Final PDP

To resolve this module, I have decided to my upload my final revision of my personal development plan. Within this, I feel I have worked independently and acknowledged various contextual and practical considerations for achieving my original broader goals by the end of my third year. I have fulfilled what I set out to achieve within my plan and feel more confident within both my intended and ongoing photographic practice.

Objective 1: Research Potential sites of scientific interest, audiences, markets & trends in wildlife and environmental photography

1. Research potential wildlife sites
2. Research online and print magazines relating to wildlife and/or environmental photography
3. Research contemporary topics or news stories relating to issues relating to wildlife/environmental photography.
4. Research various nature/wildlife photographers
Target Date: 12.12.13

Date Achieved: 12.12.13

Objective 2: Visit a Local Wildlife site and/or Wildlife event.

1. Research potential wildlife sites
2. Research recent news or events occurring in nearby wildlife sites.
3. Visit WWT Martin Mere for wildlife/photography workshop/talks
4. Visit WWT Martin Mere to start experimenting with wildlife images
Target Date: 12.12.13

Date Achieved: 12.12.13

Objective 3: Research Fine art, Editorial and Commercial photography & concepts relating to people

1. Research fine art photography that focuses upon people as a main subject
2. Research editorial photography that focuses upon people as a main subject
3. Research useful tips & techniques when photographing people
4. Start to consider any ideas for a future potential portrait
Target date: 12.12.13

Date Achieved: 12.12.13

Objective 4: Research examples of studio photography both still life and portraiture with consideration for studio lighting set-ups and techniques

1. Research examples of still life photography based in a studio environment
2. Research examples of portraiture based in a studio environment
3. Research basic still life studio lighting setups and techniques
4. Research basic portrait studio lighting setups and techniques
Target date: 12.12.13

Date Achieved: 12.12.13

Objective 5: Gain greater critical insight of historical and contemporary photography through research

1. Read a variety of critical texts based upon photographic concepts
2. Research the creative work of various photographers
3. Attend a scheduled photography lecture/talk
4. Attend a seminar and contribute analytical thoughts and insight
Target date: 12.12.13

Date Achieved: 12.12.13

Idea: Portrait

In this post, I intend to discuss a basic, potential idea I am considering for a portrait.

After reviewing my recent research, I reflected upon any potential ideas I could follow based upon aspects I find creatively inspiring and considered some of my old fine art work at college. I once created a sculpture relating to the historic and contemporary concepts of beauty, merging the faces of Venus De Milo and Marilyn Monroe.

I have always found the concepts of duality and social ‘masks’ are an interesting in relation to humanity, the creation of another persona or layers of a false identity.

I started to think about this in relation to a modern context and started to think about the digital manipulation and misrepresentation of beauty, any person can be altered or sculpted to fulfil a particular ideal.  The impact and objectivity of images has become a more malleable concept.  How we perceive and represent ourselves and how society views us has now become particularly defined by social media and mass, worldwide photo sharing.

From this, I began to visualise a portrait of a dual person divided by their ‘real’, unaltered face and a pixelated, artificial ‘mask’. Perhaps this mask could be constructed from smaller ‘fragments’ of their virtual identity, the many faces and personalities that shape their anonymous, online persona across social media platforms.

I feel that the lighting set-up would be high key, perhaps a simple head & shoulders portrait with a white backdrop following an almost clinical approach.

I will need to further consider the more specific aspects of the concept, however I believe that there is a great deal of creative potential within this idea.

Photos: Martin Mere – Bird Festival

In addition to attending various talks, I also tried to experiment with landscape and wildlife images during my visit to Martin Mere. Due to certain faults with the telephoto lens I borrowed from university, I found this incredibly challenging and definitely in need of a re shoot at another stage.

However, I tried my best despite this to keep trying. As a result, I decided to treat this as an experimentation with composition, light and subject matter. Some of which were based in open areas throughout the park, others were ranged observations from hides and a few were during or after feeds as means of starting to think about interaction shots.

In addition, upon reviewing my images, I decided to start to considering appropriate formats, editing certain images into both 8 x 10 and 16:9 widescreen formats to see which worked better for different compositions.

