I’m a mover and a shaker in general, and this is particularly true when I’m on a shoot. I’m twistin’ and turnin’, climbin’ and jumpin’ and to top it all off, I DO NOT have a steady hand, plain and simple.

As often as possible I opt for lenses with VR (Vibration Reduction) or IS (Image Stabilization). You pay a pretty penny for this feature. For me, it’s worth the extra cost, and for the point I’m at in my photography it’s a reasonable expense. But that wasn’t always the case, and what about uber slow shutter speeds with no tripod. No IS or VR can hold up under pressure like that. . .no matter how magical they may be. . . and magical they are, trust you me.

6 Techniques to Reduce Camera Shake

Here are 6 options for avoiding camera shake and achieving crisp, delicious images no matter the length of the lens, no matter the shutter speed.

Shooting wide open? NO PROBLEM; I’ve got your back!! Enjoy!

1. Elbows In

As often as possible pull your elbows in to your body and exhale completely before depressing the shutter. When you’re working with a wide aperture or low shutter speed (or both), even a breath can introduce shake. Pulling your elbows tight to your body can really help keep you steady. I also press my elbows firmly into my chest for even greater stability.

2. Raise Your Left Shoulder….

I am definitely a right eyed photographer, but this tip that I learned from “The Moment It Clicks” by Joe McNally, requires that I shift for a moment to my left eye. What I’m doing here is raising my left shoulder, and bracing my left elbow into my rib-cage (no arrow for this one). For further stability, you can pull your right elbow in to your chest. As always, exhale completely before depressing the shutter to avoid introducing shake.

3. Create a Tripod With Your Knee

You can create your own tripod by resting your elbow on your knee while in a seated position. Again, bring that other elbow in for greater support.

4. Lay Down

These two images illustrate perhaps the most obvious way to avoid shake without a tripod. Lie flat and let the lens sit directly on the ground. The problem with this is that you’re likely to have quite a downward tilt to the lens and unless you’re aiming to photograph the pavement, you probably won’t end up with the shot you’re hoping for. In the first image you’ll notice that I placed my hand flat against the cement and balanced the lens on top of it to give myself some height. In the second image you’ll see that I created a fist with my hand to give myself even greater height.

5. The Machine Gun Hold

This next technique is sometimes referred to as the machine gun hold. I rarely use this technique as I find it awkward and difficult to maintain for more than a second or two. Just because it doesn’t work for me, doesn’t mean it won’t for you. . . give it a try.

6. Cradle It

In this next image you’ll see that I created a sort of cradle for the lens between my shoulder and my wrist. I also stabilized the hold by balancing my elbow on my knee.

Well there you have it. That’s how I avoid “The Shake” (I’ve named him that because he’s like an evil monster who comes in and ruins my otherwise perfectly delicious images). Please share YOUR tricks and techniques in the comment section below, and as always. . .

Happy Shooting! – Get more daily tips like this one by subscribing to Digital Photography School

Further Reading on Camera Shake

• How to Tell the Difference Between Camera Shake and Poor Focussing?
  
• How to Hold a Digital Camera

Post from: Digital Photography School - Photography Tips.

How to Reduce Camera Shake – 6 Techniques

Product: Umba Lumba

I have to start by informing you that ultimately I’m a huge fan of brick and mortar.  I like to go into a shop, talk to real, living, breathing humans, face to face.  I like to touch and feel my purchases.  I enjoy smiling at clerks, asking them where they’re from, and finding out if they have kids and such.

The reality is that we live in a whole new world. I’m finally starting embrace the fact that just maybe, my brick and mortar passion is going to have to become a thing of the past.  I’m being forced to inch my way into the freakishly powerful world of online shopping.

I’ve recently spent a lot of time perusing sites like Etsy and other “small market” online vendors.  The other night I spent a considerable amount of time on Etsy searching for something very specific.  As I was sifting through the gazillions of similar products-alas, none of which ended up being exactly what I was looking for- I noticed a trend: If a product had a bad photograph, we’re talking the little thumbnail preview image here, I would not even click through to see the product details.

I am convinced that a good image can be a make or break situation for an online vendor.  I can say emphatically and with absolute conviction that I would be more likely to purchase a poorly crafted product that had been well photographed than I would a wonderfully made product that had been photographed poorly.  I think online shoppers, admittedly on a subconscious level, are making similar judgments, though perhaps not as extremely, of our online products every day.

Here are some tips anyone with ANY camera can begin using today to improve the quality of their shots for online sales.

