrangement because they sometimes have to make do with what was inherited or added to through the years.

The main light should be at least three feet wide and in a soft box configuration. The reason for this is that a soft box places the surface of the light close to the subject without getting in the way of the camera or photographer. Another reason is that the light is kinder to skin surfaces and tends to wrap around the features without losing the modeling.

The fill light works best if an umbrella reflector is used. This type of light does reduce the intensity which is a good thing for a fill light. An umbrella (at least three feet in diameter) also works well further from the subject and out of the way of the photographer. The fill light should be placed as near the line of the camera as possible to avoid getting under eye shadows (bags) and in order to prevent double shadows from the nose and chin.

A hair light should be wide and shallow in order to spread the light horizontally but not shine into the lens. A built in shade can be used with this soft box for working close to the top of the head of the subject and not shine light into the lens. The soft box type of hair light allows working close to the head while still presenting a wide angle of light. A spot type hair light is much too narrow for showing the hair in it’s true colors and will too easily burn up lighter colored hair.

The back light can be a round regular reflector situated directly behind the subject or preferably off to one side but out of the picture. This latter type of back light should be snouted rather tightly for a narrow angle so as not to spill onto the subject unless for special effects (edge lighting with black background).

A kicker light on the other side of the room can be used for edge lighting, additional background light for high key effects or as a spot light on specific background props.

All lights should be calibrated for a specific ISO and balanced for equal intensity. The exception is the fill which should be from two the three and one half stops weaker than the main light. There are many other lighting setups that work for special effects. Among them are the single spot (use the back light) on the face (metered, of course), a single main light at a strong angle with all other lights bounced off the walls and ceiling for a strong but soft modeling effect. However, ninety per cent of the regular portraits will be well served with the five light setup detailed above. Photogenic lights have been a favorite in many studios. For digital work, three hundred watt seconds per light should be sufficient. With a Canon DSLR you can set the camera manually at F5.6 or F8 for plenty depth of field using a 150 mm focal length portrait lens. This foolproof lighting setup produces beautifully lit portraits of babies, children and families alike.

Retired portrait photographer of forty eight years.

Article Source: http://EzineArticles.com/?expert=Kenneth_C._Hoffman

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03/01/2008 by admin.

Every face can show a multitude of personality and individual characteristics. It is up to the portrait photographer to bring out the subjects best features with interesting conversation and good lighting.

The photographer’s first task is to evaluate the facial features and decide which ones to emphasize and which ones to minimize. Long noses look best from a low angle for instance, and double chins respond well to a high camera angle, but this article will be aimed at the effects of lighting on the human face.

It is easier to guage the proper lighting by watching for key points. A flattering main light produces a definite shadow that extends from the crest of the nose to the cheek and includes all of the unphotogenic area next to the nose. The height of the main light is determined by the angle of the shelf under the eyebrow. Cavernous eyes are well served by a low main light and protruding eyes can benefit from a high main light. A second consideration is the appearance of a noticeable catch light on the eye since a too high main light will not show a catch light. The lower edge of the nose shadow should not touch or obscure the upper lip line. A proper shadow is the key to a flattering ‘loop’ light. This lighting shows most faces to good advantage, appearing both three dimensional and youthful.

If a face seems round or heavy, side or split lighting is called for. While a three to one lighting ratio is good for loop lighting, a softer two to one ratio is best for split lighting. Bring the light source close to the face at a

ninety degree angle from the camera. The short side of the face will show a shadow line that travels from the bridge of the nose down to the center of the chin, dividing the face into a well lit half and a shadowed half. The Fill light should be placed close to the lens and slightly above it in order to produce a clearly defined chin line and to minimize unsightly wrinkles. The key to watch for is the proper exposure in the highlights and enough light in the shadow areas to give a good skin tone.

Hair and shoulder lighting is important and sets the mood of the picture. All hair absorbs light disproportionately and must be adjusted in strength according to the tone of the hair. Black hair may require three times the amount of light that blonde or gray hair requires. Be careful not to allow the hair light to spill over on the nose for obvious reasons. A broad source is to be preferred over a spot source because the latter emphasizes the reflective qualities of the hair rather than the true color and tone.

If an edge light is used for a character portrait, make sure that the light is Well goboed and placed as close to being in the picture as possible without showing. Some photographers place their fill lights well above the lens for reasons of safety and convenience. But this placement produces undesireable neck lines, eye pouches and glaring foreheads. The fill light or lights work best at eye level or just below, filling in neck lines and almost eliminating pouches under the eyes.

So called Rembrandt lighting shadows the eyes completely, highlighting the upper cheeks with a triangular shape. Special care must be taken so as not to darken the eyes too much. While some studio photographers work with wrap around general lighting with a one to one and one half lighting ratio, no model- ing is present to enhance the features. The only benefit is that the studio will never get complaints of too dark shadows.