Some images are successful than others, however, I decided to include a wide range to demonstrate how I started to develop and reconsider certain visual elements or approaches. All the while, I tried to keep in mind aspects of research which lead up to this point.

Overall, it wasn’t the most successful or unsuccessful shoot, by far my greatest limitation was due to my equipment but that in itself offers a lesson in preparation for future shoots. I have generally associated this event as an opportunity to learn and develop contextual and aesthetic approaches involved within wildlife photography and/or conservation.

I found a few potential sources, the most useful of which was from shuttershock’s advice on editorial photo captions.

http://www.shutterstock.com/buzz/creating-the-perfect-editorial-caption

 

Lectures/Talks: Martin Mere – Bird Festival

Within this post, I intend to discuss the various talks and workshops I was able to attend throughout my visit to Martin Mere Bird Festival that I mentioned in some of my previous research.

During my visit, I outlined various aspects of my prior research to try to get the most of out the event. In this, I will focus upon the contextual and aesthetic insight I gained through naturalists, authors and photographers.

The first talk was by Jeff Clarke: A Night on the Tiles – The Ramblings of a Noctural Naturalist.

Clarke’s approach was quite informal but I was able to extract elements of constructive and helpful information when considering environmental and wildlife photography and conservation.

• You often get more sightings of young owls around late May, June – refers to Mersey area.
• Frogam Marsh is a good place to spot wild rabbits, which will lead to sightings of its predators – stoats.
• Stoats have short ranged eyesight so to remain undetected just stay still.
• Highlights that foxes are underrated and intelligent, they are often the subject of much discussion – sightings along Mersey estuary.
• Animal trapping is general a very safe way observing wildlife (through licensed professionals) – he mentioned how camera trapping works and how to attract wood mice – fill with hay, sunflower oil and chocolate.
• Reinforces the significance of reconnected children and teens with nature and wildlife – small mammals often encourage much enthusiasm.
• A great deal of areas within the North West often have many rivers and ponds filled with plastic bottles.
• There is wealth of wildlife in reed beds.
• Shrews are considered inedible to most animals except barn owls – he recalls observing fox attempting to eat a shrew with much disdain.
• Night jars can be tracked by listening to their distinctive squeak which means they are in flight – throwing a handkerchief draws their attention.
• If you intend to get close to badgers, don’t wear perfume or deodorant (strong scents) as this will draw their attention – they are drawn to peanuts and honey.
• Nights in June/July are an excellent time to spot moths – you can catch them at any time of year where it is over 6 degrees.
• Soprano bats are a recent discovered species of bat despite being the second most common species of bat in the UK – Oxmoor reserve.

The second lecture I attended was by Dominic Couzens about mammal watching.

This lecture was based around the contrast between bird watching and mammal watching, and how mammals in the UK are underrated or misrepresented.

• RSPB has 1,100,000 members
• Mammal society has 2000 members

Some of the problems with mammal watching:

• Not enough species to see
• Species too secretive
• Too many are nocturnal
• Generally too difficult
• Have a bad reputation
• Too much interference from people
• Too much red tape
• Too much gloom and doom

No of possible species to see/hear over a year:

• Birds – 350
• Mammals – 60

I have also highlighted various other elements of useful information.

• Weasels are hard to see, sighting are often luck based as they often underground and nocturnal.
• Grey squirrels are an invasive species who were introduced in the 1920’s because of social preference – introduction resulted in squirrel pox.
• Deers often quite regularly sighted and easy to see.
• Orcas and whales can spotted around Britain – Marine areas.
• House mice and brown rats have gained a negative reputation within social expectation – spread disease, eat crops – easier to spot at zoo’s or london underground.
• There are only two native species of deer in Britain – fallow deer were introduced by William the Conqueror
• He is passionately against the badger cull, instead favouring the suggestion of vaccinating cattle against TB.
• We have many introduced/non-native species of mammal in Britain.
• We introduced red necked wallabies to Loch Lomond – wiped out to due to interference with rare birds.
• One of the most difficult mammals to observe are bats – you need a license to work with them.
• Within a write up of Horseshoe bats for BBC Wildlife, there was some upset within the response – too heavily protected, a balance is needed to encourage greater interest.
• Many mammals have a negative reputation including foxes and badgers.
• Fox stories within media outlets often focus upon aggressive examples – child attacks.
• You get the most mammal sightings in September.
• Signs of mammals are found through remains of food or excrement.
• Good place to spot red squirrels is Brownsea Island

Aspects that make mammal watching better than bird watching:

• More iconic species
• Sense of satisfaction all the greater
• Often requires expedition

The third and final talk/workshop that I attended was Maxwell Law, award winning photographer: Earth, wind & flight.