**Given the fact that few online vendors are also skilled photographers with fancy lighting set ups, we’re keeping things super simple by using natural light. **

1. Turn Off the Flash

Start by turning off your flash.  9 times out of 10 glare (caused by the flash) on your product is going to make the image look amateur and as a result lower the buyer’s confidence in the quality of the product as a whole.  Wait until daytime, turn out any lights in the room, and pull a table up close to a window or doorway. Photograph your product there in the soft difused light.  Diffused light isn’t only flattering light for skin tones and face shapes, it’s just as powerful a photographic tool on your pretty product.

2.  Remove Distracting Elements

I can’t even believe that I’m forced to point this out.  Sheesh people. :)  Remove anything from the photograph that doesn’t add directly to the feel/concept of the image as a whole.  Obviously this includes any kind of mess or clutter that is in no way related to the product, but also, this applies to elements you’re tempted to add to the image just for the sake of creativity.  I know it’s our tendency to attempt to grab the buyer’s attention by utelizing our creativity to create a “catchy” image.  Remember: 99.9% of the time what we think is going to be “catchy” ends up being a turn off to buyers as it simply looks cluttered and distracting.  Not to say that there’s no good in staging. . .

3.  Utilize Simple Staging.

Simply placing your product on a piece of glare free fabric (or paper) can be sufficient.  A a simple complimentary pattern may add a little punch without feeling too busy.  Having a model wear the product (if applicable) rather than just photographing it lying lifeless on a table can add dynamic.  The trick is to attempt to be creative without getting out of control.  Your product should be the focus of the image.

The rule of thumb should be, if your staging is distracting from your product, or if your eye isn’t immediately drawn to your product, but first drifts to another part of the image, then you need to back off of the staging.  Be sure to get an outsider’s opinion.  Sometimes we get so caught up in the concept we’re going for as photographers that our judgment can become clouded.

4.  Employ Creative Use of Depth of Field to Highlight Product Detail

Use a low aperture to create a shallow depth of field to highlight the elements that make your product special.  Since people can’t physically handle your product, you’ve got to make sure you show them everything there is to show. . . including the details.  If you’re not familiar with controling depth of field check out this article from the DPS archives or simply switch your camera over to Aperture Priority and make sure your aperture (fstop) is dialed down to the lowest possible number your lens allows.

Have more tips?  Be sure to add them in the comment section below!

Happy Shooting!

Post from: Digital Photography School - Photography Tips.

How To Photograph Your Product to Enhance Your Online Sales in 4 Easy Steps

Image Credit: Jacob Kongaika

Confidence is worth it’s weight in gold in any arena.  As a photographer, there’s nothing like KNOWING you’re capable of “getting the shot.”  It’s so empowering to know that if you miss a shot it’s NOT going to be because you didn’t know what you were doing OR perhaps worse would be that you did know how to nail it, but you were too slow in setting up the shot due to lack of practice!

There are a katrillion ways to gain confidence in your abilities as a photographer.  Here are a few that I have found to be incredibly helpful over the years.  They will help you to be prepared for any shot and ready to get your settings right in a split second.  Feel free to add other ideas in the comment section below!

1. Keep a Notebook . . . or don’t

• Especially in the beginning, I recommend creating a well organized notebook. I still have one that I jot notes in frequently.  You can treat this like a travel log of your experience, a place where you keep notes, set goals, paste trimmings of shots you’ve found that inspire you etc.  You’d be surprised just how many photographers do this.  I’d say at least 50% of my successful photographer friends still have a notebook of this kind and use it frequently. I’ll mention it a bit more as we move on to the other tips.
• It is important to acknowledge that for some, it’s just not their thang and I totally get that.  For some people it adds stress and pressure to something that is supposed to be fun.  If you fall into that category, ditch step one and keep moving on to the other tips in the post.

2. Shoot Frequently

(this is the most important of any of the tips, so if you’re going to choose just one, let this be it!)

Image Credit: Khalid Almasoud

• If you really want to gain confidence, you should be out shooting as much as you possibly can.  Perhaps it’s every day on your lunch hour.  If that’s the only window you have to consistently squeeze it in, fine.  Just be out shooting frequently and consistently.
• NOTHING can replace the benefits of just getting out there and shooting as often as you can. Practice makes perfect after all.

3. Shoot in Different Conditions

Image Credit: Ilkin

• Not only should you be shooting regularly, you should be out shooting in different conditions as often as possible to familiarize yourself with them.  A lot of times as photographers we’re searching for good, easy, flat light that isn’t going to throw us any curve balls (ie open shade or an overcast day).  The reality of photography however is that you don’t always have so much control, so you need to be ready for any and everything at any given time.
• For example: maybe one week you practice shooting subjects that are backlit and the next you go out and shoot in low light.  Just get out and shoot and shoot and shoot and then come home and record what you learn each day in the corresponding section of your notebook.

