We talk a lot around here at Digital Photography School about Depth of Field. I’m writing this based on the assumption that we all understand that in layman terms, “depth of field” is the portion of an image that is in sharp focus. To illustrate: in landscape photography, generally you’re working to achieve a very large depth of field. You want EVERYTHING in the scene to be in sharp focus. With portraits, photographers are often shooting for (lame pun intended) a more shallow depth of field, focusing in on their subjects and working towards fall off or blur in the background. Why do you think this is the case? Clearly to draw focus to the story being told. Well what if you want to tell a different story OR what if you want to tell the same story in a different way? Today let’s talk about depth of field and some ways you can use foreground in a different way to draw a different kind of attention to the story you’re trying to tell. Here are 3 ways to create “story telling images” using foreground to achieve creative depth of field.

1. Framing with foreground:

I wanted to find the most straight forward illustration I could to get the point across clearly. This shot (left) is from a recent senior portrait session. I wanted to draw attention to the senior, particularly I wanted him to seem strong and capable: READY to take on the world.

The frame of the foliage around him draws attention right to him… it focuses the story of the image. I recognize that foreground used in this way can also be distracting, this image is borderline distracting, I recognize that. You need to be aware of that and be sure to make foreground work for you, not against you.

How to get a shot like this: well I was shooting with a 50mm lens. I got right up close to the foliage that separated Melvin and I. First I tried with auto focus, but because of my proximity to the leaves, I had to switch over and focus manually.

2. Don’t be afraid to throw your subject out of focus:

When you’re doing portraiture, you’re generally trying to establish some kind of mood through imagery: happy, solemn, lovesick, sexy. . . Generally the mood is created through posing etc. For the next shots I let the foreground tell a few different kinds of love stories for me.

Back in March, I was shooting on Balboa Island in California. We were out on this dock shooting the typical, fun, happy, “we can’t wait to get married” stuff and I was getting bored. I had them take their shoes off and put their feet in the water. Better, but still pretty typical. So I waded out into the water, hitched my skirt up around my waist, nearly dropped my camera into the ocean, and created these. First I focused on the couple and threw the water out of focus. It’s a nice shot. It looks like they’re sitting on the dock watching the sun set. Nice. Then I focused on the water throwing my subject out of focus. A little sexier huh? Like, we’re sneaking up on some steamy make-out sesh. . . ha ha! But really, both images are good, while neither image is going up for any awards any time soon, they’re both good images. The second just speaks to you a little differently, tells their sexy love story a little more clearly.

Here’s another image where I decided NOT to focus on my subject, again to tell his story better. Back to Melvin’s senior session. Here he is walking into his future. I wanted to show where he was going, but also to illustrate that he’s on his way there because of where he’s been. . . I think this image is a powerful one that illustrates hope for the future and grounding in the past.

Don’t be afraid to throw your subject out of focus!

3. Same shot+different focus=different story:

This next series is a favorite of mine. Essentially the same shot, but different focus makes it tell a different tale. Both images were taken within seconds of each other. But they each tell a different person’s love story. First, the love of a father for his daughter and the second the love of a little girl for her daddy. Framed side by side. . . ahh. I get all warm and cozy just thinking about it.

Depth of field is a simple concept, but the ways it can be arranged to create powerful images are endless. Go get fresh with depth of field! Feel free to report back! We’d love to hear/see how you did!

Happy Shooting!

Natalie Norton lives and shoots on the North Shore of Oahu, HI with her husband Richie and her 3 crazy boys. See more of her work at natalienortonphoto.com.

Post originally from: Digital Photography Tips.

Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.

A Fresh Look at Depth of Field: Using foreground to achieve creative depth of field

Photo Credit: My good friend, wedding photographer Jonathan Canlas the great.

You were asked to shoot your friend’s wedding? Hmm. Already got suckered into it? Tut, tut, tut. Fear not! By maintaining a good attitude, establishing a strong game plan and setting realistic expectations, you truly can make this lemon into sweet lemonade.

Here are 10 tips to making your first weddings a success.

1. Light Right:

If you haven’t already mastered lighting and proper exposure, I REALLY, TRULY recommend shooting in Aperture Priority. If you struggle with Aperture Priority, well you’ve just got to shoot in plain old Automatic. And hey, that ain’t always such a bad thing if I do say so myself. The bottom line is that you just cannot afford the chance of improper exposures when the dude (or nowadays the chick) says “you may kiss the bride.”

2. Under Promise, Over Deliver:

If you’re going make this work, particularly if this is your very first wedding, you’ve got to set yourself up for success by managing expectations. You recall the adage, “you get what you pay for?” Well friend, that doesn’t really hold true for brides. They generally expect to get what they want. Period. I’m not knocking brides. It’s their WEDDING DAY for Pete’s sake. They should get what they want on this great day of days. But you can’t assume that just because you’re shooting for next to nothing (or in fact nothing) that there won’t be high expectations for you and your work. Under promise, over deliver. You’ve got to set clear expectations that you know beyond a doubt in the Heavens you’ll be able to achieve. If for example you really believe that you will be able to deliver 100 knock out images for each hour of shooting, promise only 50. That way when you show up with 75 awesome images from each hour you shot they’ll be ecstatic!

