Category Archives: Sweet 16 Photography

Art Of Group Photography

We come into this world, we grow, we make friends, we look for opportunities and ultimately, we have to part with our friends and family members. Each one of us has been through this or will cross this path in our life eventually. We wish to live those beautiful and unforgettable moments again by turning back time and for this we rely on photographs.

Photography includes a number of diverse themes and one of the most common is a group photo. Group photographs are the perfect testimonials of age and experience. You will want to tell yourself and generations to come that you have live the best moments in life, so you have to choose the best group photographer who knows the solution to the hurdles that comes in path of large group photography.
Some of the regular troubles, pertaining to group photography usually involve the group not fitting into the setting of the shot and arranging people to stand in the order of their heights. These troubles should be received as challenges by the selected photographer.
The most important requisite while attempting a group shot is to figure out all the details like acquiring an idea of the location prior to the shoot, framing of the shot, positioning of people and deciding on their pose.
For best outcome the group members should be informed about the timing of the shot and asked to assemble a few minutes beforehand so that there is ample time to arrange them in a particular order.
The location of the shot plays an important role as it should be in context to the theme reflected by the group. A good photographer knows what the best location is for a particular kind of group. For e.g. the best possible location and background setting for shooting the picture of a sporting team would be their field of play.
Photographer should be able to improve the quality of the photograph by trying to get as close a shot as possible, using a variety of techniques without cutting any of the members.
One of the main problems in group shots is that not everyone in the group is looking at the camera at the same time. One of the most effective ways of overcoming this problem is to take a number of shots in quick succession as even if the first shot is not as good the successive shots might be better.
In a group photo, it is the pose that is most important and while the most conventional pose is where tall people stand behind and short people stand in front, it is up to the photographer to experiment with other arrangements. If the group comprises of more than 100 people you better arrange for proper staging. There are certain photographers who have designed staging with the school group in mind.
The timing of the shoot and the available light in the surroundings are some of the other factors, which need to be taken into consideration in order to acquire the best possible results.
Last but not the least, it is the photographer who should be smiling the most as it is a relaxed and cheerful photographer who is likely to induce his subjects to smile broadly, while they are being photographedso selection of right photographer is utmost important.
Gillman & Soame Photographers offers exceptional standards of service and quality. They bring the expertise to produce studio quality group and school photos on site with minimum disruption.

School Photos and Group Photography by Gillman & Soame

Photography Tour in Indochina

It is difficult to imagine an area of the world so bursting with photography opportunities than Indochina. No matter what type of photography you want, Indochina has the light, the colours and the exotic views. Beautiful land and seascapes, floating markets, rich paddy fields, saffron robed monks, ancient temples, French influenced architecture, historical monuments, traditional minority costumes …

In the northern mountains of Vietnam, live some of Vietnam’s 56 minority groups. You can visit their villages and share their traditional lifestyle for a while, all the time recording what you see. In Yunnan, in South-west China, the Dai, Bai and Naxi peoples are proud to display their colourful traditional costumes as they go about their daily lives in their villagesand towns with traditional architecture. But be careful. Some ethnic minorities have cultural prohibitions against photography. Just ask first. Buddhist monks in Laos and Thailand stroll the streets and are sometimes happy to pose for you. Always obey signs forbidding photography – failure to do so can cause great offence in religious settings. If in doubt, ask.

Especially in Vietnam, one can see the blending of French and Vietnamese architecture, with a little Chinese influence thrown in too. In Hanoi, the French mansions line boulevards that could have been imported directly from France. In Cambodia, the Khmer architecture reaches its peak in the 12th century temple of Angkor Wat. This is one scenic area that demands photography! Similarly, in the Thai capital, Bankok, the Wat Phra Kaew or the Temple of the Emerald Buddha is a photographer’s dream as are the hundreds of smaller temples across all of Indochina.

The cities, too offer occasions to capture great images. The bustling markets in every city; perhaps an elephant walking through the crowded streets of Bangkok; the stalls selling weird and wonderful food which appear on the streets every night; the fascinating mix of styles and influences.