4. Set Goals

• Is there a particular technique you’d like to learn?  Perhaps there’s a shot you saw and you’d like to attempt to achieve a similar result. Write your goal down in your notebook and keep track of how far you’ve come.
• If you’re really brave (and committed to gaining confidence) I recommend that you set your goal publicly (like on your blog, a forum you participate in etc) so that you feel accountable.  Let people know that you’re working on something new and ask for their feedback and any tips they may have.  Then get out and practice like crazy until you get it figured out.

5.  Read

Above: Scott Kelby Boxed Set

• There are SO MANY great books out there on photography.  Scott Kelby has some really fantastic ones for beginners.  Make a visit to the bookstore or your local library and get your study on.
• Now days there is so much information available for FREE!!!  What Darren has created here at Digital Photography School really is remarkable.  Dig through the archives.  If you don’t find what you’re looking for you can always kick of an email to DPS or directly to one of the writers and give us a post suggestion.  No guarantees, but we really do want to give you what you want and need! We’re here to help you succeed!

6. Ask Questions

• Sometimes photographers have a hard time asking questions. Why do so many of us like to feel like look like we’ve got it all figured out?  It’s baffling.  Asking questions frequently will help you feel certain you’re going about things in the right way and that’s a HUGE step toward gaining lasting confidence.

7.  Change Your Perspective

Image Credit: recompose

Not to get too philosophical, but. . .

• I recently received an email from a follower of my personal blog.  She expressed frustration over the discouragement she feels when she looks at other photographer’s work:  “I keep thinking I’m learning and improving and then I see other people’s stuff and I just feel like the worst photographer ever!” The concept of comparison is not a new one. It exists in every field but I would venture to say that the plague is particularly rampant in this industry.

• My anecdote is this: simply remember that no matter who you are or how celebrated you become, there will always be a zillion photographers better than you AND always a zillion worse. And guess what? It doesn’t matter a bit! Comparison is all about perspective, and that’s something you have complete and total control over. Rather than viewing another photographer’s work and feeling down because you feel incapable of taking shots like that, think “Wow!  That’s a great shot! I’m so glad I now I know that shots like that are possible and I can start practicing and trying to figure out how!” How’s that for empowerment! Word.to.your.mother! Instead of secretly begrudging the attention another photographer is receiving for their work, just think, “Wow, if I work really hard, I could get that kind of attention to MY art!”

Ultimately confidence is a choice.  Rome wasn’t built in a day and neither are our skills as photographers!  But I really TRULY believe that with the tips listed above, you can soar above anything you’ve ever dreamed was possible and enjoy your passion for photography in a whole new way!

Post from: Digital Photography School - Photography Tips.

7 Steps to Becoming a Confident Photographer: a Beginner’s Guide

image credit: Fried Toast

For beginners and pros alike a photography group can be an excellent resource.  It’s a wonderful opportunity to share ideas, ask questions, practice new techniques and significantly accelerate your learning curve.

Recently a friend of mine, Jan, approached me about wanting to get a photography group started started and though I must admit that I have never personally started a photography group before, I was obviously happy to assist!  Jan is a local amateur photographer who has attended a few of my photography classes.  She is eager to learn all she can about photography and has brilliantly discovered early on what an important factor networking is in this industry.

Getting Started:

image credit: Weizhong

1.  Contact List:

• Obviously you’ve got to start with a list of relevant candidates to approach about joining the group.  Start by emailing everyone in your email list (bcc PLEASE!  cc’s are so tacky!).  Because the price of semi-pro grade digital cameras is consistently dropping, more and more people have developed photography as a hobby, so you may be surprised at how many of your contacts are actually interested.

• Jan was smart to inquire about my contact list as well.  Don’t be afraid to contact a local pro, or even an educator at a local college or camera shop who may have some relevant contacts to share with you. Though I wasn’t comfortable giving out my list of contacts, I was happy to email all of my class attendees and inform them that a local resident was interested in starting a type of photography club with the end in mind of learning and growing as photographers.  I gave my students her information and told them to contact her if they were interested.  The response was significant.

2.  Make a Group Email List:

• For a group like this to succeed there has GOT to be an open line of communication and I know I don’t need to tell you this, but a reminder won’t hurt: THE PHONE TREE DIED BACK IN 1999.  All hail Google and the “Google group”!  It would be a really good idea to start a google group (or similar) so that all members of the group can have open discussion about all things pertaining to group activities etc.  If you get people talking and sharing ideas etc on a regular basis, they start to feel ownership of the group and then are more likely to stay committed to it as time goes on.