Background lights when set at the same power as the main light will produce a background color and density the same as it appears to the naked eye. The purpose of the background is to supply a pleasing distant contrast that does not compete with the subject, but enhances and separates the subject from the distance. A darkening of edges is a time-honored way of keeping the eye on the center of interest.

Lighting and its many variations is the most important tool in helping the portrait photographer reveal people at their best.

I am a retired portrait photographer of thirty years.

Article Source: http://EzineArticles.com/?expert=Kenneth_C._Hoffman

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03/01/2008 by admin.

Digital portrait photography will produce superb results if you are able to see the person you are photographing, as one of your favorite people at that moment.

Digital portrait photography is for you if you care about people, are interested in what drives them, and how they came to be where they are. Good portrait photographers seem to get the best out of their subjects by being fundamentally interested in them, and being able to connect with them, even if it is just for the duration of the shooting session.

With digital portrait photography nothing has changed about the nature of this interaction! However, you will discover a number of creative - and financial! - advantages.

Whether your aim is professional digital portrait photography, or practicing it as a hobby, one of the best ways to go about it is to heed the written advice of experienced professional portrait photographers. Various aspects of this field have been covered in a number of informative books on the subject.

In ‘A Comprehensive Guide to Digital Portrait Photography’, Duncan Evans covers the different types of digital cameras available, including compact, single-lens reflex (SLR), and specialized models.

He also shows how to create a home studio, and explains the basics of portrait composition, texture, and mood. He includes topics such as color, computer manipulation, using duotones, tritones and sepia tones, and manipulating light and shadow.

A photographer who has published more than one book on digital portrait photography, is Jeff Smith. His books include ‘Professional Digital Portrait Photography’, where he walks you through the steep learning curve for digital portrait photographers. He shows you how to avoid commonly experienced problems, and he provides various techniques for shooting and editing.

Another of Jeff’s books is ‘Learn How To Make All Of Your Clients Look Their Very Best!’, where he gets very practical about photographing real people, and not just models.

He discusses how to be tactful with people about those aspects of their appearance that they don’t want to be highlighted in the portrait image.

His approach is to combine careful lighting, posing, and retouching to correct those flaws. The end-product is a portrait the client will love.

Is you main interest outdoor digital portrait photography? Jeff has also published ‘Outdoor and Location Portrait Photography’, in which he explains how to understand and control natural light, and how to select the best scene. He also includes tips for posing, selecting clothing, as well as marketing your portraits.

If you are keen to set up a digital studio, don’t miss ‘Master The Skills You Need To Build A Digital Portrait Photography Business’, by Lou Jacobs Jr. This book deals with topics such as the following: how to select your equipment; locating and outfitting a digital portrait photography studio; designing an efficient workflow; and presenting and marketing your work.

Know you camera, be interested in the people you deal with, and you will soon be a master of digital portrait photography.

For more information visit Best-Digital-Photography.com

Rika Susan of Article-Alert.com researches, writes, and publishes full-time on the Web. Copyright of this article: 2006 Rika Susan. This article may be reprinted if the resource box and hyperlinks are left intact.

Article Source: http://EzineArticles.com/?expert=Rika_Susan

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03/01/2008 by admin.

Basically there are only three types of “people pictures”: Formal Portraits, Informal Portraits or Candid Portraits. Each of these areas could easily be considered a specialty in and of itself. There are literately thousands of books or articles already written about each of these. Keep in mind all the things you learned about the basic elements of photography. (Line, Texture, Light, Size, and Shape) Even though you may only have one subject, that subject may have facial features you may or may not want to emphasize. Light is a key factor, but not the only factor when it comes to taking a good portrait.

The Formal portrait (also called a flattering portrait) is usually (but not always) done in a traditional portrait studio. This is where lighting is highly controlled. Most shots are head and shoulder, with the body turned at a 45% angle. The point here is to flatter the subject. So in most cases you must accentuate the subject’s positive features and minimize the negative ones. It takes a well trained eye to spot the best features and emphasize that in a portrait; but it takes even more skill to know how to minimize a negative feature. The list below is only a partial listing of common problems to look out for:

Wrinkled Face
Use diffused lighting. Lower the main light. Use a 3/4’s pose instead of close-up.

Double Chin
Raise main light. Tilt chin upward. Use higher camera angle.

Long Nose
Use low camera angle. Use side lighting. Add makeup to tip of nose to eliminate shine.

Baldness
Use low camera angle. Little or no hair light. Blend head with background on purpose.

Large ears
Turn head so camera only sees one ear. Place exposed ear in the shadows, if at all possible.

Glasses
Tilt head downward slightly. Raise ear piece slightly to angle the lens down. The camera will flatten the overall image making it look more natural than it feels.

Over Weight
In group shots, place the largest subject in the middle or behind others to hide their size. By themselves; shoot head and shoulders (from an angle) or use props to distract viewer from subject’s size.

