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Portrait Tips for Posing Women

15 Jun

Editor’s note: this week we will be featuring a series of articles on posing for portraits. Look for a new one each day. If you miss any make sure you subscribe to our newsletter and you’ll get a reminder of all our articles once a week.

Let’s face it – unless you are working with professional models who know exactly what to do, and how to pose in front of the camera with little to no direction from the photographer, most of your clients, especially women are self-conscious and stiff the moment they get in front of the camera. Nervous laughs and fidgety hands are all signs that they are uncomfortable; they need to feel at ease and are looking for a lot of direction from the photographer. As photographers that is our primary job – to make the client feel comfortable with us, being in front of the camera, and also give them beautiful photos of themselves. To that end, there are some simple tips and poses that work wonders especially for posing women in portraiture.

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#1 Put them at ease and make them laugh

Even before you start taking their pictures, make small talk; ask them about their day and try to get them to relax. Find out what they think is their good side, and why, and keep that in mind while photographing them. If all else fails and they are still very uncomfortable and stiff, have them close their eyes, and at the count of three, open them and give you a very natural smile. This works almost 100% of the time. When they have their eyes closed, they relax their body and face and are able to gather their composure for a few seconds. If you have a continuous photographing mode in your camera (i.e. burst mode), use that to take a quick series with their eyes closed and when they open them. There is bound to be one that will work.

#2 Avoid stiff limbs

Choose poses that avoid awkward angles to their hands and feet. Have them sit down on a chair, on the floor, or even on the sidewalk. With older women, have them sit on a chair and cross their legs. This gives a little poise and grace to the image. With younger women, or if you are outside, have them sit down on the ground, or lean against a wall or a fence, and cross their legs at the ankles. Always make sure there is a little bend in the limbs to soften the stance.

#3 Give them something to do with their hands

Often when posing people if the hands are awkwardly hanging on the side of their body, it looks weird and unnatural. Instead direct your clients by giving them something to do with their hands. Touching their face lightly, putting their hands through their hair, twirling the ends of their hair with their hands, holding the folds of their dress, interlacing their fingers, and putting their hands on their lap all work well. This gives women something to focus on, and helps them relax.

Give your clients something to do with their hands.

#4 Find the right angle to point the camera

Women always want pictures that make them look slimmer. This is easily achievable by a small change in the angle of the camera. Photographing from slightly above the client with the camera pointing downward, elongates the neck and gives a long lean effect to the face. This also helps define the jaw line. One caution, don’t photograph down at a 90 degree angle to the face. Not only is this an uncomfortable pose to hold when the client is looking straight up, but you don’t want to photograph down someone’s nose!

If you have to photograph women straight on where the camera is parallel to the face, have your clients slightly tilt their head to the right or left. Again, this relaxes the face, neck, and shoulders and gives a little twist to the normal straight-on portrait photo. Sometimes standing behind the client and having them look over their shoulder at you also works. To me this is a very natural and candid pose – as if they were doing something and turned to take a casual candid photo. One thing to be watch out for here is unflattering creases around the neck.

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Looking up at the camera

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#5 Environmental elements

There is just something really magical about the wind blowing and lifting the hair, or even beautiful catchlights in the eyes. This almost instantly adds a wow factor to a portrait. If you happen to be outside, try and use such environmental factors to your advantage. If you are indoors, the same effect can be achieved with a small fan, simple hair dryer, or even an extra reflector used to create some wind.

For catchlights, if you are outdoors, place your client in an open shade area and look towards a light source (the sun or even an off-camera flash). If it happens to be a cloudy day, or if you are photographing inside in a studio, catchlights can be achieved with reflectors. If you have a reflector that has multiple colored sides, use the sliver side and hold it at a 90 degree angle, or less, to the face. Play with the reflector placement to get the right look you want.

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To me, all these tips have a common thread – pose your client such that they are comfortable in the pose. An uncomfortable pose or stance will show itself obviously in your images, no matter how lovely you think the pose is. Never force a client into a particular pose.

Feel free to share tips that work for you when posing women for portraits.

Check out more in this week’s posing series here:

Portrait Posing Tips- How to Help People to Relax and Take Better Photos
5 Unposing Tips for Kids for More Natural Photos
How to Pose People for Headshots

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The post Portrait Tips for Posing Women by Karthika Gupta appeared first on Digital Photography School.

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5 Unposing Tips for Kids for More Natural Photos

12 Jun

Posing kids is a whole different thing from posing models (unless you’re photographing a child model, and then you might not need this article). My biggest goal when capturing kids is to help them look as natural as possible, so truly I want to “unpose” them. Stiff, awkward, posed shots aren’t really what anyone wants, but I want to take this even a step further and talk about capturing kids’ true inner selves.

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Have you ever had a kid in front of your camera, and whatever you tell them to do ends up looking like the most unnatural position ever? Chances are, the kid is as baffled as you are. He doesn’t know what you want from him. He hasn’t been studying pinterest boards and kid’s clothing catalogues. He just knows his mom dressed him up and told him not to get dirty or mess up his hair, and now some stranger is telling him to put his hand there, look over here, bend his elbow like this. Most kids don’t understand this.

Let me share some unposing tips with you for helping kids to be more nature, so you and your little model can get some great shots!

1. Kids don’t need much help to be adorable

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If you can just let a kid be themselves, and explore, sometimes the photos you get can be more adorable than anything you could think up yourself. Part of each session could be unstructured, no posing direction, kid-led, fun. Photos like the above could happen all on their own, or if the child is shy, you could ask them, “What’s in that window?” Make picture time into play time, and let kids be themselves.

Some props can be good, but sometimes they just add to the chaos, and you end up with a lot of canned, posed photos. I love kids’ cute faces, and that’s what I want to be the main focus of my photos. Don’t stress too much about making everything around the kid amazing. Like I said, kids don’t need much help to be adorable!