3.  Group Blog:

• For Jan’s group I helped her set up a blog where group assignments, critiques, agendas etc can be posted and easily shared.  We went with Blogger for this as it’s completely free and remarkably user friendly and intuitive.  Once I created the blog, I invited all those interested in joining the group to become authors and granted select members administrative privelages as well.  We decided to make the blog open only to authors so beginners would feel comfortable posting without the fear of embarassment as they practice and learn the technical aspect of their passion.

• The wonderful thing about creating a blog for your group is that friends who don’t live in your area but are still interested in an open dialog relating to photography can easily join.  Jan’s group is based out of our little town on the North East shore of Oahu, however there are quite a few members from all over the island and even one friend is currently residing in the Middle East!

4.  Meet:

• Deciding on location was tricky, at first we went back and forth about the possibility of hosting in someone’s home.  Once all was said and done we decided against that as it adds another variable to the equation.  If ever the host is unable to host that month, you’ve got the juggling around of the whole group which is likely to equate to people not showing up. Jan had the wonderful idea to contact the local library and inquire if there was a slow night when a group of photographers may be able to come in and discuss photography.  The librarian was INCREDIBLY accommodating.  Tuesday nights just happen to be slow nights, so she reserved a corner of the library for Jan’s group 1 Tuesday night a month . . . FREE OF CHARGE!

• When discussing how often to meet be sure to take into consideration that too short a gap doesn’t give people with busy schedules time to complete assignments etc. Too great a gap between meetings can also be problematic as people tend to be forgetful or continually put off getting assignments completed because they feel like they have an endless amount of time to complete them.  We felt once a month was a good starting point for a group meeting.

• There are many different things you can discuss at your meetings.  The possiblities are endless.  You may want to consider giving everyone a chance to submit ideas for discusssion just to gague the interests of the members of your particular group.  If you wanted to be really gungho you could also put together a survery over at surveymonkey or another similar site to gather information from your group.

• Jan’s group has decided to have members take turns teaching on various subjects.  For the first meeting Jan was the presenter and she simply shared information from various articles she’d read on the web and gave a review of a photography book she’d been reading.  All the info she shared was centered around the same photography related subject. It was wonderful.  There was open discussion, questions were asked, ideas were shared. . . At the end of the meeting the group decided on an assignment to be completed by the next group meeting.  Everyone is to post their images from the assignment on the blog for other members of the group to critique in the comment section.  The meeting was simple, enjoyable and efficient.

image credit: mikebaird

5.  Group Shoots:

• At the end of the group meeting the group decided to also hold a monthly group shoot. I think this was a great idea.  It’s a wonderful way to learn because if you do get confused or have a question while you’re shooting, you don’t have to waste all kinds of time experimenting to figure it out, or wait until you get home to look it up.  You’ve got resources right there with you so you can truly learn as you go with more efficiency!

• I highly recommend that you make the group shoot a part of your group’s agenda.

When I was first getting started in photography I felt completely like a fish out of water, and the really scary thing was that there wasn’t a soul in sight to help pop me into the bowl and get me swimming again!  I was desperate to learn, but didn’t have a clue to where to begin.

As I got further along on my journey I again wished I’d had a network to help me along the way.  I could have avoided so many pitfalls and detours and saved SO MUCH time and even more money if I’d had someone to help me along.

Now, as I’m just beginning to feel settled into my career as a photographer, I’ve learned to rely heavily on the help and support of other professionals to keep me afloat.

I was amazed about how quickly Jan’s group was formed and how very successful it has been thus far!  If you’re really serious about learning more about photography, give a photography group a try!  If you’re not excited to go to all the work of putting it together, try a Google search, there may already be one formed nearby!

Happy Shooting!

Post from: Digital Photography School - Photography Tips.

5 Steps To Starting A Photography Group In Your Area

Well passion and creative vision out the wazoo (pardon my French), even when coupled with perfect light, perfect equipment, and all the experience in the world will amount to very little if you’ve got a subject who just will not cooperate.

When I first started as a professional photographer it was mind baffling to me the way some people responded when I’d point my camera at them. “FOR PETE’S SAKE!” I’d lament to my husband after a shoot. “They were paying me to photograph them, they hired me, it wasn’t as if I ripped them from their houses, tied them to a tree and forced them to say ‘Cheese.’ What am I missing here?!?” Grrr. I would leave shoots like those EXHAUSTED… absolutely ready for a cup of tea and a bubble bath, and TOTALLY dreading uploading the photos… knowing that all I’d ended up with were a bunch of awkward smiles on tight, strained faces.

