I’ve always found photographing engagement sessions and weddings to be rather stressful for both the couple (and the guests, too) as well as myself. But stress, at the same time, has proven to be the force that makes me want to do as well as I can. I get over it, eventually, because I have an obligation to do my best. My couples, on the other hand, sometimes have a harder time getting over their nervousness just as fast. The trick is in keeping it fun for them until they’re as comfortable with you around as if they were alone.
We as photographers often make the final call on deciding the life span of an image according to our own perception, imagination and expertise. As much as we should be open to constructive criticism, I have always thought our own satisfaction from a photograph should come first. My own self-criticism is always the deciding factor on where I take my craft going forward. While those creative juices affect what I do behind the camera, knowing the technical aspect of photography to give life to any idea is very essential. It can take the story telling ability to a whole new level. Being able to analyze each shot before it is taken eventually will become a second nature as you photograph. I hope the below steps will help you get there a little faster.
Mastering the depth of the story and being able to translate it into a visual prospect is very important, so it certainly helps to have a solid understanding of how depth of field can affect your images and the story you are working on. Whether it is a portrait or a landscape shot, the right amount of bokeh should be able to transport the viewer into your story. You can choose a longer lens with a large aperture (small depth of field) to pinpoint one element in an image that your viewers could concentrate on, or use a small aperture (large depth of field) to portray the melting pot of action, with many elements to the story.
Photography is an art meant to invigorate our creative side and facilitate our ability to see our world in new and interesting ways. Many books, articles, tutorials, and blogs focus on various aspects of the artistic and technical merits of photography. Rarely discussed, however, are some of the strange maladies that afflict photographers. There are the occasional whispers and, “Did you hear about Joe?” types of exchanges, but all too often, such problems are rarely acknowledged and dealt with openly.
In an effort to bring such diseases to light, Dr. E.X. Posur, a leading psychiatrist that specializes in treating photographers, highlights a number of common illnesses he has encountered, and their associated symptoms and treatment. Although described individually, they are all part of a common illness labeled “photographus excessivitis”. Rarely will a photographer exhibit symptoms a single disease. Close examination almost always reveals multiple afflictions.
It is important to point out that professional photographers rarely deal with these illnesses, but those that wear the label, “serious amateur” bear the brunt of these diseases. Because professionals have been inoculated by the need to earn a living, they seem to have built up a strong immunity to the diseases outlined in this article. Though they appreciate the merits of their equipment, professional photographers see their equipment as tools to achieve an end, not an end unto itself. This subtle, but critical, difference between the professional and the serious amateur prevents the former from acquiring many of illnesses outlined below. Professionals are not totally immune, however, and can succumb as quickly as any serious amateur if they are not careful.
Photographing formals during weddings can be very tiresome and stressful to all parties involved. It’s the part of the day both the guests and the photographer often want to get past as quickly as possible. Friends and family want to enjoy the cocktail with others. Bride and Groom are tired from standing far too long and a looking forward to get some rest before the reception. Could anyone blame them?
On some occasions, I have been even asked to skip the formals in hopes of avoiding guests from stress and chaos, which sometimes can happen during the formal session. While not everyone might enjoy this experience, it is also understood that taking formal pictures is an essential part of wedding photography. This is how the memories are preserved. This is a precious way for a bride to remember her family for many, many years to come; in her happy state. So, the challenge remains for the photographer to make sure that the time allocated for the formal portraits is spent efficiently and as quickly as possible. In the eyes of the wedding guests, a photographer is a miracle worker, control freak and a very sweet person who can turn a very difficult session into something magical. So, my dear magician friends, let’s get on to it. You are the expert and what do you do next?
There are steps you can take to achieve your goal and have everyone happy on your watch. Your first step would be to make sure that the watch doesn’t go over 30 minutes for any formal session.