2. Let them be with a buddy

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Sometimes kids are nervous and anxious about getting their photos taken. Letting them take a few photos with a beloved pet, favorite stuffed animal, or even Mom or Dad, can really help relieve the pressure, and help them feel comfortable.

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Sometimes the most spontaneous laughs, the happiest smiles, and the most relaxed poses, just happen when they’ve got their buddy with them in the photos. Adding a live wiggly friend can add extra work to getting a photo, but the payoff is often worth the work. Have Mom or Dad help you keep the pet under control, and be quick. Encourage a lot of interaction, and be ready for anything!

3. Work Quickly

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Kids aren’t going to be patient with a lot of posing cues and tweaks. You can give general direction, and then shoot fast. You could give some quick commands, “Now laugh at the silly caterpillar on my head!”, but don’t take a long time moving their arm just so, or turning their heads just so. Most kids won’t respond well to that, and will quickly tire before you get any good photos.

Have your camera on a fairly fast shutter speed (I like mine at least 1/100th for kids), because they’re not going to hold very still for very long.

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4. Some direction is good

You don’t want to stand there, staring the kid down, waiting for them to spontaneously be in a spot with great light, doing something amazingly photogenic. You’ve got to give some direction, but try to do it in a way that makes the whole experience fun and relaxed. Here are some phrases that you could try:

Could you come sit on my swing over here? Oh, you are so big! I didn’t know you could climb that high!
Can you sit here, criss-cross-applesauce? (Or whatever they call sitting cross-legged. You can ask them what they call it. Most kids learn this in preschool).
Let’s hug our freezing cold knees. Your knees say, thank you very much!
Where’s your tickle smile? Do I need to find your tickle smile? Is it hiding in your armpit?
Do you think you would be brave enough to stand on this rock?
Whatever you do, don’t smile. No, I said don’t smile! (Classic reverse psychology).
Where should we put your hands? We should put them away somewhere. Do they like pockets?
Could you hold this tree up with your back? Oh, thank you! That tree was getting tired of standing up by itself!
Let’s play copy-cat. Whatever I do, you do it too.

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5. Pay attention to personality

Some kids love silly, others are pretty shy. Pay attention to how they react to you, and adjust accordingly. If they’re really rambunctious, you might want to dial down your silly a bit so you don’t get them too wound up. You can still have fun with them, but talk in a calm voice, and don’t ask them to do too many crazy things, because they’ll take what you say and bring it up a notch or two. Before you know it, you’ve got a kid running in circles that isn’t listening to a word you say.

If they’re really introverted, you might want to try to capture more serious photos, and let them be contemplative. Don’t ask them to do things they are obviously uncomfortable with. When they’ve warmed up to you a bit, you may be able to give more requests, but really pay attention to the cues kids are giving you, and focus on capturing who they are, not the canned five poses that you do with every kid.

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I would love to hear your tips for getting great unposed shots of kids! What are the fun things that you say to coax a smile? How do you get their attention, and make photo time fun?

Check out Portrait Posing Tips- How to Help People to Relax and Take Better Photos for more in the posing series.

The post 5 Unposing Tips for Kids for More Natural Photos by Melinda Smith appeared first on Digital Photography School.

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8 Tips For Baby Photography Using Natural Light

12 Jun

Babies. Do you find them a challenge to photograph?

They gurgle, spit, vomit, laugh, cry, smack their hands together… They do a whole lotta things that we don’t need to see forever in a photograph!

But in between all that uncontrollable baby-behaviour are those moments that parents see every day and would love to keep alive forever in beautiful photos – the big eyes, cute smiles, tiny fingers, soft skin, and round cheeks – all those wondrous little details that only come with brand new life. Those are the things that connect to a parent’s heart in the moment, they happen and what they long for once their children have grown up.

00 Copyright Beth Jennings Photography Digital Photography School Baby battle 5932

Ruby, 3 months – ISO 1600, f/2.8, 1/250th

It’s the reason why, in the whirl-wind madness of baby’s first year, that your friend or family member may call on you to ask you to photograph their beloved treasure.

Maybe on one hand you feel honoured to be asked, but also that dreadful, pit-of-the-stomach feeling – do you worry they expect you to swaddle their baby up Anne Geddes style, and photograph him or her with stunning studio lighting and an elaborate set? Do you feel the pressure to create something amazing in the small window of only a couple of hours that you’ll have with them?
How are you going to maximize on the time you’re given, while baby goes through his sleep-awake-feeding cycle?

How are you going to interrupt that cycle to create something amazing, when the last thing you want to do is disturb the baby, wake him up, move him too much and make him cry? How the heck are you going to do it at all?

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Cody, 2 months – ISO 200, f/2.8, 1/200th

Let’s assume you don’t have the studio lighting and equipment to set up in the parent’s home. All you have is you, and your camera, and you’ll work with natural, available lighting. It may sound like it’s not enough, but actually, it’s more than enough if you know how to make do with what you’ve got.

The formula to successfully capturing babies within a limited time frame, one camera and no additional equipment, comes in eight tips total:

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Eliette, 9 months – ISO 1000, f/5, 1/160th

Part 1 Planning

Plan well, and it sets you up for your best chances of success on the day. Follow these steps in the one to two weeks before your shoot:

Step #1 Timing

Babies set their own criteria that rotates around a 1-2 hour schedule of sleeping, eating, crying, playing and nap time. Find out from the parents what that current cycle is, and build your plan from there.

Step #2 Lighting

Will you be photographing at their home? If so, this can include where their baby sleeps in a dimly lit room, by a window in Mom’s arms, perhaps also out in the backyard through dappled light if your shoot will include play time. Stay out of direct sun and just work with soft, diffused lighting. Find out what time of day is best for available lighting in their home and backyard.

Step #3 Clothing

It’s special for the parents to have you there to photograph their baby because it’s something they can’t actually do themselves. Advise them on having their baby’s preferred outfit clean and ready in advance, and a back-up in case of accidents. In order to feel safe and warm, babies also do well with accompanying blankets, bottles, beanies and soft toys. Check that the items all marry well together in terms of colours. If you have some clashes on the day and can’t change it, then shoot anyway and consider black and white for post-production to help strip it back a notch.