Then there came a time in my career when I was in desperate need of a head shot… I hate being in front of the camera… I know. I know. Go figure. Does the irony of all this tickle you as much as it does me? I called a friend and fellow photographer to handle the shoot. “OK Nic, short and sweet. We just need ONE good shot.” She pulled that camera out and it was everything I could do not to run screaming down the beach. She may as well have actually ripped me from my house and tied me to a tree. My heart was pounding, my palms were sweating and I could feel all the blood in my body racing to my face. Needless to say we DID NOT get that “ONE good shot.” Alas, the finished product showed just nervous, awkward bubble headed me … with a face as red as a cherry I might add.

Well over the years I’ve finally cracked the code to dealing with people photographically… Thus, The Human Side of Photography. Here’s 4 tips on how I work toward those beautiful, natural, genuine portraits that make our hearts sing, end up framed on our walls, and/or sell like crazy post production.

1. Handle the Hands:

Give your subject something to hold. If their hands are busy it’s generally enough of a cognitive distraction to curb their camera anxiety.

Take this bride for example. She was really struggling being herself in front of my camera during her bridal shoot. So, I handed her her fiance’s guitar and voilà. Beautifully natural in every way! I love this shot.

2. Pull up a Chair:

I carry a stool with me to every shoot… ALWAYS. It has saved me a million times over. When people sit, they will 9 times out of 10 loose the nervous rigidity they have when they’re standing. The situation automatically steps away from the formal air of photographer/photographee and instantly feels more casual.

This momma-to-be insisted incessantly that she was just “not photogenic” (if only I got a nickel for every time someone spit that at me … or maybe a dime for every time I proved them wrong… hmm). Thank Heaven for my trusty stool. Momma loosened right up once seated, and we got something genuine and sweet.

3. The Attraction of Distraction:

Distract your subject. Get them talking about something you know they’re interested in, ask them questions about their family, pets or favorite super heroes if you get desperate. Do whatever you can to pull their attention away from themselves. I find that shifting their attention to me by making fun of myself to be a trick that’s tried and true.

I’ve also been known to suddenly start barking like a dog to inspire spontaneous laughter… quacking like a duck is also a good bet… trust me, once you get a couple of good laughs out of your subject… it’s all a breeze from there. Laughter releases endorphins and thus a general sense of well-being, at least that’s what “they” say… hey, it works for me!

An example of this was an engagement shoot I did a while back. The groom-to-be was completely relaxed and comfortable, but the bride was just NOT quite getting there. To make a bad thing worse, we started out shooting in a marshy field where we were literally swarmed by mosquitoes… I counted 26 on my legs at one point (like actual bugs biting me simultaneously… not just 26 bites … but I digress). She was bitten TERRIBLY and was SO uncomfortable. I could sense her discouragement, so as we walked to the next site (as far away from said swamp field as possible) I told her fiance to give me a couple of seconds of shooting and then just to start tickling her like crazy.

It was so much fun for everyone! We got a fun shot of the tickle-fest, though that wasn’t the end in mind… the goal was to help her feel relaxed and comfortable for the rest of the shoot- and guess what? It worked like a charm. (This tip is especially good when working with children. Get them talking about something they love and it’s like flipping on a light switch to those sweet genuine expressions that only children can give).

4. A Tip from Aretha… R.E.S.P.E.C.T:

Remember that your subjects deserve your respect… whether it’s your own kiddos or you’re on hire. If you’ve got a subject or two or more who are just plain uncomfortable, seek out privacy for the shoot as much as possible. If you’ve got something in your head that you’re working towards and your subject just isn’t diggin’ it… drop it and move on to something else.

Ultimately you want nice pictures AND a nice memory of the shoot as a whole. If your subject feels understood and respected, that’s your first step in breaking them out of that awkward little box and truly capturing their essence. I learned this the hard way… my oldest son (4yrs old) used to head for the hills when he saw me coming camera in hand.

Once I learned to just respect that, and simply leave him alone at times like these… he actually started coming to ME and asking me to shoot him. And here’s the treasured result:

In this shot he said to me, “ok Mom, now I’m going to pretend like I’m sleeping.” Ah, be still my beating heart!

Happy shooting!

Natalie Lives and shoots on the North Shore of Oahu, HI with her wonderful husband and 3 crazy sons. See more of her work and writing at natalienortonphoto.com

Post from: Digital Photography School - Photography Tips.

The Human Side of Photography – 4 Tips for Natural Looking Portraits

Panning is the horizontal movement of a camera as it scans a moving subject.

And since someone out there who’s mind is permanently blocked to technical jargon, as mine is, there was bound to be a “huh?” or two.  So let me break it down a bit. 

When you pan you’re moving your camera in synchronicity with your subject as it moves parallel to you.  Still a little wordy huh? It’s not as complicated as it sounds.  Shake your head “no.” Go on and do it.  Now cut that in half and pretend like you’re moving you head along with a cheetah as is it flies by and you’ve got the idea. In order to pan successfully your camera has got to follow the subject’s movement and match it’s speed and direction as perfectly as possible.