For natural wonders, the karst islands of Halong Bay in northern Vietnam are hard to beat. Thousands of islands rise from the seabed creating a mystical panorama. The island beaches of Thailand are stunning and no one should miss the vivid turquoise seas which surround Indochina. The rivers that irrigate the whole area also offer many photography possibilities – whether from the natural wonder or for the communities who live beside and on the rivers. The floating markets of the Mekong Delta in southern Vietnam are a prime example of the photogenic. Phu Quoc in the far south is Vietnam’s largest, and most beautiful, island and it is known as an ideal place to catch the sunset.

The local holidays and festivals also offer special photography opportunities. The important water festival known as Pimai in Laos and Songkran in Thailand is a colourful event celebrated across Indochina. Be careful to keep your camera dry! But perhaps the most beautiful festival is Thailand’s Loy Krathong when thousands of tiny boats made from banana leaves are set afloat on the river, bearing candles.

No matter which interests you have photography tours can be arranged to your special requirements to ensure you miss nothing. Whatever you do, bring spare batteries and lots of memory capacity – you are sure to go home with many more pictures than you thought possible. 

Here is an itineraly maybe useful for your trip to Vietnam:
http://www.indochinaodysseytours.com/tours-package/tour-IOT-0471-Vietnam.html

Indochina Odyssey Tours – Your trustworthy Indochina Vietnam tour operator since 1987. Personalized and worry-free service in tours, hotels and tickets in Vietnam, Cambodia, Laos and Thailand.

Venice Portrait Photography

How to reproduce the portraits from photographs has gained momentum, there is a rush to get photos of a portrait shot. Hand the camera to any person, and he certainly went out with some pictures. But you really want this mediocre photos must be converted into a portrait of yours. No Portrait of a lifelong treasure that will live should be considered even grandchildren. So represent your best for portrait photography and above all get the best photographer to shoot you.

What creates an outstanding portrait photograph? This is a complex issue, and there are not many top photographers will be ready to disclose their secret. Experts have listed a few important guidelines for beginners who wish to make a career in the field of portrait photography.

In order to produce outstanding portraits, the first thing to do to make your foundation is very strong. There are basic methods of shooting. Create your own rule over these techniques, one at a time, and you go to his purpose, that is to become a good photographer, portrait. How far is the presence of the studio, equipment and technical resources that help? Yes, they are useful, but their absence will not be fully Mar. efforts of the new artist. Copying the style of the leading portrait photographers. In any other setting, it would be unacceptable. Nevertheless, here you can draw inspiration from the great portrait photographers. Watch the main methods they used, and then build on this basis, the style of yours.

A good understanding of what a portrait is very important. Portrait is a likeness of man, with special emphasis on the front side of the question. A good portrait seen through the outer face of the subject as to what he tells the story. This is called the image of the character of the subject in the portrait. Good relations with the person to be removed will portrait photographer to have a clear understanding of its nature and thus ably reproduce the image in the picture.

Venice Portrait photography is thus not a mechanical problem. It includes the ability and understanding of human nature. It is just like entering a theme with your friends. Increasing number of topics for discussion between you and the subject. There will certainly be a topic in which you are both interested. The idea to break the ice between you and the subject. Proximity to the issue makes it more quietly and thus preparing it for a more relaxed posture.

Start as soon as it is relaxed mood brings. Shoot a lot of photos. This is not a rule, but presents you a wider choice. Your question does not necessarily formally dressed (except when the installation must portray strength and power). In fact, casual dressing creates a more natural photograph for portraits. To say “cheese” is not customary at that time as a portrait photograph. Many good photos, no smiling faces have their own mysterious charm.

To summarized, there are no set rules in the field of portrait photography. Being sensitive to this issue and the environment, preserving intact framework and developing your own style, these three steps to become a top photographer portrait.

Eric Raptosh is a business and marketing photographer and has 30 years of experience in the field of photography, and trained at NYU. If you are looking for a Venice portrait photographer or want to have the best services in executive and annual report photography then Eric would be the right choice for you.

Wedding Photography Liverpool

It doesn’t matter what style of wedding you go for you’ll want to make sure it is a day that you can remember. Often there is so much going on during the day that you cannot keep up or remember everything. This is one of the main reasons that many of us get wedding photographs taken.

Wedding photos are also great for showing people that couldn’t make the big day just how amazing your wedding was. In years to come they’ll even be fantastic to show the new additions to your family how it was to get married.