Step #4 Schedule

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Anna, 8 months – ISO 400, f/2.8, 1/200th

As best you can, plan the order of mini-events that the parent would like captured. For example, at noon baby will wake up, so you’ll be there from 11:45 and be quietly ready. That will be followed by feeding in the kitchen, and then tummy time in the backyard. If it all comes undone on the day, that’s okay. Just go with the flow of what is presented to you in the natural order that it happens.

Part 2 On the Day

It’s likely you won’t have much time with your subject, so follow these steps to be as prepared as possible before you actually start shooting:

Step #1 Look for the light

See where it is coming from, and where it is falling. For each of the baby pictures in today’s lesson, take note of the light source. Look at the shadows, as they indicate where the light source is positioned. Also observe the catch light (the little reflected glint) in the baby’s eyes which gives life and character. Notice that the pictures here are all created inside by window light, or outside in shaded areas.

Step #2 Compose for the background

Once you’ve established where the best light is coming from, then think about your composition, building up from the background first. See the picture of Cody above? What surrounds him? The rug and white blanket, with small elements of his sister and mother protectively surrounding him.

Step #3 Set up your shoot flow

While the parent is still preparing their baby to be photographed, get your technicals for ISO, shutter speed and aperture established with a test shot, and quick histogram check, to ensure you are achieving technically beautiful captures. Once in place, they are unlikely to change much because the light is constant, and baby won’t move much unassisted. (Shoot Flow is my seven step process for setting up your camera correctly in manual mode).

Step #4 Time to shoot

Once you’ve covered steps one to three, then position the baby (with the parent’s help) in the scene. Time is of the essence now, but it’s also the part you can’t control. All you need to do is be calm and observe what’s actually playing out in front of you in real time. Remember you can move, so keep yourself flexible and mobile. Compose your images, one by one, and keep your camera near your eye, finger at the shutter. When you see something worth capturing, be quick and go for it. One stunning capture is worth so much more than 10 average ones. Imagine your budget is $ 1 a shot and take your time.

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Olivier, one month – ISO 100, f/3.2, 1/160th

What to do with a sleeping baby?

Sometimes you don’t have the luxury to control all the set-up elements. See baby Bent (it’s a German name) below? He was already placed in the stroller and sleeping beautifully, and it would have been cruel to wake him!

Where is the light coming from?
Is the light play pleasing? Yes it is. It’s soft and softly coats the baby’s face – so the moment is worth capturing.

Then compose the image for what you want to say – in this one, it’s all about those gorgeous cheeks and button chin, as well as the nestling, safe space of the bassinet. So come in close and make your composition for that.

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Bent, newborn – ISO 1600, f/2.8, 1/160th

Technical tips for successful baby photography

Have a look at the technical settings for all of the pictures in this article.

ISO – whatever the light gives you is what you’ll use for ISO. If you’re shooting indoors, place the child nearer to window light than away from it, watching all the time how the highlights are rendering (ie, keep the tones gentle and not too hot).

Aperture – isolating the beautiful child from the background is the perfect approach if you want to make your pictures about their gorgeous details.

Shutter speed – for easy mobility you will likely be hand held when photographing babies, so make sure you are at least using your safe shutter speed of 1/125. Remember that children move quickly, so a faster shutter speed like 1/200 is recommended if they’re up and actively moving around.

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Rupert, 1 year – ISO 1000, f/4, 1/160th

Three final notes for creative observations:

Look for the light: Where is it coming from and travelling to? How does it illuminate the subject and where are the shadows?.
Observe the composition: Close-up? Horizontal? Low camera angle? Why?
The decisive moment of capture: What was happening at the exact moment that the shutter actually fired?.

How do these three elements come together in each photograph?

Have you ever had a friend or family member ask you to photograph their baby? Were you pleased to be asked, or hesitant? How did you handle it? Let us know in the comments section below.

The post 8 Tips For Baby Photography Using Natural Light by Beth Jennings appeared first on Digital Photography School.

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Portrait Posing Tips- How to Help People to Relax and Take Better Photos

11 Jun

One of the trickiest parts of doing a portrait photo shoot has nothing to do with operating your camera, mastering your lenses, controlling the light, or even dealing with uncontrollable weather. Getting your clients to relax, take it easy, and enjoy themselves during your time with them is just as important as making sure you have all the technical aspects of your equipment figured out.

This is often the key to a successful photo shoot, and yet it’s so easy to get caught up in learning about your camera equipment and buying new gear that many people forget to invest time in developing the human element of a photo session. Portrait posing and how to help your subjects relax is key to taking better people photos.

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If this aspect of your craft is not managed properly you could easily find yourself in the middle of a photo session where your clients are confused, agitated, bored, or worst of all, frustrated and angry. Every photographer has their own unique style, but generally speaking if you can get your subjects to get comfortable and relax, you can get more of the photos you (and they) are really looking for. It’s a tricky situation to be sure, and every photo shoot is different, but here are three techniques that may be helpful:

1. Get to know your clients beforehand

At its most basic level taking photos for clients is a simple business transaction wherein they pay you money for a service you provide. But it’s really much more than that: people are inviting you to record a point in their lives that they will hold dear for decades to come. When you order a sandwich or cup of coffee it doesn’t matter who you are, what hobbies you enjoy, what professional goals you have, or whether you woke up on the wrong side of the bed that morning. You hand over some cash, get what you ordered, and go about your day. However, taking portraits is almost the polar opposite because everything matters. A good portrait photographer will strive to capture the essence of the people they are working with, and getting to know them first is a key element of making this happen.

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On my website I have three simple questions on my Contact page:

Families: What was the best family vacation you ever went on?
Children: If you could have the perfect birthday party, what would it be like?
High School Seniors: If you had $ 1000 to spend, and a week off from school, what would you do?