3. Don’t Go it Alone:

Get an assistant to come shoot with you. Two cameras are always better than one. Particularly if you’re not all that familiar with yours. It’s VERY important to have a back up to make sure you’ve got two chances at each key shot.

4. Request an Infiltrator:

Have the bride/groom assign someone to you to be sure you get shots of all the key players. Its important that you document all the key attendees, especially if you’re familiar enough with the family that you should (but don’t) know them all by name. If every time your bff talks about her favorite Aunt Bessie you’re only half listening and don’t have a clue who she is, you better be sure you’ve got someone there to point her out so you can grab that shot of her wiping her eyes during the ceremony.

5. Click, Click, CLICK:

Take pictures until your trigger finger bleeds. If you’re not totally sure, check that LCD and try, try again. You’ve got to nail it. You only get one chance at this. There isn’t going to be a do-over. Shoot and shoot and then shoot some more. In this new digital age, particularly as of late when storage space is so cheap on memory cards, you really don’t have a single reason I can think of NOT to shoot like a bat out’a hell.

6. Tell the Story:

There are a handful of shots you’ll need to be sure to include. Clearly you’ll need to cover the ceremony in it’s entirety. ie rings, smooch, tears, cake cutting, bouquet toss etc. Beyond that, be sure to get a good establishing shot of the venue, some good detail shots of all the stuff she spent WAY too much money on to decorate said venue, some good detail shots of her dress (don’t forget the shoes . . . oh and the rings!!), bride and groom with their groupies, a zillion pics of the bride alone and with her man, and then any and everything else you can possibly think of.

7. Know Where to Go:

Check out your venue before hand. Make sure that you know EXACTLY where it is, even where you’re to park. It would not be a happy day for you to come out from your pro bono wedding only to have to fork out $200 to get your car off the impound lot. It’s also a helpful rule of thumb to know what you’re getting yourself into for a shoot. Try to visit during the same time of day the wedding will be held. Check out the lighting situation. Ask about the seating and be sure you’re going to be able to photograph from the proper angles without obstructing the guest’s view.

8. Get the 411:

Talk to the individual who will be performing the ceremony. There may be rules about photographing in a certain cathedral or religious reasons you can’t photograph certain parts of the ceremony. It’s your responsibility as the photographer to make sure that these concerns are addressed with the Priest etc before you show up on the wedding day.

9. Cover Your Bases:

It just may be a good idea to have a contract. I know it seems like an awful formality, particularly between friends. It’s a wise step however to solidify expectations (an extension of what we discussed earlier about managing expectations) in order to preserve the relationship. You really love this friend of yours, as evidenced by your willingness to shoot his/her wedding, protect that relationship by insisting on a contract.

10. Go for it!

You’ve made the commitment already, now jump in with both feet. Don’t let your fear and anxiety plug up your creativity. You’re going to be great!

A QUICK NOTE IN CLOSING: I’m really upbeat by nature. I generally err on the side of complete and absolute optimism. I really do believe in YOU and your remarkable ability to be a fantastic xxxx (fill in the blank: photographer, singer, dancer, plumber, pastor, whatever). I am 100% of the opinion that if you want it, it can be yours. Faith, hope and a sane amount of persistence and the world is your oyster. Truly. That said, photographing a wedding is not to be taken lightly. It is arguably the single most important day in a couple’s life. If you want experience shooting a wedding ask to shadow a pro. Shadowing is the perfect way to gain experience, there’s no pressure, no expectations, just you, your camera and a wedding you’re not responsible to document. Ah, beautiful. Not so beautiful however is your under-experienced self, a camera you don’t understand, a thousand overexposed images from the wedding day and Bridezilla, Queen Kong (mother of the bride) and the mother-in-law from you know where all in cardiac arrest when you break the news. Ugly. Ugly. UG-LY. Particularly if Bridezilla used to be your bff. I’m not saying this to discourage you. I merely want to ensure that you prepare amply before you plunge into an event as paramount in someone’s life as a wedding!

Happy Shooting and Good luck!

Want more Wedding Photography tips? Check out Wedding Photography: 21 Tips for Amateur Wedding Photographers

Natalie lives and shoots on the North Shore of Oahu with her wonderful husband Richie and her 3 crazy boys. You can view more of her photography and enjoy a selection of her writing by visiting her at natalienortonphoto.com.

Post originally from: Digital Photography Tips.

Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.

Photographing Your Best Friend’s Wedding – 10 Tips

In this post Natalie Norton from natalienortonphoto.com explores why shooting in automatic can sometimes be worth doing.

Sometimes photographers have a complex about shooting in automatic. I shoot primarily in Aperture Priority (and am not here to knock manual settings AT ALL), but I have a tender place in my heart for ol’ Auto. Here are 4 reasons not to write her off too quickly.