What’s it for?

Proper panning implies motion. However, panning creates the feeling of motion and speed without blurring the subject as a slow shutter speed sans panning would tend to do.  Take for example the two images below.  The first is an example of panning.  Notice how the car is clear and crisp but the rest of the image is blurred to show the motion of the vehicle.  This effect was achieved by panning.

Image Credit: Blentley

Now check out the second image.  This is an example of a slow shutter speed (which panning also requires by the way) without the panning of the camera.  Because the camera was held static, the moving object, in this case the train, depicts the motion while the area around it is static.

Image Credit: Papalars

Is one image better than the other?  Maybe, maybe not, it’s certainly a matter of preference. Both static shots employing slow shutter speeds and panning images have their place and time and it’s up to you as the discerning photographer to decide which you’d like to employ in any given situation.

5 Tips for Successful Panning

1.  Panning requires a steady hand and a relatively slow shutter speed.

The actual shutter speed depends on the speed of the subject but generally it will be 1/200th or slower. 1/200th if your subject is really flying along, like a speeding car on a race track, and maybe as slow as 1/40th of a second if your subject is a runner on a track.

2.  Keep in mind that the faster your shutter speed is the easier it will be to keep your subject crisp.

Especially as you’re learning the art of panning, don’t slow your shutter down too much.  Just keep it slow enough to begin to show some motion.  As your confidence increases and you’ve got the hang of things, go ahead and slow your shutter more and more to show even further pronounced motion and thus separation of your speeding subject from the background.

3.  Make sure your subject remains in the same portion of the frame during the entire exposure:  this will ensure a crisp, sharp subject.

4. Remember that the faster your subject is moving the more difficult it will be to pan.

This point goes right along with number 3.  It’s harder to keep your subject in the same portion of the frame if it’s moving faster than you are able to.  So again, start with something a little slower and then progress from there.

5.  Have fun! and if at first you don’t succeed, give up for sure.  Wait, er, try try again.

Trick for beginners:

Image Credit: Natalie Norton

When I was trying to learn how to pan I sincerely found it difficult to match my speed to that of my subject.  I’d plant my feet firmly in the ground, pull my elbows in tightly to my sides to avoid camera shake, wait wait wait for my subject and then zoom right along with them.  I was having the most difficult time! I’d normally move faster than my subject ending up with an image that was nothing short of a blurry mess.  Then I had an idea.  I took my son with one hand, held my camera to my eye with the other, and spun him in a circle. 

WE WERE MOVING AT THE EXACT SAME SPEED BECAUSE WE WERE CONNECTED!  I felt like Albert Einstein! 

You don’t actually have to spin a child around one handed to achieve the same affect. . . :)  You could use a teddy bear, a milk jug, or jump on a merry-go-round (come on you know you want to).  Anyway, I found that it was a great way to get the hang of it and I haven’t had any problems since!

Happy shooting!

Post from: Digital Photography School - Photography Tips.

The Art Of Panning

Ok guys, I know what you’re thinking.

1. “What’s the point?”
2. “Conversions can happen after the fact in post.”
3. “Shooting in color gives you more options after the fact.”

While all these arguments have validity in their own right, there are a few reasons you may just want to consider shooting your black and whites in camera. So here’s the scoop:

Once upon a time there was a girl named Natalie.  She shot everything in color until one day her friend Mike Colon suggested she try shooting her black and whites in camera.  Doubtfully, Natalie obeyed, and this is what she discovered:

1. In camera black and whites force creativity.WOW!  It’s like a creative infusion from the Heavens.  When you’re shooting in camera black and whites you’re making a creative decision as you depress the shutter.  It’s empowering AND it forces you to really focus and think things through to the end as you shoot rather than mentally using Photoshop as a crutch for sloppy photography. It makes you WORK HARDER, and I find that when you work harder on one aspect of your photography, all aspects tend to benefit.
2. They just look better!Black and whites shot in camera are more organic and less “muddy,” thus requiring less work in post processing.  When I shoot my black and whites in camera I find that basically all I need after the fact is a slight contrast boost and perhaps a sepia overlay at a low opacity (see my post on custom black and whites) if I’m going for something with a more antiqued look. I’ll be honest with you, I can get the same affect with color images converted to black and white in Photoshop, but it takes a heck of a lot more tweaking to get the desired result.  Since I’m all over simplicity, in camera conversions have turned out to be my cup of tea.



3. It’s fun!As I’m shooting my black and whites in camera and I check that LCD, it’s refreshing and fun to see those black and white images staring back at me!  Woot woot!