The answers to these questions help me understand more about my potential clients, but also send a message to them that they mean more to their photographer than just a pay-check. This helps with any pre-session discussions we might have, as well as the photo shoot itself, because the seeds have already been sown for good conversation and a relaxed atmosphere.

I’m a teacher by trade, having taught in K-12 schools as well as at the college level (in addition to six-week classes for other teachers), and one common thread that I have found among people of all ages, is that most of them just want someone who will listen to and take an interest in them. With this foundation laid, classes are always much more productive for me and my students. So it goes for the photographer as well: if you show your clients that you are interested in them as people, you will find them to be much more cooperative as photography subjects. It might take some time to get to know them before you photograph them, but this will pay off handsomely for you and your clients throughout the entire picture-taking experience.

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2. Don’t treat the photo shoot like a photo shoot

I did a photo session recently for a bright, intelligent, outgoing young man who simply did not want to have his picture taken. He was nearing the end of his time in high school and his parents wanted to get some nice photographs before graduation, particularly of him in his cap and gown. He would much rather have been at home playing video games or hanging out with friends, but instead was obliged to spend the late afternoon with me taking photos – a prospect that was about as much fun for him as getting a tooth drilled. How on earth can you possibly get someone like this to relax, have fun, and enjoy a photo shoot? Simple: don’t make it about the photos.

One of the first things I said to this student as I hoisted my camera bag to my shoulder was “What video games are you playing right now?” He immediately relaxed and started telling me about one of his current favorites, which then branched into discussion of what his friends were playing, which then led to a dialogue about the recent school year and even his career goals. All the while I was snapping photos, while giving him subtle directions without interrupting the flow of our conversation. I got more good shots than I ever thought I would, and he enjoyed our time together far more than he had anticipated.

This girl was a bit nervous about having her picture taken so instead we just talked about music. I don’t know much about the clarinet, but she was more than happy to tell me about it, and in the process gave me plenty of good photo opportunities.

This is just one example, but I have seen the same scenario repeat itself over and over: people tend get nervous and self-conscious when getting their photos taken, so if you want them to relax, have fun, and enjoy the photo shoot, try treating it as an hour of just hanging out. They’ll enjoy it much more and you’ll be surprised at the nice results you can get.

3. Build long-term relationships

When you order a pizza or pick up a tool from the hardware store you’re not looking for any type of lasting personal commitment. It’s merely a simple business transaction that serves a functional purpose, whereas photography is quite the opposite. Because you are dealing with people, and not objects, you should not only get to know your clients and seek to build a rapport with them, but find ways to build a professional relationship with them after money and pictures have changed hands. This won’t necessarily improve a current photo session, but it will pave the way for many successful future sessions while also helping to spread the word to the client’s friends, family, and co-workers about your photography services. A few ideas to try include:

Send a real thank you card

Send a thank-you card to the client (not an email, but a physical handwritten card) a few weeks after they receive their photos. Let them know how much you enjoyed working with them and appreciated their business, which is a good way to build a positive professional relationship that will last for years to come, and help make future photo sessions much more relaxed and enjoyable. You can also slip in a discount for a future photo session, which will give them even more incentive to do business with you again. This is especially important if you work with children or families, as you can easily lay the groundwork for many years of photo sessions by letting them know how much you appreciate them and enjoy working with them.

This boy’s parents had such a positive experience on his photo shoot that they asked me to take pictures for their whole family a few months later.

Post about the session on social media

As more clients share their lives online, you can take advantage of the medium to publicly say how much you enjoyed working with a particular client, how good the photos turned out, or how you are already looking forward to a future session. Clients often respond quite positively, and this type of public recognition helps to reaffirm their good opinion of you as a photographer. Note that you will want to get your client’s permission first, and posting about a client on Facebook is not the same as friending a client. I don’t necessarily recommend that, though I know several photographers who do.

Scratch their back, and they’ll scratch yours

Many of your clients (or their parents) are working professionals and would appreciate your patronage as much as you like to have theirs. Remember the father of the cute kid from last week’s session who is a local plumber? Give him a call the next time your sink overflows. What about the upcoming wedding shoot with the couple who owns a local deli? Take your family there the next time you go out to eat. Building these types of professional relationships is a good way to help ensure that future photo sessions are relaxed and comfortable for your clients. They will start to trust you, be at ease around you, take directions from you, and also recommend you to their friends and family. This also sends the message that you are interested in more than just taking pictures, but are an active and supportive member of your local community, which is filled with people who might be looking for a photographer to do their next portrait session!

Getting to know this family, finding out about their interests, and building on experiences from previous photo shoots helped make this session fun and enjoyable for them and much easier for me as a result. The children knew me from their photo session earlier in the year, which not only helped them relax but put the adults at ease too.

These are just three ways to help you get people to relax in your photo sessions, but there are many other ideas as well. What about you? What tips and tricks have you learned over the years to help your clients relax, enjoy themselves, and help you get the best shots you can? Leave your thoughts in the comments below.

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3 Tips for Avoiding Blurry Photos of Kids

09 Jun

One of the best things about kids is also one of the most frustrating when it comes to photographing them; they are so full of life and energy they rarely sit still, which can lead to an abundance of blurry pictures and heavy sighs when you go back to review your images. Instead of smiling faces and cute outfits, you often end up with a memory card full of photos where their cute little faces are a mishmash of fuzzy pixels, and any details in their hair or clothes are hopelessly lost. This is a chronic problem with photos of kids from smartphones, but it’s all too common in pictures taken with more expensive DSLRs too.

One solution is to simply use the flash on your camera, but this has the unfortunate side effect of creating harsh shadows, poorly-lit backgrounds, and ghostly red-eye effects that have to be fixed on your computer. To get the types of photos of kids you’ve always wanted it’s important to know a bit about shutter speed, and look at some of the ways you can harness the controls of your camera .