This workshop offered a more photographic perspective, which I found to be very constructive.

• Maxwell Law is an award winning photographer who started in full time career in photography quite recently – he travels around the world capturing landscapes and wildlife images.
• Law states that patience is a key part of wildlife photography
• You often get the best images from a low angle, meeting the perspective of your subject – ‘from the toe’.
• Constantly keep photographing, take photos everyday and submit them online – encourages a stronger practice and technical skills
• A potential location is nearby to Martin Mere – no people, potential for good light and compostion
• He refers to his images from Al Garde – winter is an excellent time for bird photography
• Point of view is very important with bird photography – lie on your back or down on the ground as it makes your subjects feel more comfortable.
• You need a large telephoto lens at least 300mm, build up from there – helps capture birds in flight.
• Experiment with black and white images – depends on context
• Observing feeding animals can be a good opportunity for an interest subjects.
• Patterns and form are a good aspect to develop upon as they help define your subjects – look out for a separation in the flock.
• Frame interesting crops, rule of thirds – use one third of the image to emphasise your main subject.
• Aim to convey emotion, create personalities within the image – find drama, expression or motion to animate the image.
• Wide landscapes can be just as successful at conveying wildlife subjects – wide angled lens
• Portugal is a great spot for wildlife photography.
• Think about context, the birds are just as important as the technical qualities.
• Law is involved with the Royal Photographic Society.
• Use extension tubes, especially when starting out as this is a much cheaper method of achieving macro images.
• Anticipation and practice are very important in keeping your work of good quality and relevant.
• Show relationships between animals – it can be fun or aggressive but it makes for more definitive, life like imagery.
• It is generally best to avoid bright sunshine, as it intensifies distracting shadows – 6 am or 6 pm.
• Exposing for the white of the bird is essential for strong contrast – don’t go with a shutter speed lower than the focal length of the camera.
• Take advantage of poses and reactions – watch birds scavenge.
• Opportunist shots are some of most successful.
• The Wirral offers a good locations for wildlife.
• Visit RSPB sites
• Burnley is an excellent place for spot kingfishers.
• Exposure compensation is essential – as is your ISO.
• Marsh Harriers are an interesting subject – you can often find them at Martin Mere.
• Detail wildlife/nature shots can be very compelling through abstraction.
• Watch for breaks in the clouds, as it creates a separation with flattering light.
• A strong composition to try is a bird looking into an open sky.
• You can find Red Kites in Wales.
• If you are attending a feed, wait around for an hour or so after as your subjects will be more natural – a stealthier hunt makes for a stronger image.
• Brown sea island is good for spotting Short Eared owls – very photogenic subject.
• The south coast of Wirral is good for bird spotting.
• Leighton Moss is a good place to spot owls.
• Reflection, light and colour are important aspects to successful images – a nice technique is to desaturate everything within the frame except the subjects distinctive features such as a colourful beak.
• Advised that you should follow your passion as it conveys within your images.
• Telephoto and wide angled lens are the most essential part of a wildlife photographers kit.
• In regards to exposure, he feels that underexposure is far easier to work with than overexposure in terms of editing.
• He shoots full frame with a 600mm lens – around 16 mpx per frame, F4 or 5.6.

After the talk, I decided to approach Law and ask him about his practice, as well as asking for more information about the potential kingfisher location in Burnley. He was happy to inform me on the condition that I don’t list or discuss it publicly as it will draw too much attention and disrupt their natural habitat.

Overall, I found my visit to be very constructive in highlighting various practical, contextual and technical aspects to implement within my own practice.

Research: Photographing People – Techniques & Tips

For this post, I intend to discuss useful tips and techniques for photographing people, that I have found within my research.

During this research, as well as general advice, I have tried to consider aspects of photographing people I feel less confident about, or that I am unsure of how to compose for a particular audience or perhaps aspects that I might need to experiment with further.