1. If you’re relatively new to photography.

If you’re relatively new to photography, Auto can give you a great opportunity for exploration, frankly because it’s less to think about. You have the freedom to “go out on a limb” artistically speaking that you wouldn’t be able to were you going mad metering light, selecting shutter speeds and fiddling with apertures. I really believe that photography takes a certain amount of training of the eye to fall into your personal artistic niche- you’ve got to be free to do that, no strings attached. You can’t surpass the limits of shooting Auto until you become familiar enough with your camera (and photography in general I must add) to know what they are. I shot in Auto for over a year before making the transition over. Shamelessly! The images were superb and it is very rare (like it’s NEVER happened to me once) for anyone to look at a great image and say, “Wow, but did you shoot that in Auto?” No one cares. A good image is a good image is a good image. Period.

ANY friend of mine who comes to me early on in their photography “career” asking for lessons is forbidden from shooting in any mode other than AUTO for at LEAST 3-6 months. In my mind that’s enough time to get your framing style down to the point where it’s just, for lack of a better word, automatic. . . second nature. When that happens, THEN you’re ready to explore other settings. I’ve known too many photographers who are technically off the chart but can’t frame an image worth poo. Don’t fall into that trap by plugging up the artist in you by focusing too much on the technical aspect. It will come. It will. I PROMISE.

This is from the first wedding I ever shot. I shot the whole thing in Fine Quality (as opposed to RAW) and Auto.

2. It can save you when you’re just not QUITE sure.

I have a little “trick” that I use every so often.

If I’m busy shooting away in manual or AP and I’m just not 100% sure I’m nailing the shot, I’ll fire off a few frames in Auto just to be safe. That way if I’ve muffed my shot, there’s still hope. It’s been amazing for me, as it’s saved me a few times over. It’s also been great because it’s given me confidence. There’s nothing like the insecurity of not knowing if you’re really capturing what you hope you are. Yes, I know, LCD screens are helpful. But let’s just face it, they could be a whole heck of a lot bigger. Plus, if you’re shooting anything other than a 100 year old woman who couldn’t move if she wanted to, you don’t have time to check to be sure you got the shot after each frame. You’re rippin’ shots off just about as fast as you can and don’t have time to check to be certain you’re nailing each and every one. There’s nothing as depressing as coming home, uploading and finding that an entire batch is totally underexposed.

Over time you’ll come to where you’re generally happier with the images where you were the boss of your camera rather than the other way around. Mmm. That feels good.

I wasn’t quite sure how true I could get the color of the shoes by shooting manual. I knew the bride’s maid was going to grab them and put them back on at any second, so I chose to grab the shot quickly in Auto and “take my chances.” Score!

3. The terms: Aperture Priority, Shutter Priority and Manual mean nothing to you.

Awesome! Less pressure! Just don’t mess where you aren’t yet comfortable. Rome wasn’t built in a day and neither was Ansel Adams. Just keep pressing forward. You’ll feel inclined to learn when you’re ready. No rush. Just don’t pick your son’s first birthday party as your day of camera setting exploration. . . set a time and run a test shoot. Play it safe!!

I shot this bridal shoot back when I had little idea of what the word Aperture even meant. I shot RAW, and in AUTO.

4. Your subject won’t sit still.

Sometimes I run into issues shooting in manual when I’m doing candid shots of kiddos. They’re constantly running in and out of the light, and up and down and around and through and over and under and. . .you get the picture. I can’t switch my settings fast enough to catch them before they’re on to the next adventure. When that’s the case I click over to automatic and thank my lucky stars! She’s so good to me!! Sure if I had time and patience I could fiddle and faddle around to get the precise setting, but generally I’m working against the light, against the clock (a 1 hour sitting) and against the patience of a two year old! I’ve gotta be quick so that I have a broad selection post shoot.

Example: I shot the most darling little boy the other day at a beach that also has forest, caves and cliffs. He’s just the coolest little kid ever AND he’s got enough energy to put my 3 year old to shame (and if you know Cardon you understand that that’s REALLY saying something. . .REALLY). He was EVERYWHERE. I couldn’t fire off a shot before he was on the move again. I was going haywire trying to focus. The changing light as he would run in and out of thick forest (remember I live in Hawaii, the canopy is dense) and climbing up onto bright cliffs, was really throwing me for a loop, so I hopped on over to Automatic and yippee! She saved the day.

This sweetie kept on wanting to tug on her hood. I had to fire off a shot quickly without having a chance to even think let alone mess with settings. Auto to the rescue!

I just want to reiterate that shooting in Auto doesn’t make you any “less” of a photographer by any stretch of the imagination. Ignore anyone who tells you otherwise. We’re all at different stops along the path, but every one’s destination is the same. Images that speak to us, that make our hearts sing and our spirit’s soar. . . images that make us feel and cause us to wipe a tear from our eye. Whatever you have to do to get to that point, it just doesn’t matter. So, give yourselves, and good ol’ Automatic, a break!

Happy Shooting!