The decision on the wedding photographer to use is a big one. You only get one chance to get the photos right so you want to make sure that you get it right first time. This means hiring a professional photographer to take the photos for you. It also means taking the time to discuss your needs with your photographer and discussing exactly what you want done. That way you can be confident in the fact that they will take the exact photos that you want and can get on with enjoying your big day.

It is probably a good idea to get a sample from different photographers so you can be sure of quality. The best way to do this is to look online for people in your area. For example if you live in the Merseyside area then a search for “wedding photography Liverpool” is a great place to start. This way you can be sure that the companies you are browsing through are based locally to you. On their websites they will usually have a portfolio of previous photos taken, which should give you a good idea of the quality of their work.

It is important to go through all of the details with the wedding photographer beforehand. This means you can be sure they have the ability and equipment to do exactly what you are asking of them. Remember this is your big day, so you want the photos to be exactly how you want them, so don’t be afraid to speak out and ask for what you want. If the photographer can’t do it for you, then find one that can or at least can compromise.

Nadineleephotography.co.uk offering affordable Wedding photography Liverpool we’re priced for a competitive market; visit our site for more information about Liverpool wedding photography .

All About Portrait Photography

Taking great portraits is as much about people skills as it is about technical ability, or using the latest and greatest photographic equipment.  Sure, refining your technical skills and knowledge may expand the extent of your capabilities, and using superior equipment may indeed boost your edge.  But, unless you can first see through your subject’s eyes, and understand her as a unique individual, and then build rapport with her so you can unveil and accentuate her finest qualities, your portraits will remain mediocre at best.  Some lessons learned along my journey as a photographer may help those who choose to follow.

1.  If using a tripod, compose your portrait and then take one step just to the side and forward from the camera.  Do not look through the viewfinder as you capture your subject’s image.  This allows you to make eye contact initially with your subject, and then direct her in mood, expression, position, and the angle of gaze you are aiming for.  When your subject interacts with your camera, the result can be a cold or lifeless rendering, but when you engage your subject through eye contact, expression, gestures and words, the result can be a warm and candid reflection, charged with mood or emotion.

2.  If you are not using a tripod, you really should redouble your effort to maintain constant interaction with your subject.  Many photographers tend to keep their eyes in the viewfinder of the camera, but this leads to your subject interacting more with the front glass in your lens than with you.  Again, you do not want the sterile and lifeless rendering that most often comes when the camera serves to isolate you the photographer from your subject.  Interaction with an inanimate object (your camera) can never be a substitute for interaction with another human being (you), when your goal is to capture the essence of your subject, and reflect the attitude and emotion she was feeling at that moment in time.

3.  Allow your subject to be herself.  A little girl dressed up in fairy wings for a special picture is very cute, and I suppose there is a place in this world for cute.  But, contrast this with the little girl who just loves to dance.  You put her in her everyday clothes, stand her in front of a plain backdrop, put on her favorite music and say to her, “can you show me how to dance to this song?”  You should have no difficulty in capturing timeless expressions there.  Now imagine a jeans and t-shirt kind of guy whose true passion in all of life is sailing.  You dress him up in a tailored suit; formally pose him in front of a low key backdrop, seated in a Chippendale chair, and use classic loop lighting.  What would be said of this portrait years later?  “Who was this guy, an executive?”  But just suppose, you photographed this same guy in his favorite t-shirt and blue jeans, at the helm of his beloved sail boat, on a beautiful late afternoon, just as the boat was coming about?  What would be said of this portrait years later?  “This was Charlie, doing what he loved most!  That was such a glorious day.”  The point is, “keep it honest”.  Fantasy can be cute, but your subject being herself, years later this will be much more meaningful.  

4.  Allow your subject’s expression to be honest.  A frown or a grimace that is genuinely felt can be more interesting than a smile that is forced.  I try to never just pose my subject and then say, “Okay, now smile for me.”  If you want your subject to smile then tell a joke, put on a face, or perhaps merely smile at her and she will smile back at you.  People generally tend to reflect in their face what they see in yours, but in my experience this is not always so.  Nevertheless, interaction with your subject is the key.  That being said, the next time you have a difficult subject ask him to tell you a joke, to bring out a smile, if that’s the expression you are after.  If you are a professional, you know that smiles sell, but if you’re an amateur, you are under no pressure to sell, so make your portraits interesting.  Not everything in the world is to smile about.