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Understanding Shutter Speed

The underlying problem of blurry kid pictures usually stems from your camera’s shutter speed; kids move quickly so a fast shutter is usually required to snap clear pictures. This is fine if you have plenty of light, but as soon as the sun goes down, or you find yourself indoors, your camera’s shutter slows way down in order to let in enough light for exposing – too slow for non-blurry photos of fast-moving children.

A faster shutter will result in sharper photos with less motion blur.

A faster shutter speed will result in sharper photos with less motion blur.

Unfortunately the solution is not always as easy as increasing your shutter speed, as this can lead to pictures that are underexposed if there is not enough light available. This is why your camera will often opt to use the flash if you are shooting in low-light situations on Automatic mode. Rather than decreasing the shutter speed your camera simply creates its own artificial light. If you’re using a kit lens with a focal length between 18-55mm a shutter speed of 1/90 is probably sufficient to capture blur-free images of little ones, though the exact value will change depending on the focal length of your specific lens and how fast the kids are moving. As a general rule I don’t use shutter speeds slower than 1/90 second when taking pictures of kids with my 35mm lens, but that usually means I have to compensate for low light in a few other ways. Here’s a few tips to help:

#1 Increase the ISO

There are three primary ways to control the amount of light that enters your camera:

Aperture: Increase size of the opening in your lens so more light can pass through it.
Shutter speed: Open the shutter for a longer period of time.
ISO: Make the piece of digital film (sensor) in your camera more sensitive to light.

The first method is limited by the physics of your lens. Most basic kit lenses simply don’t have large enough openings, or apertures, to let in much light (unless there is a great deal of light already available i.e. outside during the daytime or in a brightly lit room). The second method is easy if your subjects are not moving. You can leave the shutter open for many seconds at a time and get a non-blurry shot if everything is standing still, but that rarely happens with little kids. The third method, raising the ISO, was not a viable solution until recent years when camera technology advanced to the point that you could greatly increase the sensitivity of your sensor without a massive loss in overall image quality. Camera sensors are now so good that you can use faster shutter speeds to get blur-free shots of kids (even if your lens does not have a wide aperture) simply by raising the ISO.

Shooting at ISO 3200 allowed me to get pictures of my nieces’ pajama party without using the flash.

Until a few years ago most DSLR cameras were fine at ISO settings of 400, 800, or even 1600. Beyond that, photos started getting quite noisy and grainy, almost as though they were coated with a fine layer of colored sand. Now even basic consumer cameras like the Canon Rebel T4i or Nikon D3300 can go all the way up to ISO 6400 without too much detriment to their overall picture quality. Granted an ISO 6400 picture is never going to be as clean and sharp as one taken at ISO 100 or 200, but ISO 6400 essentially allows your camera to capture 64 times more light than ISO 100 (equal to 6 stops more). This means an image that would normally require a shutter speed of 1/15 second at ISO 100 could be taken with a shutter speed of 1/1000 second at ISO 6400 – a massive benefit if your goal is to capture pictures that are not blurry.

Shooting at higher ISO values means your photos will have a bit more noise and grain, but you will be able to use much faster shutter speeds. It’s up to you whether the trade-off is worth it, but for me it usually is.

One caveat to this technique is you simply cannot do it in Automatic mode. If you don’t feel quite confident to start shooting in Manual, try using the Program Automatic mode instead. Rotate your camera’s command dial to the P setting, then you are free to change the ISO while your camera figures out an appropriate shutter speed and aperture. The more you practice, the more you will get the hang of it, and start feeling comfortable with your particular camera’s capabilities at higher ISO values.

#2 Use a large aperture

I mentioned in the previous section that a wider aperture is one way to let in more light, and the best way to do this is with a prime lens. These lenses do not zoom in and out like the kit lens most cameras come with, but the trade-off is their extraordinarily large apertures – big enough to let in tons of light even at dusk, or in a dimly-lit room.

Shooting at an ultra-wide aperture of f/1.8 allowed me to get a picture of this girl taking her first steps. Using the flash would have resulted in washed-out colors and would have been quite a distraction for the little girl.

If you don’t have a prime lens you can still use wider apertures, but you will likely have to raise your ISO a bit more as well. Most kit lenses have apertures of roughly f/3.5 when zoomed out all the way and f/5.6 when zoomed in, which might not sound like much but it’s actually a massive difference (f/5.6 to f/2 is three stops or 8x less light so it is quite significant – in the example above it would mean shooting at 1/4 second or 6400 ISO instead). This just means you will have to move around a bit more to position yourself closer to the kids instead of standing across the room and using the telephoto end of your lens.

If you’re not entirely comfortable dealing with apertures and f-stops just yet, try using your camera in Shutter Priority (S or Tv) mode with auto-ISO. This lets you set the shutter speed while your camera figures out the best combination of aperture and ISO. As I said earlier, when taking pictures of kids with my 35mm prime lens I like to use a shutter speed of 1/90 second and faster, like 1/125 or 1/250, if they’re running around or jumping on furniture. The shutter speed you use will be different depending on your camera and the focal length you are using on your lens, but when you shoot in S/Tv mode with auto-ISO your camera will generally default to using the widest possible aperture and then start raising the ISO to get a good exposure. In other words, you are telling your camera “I want a fast shutter and no flash, so it’s up to you to figure out the biggest aperture and highest ISO to make this happen.” It doesn’t always work, but it’s certainly a good technique to try if you want clearer pictures of children.

The only way to get a non-blurry picture of this girl jumping on her trampoline was to use both a wide aperture and fast shutter.

This might sound a little counter-intuitive, but if you shoot in Aperture Priority (A or Av) mode, you can tell your camera to use a large aperture but in order to get a good exposure it will usually give you a slower shutter speed. By contrast, shooting in Shutter Priority will force your camera to use the widest possible aperture every single time in order to get a good exposure at the shutter speed you set. (Unless of course there is already plenty of light available in which case it might select a smaller aperture, but you would still get the non-blurry photo you want.)