Note: this post was originally posted in 2008 but has continued to get regular responses from readers – so we decided to republish it for those who may not have seen it.

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 originally from: Digital Photography Tips.

Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.

4 Reasons Not to Write off Shooting in Automatic

When I first began doing maternity work I made a pledge. A commitment I swore I’d stand by through thick and thin. I promised myself I’d never take “the maternity picture.” You know the one. Daddy’s arms around mommy’s belly with hands affectionately forming… gag… excuse me… a heart. There’s NOTHING wrong with this photo. AT ALL. Calm your rage oh you who just did this exact shot this afternoon.

It’s just that I didn’t want to do the typical maternity image that every mother who’s every had her belly photographed has in one of her 9 baby albums (9 for the first child that is… 1 for the second…a few images in an envelope somewhere for the third… and oh, that poor fourth child, he has to borrow pictures from his brother when he’s highlighted on the bulletin board in Kindergarten). I marched right into that first session ready to stand by my commitment to creativity! I’d no sooner pulled out my camera than mom, all giddy with excitement, said “Woo! Can we do that shot with Daddy’s arms around me and our hands forming a heart over my belly button?!?” I stood by that pledge of mine for a full… well, 2.4 seconds. Of course I did the shot. But guess what? I did a lot of other stuff that she’d never have dreamed of. Guess which image DID NOT get purchased. Belly button heart.

7 Maternity Photography Tips

Here’s 7 tips toward creative maternity photography:

1. The Great Outdoors:

So many maternity sessions are done in studio. I understand the reasons behind this. I’ve been pregnant. 3 times over. I’m not the petite and pretty pregnant. I’m the gal you find wedged between the double doors at The Sizzler. Studio shoots are great because there’s privacy. I can’t argue with that. Particularly if you’re going to do anything in less than a fully clothed state (that’s my PC way of saying naked). But there’s something about being outside. Taking that natural beauty of a woman who’s ready to bring new life into the world and placing her in the majesty of the great outdoors is simply breathtaking.

2. At Home:

When you shoot a mommy-to-be in her own home she’s comfortable to let go in a way that she may not be otherwise. This is a fantastic reason to hold maternity sessions at home. This is not however why I do it. As a photographer I feel like it’s my responsibility to help my subjects feel comfortable and capable of giving me their best, no matter where we’re shooting. I pride myself on my ability to do this. To me, it’s a HUGE part of my success as a photographer (Uh oh. I feel a post in this regard coming on… check back soon). I shoot maternity sessions at home primarily because it’s wonderful for a couple to have a capture that truly shows what their life was like at the time their baby came to be a part of their family. I’m a second generation photographer so I’ve got some really lovely shots of my sweet momma awaiting my arrival. My favorite however is a simple picture of her standing by my bassinet with her hand on her tummy. I CHERISH it.

3. Simplify:

No matter where you shoot, studio, home, outside, 7Eleven, you’ve got to simplify your surroundings. The beauty of a mother anticipating the arrival of her child should be captured in a way that allows the miracle to speak for itself. Pregnancy doesn’t require anything “else” to be present in a photograph to help tell it’s story. Everything in the frame that may not belong will simply serve to distract from the story that’s already being told, naturally. Pay attention to background.

4. Help Her Feel Beautiful

Women don’t generally feel very sexy when they’re pregnant. Understandably so, and trust me I connect with this feeling as much as the next gal. But just because an expectant mother doesn’t feel sexy, that doesn’t mean she’s not totally knock out. Bring that out in her. Pull that beauty out of her. A good way to do this is by talking as you shoot. It’s perfectly appropriate to say things like: “That’s beautiful!” “Yes, perfect!” “Oh that’s just LOVELY.” “Pregnancy looks good on you girl!” Whatever works! If you’re a male photographer you’ll need to be careful about what you say in this crazy world of sexual harassment, but you’re even more capable of pulling the beauty out of her than a female photographer. It’s one thing when your girlfriend tells you you’re beautiful, but when your girlfriend’s brother tells you that you’re looking good, you actually believe it. Obviously be careful and be genuine. The success of this tip will depend on your personality, but you can help her help herself. If she feels pretty she’ll look a whole heck of a lot better. It’s that simple.

5. Highlight Relationship:

Hopefully new babies are coming into a loving home. I always try to include photographs that highlight the tender relationship between mom and dad, because bringing a child into the world with someone is arguably love in it’s purest form.

6. Don’t Forget the Siblings… or the dog for that matter:

Remember that often a baby is coming into an established family unit (not to say that Mom and Dad alone aren’t an “established family unit” but for the sake of my point, go with me on this one). If the siblings are available, make sure to include them in at least a few frames. I have to mention the dog, because I’ve got a sister-in-law who’s dog, Wanda (seriously that’s her name) is her pride and joy. When she and her hubby have kids, you can trust that Wanda will be right there in at least a handful of her maternity photos. She’s as much a part of the family as the next guy.