5.  Direct your portraits.  Take control of the composition of your portraits!  Do not be afraid to tell or show your subject what you want.  Sometimes showing is best.  I often find that actually demonstrating a pose I have in mind, works better than trying to direct my subject through words alone.  If you are photographing a group, your life will be easier, if you arrange and pose the adults first.  Then, work your way from oldest (or more mature and settled) to youngest of the children.  The point to remember is, as the photographer, you should take charge of the shot.  The success or failure of the portrait will be your responsibility, so take charge.

Engage your subject to establish and build rapport with her, to take your photos to a higher level.  Make your portraits more meaningful by keeping them honest, and natural.  We all know a fantasy photo can be cute, and a formally posed portrait can be graceful and dignified, if that is your subject’s personality.  But, a portrait that is true to the subject is always more meaningful.  Allow your subject to be herself, and never force an expression.  Learn to take charge and direct your portraits and you will move far ahead in your journey as a photographer.  Practice your people skills with each portrait you take.  People skills are the prerequisite to all else, if you want to take great portraits.  Good day and happy clicking!

To learn about corn on foot and corn on toe, visit the Removing Corns website.

Flash Photography Tips

Every photographer would like to take great flash photos, but all too often they come out poorly lit, too bright, too dark, or just plain unattractive.

In his video tutorial at SteeleTraining.com, photographer Phil Steele offers a series of solutions for the whole spectrum of camera types. Whether you have a little point-and-shoot camera or a fancy digital SLR with hot-shoe flash, this article, based on Steele’s video, will have something for you.

Starting at the simple end, if you have a small point-and-shoot camera, with built-in flash, the first tip is to remember to use Fill Flash. Fill flash is forcing your flash to fire, even in daylight, to fill in dark shadows in your scene.

The classic case where you need fill flash is when your subject is backlit by the sun. The camera may think the whole scene is properly exposed, but your subject appears as a black silhouette. Unless you are intentionally going for the silhouette look, you’ll need to force your camera to fire the flash to see the detail in your subject.

On nearly all small cameras there is a setting to force the flash to fire. You can usually cycle through several flash settings ranging from Automatic (the camera decides whether to flash), to Always On, and Always Off. Setting this to Always On will force the flash to fire and your previously dark subject will now be lit. If the flash is too bright you can take a step backward or partially cover the flash with you finger to reduce its power.

The second tip for small point-and-shoot cameras is to use Slow-Sync flash, also known as “Night Portrait,” “Night Snapshot,” “Party Mode” and other terms. In slow-sync mode the flash fires to expose your subject, then the shutter remains open for a while to get a normal exposure on the light in the background.

Now, instead of your subject floating in a black void, you have a subject in a scene. You can also get interesting effects if the camera or the lights in the background move during the exposure. Of course, if there is no light in the background behind your subject, don’t bother with slow-sync. You’ll just get a very long exposure and a blurry shot.

Moving up to digital SLR’s the first thing to remember is that they have the same capabilities as pocket-cameras, plus more. So you should still use fill flash and slow-sync flash.

On a digital SLR you have much more control over your fill flash, because the power of the flash is adjustable. Typically called “Flash Exposure Compensation” you can adjust the power of the flash in small increments, such as 1/3 of a stop, to get exactly the power you want.

You can also improve the flash photos on your digital SLR by using a diffuser over the built-in flash, such as the LumiQuest Soft Screen, to make the light source larger and soften the light. In an emergency you can even hold a sheet of white paper in front of the flash to diffuse it. Anything to spread the light and soften it helps.

Stepping up in the world of serious flash photography, the next level is to purchase a hot-shoe flash to mount on your digital SLR. These flashes, such as the Nikon SB-900 or Canon 580EX are much more powerful than the built-in flash in your camera. They allow you to take photos at greater distances and to fill larger spaces with light.

Most importantly, however, the heads of these flash units can be tilted to bounce the light off a wall or ceiling. By bouncing the light off a surface, you transform the tiny light source into a large apparent light source many square feet in size, resulting in much more flattering light. Be careful not to bounce off a colored surface, though, or you will create a color cast in your photo.