Now do the reasons just listed in favor of in camera conversions trump those presented at the top of the post in opposition?  Meh. It’s preferencial really. But it’s definitely something to think about.

Happy Shooting!

Note from Darren: Of course in photography for every person’s approach there’s another one. I prefer to convert to Black and White later – I talk about why here. What approach do you take?

Post from: Digital Photography School - Photography Tips.

In Camera Black and Whites? Seriously?

1. Duplicate the background layer and rename it ‘Natalie’s Eye Pop’ (of course).

2. Select the dodge tool and lighten the iris.

Stay away for the thin, darker, perimeter of the iris and the pupil.

I generally set the tool as follows:

• Brush Size: Varies depending on the size of the eye.
• Brush Hardness: 10%
• Range: Midtones
• Exposure: 20%

3. Select the burn tool and darken the perimeter of the iris and the pupil.*
I generally set the tool as follows:

• Brush Size: Varies depending on the size of the eye.
• Brush Hardness: 5-10%
• Brush Range: Shadows
• Exposure: no greater than 15%

*You may also decide to slightly extend the eyelashes by changing your brush size to roughly 5px and running the burn tool along the length of the lashes. I rarely do this, but it can add a more dramatic pop for fashion pics.

And there you have it. It really is as easy as 1, 2, 3!

Before we wrap up this little tutorial, I’d like to introduce a quick Natalie-ism in regards to post processing. This is called a Natalie-ism for a reason, it’s MY opinion and the way I personally roll, but you are free to take it or leave it as suits your fancy.

Natalie Says: “less is almost always more in post processing.”

When I first started working Photoshop into my workflow I was a NUT. I went crazy with every effect I could muster to digitally enhance my images. It didn’t take me long to pull back and start to work towards a more natural look to my photography.

For the most part, I’m asking myself this question any time I’m processing a photograph: “Ten years from now, will this effect still look good? ” If the answer is no, and you’d like an image that will stand the test of time, well then back off a bit. If the answer is no and you want an image that stands boldly in the here and now then by all means keep rolling.

Happy shooting!

Post from: Digital Photography School - Photography Tips.

Editing Eyes: 3 Photoshop Steps to Eyes that POP

Since the announcement of the discontinuation of instant film the world of Polaroid has become even more fascinating, exciting and desirable than ever. 

Now, turning your digital images into printable, high res Polaroids is as easy as 1, 2, 3 with Poladroid (beta).

A few helpful hints:

1. It’s only available for Mac users at the moment. . . but word has it that the windows version is on the way.
2. It doesn’t work with screen captures. . . I had the best luck with high res jpegs.
3. It’s out of this world fun and addicting, so be prepared to waste a good amount of time fiddling around.

Happy shooting. . . er. . . Polaroiding!

This post was brought to you by Natalie Norton, a wedding and portrait photographer who lives and shoots on the North Shore of Oahu, HI. See more of her photography and tutorials at www.natalienortonphoto.com.

Post from: Digital Photography School - Photography Tips.

Turn Your Digital Images into Polaroids.

Here’s the scoop. This is how I do things. You don’t have to do them this way, you may have a system that works better for you, if so, please, do tell in the comment section of the post. I just want to make it perfectly clear that this is MY system, not THE system for creating natural portraits. Take it or leave it ;). Enjoy.

I think people work on the presumption that in order to create a relaxed portrait, a shot that has that natural, genuine candid feel we all love in our photographs, you have to back off completely and just capture the moments as they unfold. This is completely true and completely false all at the same time. I’ve found that subjects who aren’t given good, sturdy, confident direction have a VERY hard time feeling relaxed and therefore looking natural. They end up acting awkward and looking incredibly posed when in reality the exact opposite holds true.

Creating relaxed portraits isn’t complicated in any way shape or form, but you do need a system. Here’s mine, step by step.

1. Get to know your subject

Even if it’s just a little small talk, you’ve got to take a second to break the ice with some informal conversation. For me this starts all the way back when I’m emailing back and forth with clients setting things up for their shoot. I try as hard as possible always to be myself, so they get to know me and are comfortable with me from the start. My style of photography is an extension of my personality, so it’s really important that people feel comfortable with me. It helps them feel safe and open to give me their genuine selves at a portrait session, and frankly it helps me get to know them as well. Once we start shooting, I generally have a pretty solid feel for my clients. I know what they need from me to help them be at their best.

2. Plan on a few shots to break the ice

I always expect the first 10 or so shots to be junk. I’m nervous, my subject’s nervous and that just doesn’t equal awesome. Does that mean you wait for nerves to settle before you start shooting? Absolutely not. Get in there, get working and things will loosen up within just a few minutes. It’s like jumping into the ocean. When you wade out and take forever to get in, it’s a lot harder than just plunging in and letting your body adjust to the temperature.