#3 Make better use of light

One of the best sources of light is available for free all day long right in the sky above you. However, while the sun is certainly the brightest light, it is also the least controllable. This means you have to find ways of making use of the light it does provide, which usually is a simple matter of repositioning yourself or your subjects. When working with adults this is fairly easy, but kids are another matter; they rarely go right where you want, and if they do they are not likely to stay there for long. If you’re the kind of person who likes to take pictures while resting comfortably on a couch you might find yourself with plenty of blurry, or excessively dark or light photos, as a result. If you get up and start roaming about the room you can not only get a better vantage point from which to take your pictures, but find ways of making much better use of the sunlight that is likely to be streaming in through the windows.

Sunlight was pouring in through a window just to the right of this photo, so I quickly found a location that took advantage of such a large amount of available light.

This technique works great even if you don’t have a fancy DSLR or other such expensive camera. I often see pictures of kids posted to social networks that are blurry because the shutter speed was too slow to capture the action, even though there is plenty of sun or other light available. The trick is to learn how to reposition yourself such that your subject is in front of you and the main source of light is behind you. This will help make sure your subjects (whether they are kids, adults, pets, plants, or anything else) are properly lit, while also giving you enough light to use faster shutter speeds.

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This takes a bit of time to adapt to because you may be used to staying relatively still while kids run around and play. Once you start getting up, moving around, and learning to harness the available light instead of using the flash, you will see a dramatic improvement and far fewer blurry photos, even if you are using an iPhone or an inexpensive point-and-shoot camera.

Do you like taking pics of children? What are some of your favorite techniques for getting photos that are sharp, in focus, and not blurry? Leave your thoughts in the comments below.

The post 3 Tips for Avoiding Blurry Photos of Kids by Simon Ringsmuth appeared first on Digital Photography School.

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7 Tips for Using the Gestalt Theory for Better Composition

08 Jun

Andrew’s newest ebook Mastering Composition is now on special for a limited time only at Snapndeals.

Gestalt theory and composition

Gestalt theory evolved in the 1920’s to explain some of the ways in which people perceive the world around them. The basic idea is that, when faced with a visually chaotic scene, the human mind simplifies it into more recognizable patterns and shapes.

Gestalt theory provides an insight into the pattern recognition process that occurs when people look at photographs. Once you understand the principles of gestalt theory, you can use them to improve the composition of your photos.

These are some of the useful aspects of the gestalt theory.

1. Proximity

A pair or group of objects that are close to each other are more likely to be perceived as belonging together than if they are far apart.

In this portrait, the proximity of the girl and horse suggest a close relationship between them. If closeness is what you want to show, it would be far less effective to position them with their heads further apart.

Gestalt theory and composition

2. Similarity

Objects that are similar in shape, size or colour are seen as belonging together.

In this landscape photo, the three rocks in the middle distance are linked by proximity (the previous point) and by their similarity in texture, colour and shape.

Gestalt theory and composition

3. Closure

The mind completes shapes that don’t exist. This is a principle used in some optical illusions but it also applies to photography. Part of the skill of composition is learning to recognize shapes, and building the design of the image around them. The principle of closure helps you see shapes in the subject.

For example, take a look at the landscape below. The bluebells form a solid block of colour in the lower two-thirds of the photo, with a strong horizontal line along the top. The line is interrupted by the trees passing through it, yet we still perceive it is a continuous straight line. The mind automatically fills in the gaps.

Gestalt theory and composition

4. Simplicity

The mind perceives parallel lines that are close together as a single line.

The landscape photo below contains several lines, all leading towards a vanishing point on the horizon. The lines that are close together, like the cables dangling from the telegraph pole, are simplified by the mind which sees them as a single line.

It’s the same with the fence. This set of short, vertical lines is simplified into a long, diagonal line that follows the side of the road.

Gestalt theory and composition

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5. Continuation

The mind assumes that lines extend beyond the edges of the frame. In the landscape photo above this principle helps create a sense of depth (along with the use of a wide-angle lens) as the mind believes that the road continues beyond its vanishing point.

6. Segregation

For human figures to be recognizable they must stand out from the background. That way we can identify them easily even if they’re small in the frame. This is a useful principle because you can include small human figures in the landscape to indicate scale. But it is important that they don’t merge into the background, otherwise they are difficult to see.

In this landscape, the man walking away from the camera is a dark figure against a light background (tonal contrast in action), and is easy to see and recognize.

Gestalt theory and composition

7. Emergence

The viewer may not notice something in the photo when he first looks at it, but it becomes apparent after a period of study. This is an important concept because it is a way of making photos more interesting by presenting the viewer with something that is not evident at first, but reveals itself after reviewing the image. It’s a way of rewarding the viewer, and gives photos staying power.

For example, how long did it take you to see the cat in the photo on this page? Or the cow’s head in the opening photo (top of the article) of the singer?

Gestalt theory and composition

Mastering Composition

My new ebook Mastering Composition will help you learn to see and compose photos better. It takes you on a journey beyond the rule of thirds, exploring the principles of composition you need to understand in order to make beautiful images. It’s on special for a limited time only at Snapndeals.

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6 Tips on How to do Horse Show Photography for Parents

06 Jun

The sport of horse riding and showing can be very rewarding and beneficial to a young child. However, capturing those memories to print and share with family and friends can be a challenge for parents. Basic horse knowledge is helpful not only in keeping your child and their horse safe, but others around them as well. The following are a few dos and don’ts to get you started successfully, and safely, photographing your child at horse shows.

#1 Avoid the use of flash

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Camera flashes from the audience during rodeos and exhibitions are common, and for the most part those horses are accustomed to many distractions. However that may not be true for the horse your child is riding. An experienced horse with an inexperienced or nervous rider, at an off-property show (and sometimes the excitement of a show at their home barn) may react differently from their usual calm, sensible self. A covered arena can be challenging in terms of lighting and on-camera flashes won’t effectively reach the far end. If they are riding in the morning or late afternoon one side of the arena should be sunny. Wait until the horse and rider are in the sunlit area before capturing the moment. Obviously, this will cut down on the number of images taken, but they should be sharper and brighter, and worth the wait.