Finally, the ultimate step in flash photography is to get the flash off your camera entirely, bringing the light to your subject from a different angle instead of straight along the lens axis. This creates much more attractive light that sculpts your subject instead of bouncing back straight into the lens and creating the harsh look typical of flash photography.

When you use this kind of “off-camera-flash” you typically diffuse the light through a softbox or umbrella. To trigger the flash you can use a cable such as a PC cord or shoe cord, or a wireless trigger, such as a radio trigger. Some flashes, such as those from Canon and Nikon, also have a built-in wireless triggering system.

For those interested in off-camera-flash photography, Steele offers a video course at SteeleTraining.com called “How to Shoot Professional Looking Headshots and Portraits on a Budget with Small Flashes” which covers all aspects of off-camera flash and illustrates the principles with live models.

For a video version of this article, visit this YouTube link:
http://www.youtube.com/watch?v=uRoZwkTj74k

Copyright 2010. Mark Lawson writes for SteeleTraining.com where photographers can find free photography courses and tutorials on a wide variety of subjects, from flash photography tips to Photoshop techniques and everything in between.

All about Portrait photography

Portrait photography lighting set up is nothing fancy. It is just the solid portrait lighting that is favorable to the business community. There are lots of corporations and companies that want business photography portraits for brochures and advertising purposes and this is the perfect portrait photography lighting set-up for the portrait photographer that needs to get something nice and get it fast. Portrait photography lighting is not a bunch of complicated scientific principles. Once you get a system that works for you, you’ll only need to modify it a little for each individual, so as you experiment, make sure you take good notes so that you can reproduce your portrait lighting set up at a moment’s notice.

Conveying information and giving shape are the two main purposes. In portrait photography the brightness of background matters. In portrait photography, if the background is near the subject, it’s difficult to light separately. The same light that hits the subject, also hits the background. That’s why it is well and good to have ten to fifteen feet between the subject and the background. That kind of distance allows the background to fall-off. You can also the control the focus of the background by having the most possible distance.

The purpose of the background light in portrait photography is to relieve the shadows so that the idea you’re attempting to portray in your photo is achieved. The fill light lightens the shadows. The darker the shadows are, the more dramatic the shot. Depending on the subject and the background in your portrait photo, the intensity of the background may need to be either brighter or darker than the last time you used it. It should all depend on the individual situation in each individual portrait. If the background is dark and the subject is a family portrait, maybe the background light needs to be pumped up a bit. Maybe you want the subject to blend into the background for some reason. Then in that case, maybe the background light isn’t needed at all. It will all depend on your vision.

The purpose of hair-light photography is to separate the subject from the background and supplementing a little more dimension to the shot. A light placed from above and slightly behind will give roundness to the shoulders and lightens the upper edge of the subject. Suppose if the subject is dark and the photographer wishes to keep the background dark too, then this light tends to brighten just the hair and shoulders separating and brightening in the right proportion. If the hair light is too forward then it will highlight the nose than brightening the hair alone.

This article provides wealthy information about portrait photographers. The articles written by this author on wedding films are valuable citations as well. This article on wedding photography prices is an excellent example for his writing skills and knowledge on Wedding Photography.

Budget Wedding Photography

Hiring a good photographer becomes a matter of tension when your wedding expenses are limited within small budgets. If you want to get a budget wedding photographer, then simply be honest with the photographer. Negotiate with him or her after you’ve been honest about the amount you can spend on a photographer. For example, you like a particular package that’s slightly more expensive, and then maybe you can work something out with your photographer.

Maybe the package’s price could decrease if you’ve taken something off. You could also try asking the photographer if it’s okay to lower the price of the package. A better option than making a deposit and having incremental payment is to just make one lump sum payment and maybe even get a discount for it. Asking for a deal is not something to be afraid of. The worst that could happen is that the photographer would tell you no.

Be confident when you are asking for discount. Your confidence and gesture speaks a lot when you are trying to negotiate and try to bring down the prices to your affordable value. This doesn’t mean that your style should be compromised. Be what you are. It’s your day, and if you want this particular thing, then no one can tell you otherwise. This wedding of yours has been on your mind for such a long time now. Don’t let others ruin your dreams and your vision.