7. Give ‘em Something Different:

Don’t just shoot what’s always been shot. This is a good general rule of photography. I really try to be “consistently inconsistent” (I recently heard another photographer, Nate Kaiser of theimageisfound.com, use this term and I had to pirate it). Let me explain, you’ve got to approach each shoot as it’s own. I’m very committed as a photographer to tailoring each shoot for the subject I’m photographing. Like I said before, this is a good general rule that applies particularly to maternity photography. Even though millions and millions of mothers have given birth to millions and millions of babies for millions and millions of years, a momma-to-be needs to feel like her pregnancy is miraculous, special and sacred, that the things she’s experiencing are unique only to her. Because they are.

Happy Shooting!!

Post originally from: Digital Photography Tips.

Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.

Maternity Photography – 7 Tips for Taking Great Shots

Here are 5 reasons/ways to jump on the stupid wagon (of all awesomeness) and use twitter to increase your photography knowledge:

1. Twitter: the mirco-forum

Interesting twitter discussions can be reminiscent of a casual (and perhaps more easily accessible) online forum. Create a twitter buzz in your online photography forums of choice by dropping your twitter name in forum discussions (don’t be obnoxious) and by inviting others to do the same.  Cross follow, and then you can take the formality of a forum (or flickr) over to the self appointed micro forum that is twitter!

You’ll quickly find yourself led to other budding tweetographers and you’ll soon find yourself learning and SHARING information like it’s going out of style!  Give, give, give. Share, share, share and you’ll find that others will quickly join in kind.

It’s easy to get people to join in, or expand the breadth of, discussions via twitter (and a side benefit of this is the extra followers you’ll gain through all the @replies!).

2. Twitter: the microjournal

Twitter is also a wonderful way to track your progress.

Tweet pictures and ask your followers for constructive critiques on them. 

Also, link to articles you’re reading (or better yet, have written).

Use a service like backupmytweets.com to protect your tweets and then refer back to them to see how far you’ve come!

3. The Tweetup

Network with other local photographers.  Find one online, and you’ll soon be led to more.

Organize tweetups where you and other local tweetographers can organize shoots or simply go out for drinks together and talk shop.

Side note: Local twitter friends are worth their weight in gold.  Aside from becoming dear, dear friends, mine have more than once bailed me out of a gear related bind, or provided last minute assistance on a complicated shoot.

4. Twitter: the professional network

Follow professional tweetographers (again, find one and you’ll quickly be led to more).

The professional realm is in large part a tight knit community, and many photographers share tips and tricks (their own and eachother’s) via twitter.  Even more link to interesting industry articles, giveaways, how to’s and etc. There is an abundant wealth of knowledge for the novice or budding pro.  It’s also a great way (probably THE BEST resource of all) to learn about upcoming photography workshops in your area.

Don’t be afraid to ask questions about your craft using @ replies.  You won’t always get a response, but often times you will!

5. Live and die by the retweet

Though this post is not a discussion on the art of drumming up followers on twitter, I will say this:

Retweet pertinent information and tweet information that is retweetable.  Become best friends with tinyurl.com and share useful information. Because it makes you cool.  And because it drums up your following (read: educational network).

For more information on increasing your twitter following, there are excellent articles on the web including this one by Kevin Rose for Tech Smart.

If you found this article useful, you can follow me on twitter at twitter.com/natalienorton and of course Digital Photography School at twitter.com/digitalps.

Happy Tweeting!

Post originally from: Digital Photography Tips.

Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.

Tweetography: how (and why) to improve your photography skills via Twitter.

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 originally from: Digital Photography Tips.

Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.

How to Photograph Natural Looking Portraits

*Image Credit Nicole Hill.

Babies, babies everywhere! It seems like everyone around me is either pregnant or has a new born! I’m a total sucker for tiny people. I love the way they look, all pink and wrinkled. I love the way they smell, like baby powder, and well, let’s just face it, slightly like sour milk. I even love the way they sound, fire engine siren screams and all.

However sweet they may be, they are NOT the easiest of photographic subjects! Here are 6 tips to nailing your next newborn session with flying colors.

1. Plan ahead of time!

Here are some things you’ll want to discuss with Mom and Dad about a day or 2 prior to your scheduled shoot.

• Talk to Mom and Dad about the baby’s schedule. They may or may not have one, but one way or another, 9 times out of 10 Baby’s parents will be able to tell you which time of day their baby tends to be at their best, most calm state.
• If you’re shooting the baby at home, be sure to get specifics as far as where Mom and Dad would like to shoot. If you don’t have studio lighting (which I don’t) you’ll want to make sure you know which way the windows in the chosen room are facing at the time of day you’re shooting to be sure you’ll have adequate light.
• You’ll also want to know how Mom and Dad feel about wardrobe (or lack there of) for the baby. I love a naked, pink, wrinkly baby booty, however, not all parents share my affinity. Be sure to discuss this with Mommy and Daddy before you get to a shoot, ask Mom to strip the baby down, and then have to deal with awkward tension when she says “no way!”
• If the parents are comfortable with shooting baby in the buff, be sure to request that they remove all baby’s clothing at least an hour in advance of the scheduled shoot so that the baby won’t have any funky clothing lines on their skin. I even tell my clients to fasten the baby’s diaper loosely during this time as well. Those lines can be fixed in Photoshop, but I for one would MUCH rather be out shooting than spending hours using the healing tool in front of my computer.