#2 Make yourself visible to the horses

Do not hide behind a fence post, arena support, fence, etc. Wide arena supports can be tempting to steady yourself, but this is essentially playing peek-a-boo with a half-ton animal (that has a mentality of a young child) which your son/daughter is sitting on. Horses notice change and if an object or person has moved they may look for it; taking their attention away from the rider. In addition to being noted as a comment or error on the rider’s test, this could also create a dangerous situation if your child’s horse is a bit on the nervous side. Stand or sit out in the open – let them see you, and stay there until the test is complete. Standing on a lower step of a mounting block, outside the arena, will get your camera higher than the fence. But, position yourself during the time riders are entering and exiting the arena, and remain there for the duration of the ride.

Bowman arena

#3 Shoot hand held without a tripod or monopod

Do not use a tripod or monopod. Depending upon the type and location of the event there may be several horses, riders and their trainers, waiting to enter or exit the arena, return to stalls, etc. Extended tripod legs can be a tripping hazard for people, and a scary thing for horses. Fence railings, tables and tucking your arms into your body are good solution to stabilize your camera.

Bowman horse

Besides, most tests are over in a few minutes, so foregoing that extra gear will allow you to quickly rejoin your child. Larger shows often hire official show photographers who will take pictures inside the main arena (from a vantage point different from spectators) that you can purchase later. Additionally, if you are using a tripod or monopod you may be viewed as a professional (whether that is the case or not) by show officials who may ask that you refrain from taking any pictures if they feel you are in competition with the official photographer.

#4 Use a fast prime lens

DO buy, rent, or borrow the fastest prime lens you can – 50mm or 85mm preferred (keeps the horse’s head in proportion). A longer lens (85mm) also keeps your camera out of everyone’s personal space and avoids any possible flight response in the horse. There are many bomb-proof horses for young riders who will absolutely not react to anything (near or far), but you don’t want to test that out – especially with your child holding the reins or sitting on top of all that power.

A fixed focal length lens also means you won’t be able to adequately shoot across a large arena. Riding tests often have the horse and rider cover the entire arena, so capture your child when they are closer to you; details such as the rider’s hands, legs, and boots produce great images too.

Bowman hands

#5 Know the routine your child will be doing

DO learn the tests your child is riding. Tests in both English and Western disciplines require specific movements, to be performed at certain places in the arena. Being familiar with the tests will allow you to anticipate the next movement and be ready to shoot, especially when using a fixed focal length lens. Some movements are photographically more appealing than others, but simply ensuring that all four legs of the horse are visible, arena supports are not coming out of the rider’s head, and the focus is centered on the rider’s or the horse’s eyes, will improve your images. Test movement patterns can usually be found on the internet (In the states, the United States Equestrian Federation website is a good starting place for all disciplines).

Bowman test

#6 Take details shots outside the show ring

Do shoot the details outside of the show ring; the relationship between horse and rider, grooming/tacking up, show clothes, friends, bridle, stalls, etc., – all those moments leading up to and after riding the actual test.

Bowman showprep

Photographing activities of the entire day completes the horse show story, which the show’s official photographers do not usually cover. Using a 50mm or 85mm lens captures the action without being too close (not adding to a rider’s show nerves) and produces casual, natural photographs. Older, more experienced riders, often assist the younger riders with tacking up and grooming for shows (among their many other duties that day) held at their home barn. An experienced rider can be a valuable asset on show day and may already have an established relationship with your child.

Bowman boots

Horse show photography can be exhausting, dirty, and a continuous learning opportunity, but can also be an amazing experience. Dress comfortably, avoiding open toed shoes, and approach the day as an adventure that you and your child will remember forever.

The post 6 Tips on How to do Horse Show Photography for Parents by Sherry Bowman appeared first on Digital Photography School.

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8 Tips for Photographing Children

02 Jun

Children’s expressions are genuine; they love to live life with passion and abound in energy. When they are happy, their laughter and joy is infectious. They can be the best subjects of all – busy, happy, playful and real. If you’ve ever tried to take photos of kids who were not so crazy about having a camera in their face, you also know that while they are all these wonderful qualities, they can also be difficult and may require a little more planning for a smooth session.

Posed girl indoor studio

These organizational tips for photographing children will help you prepare yourself for some extended camera time with a child – whether you are a professional photographer prepping for a session with an advanced DSLR, or a parent with a simple point-and-shoot wanting to get some nice shots of your young children.

1. Timing and location

Time of day is really important. A photo session generally works best after a nap and snack when the child is the happiest. Also something to keep in mind is harsh light. Outdoors at midday when the sun is bright and strong is not ideal for photography.

A close second for importance is location. Outside is optimal and allows for lots of space to move around, but if you would prefer indoors (or it’s -40), make sure you have adequate space.

This family found some lovely outdoor locations, and we chose to do the session in the evening. We found the sweet spot between hungry, tired, sleepy kids and soft, flattering natural light.

2. Be prepared

Both you and the little ones want this to go as fast as possible. If you waste too much time floundering around when you could be shooting, children get bored, antsy and quickly lose interest. Make a flexible plan and be prepared before you bring in the child. Have your camera (charged battery, lots of room on a memory card, check your settings) and props ready (hide any toys where they can be easily accessed and only bring them out if or when they are needed). If you are using various backgrounds, know ahead of time the order you would like them in, and make sure they are ready to go.

3. Make a list

Make yourself a list of potential non-posed shots such as: sitting, standing, laying down, playing, running, etc. – your child will not pose the same as the kids in Pinterest photos – and you don’t want them to. Look for ideas and themes, but don’t expect those exact poses. You want the picture to express who they are. Include activities that you have ready, as well as some back-ups such as snacks or a phone. Get any electronics you use to entertain them ready beforehand – their favorite Netflix episode ready-to-go, or an upbeat song already opened in iTunes just waiting for you to click play – however, these should only be options when you are desperate and have tried everything else. Be flexible with your list and ready to throw it out if needed.