For example, I lack confidence in knowing how to compose or control a models pose within a portrait. As a result, I found an article that demonstrated what to avoid when composing a model and how to avoid this.

http://www.digitalcameraworld.com/2013/10/14/10-posing-mistakes-every-portrait-photographer-makes-and-how-to-avoid-them/

10 classic posing mistakes every portrait photographer makes (and how to fix them)

anicholson | Photography Tips | Portraits | 14/10/2013 00:01am

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Portrait photography used to be subject to all sorts of ‘rules’, and while many of them have been thrown out now there are still a few that are worth considering to get you started and prevent unflattering images.

Continuing her series looking at some of the common mistakes photographers make across all genres, our head of testing, Angela Nicholson, takes a look at some of the worst posing mistakes portrait photographers can make, and suggests how to avoid them.

Posing Mistakes Portrait Photographers Make: 01 Uncomfortable subject

If the subject is uncomfortable there’s a chance that they will look uncomfortable and as a result the images make awkward viewing.

Chat to your model before you start shooting and discuss the types of photographs that you (or they) would like to produce.

Show them a few examples of images that you like and explain why they work. Showing them a small selection of images that don’t work can also help avoid a few pitfalls.

Get to know your subject a little so that you can chat between shots and help keep them relaxed.

Explain to them how you want them to sit or stand and suggest that they try a number of poses or looks from that position.

If something’s working let them know, but if it isn’t be tactful and say something like, ‘that’s great, now let’s try…’

Posing Mistakes Portrait Photographers Make: 02 Awkward hands

Inexperienced models often struggle to know what to do with their hands.

Having the arms hanging limply by their sides rarely feels or looks right, but slipping them lightly into the top of trouser can work well.

Crossed arms can also be very effective, but beware of them creating a barrier to the viewer.

Unless you want to convey anxiety or tension, make sure that the hands look relaxed rather than clenched. It can help to give your subject something to hold or asking them to touch a near by prop.

If they’re standing behind someone who’s seated for example, they could put their hands on the chair back or the other person’s shoulders.

10 classic posing mistakes every portrait photographer makes (and how to fix them)

anicholson | Photography Tips | Portraits | 14/10/2013 00:01am

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Posing Mistakes Portrait Photographers Make: 03 Shooting women with shoulders square-on

Our shoulders are usually the widest part of our body and shooting so that they are square-on to the camera can make women look bigger than they want to appear.

It’s much more flattering to have the shoulders turned slightly as this narrows the shoulders and the waist while accentuating their curves.

Posing Mistakes Portrait Photographers Make: 04 Neck creases

If your subject’s body is turned away from the camera and they’re looking towards you they are very likely to have unflattering creases in their neck. This can be addressed in a number of ways.

It may be possible to hide the creases, for example, with the collar of a jacket or shirt or a strategically arranged scarf.

Alternatively you can reduce the rotation of the neck by adjusting the shooting angle and/or asking them to turn from their waist.

Posing Mistakes Portrait Photographers Make: 05 Clothing marks visible

Strap marks or clothing impressions are classic errors which can be avoided by preparation.

If your model is going to be wearing a strapless dress in the shoot, for example, make sure that she changes into it, or some other loose clothing, well before the appointed shooting time.

Sock marks on legs and ankles are similarly problematic so if you want to shoot someone with bare feet, make sure they remove their shoes and socks well in advance.

Remember, the older your model, the longer the skin will take to lose marks from tight clothing.

A warm bath or shower can help, but the main requirement is time and make sure the water isn’t too hot or your subject will be bright red.

Posing Mistakes Portrait Photographers Make: 06 Looking the wrong way

As a rule you want your subject to face into space in the image rather than straight into the edge of the frame.
You don’t want them to look cramped within the shot.

Strictly speaking this is a compositional issue, but if your subject moves between shots and tries different poses, take care to reframe accordingly – especially if the camera is on a tripod.

Posing Mistakes Portrait Photographers Make: 07 Heads all at the same height

Shooting a small group of people in a line with all their heads at the same height can result in an image that looks like a police identity parade.

Try to break up the line a little, perhaps by having someone sat in a chair, another on the arm of the chair and a third stood behind or sat on the ground in front.