2. Come PREPARED!

Make sure that you have EVERYTHING you need VERY well organized and easily accessible. Babies are fidgety, fussy and very impatient, and you’ve got to take the initiative to plan accordingly.

• If you’re using studio lighting, you should be set up at least 10 min before you’re scheduled to start shooting. That will give you time to run a few test shots before the baby is brought into the room.
• This next one is a given, but remember that sensors and lenses should be checked before the shoot and cleaned if necessary. You can’t afford to stop in the middle of a newborn shoot because you notice a spot on your sensor. Babies are not as forgiving as their adult counterparts. They’re like ticking time bombs, and I guarantee all you moms and dads out there are nodding in agreement!
• Get a good night’s sleep! You have got to arrive a vision of patience and with energy to spare. Remember, you’re likely walking into a home where NO ONE has gotten more than an hour of consecutive sleep for days on end. The last thing everyone needs is another exhausted, grumpy adult, whose patience has run dry to add to the mix. YOU set the tone! Come with a full tummy and a good night’s rest. (The full tummy thing is PARTICULARLY important for me as I tend to have low blood sugar. My patience, not to mention my creativity, is out the window if I don’t have something in my belly).

3. Get the Details!

Don’t be afraid to get in close and focus on the details. Most images I shoot of babies are shot with very low apertures (wide open) to encourage very shallow depth of field. I’m not by ANY means saying that this is right for everyone, but this is my particular style, and I do this for many reasons.

• They are only tiny tiny for a VERY short time. I like to focus in and capture little feet and toes for example, before they slip away into roller skates and ballet slippers. . . it happens sooner that you know!
• Shallow depth of field creates a mood of tenderness and intimacy which are so very appropriate for a shoot of this nature.
• The main reason that I shoot the majority of my infant sessions with such shallow depth of field is that shots like this, in my humble opinion, help depict how suddenly your whole world is about that little person. Though everything else around you may be out of focus, the one thing that matters is perfectly clear.

4. Bring a Hat!

My friend and fellow photographer/mentor, Nicole Hill, of Nicole Photo (nicolephoto.com) and A Little Sussy (nicolehill.blogspot.com), recently informed me that a little stocking cap (beanie) can be a solve all for the . . . (cough cough) alien looking infant! Well, she didn’t say the alien part. That’s all me, but we have to just be honest and admit that often tiny babies look a little like E.T. My 3 boys included. Yup, I said it. If you saw their baby pictures, you couldn’t deny it either! Nicole is right, a beanie can cover a misshapen head or just soften a face that hasn’t quite grown into it’s features. Enough said.

5. Establishing Shots!

Establishing shots are images that establish the feeling, location, etc of the time during which an event took place. In this case you’re trying to tell a story about the feelings surrounding the birth of a new child. The welcome of another little person into an already established family unit. Each family unit will be different than the next, but each is special and should be documented as such. For example:

• If you’re shooting in a home, most likely you’ll be in a nursery. Grab a shot of that! Establish the environment. It will be a treasure for the family to remember what their home was like at the time that they welcomed their little sweet heart into their heart and home.
• Whether in studio or on location, try to grab a shot that establishes the whole family as they were at the time of the birth.

6. For Heaven’s Sake: BE FLEXIBLE!!!!

You’ve got to be flexible. There are so many variables when shooting a tiny baby. They can be SO unpredictable. Remember to:

• Handle each hiccup in a loving way. I am convinced that babies can sense our tension and frustration and that they will respond in kind. Likewise, if we can remain calm and collected, they will find it easier to relax as well.
• If you have to stop, STOP! If the baby is on the brink of a full blown freak out, TAKE A BREAK! Let Mom and Dad pop in and calm baby down, feed, burp, change a messy diaper, whatever. NEVER push a baby to the point of no return. If you let a baby get to the point of total freak out. . . well, sorry sweetheart, you may just be plum out of luck. . . and with no one to blame but yourself. Be in tune to baby and let him/her run the show.
• If baby is fussing just a bit, you may not be bothered by it. Mom on the other hand may be totally on edge. Part of your job is to be aware of that. Ask her if she’d feel more comfortable continuing after she’s had a chance for a little snuggle. The last thing you need is a Momma bear worried about her cub. I’d ellaborate, but something tells me, ‘nough said.
• Give yourself plenty of time. I have never had an infant shoot that has lasted longer than 30min-1hour. Maybe I’ve just gotten lucky! Probably so!! But I ALWAYS schedule a 2 hour block so there is time to feed, change, soothe etc between shots if necessary.

There are SO MANY more things to remember when you’re running an infant shoot. Hopefully the few I’ve shared will be helpful. Feel free to add others in the comment section below! I also encourage you to make a checklist out of the information above to be sure you’re prepared in the future!!