The old cliché that says: “smile and look at the camera” is not always the best way to do a portrait. Many informal or candid portraits don’t have the subject looking at the camera at all. The biggest difference between an informal portrait and a formal portrait is usually lighting and location. Informal portraits are usually shot outdoors with available lighting. Personally, I do like to use a fill flash outdoors, but that’s not quite the same as having: a background light, a main light, A fill light, a hair light, and a key light like many studios use.

Informal as the name implies usually means more relaxed. Clothes are more comfortable and often there are props or objects that have to do with the persons personality included in the shot. Although they can be planned, informal portraits usually give the feeling of being spontaneous. The biggest difference between an informal portrait and a candid shot is awareness of the subject. Whether or not the subject looks directly at the camera, they are aware of it when taking an informal portrait.

Candid Portraits (sometimes called Character Studies) are taken without the subject being aware of the photographer. The candid shot is a favorite of mine at weddings, because it tends to reveal more of the true personality of the subject. Candid shots document the moment. They can become a specialty in and of themselves. Think of candid shots like taking pictures at a sporting event. You follow the subject (the one holding the ball) with your camera and wait for that peak moment. The instant before the true love’s first kiss, the moment before baby’s first step (or first fall), that second when a senior throws his cap in the air at graduation; these are all good examples of a great candid shot. A good candid usually includes a good peak moment.

This Article Written By: Tedric A. Garrison Cedar City, Utah

Tedric Garrison has done photography for over 30 years. In college; Tedric was an Art Major, and firmly believes that “Creativity can be taught.” Today; as a writer and photographer he shares his wealth of knowledge with the world, at: http://www.betterphototips.com

Article Source: http://EzineArticles.com/?expert=Tedric_Garrison

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03/01/2008 by admin.

Whether you’re a photography newbie or you’ve been around the block a few times, it doesn’t take long to learn that properly lighting a portrait subject can make a huge difference in the quality of the finished portrait.

Thus begins the never ending torment.

First, we wonder what kind of lighting patterns there are.

We go to our local camera store and discover a book that discusses Rembrandt light. Then another guru says that narrow light is the way to go. But for each narrow light application, there’s another time when broad light will do the trick. They talk about split light, backlight, hair light, fill, ambient.

They use terms like main light, key light, fill, diffused, hot, continuous, strobe and so on…

It’s no wonder so many people throw up their hands in frustration. Then they light every subject the same tired old way.

So then, we start to question - why bother?

What difference does it make?

We soon learn that wide faces can be visually narrowed, narrow faces can be visually widened, noses can be shortened, cheekbones can be raised. Not to mention - blemishes can be minimized, wrinkles softened and weight reduced.

Then it finally hits. Lighting is important. We start to realize that being a photographer entails more than buying the latest digital gadget and spending countless hours in Photoshop.

By now we are in information overload. Which way to turn? How many hundreds of dollars do we need to spend - buying all the latest magazines and photo books?

There is an easier way.

It’s true that photo equipment is being improved all the time. Trying to keep up with all the most recent improvements in technology is impossibly difficult - but - peoples faces are pretty much the same now as they were 10 years ago, 50 years, 100.

The best lighting patterns haven’t changed. Rembrandt light is called that because Rembrandt used that lighting pattern! In the early 1600’s!

The point is, to learn the basic lighting patterns, old photo books work just as well as the new ones. You don’t have to spend a fortune at the local camera store, book store or on line. Go to the library. It’s free.

Find a book that shows a lighting pattern you want to learn, check it out and go home.

Now comes the expensive part.

You need some flashlights. I mean the kind you hold in your hand. The kind you keep in the kitchen junk drawer. (Yes, the one that always has dead batteries when you need it.) You will also need a notebook.

Now, for the fun part. Grab one of your kids, boyfriend, girlfriend, next door neighbor, next door neighbor’s kids…somebody! Bribe them. Tell them if they’ll help you learn about lighting, you’ll do a nice portrait of them!

Have them sit on a chair in a darkened room. (Leave your camera in the bag. We don’t need it.) Take out your flashlights and starting with one (add more as needed)- light up their face. Move it in and out, raise it, lower it, go to the sides and so on.

Watch what is happening! Learn how to exaggerate and minimize noses, bumps, acne, wrinkles. Learn where the light needs to be positioned to get the patterns in the book.

What happens when you put some tracing paper over the light? Bounce it off a nearby wall?

Then for each new discovery you make, write it down in your notebook. Use plenty of diagrams.

In a couple hours, you’ll know more about photographic lighting than 75% of all the photographers out there. Plus, you can have a great time!

Dan Eitreim has been a professional photographer in southern California for over 16 years. His data base exceeds 6000 past clients, and he says that selling YOUR photography is easy - if you only know a couple tried and true marketing strategies. He’s created a multimedia presentation that can teach ANYONE how to sell their own photography and generate freelance income in as little as two weeks. To learn more and enroll in a FREE photo marketing course, go to: http://www.PartTimePhotography.com

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