3. Make your location work for you

When I get to a location I already have an idea of my client’s personality and they mine, so at this point it’s a matter of finding a location within the location that is going to help us both really shine. If they’re a little shy, I’m obviously not going to take them into the middle of a crowded park and expect them to cuddle up and give me something sexy to work with for their shoot. I’ll need to be familiar with the location so I know a more private place I can take them so they can be comfortable enough to be at their best and I can still feel inspired and make their shoot rock. This is hard for me sometimes, because I pay a lot more attention to (and actually find my inspiration in) the available light (which I use almost exclusively) than I do to what’s happening in the background. Sometimes I do have to sacrifice that awesome light for comfortable clients. I just have to remind myself that in the end a well lit picture that looks stiff and awkward is a lot worse than an image with light that’s maybe only so/so but has a good genuine connection from my subjects.

4. Help it happen

Like I mentioned above, you can’t just stand back and wait for magic. At a wedding, sure, of course, because people are experiencing an event and you’re job is to capture it as it unfolds. A portrait session is a whole different kind of animal . . . 99.9% of the time with regular subjects (ie not trained professional models) you’ve got to give some basic direction. You also can’t get in there and say, “Ok, hold hands, head turned at exactly a 80 degree angle. . . WAIT! Not that far! I said 80 degrees for crying out loud!”

Generally what I do with a portrait session is as simple as getting my subjects seated/standing in a way that is compositionally sound within my frame. Then I step back and let them “work it.” I tell them just to be themselves. If it’s a couple, I tell them to just be into eachother. I make them laugh, I make them smile. I ask them to pretend I’m not there and just snuggle up. I let them do their thing, but I’m helping it happen.

Sometimes I’ll give the my subjects an activity to participate in. I let them do their thing and I capture the magic moments that happen naturally. Even then though, if it’s a family portrait for example, I try to tell mom and dad to remember that I’m there. Otherwise I may end up with a lot of pictures of the back of someone’s head etc. They need to have a vague awareness that I’m around, but not focus on me. Does that make sense?

FOR EXAMPLE: In the image above of Robin from Twigg Botanicals, I couldn’t bring myself to give someone with a job as cool as hers a basic, typical head shot, so I met her while she was setting up for an event, gave her some basic direction and let her rock out. I love this triad, and it’s perfect for what she needed for the about page of her website. You should know, Robin is pretty shy and does NOT love having her picture taken. You’d never know it from the images above!

Just give it a go. . . truly engage your subject on your next shoot . . . and see how it goes. It can be as simple as saying, “Ooh YES! PERFECT. Give me more of that!” You may feel like a quack, but I swear to you that your clients will appreciate it.

5. Get in there

My subjects will be the first to tell you that I’m not a passive, standoffish photographer. No sir. I’m right up in there with you. That’s one of the reasons it’s so darn important that we’re comfortable with each other. I shoot my portraits with fixed focal length lenses, so that means that my feet are my zoom. Guess what, if I want a tight shot, that means I’m nearly right up on top of you with my lens. I know this may sound uncomfortable to some of you, but for me, I find that it helps my subjects and I feel like a team. We create a real harmony together and end up with real, genuine, connected images, and new friends to boot. Because you can’t shoot all up in there the way I do without bonding in some way shape or form. ;)

All that said, I’ll tell you outright, I am not afraid to PULL from my clients. I expect them to work with me. It sounds like a headache for them when you read it here, but I’ll tell you that after nearly EVERY shoot I’ve EVER shot I’ve gotten feedback from clients saying things along the lines of, “Wow, that was totally painless, fast and fun!” They appreciate my engaging them in a way that makes them feel like they’re contributing. They like to feel useful and busy. I know what you’re thinking, “Well, duh. They’re getting their picture taken, of course they’re feeling useful and busy.” But I’ll tell you what, it’s amazing how many photographers frustrate their clients by not engaging them in the process. They just say ok, let’s do this. And they leave their clients to themselves and they just stand back and shoot. Most clients HATE that, and I’ll promise you that nearly 100% of the time if you try to work it that way you’ll end up with forced smiles and awkward poses.

Now, I can’t write a post like this and not end with a little shout out to all my clients. You are all SO VERY wonderful and I’m so thankful to each of you for letting me capture the natural, real, beautiful moments of your lives. You’re all my BFF’s and have enriched my life in so many ways!

Happy Shooting!

Natalie Norton is a wedding and portrait photographer who lives on the North Shore of Oahu, Hawaii. Check out more of her work and tutorials at her popular blog Pics and Kicks, www.natalienortonphoto.com.

Post from: Digital Photography School - Photography Tips.

How to Photograph Natural Looking Portraits