It creates a more interesting dynamic with a triangle running between the heads that will draw the viewer in and around the photograph.

Posing Mistakes Portrait Photographers Make: 08 Unwanted headwear

In all the excitement of arranging your model’s posture it can be easy to forget where you are posing them, so don’t forget to check the background.

Whether you’re shooting inside or out, look out for lamps, posts, poles, plants and trees etc behind your subject, you don’t want anything to appear as if its sprouting out of the top of their head or they’ve selected an unusual hat.

Posing Mistakes Portrait Photographers Make: 09 Up-the-nose-shots

Although shooting from below eye-line isn’t quite the anathema it once was, you need to avoid shooting up the nose of your subject as it’s generally unflattering.

This can be avoided by asking them to look down, but they won’t thank you if this results in a shot with a row of chins or lots of creases in their neck.

Raising the angle of view just a little can make a huge difference.

Posing Mistakes Portrait Photographers Make: 10 Expecting young children to pose

If you’re lucky you might manage to fire off a couple of shots of a young child ‘posing’ before they get fed-up, but as a rule it’s best to give them something to do to distract them while you take a few shots.

This can be as simple as giving them a picture to colour or handing them an old camera to play with and telling them take a photograph of you.

A jack-in-the-box can also be useful, although aware that some children don’t like surprises!

You need to move around them to find the right angle and move the props rather than asking them to tip their head back or move their arm etc.

Provided you can keep them interested, you’ll be rewarded with natural looking images and a range of expressions.

Another useful reference point was through an article published in National Geographic – people & portraits tips.

http://photography.nationalgeographic.co.uk/photography/photo-tips/portrait-photography-tips/

People and Portrait Photography Tips

Photograph by David Alan Harvey

By Robert Caputo, August 2007

From Photography Field Guide: People and Portraits

People pictures fall into two categories: portraits and candid. Either can be made with or without your subject’s awareness and cooperation.

However near or far your subject, however intimate or distant the gaze your camera casts, you always need to keep in mind the elements of composition and the technique that will best help you communicate what you are trying to say.

Get Closer

The most common mistake made by photographers is that they are not physically close enough to their subjects. In some cases this means that the center of interest—the subject—is just a speck, too small to have any impact. Even when it is big enough to be decipherable, it usually carries little meaning. Viewers can sense when a subject is small because it was supposed to be and when it’s small because the photographer was too shy to get close.

Don’t be shy. If you approach people in the right way, they’ll usually be happy to have their picture made. It’s up to you to break the ice and get them to cooperate. Joke around with them. Tell them why you want to make the picture. Practice with people you know so that you are comfortable; people can sense when you aren’t.

Settings—The Other Subject

The settings in which you make pictures of people are important because they add to the viewer’s understanding of your subject. The room in which a person lives or works, their house, the city street they walk, the place in which they seek relaxation—whatever it is, the setting provides information about people and tells us something about their lives. Seek balance between subject and environment. Include enough of the setting to aid your image, but not so much that the subject is lost in it.

Candids: Being Unobtrusive

You may want to make photographs of people going about their business—vendors in a market, a crowd at a sports event, the line at a theater. You don’t want them to appear aware of the camera. Many times people will see you, then ignore you because they have to concentrate on what they are doing. You want the viewers of the image to feel that they are getting an unguarded, fly-on-the-wall glimpse into the scene.

There are several ways to be unobtrusive. The first thing, of course, is to determine what you want to photograph. Perhaps you see a stall in a market that is particularly colorful, a park bench in a beautiful setting—whatever has attracted you. Find a place to sit or stand that gives you a good view of the scene, take up residence there, and wait for the elements to come together in a way that will make your image.

If you’re using a long lens and are some distance from your subject, it will probably be a while before the people in the scene notice you. You should be able to compose your image and get your shot before this happens. When they do notice you, smile and wave. There’s a difference between being unobtrusive and unfriendly. Another way to be unobtrusive is to be there long enough so that people stop paying attention to you. If you are sitting at a café order some coffee and wait. As other patrons become engrossed in conversations or the paper, calmly lift the camera to your eye and make your exposure. In most cases, people either won’t notice or won’t mind. But be judicious. Don’t keep firing away and become a nuisance. They will mind. You can also set the camera on the table with a wide-angle lens pointed at your subject and simply press the remote release when the time is right. Modern auto focus and auto exposure cameras make this easy to do as well.