1. Talk to the bride and groom before the wedding. Do your research and get to know your subjects earlier. Let’s admit that there is no way for you to get to know so many people at once. So, start early and talk it up with the bride and groom during the consultation session. Find out what their expectations are towards the formal portraits and how many people might participate in those. Sometimes it is easier to get a list of the family members who ought to be photographed alongside the bride and the groom. Ask the bride to inform her relatives that there will be a point during the wedding (if the exact timing is known, that would be more helpful) when they will be asked to get photographed. Keeping everyone informed will help you gather people around efficiently. Always make sure to ask the couple if there is anything you need to know about their families and have a strategy worked out to take care of any potential problems.
Usually, close family make it obvious for you to notice them. Walk around them, be a regular guest and interact with them before the formals, so that you are “familiar” to them. Let the guests talk and meet and have fun while you steal a few of them to get photographed. This way, everyone can be engaged all the time by either you or by other guests. It will only help you get those sincere emotions naturally, with much ease.
Also, keep in mind that you do not have to fit every single guest into a formal session. Friends and distant family members can be photographed all along the wedding reception and cocktail hour.
Infrared, or “IR” photography, offers photographers of all abilities and budgets the opportunity to explore a new world – the world of the unseen. Why “unseen”? Because our eyes literally cannot see IR light, as it lies just beyond what is classified as the “visible” spectrum – that which human eyesight can detect. When we take photographs using infrared-equipped film or cameras, we are exposed to the world that can often look very different from that we are accustomed to seeing. Colors, textures, leaves and plants, human skin, and all other manner of objects can reflect IR light in unique and interesting ways, ones that cannot be mimicked with tools such as Photoshop (yes – there are limits to what Photoshop can do!). Like any form of photography or art however, it is a matter of taste. I would strongly urge people to explore the world of IR. As the number of cameras-equipped devices proliferates and the associated technologies improve, IR photography may offer the opportunity for photographers to expand into new arenas and differentiate their offerings from those of others.
For purposes of this article, I will refer to the infrared light spectrum as “near infrared”, or simply, “IR”. Near infrared refers to the spectrum of light just beyond the range humans can detect with their eyesight. This light range is between 700 – 1200 nm (nanometers). Another aspect of the IR spectrum, above near IR, is associated with thermal imaging. Thermal technology was popularized by movies such as, “Patriot Games” and other thrillers, whereby intelligence agencies or military personnel were able to detect villains by measuring their body heat under nighttime conditions. Today’s common digital camera sensors are not able to detect thermal images. Under the right circumstances however, digital cameras can do an excellent job of recording IR.
2) History Of Infrared Photography
The first forays into IR photography, using special film plates, began in the early part of the 20th century. During WWI, IR photography proved extremely valuable, as images using the IR spectrum were not affected as much by atmospheric haze as normal photos. IR images were also able to show stark distinctions between vegetation and buildings, better identifying potential enemy targets such as camouflaged munitions factories and other key sites. Rivers, streams, lakes, and other waterways were depicted in a very dark hue, making them much more obvious.
I had an opportunity to photograph a local Taekwondo sparring event last weekend and I decided to share some of the photographs from the event, along with some photography tips and lessons learned. I have been involved in Taekwondo since I was 12 and while I spent many years taking part in this beautiful and highly energetic (and sometimes even brutal) sport, I never had a chance to photograph it. While I have been suffering from pneumonia during the last 2 weeks, I could not skip a Taekwondo sparring with some of the best athletes in Colorado. I got my daily doze of antibiotics, then quickly made a plan and took off.
While I was photographing the beautiful scenery of the Glacier National Park at sunrise, I realized that some filters are pretty much required to get good results when photographing landscapes. While many photographers think that some of the built-in tools in Lightroom and Photoshop can simulate filter behavior, making filters redundant in the digital age, some filters in fact can never be simulated in software, while others help in getting even better results in post-processing. If you do not know what filters are and what they are used for, I highly recommend reading my “lens filters explained” article before you continue to read this one.