While price is important, there’s no need for you to sacrifice the style that you want for your wedding pictures. If you want an artistic style of photography, then get an artistic style of photography and don’t choose anything else just so you could stick to your budget wedding photography. Go ahead and make some necessary compromises so you can get your pictures for a smaller amount, just be sure you don’t sacrifice your overall needs and wants.

The cheapest option is to go for DVD’s with your pictures on them and then decide what else you’d like to do with them. You can get prints at a store, which would be cheaper than ordering them from the photographer. When you finally made a choice it would be nice to send a mass e-mail to all the other photographers thanking them for their patience and time. Inform them that you have made your choice. If you really want to have two Wedding Photographers, but you can afford you only one, don’t get disappointed. Look around for someone who would shoot your wedding for free.

This article provides wealthy information about Video services. The articles written by this author on Wedding Photographers are valuable citations as well. This article on Corporate Video is an excellent example for his writing skills and knowledge on Wedding Photography.

Macro Photography Fundamentals

Macro photography is about detail. A macro photograph is a close up, often of a day-to-day object, which offers a new perspective.

Popular macro photographs are those of insects or flowers. The image of a butterfly or a tiny orchid, magnified many times to fill a regular 6″x4″ print or a PC screen, reveals a host of new details. Such pictures often give what we might call a ‘bugs eye’ view on the world, and it looks like a very different place.

While the best quality macro photographs are from the professionals, there’s nothing to stop most camera owners from having a go at macro photography. The majority of compact digital cameras now have a macro mode, allowing good quality close-ups to be taken.

Specialist macro lenses exist for SLR cameras, allowing very detailed photographs. These also have the shallow depth of field required for macro pictures. However, even without a macro lens it’s possible, with imagination, to create macro photographs.

The key is to find the right subject, the right angle and, of course, the right lighting. Think of what you’re trying to achieve with the picture. Then try to get as close as possible, given the limitation of the lens or the camera. If you’ve got a zoom facility, make the most of it. This will create minor image distortion, because that’s what zoom lenses do, but it won’t dramatically affect the shot.

Consider what will make an interesting macro picture. It’s amazing how simple, every day objects can become eye-catching and interesting when photographed close-up. Basic foodstuffs such as pasta or beans can be intriguing, because we don’t normally see them at images in their own right. They’re normally just the stuff of life, and to make them the subject of a macro photo transforms them.

The key to successful macro photography is experimentation. Fortunately the digital age allows us to shoot hundreds of photos at no expense. So if you’re interested in macro photography the best thing to do is get out there and give it a go.

Andrew Micheals is a freelance writer and photographer. Why not learn more about macro photography? http://slr-macro-photography.blogspot.com/

My Vision on Photography

Some pictures you take may be too dark, some may be to light, and some may be where the center of what you are focused on is too small and far away. Not to worry, every decent and not to expensive digital camera comes with a disc for the computer program to adjust these imperfections. When I first started looking at digital cameras I came across one that was both digital and had film, but it wasn’t a hit on the photography scene, and was discontinued.

I like to look for arches like trees bending into one another as if they were making a covered walk way. I also like doorways and gates, the bigger the features the better. I like to use my imagination. Color is not always important either. I like pictures of something sticking out of the snow, its intriguing.

Subjects are easy to come by, and I could spend an entire day wandering around a park taking pictures of trees, and flowers. Natures beauty is always there for us to see and capture with our camera. These subjects are always on there best behavior, and wont do anything but be appreciative of exactly how they are being appreciated.

I recommend looking through your local leisure guide and taking a course on photography for beginners, and if this interests you, move on to something more advanced later on. If you prefer something more slow paced, sign up for a correspondence course, do it as you have time, and not feel rushed by a fast paced three day course. This will feel like a leisurely activity, what photography is supposed to be.

I cant think of a pastime that is more relaxing then photography. I wasn’t afraid to ask about different models from different places when I was shopping for my camera. I knew what I wanted from all the searches I did on-line, and reading about the features, models, brands, and even zoom distance was a huge factor for me.

My first two cameras were less expensive, but did what all digital camera’s did at that time, took pictures. my third camera was a fair bit more expensive, and I feel it was very much worth the money. I am happy with the learning I did on the way to where I am now. I still have lots to learn, but I keep reading, and looking to see what is out there for new technology, and sometime soon probably get an even more advanced camera the I presently have.

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