List

4. Get reinforcements

If possible, get some help. Ask your helper to stand directly behind you at first, not to the side – you want to try and get some pictures where the child’s eyes connect with the camera. For little ones your helper can plop them on a chair and quickly move away, while you wait ready with your finger on the shutter – you might only have two seconds to get the shot. Choose someone who can get them smiling and laughing. They will also help you keep your sanity when photographing your own kids.

5. Start with poses

Take the most posed, formal, look-at-the-camera pictures first. For example, a sibling shot where you want them all looking at the camera and smiling. You still might not get it, but this is where you have a chance.

This posed shot was taken at the beginning of their session.

6. Limit movement

Limit their movement at the start: A chair, stool, couch, basket, swing, etc. Just be flexible and don’t force it – a picture somewhere else is better than a red, blotchy, crying face. I will sometimes keep a chair or prop hidden until it’s time to use it. Stick a fun chair down where you want them to be, and see if they naturally head over there to explore. You might get lucky and have them crawl up there on their own. But they might not want to sit on the chair at all – move on, or let them stand holding onto it, or sit on the floor next to it. Come back later if you feel they are not ready. If not, just ditch it. You might have lots of ideas and only actually use a few of them.

Near the beginning of a session is a great time to limit movement using props, chairs, etc. After a while they will want to run around instead of sitting. This little guy wasn’t going for conventional, but that’s okay too – just go with it.

7. Let them play

Let them play after you have tried the formal, posed shots. Don’t try too much posing or force them to sit still; you are in for a battle, and they will likely win. Consider centering the rest of the session around an activity they enjoy, or a new one that you think might be a hit – in the yard with the sprinkler, at the park on the slides, walking along the beach to collect shells and go adventuring, tea party outside, flying a kite, jumping on the trampoline, bucket full of soapy water on the grass, etc. Music can also be helpful – a fun little dance party, maybe? Unless you have a kid that really likes to run far away, outside is an excellent option – kids love to have room to move around, and a big space affords more options.

We were nearing the end of this session and sitting still wasn’t an option anymore. This little guy loved feeding the cows, so over to the cows we went. It was also a way of telling the story of who he is, and what he loves. Sometimes the most cherished pictures don’t have a smile or eyes facing the camera.

8. Relax

Take a deep breath and relax! Kids can sense your stress, and it transfers onto them (and usually makes them do the opposite of what you want).

Do you have any other tips for photography children? Please share in the comments below.

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Quick Tips for Getting Into Stock Photography

01 Jun

Getting accepted as a stock photographer can be a difficult and frustrating process. Especially when your best photos get rejected by photo reviewers. After helping many photographers trying to become accepted as Shutterstock contributors, I have discovered how the process can instead become a fun and educational experience.

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Why become a stock photographer?

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Earning money on your digital photography work is a great way to earn an extra income. But it is often not the main motivation for why many people try to become contributors. Being accepted, and being able to call yourself a stock photographer, means something. Similar to how many people develop their skills so they one day can become a professional in their field, being able to call yourself a stock photographer will for many mean more than saying you’re a professional photographer.

When someone presents themselves as a professional photographer, people tend to have different views of what that means. Some associate a professional photographer with someone that makes high quality photos. Others may think of the person they hired to photograph their wedding. Or perhaps someone that has their photos sold in a gallery. Some may think a professional photographer is only someone that has a diploma, or someone that works full-time and earns their main income from their photography.

Being able to say you’re a stock photographer says something about the level you have reached. Why? Because the stock photography industry is well known for its high quality requirements.

Furthermore, the best part of being a stock photographer is knowing your work is being purchased, appreciated, and used all around the world. With modern tools like Google image Search, you can back trace and find were and how your most popular photos are being used.

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Are you qualified?

If you know how to make a manual exposure, get the focusing correct and have a good eye for correct white balance, you’re most likely qualified to become a stock photographer.

Expect to get rejected

It might take a few attempts. But once you’re accepted, as many existing stock photographers can testify, it made them an even better photographer. A rejection of your initial submission might feel like a disappointment at first. But take advantage of the feedback and suggestions provided. Your initial submission will most likely be more strictly evaluated than the general submissions you’ll make in the future after getting accepted.

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Find the motivation to learn

Try to see your first submission as a homework assignment for reading the stock agency’s submission guidelines. Like any course or workshop, your first homework assignment is not expected to be flawless. There will most likely be room for improvement. With this attitude, learning about stock photography can be an educational, fun, and even motivating experience.

The first batch of photos is the hardest

For example, when signing up to one of the most popular stock photography sites like Shutterstock, you are asked to submit 10 samples of your best work. Seven of these must pass the strict inspection of their reviewers. But if rejected, you’re provided with great feedback to help you improve your photography.

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It gets easier after getting accepted

As any existing stock photographer can testify, your initial batch of submitted work is much more strictly evaluated than the general submissions you will make in the future after getting accepted.

You’re closer to getting accepted than you might think

A submission that is not approved is often not completely rejected either. Many rejected photos can have only one minor issue that can sometimes even be fixed with a little editing. Even though it may feel like your entire batch of submitted work was rejected, you might only be a few adjustments away from getting accepted.

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Try again. Many existing stock photographers did.

Many existing stock photographers did not get accepted on their first attempt. For every initial submission that is not approved, take good use of the feedback that is required. See it as a free portfolio review from experts in the field. Be inquisitive, study the material and try again!

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12 Tips for Travellers to Bring Home Better Photos

30 May

There’s nothing better than browsing through old holiday photos during a long cold winter. Capturing the joy of our friends and family as they explore new cities and lands is priceless – travel photography is just as about the subjects as it is about the surroundings. Here are top 12 tips for travellers to help you make the most from Continue Reading

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