1) Polarizing Filter
A polarizing filter is a must-have tool for landscape photography. It is typically the first filter landscape photographers buy to instantly improve their pictures and and add vividness and contrast to them. A polarizer can reduce reflections from objects such as water and glass and can be used to darken the sky, bring out the clouds and even reduce atmospheric haze, making the scene look much more vivid. For all normal lenses that have a filter thread in the front, you can get a circular polarizing filter, also known as a “circular polarizer”. A circular polarizer is very easy to use and once you attach it on the front of your lens, all you need to do is rotate it clockwise or counter-clockwise to get a different amount of polarization. Polarizing filters work by blocking certain light waves from entering the lens. Rotating a polarizer allows certain types of light waves to pass through, while blocking other ranges of light waves. Thus, you could turn a sky from light blue to very dark blue or increase/decrease reflections by simply rotating the filter.
The effect of polarization cannot be reproduced or simulated in post-processing, especially when dealing with natural reflections. Take a look at the below image:
Whenever Lola and I post images on our website and the Facebook fan page, we get plenty of requests on post-processing from our readers. One question that keeps coming back all the time is about Lightroom vs Photoshop – many beginners do not know differences between Lightroom and Photoshop and have a hard time choosing which one to get first. In this article, I will show the main differences between these two software packages from Adobe, what they are used for and what you can do in Photoshop that you cannot in Lightroom. Most of this article will also apply for Aperture vs Photoshop discussion, because Aperture and Lightroom share very similar functionality.
1) What is Photoshop?
Photoshop was originally created as a tool for simple image editing, which since 1990 has grown into a monster software suite with many functions and capabilities to accommodate graphic designers, architects, animators, publishers, photographers and even 3D artists. Think of it as a Cadillac of image editing with an unlimited potential that can grow not only with software updates and upgrades, but also with special plugins known as “filters” from Adobe and third party software companies. Want to stitch multiple photographs into a single panorama? Or create a High Dynamic Range photograph? Or get rid of skin blemishes? Or perhaps make a person look taller, shorter, thinner or fatter? Yup, Photoshop can do all that; and much much more. It would be pointless to try to list what Photoshop can do, because it would probably be a never-ending list. The term “Photoshopped” is now a part of our daily jargon, because we are constantly exposed to altered images that might look realistic while being fake – that’s the power of Photoshop.
2) What is Lightroom?
The full name for Lightroom is “Adobe Photoshop Lighroom”, which may sound confusing, because it contains the word “Photoshop”. In a way, it makes sense, because Lightroom can be considered a subset of Photoshop with specific functionality that Photoshop does not and probably will never have. It was created for the main purpose of managing a large number of images, keeping them organized in one place. Photoshop is a very advanced image editing tool, but when you edit hundreds of images, keeping them organized becomes a problem over time. Before I started using Lightroom, my photography workflow solely consisted of Adobe Camera RAW (which allows opening, manipulating and converting RAW files) and Photoshop (which I used to fine-tune images before saving them into my hard drive). It was a complex, cumbersome and inefficient process, even after I semi-automated it through a batch process in Photoshop. The biggest challenge was organizing edited images in my hard drive, sorting and cataloging them. I am not even going to talk about finding images, because it was an impossible task that required reviewing thousands of thumbnails and image metadata in order to find what I was looking for. As my file catalog grew, I realized that I had to find a better way to organize my photographs. And that’s when I discovered Lightroom.
Another case study was submitted on Nikon D7000′s handling of colors. Here is what our reader writes:
Hello Nasim, 2 months ago I bought my first Nikon camera – D7000. I’ve read much about it and decided that this is best camera for me, but recently I am noticing that in certain lighting conditions colors are inadequate. There is an awfull yellow-green color, especially noticeable on people’s faces. Skin on pictures is also has strange color. Changing wb temperature is hardly helping. As an owner of the D7000 could you tell me if this is the problem of all D7000 cameras or is it malfunction of mine? What can i do to fix this?