Happy Shooting!

Natalie Norton lives and shoots on the North Shore of Oahu, Hawaii with her wonderful husband and her 3 crazy sons! Raleigh (5), Cardon (3) and Lincoln (22 months).

PS from Darren: Coincidentally – I also had another baby photography tutorial submitted yesterday – so as we’re in a baby mood here at DPS this week I’ll post that one tomorrow – I think they compliment each other nicely. Stay tuned!

Post originally from: Digital Photography Tips.

Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.

Baby Photography: Photographing Babies Without Losing your Mind

This post is all in the name of good fun. These are over the top SNL esque examples. Please don’t be offended.

1. Don’t buy photoshop right out of the gate.

Nothing concerns me more than “photographers” who delve into photoshop around the same time they delve into photography. These are what we call “photoshopographers.” I’m certain I didn’t invent the term. It floats around the industry like crazy. For example, “How’s her work?” Response: “She a photoshopographer.”

If you jump into photoshop (or any other editing software for that matter) too soon, you run the risk of not mastering your technique as a photographer. You’ll quickly form the habit of masking otherwise poor work with excessive editing and that will hold you back from learning the proper technique to begin with. As I once heard photographer extraordinairre Zack Arias say, “If you find yourself out shooting a client and you’re sayin’ in your head ‘oh I’ll just fix that later in photoshop’ stop what you’re doing and slap yourself as hard as you can.’”

I didn’t purchase photoshop until after 2 solid years of paid work as a photographer, and I still don’t know how to use it. Truth be told, it’s literally embarrassing how very little I know.

2. Processing fads rhyme with “stay away for the love of all that is holy.”

One of my main qualms with post processing is the color fads. These could be tonal, selective color (more on him later) or any et cetera. Anything that will likely not be popular in 5 or 10 (likely 1 or 2 in reality) years should be avoided. My goal for my work is timelessness. If an image is processed in a way that says: “wow! that was shot in 2009!” I’ve got a problem.’

Some of these things MIGHT be appropriate in moderation (not selective color. ever).

If wild tones are your selling points to clients and you’re booking well and getting paid bucketloads. . . then there’s obviously no reason to rethink your strategy! But as a general rule, if you’re going to do anything with tone: LOW OPACITY is the rule of thumb.

3. Radioactive eyes are so last season/

4. Skin should not look like it was grafted from Barbie, Ken, or Skipper.

I’m all for giving eyes a little pop-o-la! But let’s try to keep it real. No one’s eyes are PERFECTLY white, nor do they emit a glow in a dark room.

Quite frankly, pictures with eyes that are over worked: creep.me.out.

I’m happy to touch up people’s blemishes, but there are certain features of someone’s face that are permanent. Part of who they are.

For regular portraiture (I recognize that fashion work is a different animal entirely), I would never completely remove someone’s wrinkles (unless they asked specifically that I do). Soften them? Probably. But remove them completely? No. It’s their face. It’s what they look like. Moles? Same story. Scars? Same, same. You know, you could actually offend someone by removing a “blemish” like a scar or a mole from their body. Unless they ASK (and trust me, if they want it gone, they will), I don’t go there.

In my work I’m going for real and genuine, and plastic skin? Well, it’s neither.

5. A heavy vignette does not a professional photograph make.

A heavy vignette does not make a photograph look more professional. (Tail between my legs) I used to think so too.

The opposite is in fact true. Ask any TRUE professional photographer and they will tell you, a heavy vignette is a sure fire sign of an amateur trying to go pro.

6. Just say “NO” to over saturation.

No image necessary. . . Just.say.no.

7. Selective coloring died circa 1990.

I know I mentioned it above, but it definitely necessitates its own category. The picture says it all.

PS. Tell me you’ve read Twilight?

8. Don’t make your clients look dead.

It’s disgusting.

9. Fake Sunflare . . . looks fake. and stupid.

I’m not going to lie, I’ve enhanced sunflare before (many moons ago) when IT WAS ALREADY PRESENT IN THE PHOTOGRAPH to begin with. But don’t take a picture WITHOUT it and try to ADD it in. It makes you look like a ding dong.

10. Textures? I’ve only ever seen a hand full of photographers who can really pull them off.

I am hesitant to include this last one because I am a huge fan of several photographers who create lovely work with textures. Textures can be cool, BUT an image should never be blatantly SLAMMED with texture. Bleh.

Disclaimer: Don’t hate me. These are obviously EXTREME examples. Everything has it’s place in moderation. This post is truly just a satire. Me poking fun at and industry to which I belong, and that I love.

I recognize that post processing is incredibly individual. For a lot of people, what happens in post is an extension of their art. Hold on to what makes sense to you artistically! By all means. I would NEVER want to discourage someone from creating their art! Really, these are simply things I personally WISH I would have thought of going in. I’m guilty of many of them myself. A lot of my older work is embarrassing to me because I broke some of these very rules early on.

Don’t be ashamed if you’re doing some of the stuff listed above! ANY true pro you love and respect was likely guilty of much of the same early in their careers! And again and again and again: if it truly floats your boat?! Who the heck am I to stand in your way!!!!??? Selective color on my friend selective color on!

Happy Shooting! . . . and processing!

Post originally from: Digital Photography Tips.

Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.

Warning: 10 Deadly Post Processing Sins

This year has been a wonderful one here at Digital Photography School.  We’ve literally been reaching photographers around the globe.  We’re so grateful to all of you faithful readers and members of the Digital Photography School Forum! 

As a way to tell you just how much we love you, we’ve coupled with photographer extraordinaire Mike Colón to give a MEGA gift to one lucky DPS reader. 

Just comment for your chance to win (see our simple rules below) an educational DVD set including the following popular resources from Colón (retail value of $1,000 usd)!

1.  The Colón Experience: 4-day Intensive
(7 hour educational DVD set including information on lighting techniques, digital workflow and more!)

2.  Reaching the High End Bride

3.  On Location With Mike Colón
(Shadow Mike on location at a real wedding!)

About the instructor:  Mike Colón is a highly successful, high demand celebrity wedding photographer who specializes in celebrity portraiture and high profile weddings (celebrities who have commissioned him for their weddings are Usher, Timbaland and Kenny Wayne Shepard to name a few). Mike was named a “Nikon Legend Behind The Lens” and he is a spokesperson (and sits on advisory panels) for several of the photo industries top corporations including Apple Inc., Pictage Inc., Epson America Inc., Lexar Media Inc. Perhaps more impressive is the fact he still finds time for so much philanthropic work with NGO’s such as Thirst Relief International and NILMDTS.  Mike Colón has become nothing short of a household name in the photography world, known not only for his business acumen but perhaps more importantly for his success in obtaining national recognition as a celebrated artist in such a highly competitive industry.

The Rules are Simple

To Enter for a chance to win this prize – simply leave a comment in the comments below that does these two things:

1. Contains the word DVD (this will help us moderate comments and make sure we don’t miss any).

2. Tells us in 30 words or less why you want to win (while it’s a random draw it’ll be fun to see your reasons).

The prize will be a random draw from the comments left – we’ll randomly choose the winner in a week on 4 January at midday (Melbourne time).

Please note:

• there is only one entry per person.
• The winner will be contacted immediately after the drawing of the winner.
• This competition is open to all readers from all countries.

UPDATE: This competition is closed and the winner (the winner was Rachel Candy) has been notified via email! Thanks to everyone for entering!

Post originally from: Digital Photography Tips.

Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.

WIN an Educational DVD Set from DPS and Celebrity Photographer Mike Colón!

I la la lava me a nice white photo reflector.  Catch me out on shoot or at a wedding and chances are, 9 times out of an even 10, I’ll have my trusty ol’ reflector in tow.  However it’s important to note that it’s also highly probable that I’ll have an assistant at my heels making certain I’m able to make good use of said reflector. What if an assistant isn’t a luxury you enjoy?  Even if you can work the reflector and shoot at the same time (which I’ve definitely done many a time, albeit awkwardly) it’s not always practical.  What happens if you’re shooting a rambunctious toddler?  It’s not realistic to balance camera and reflector, while trying to set manual controls (with what your tongue??) and simultaneously chase a 3 year old through a field of wheat.  Plus with all this economic uncertainty, let’s just be honest, it’s nice to be able to make use of something you likely already have lying around the house!

Here are 3 simple ways to use a white bed sheet as your DIY reflector (your pseudo assistant if you will) to enhance your natural light photography on a budget (though the uses are ENDLESS if you just get creative!!!).

1.  Stand/sit on it

If you have your subject sit, stand or lie directly on the sheet you’ll immediately eliminate the shadows under eyes and chin and soften deep wrinkles.  The light bounces easily into all the right places.  Plus the sheet is generally large enough to allow a kiddo plenty of wiggle room while keeping him or her well lit!

SIDE NOTE: It’s also just a great way to allow a baby to wiggle around at an outdoor session without ending up all itchy from the grass.  I’ve had kids flat out refuse to be set down on the grass.  At a session recently, a mom brought her own white blanket because she’s actually allergic to the grass.

2.  Place it just outside the shade

If you’re shooting in direct sunlight, you don’t have to be an advanced photographer to know that open shade is a welcomed relief.  However, occasionally that shade takes away some of the dynamic of the light on your subject’s faces.  White sheet to the rescue!!!  Place the white sheet in the sunlight right a the edge of where the shade begins.  Have your subjects step up to the edge of the shadow they’re standing in and voila!  You’ve got dynamic!

3.  Use it as a diffuser

In bright midday sun, you can use the sheet as a way to soften the harsh light.  Have mom and dad hold the sheet over the head of their toddler or even hang the sheet between two branches to create a nice, gentle, even light.

Got other ideas?  Share them in the comments below!! Have questions? Shout those out in the comments too.  I always do my best to answer.

Happy Shooting!!

Post originally from: Digital Photography Tips.

Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.

DIY Reflector for Natural Light Photography.