Anticipating Behavior

An important element in people photography is knowing your subjects well enough to be able to anticipate what they are going to do. It’s the only way you are going to be able to get pictures of it. If you wait until you see it, it’s too late. The key is to watch people carefully. Always have your camera ready. If you’re going to be shooting in one situation, set the aperture and shutter speed in advance so you don’t have to fiddle with them while you’re shooting. Watch people through the viewfinder. If you’re paying attention, you’ll sense what’s about to happen.

Predicting Relationships Within the Frame

A great deal of people photography is understanding human nature and being aware of how people usually react in given situations. If someone is sitting in a café he will usually look up when the waiter approaches. People will generally smile when they see a baby or open a present. Crowds rise when a batter smashes a ball that looks like it’s headed for the seats. Think about the situation you are photographing and how people are likely to act in it. Then prepare yourself for the moment.

Candids With Consent

Unobtrusive candids seek to be fly-on-the-wall images that catch people going about their business seemingly unaware of the camera and the photographer. This yields images that are more toward the objective end of the objective/subjective continuum, though there is not, of course, any photograph made by a human that is completely objective. Candids with consent, made when the photographer is actively engaged with the subject and the subject is conscious of this involvement, are very different. Photographs are records of the photographer’s relationship with his or her subject. In consensual candids, the relationship can be either obvious (the subject looks directly into the camera) or subtle—the relationship is implied because the image feels more intimate. We sense that the photographer was physically close to the subject and that the person was aware of being photographed.

Engaging Your Subject

The first order of business is to engage your subject. This is where we all have to learn to overcome our shyness and approach people in an open and friendly manner. Be up front about who you are and what you’re doing. Don’t just barge into a scene with your cameras blazing. In fact, it is usually best to leave your camera in its bag when you first approach people, so as not to frighten them. Take time to engage the person in conversation, just as you would if you didn’t have a camera. Remember the Golden Rule. Think about how you’d feel if someone approached you and wanted to make a photograph. How they did it would determine how you would respond.

Approaching Unfamiliar Cultures

One of the keys to success in photographing cultures different from your own is doing as much research as you can before you go. Talk to people who have been there and get their recommendations. Find out if there are any taboos about photography, and if so, what they are. Another key to success is to be sensitive to local customs and the different reactions people may have to you and your camera. Learn a few simple phrases in the local language so you can at least say hello to people and ask if you can make photographs of them.

Some people have no problems with photography, and you should treat them in the same courteous and respectful way you would treat people at home, by engaging them and seeking their permission. Others have objections to photographs being made of certain individuals or groups. Some people object on religious grounds. Some feel that you want to make fun of them, to show their poverty or some other aspect of their lives to the world. Other people believe that when you make an image of them you are stealing their soul or in some other way taking something away from them.

They are right, of course. Photographers talk about capturing the essence or spirit of a person or place. We do take something, and we profit by the taking. You should always respect people’s feelings and beliefs. There are selfish reasons for this—you don’t want to be beaten up or thrown in jail. But the main point is that people are always more important than photographs. You don’t want to abuse people, and doing something against a strongly held belief is abuse. And the photographs would probably not be very good anyway.

You may be asked to pay for photographing certain people. My advice is to comply with such requests. You pay for a postcard when you travel, why not for an image you make? It is usually not much money to you, but may be quite a lot to the people you want to photograph. If you do not want to pay, you can always move on.

The Casual Portrait

Wherever you are with your camera, always be on the lookout for those moments when a person’s character shines though. If you have a formal portrait session with someone, make some frames of him while he straightens his tie or while she brushes her hair before the formal sitting. Walk back to the car with her and shoot her on the street. If you are on a spring picnic with the family, look for that moment of bliss when your wife leans back, sated, to enjoy the caress of the warm sun. If you’re on the street, look for the impatient expression on a pedestrian’s face as he waits for the light to change. Always be on the lookout for the telling moment. Every person has a story, and every picture should tell part of that story.

Environmental Portraits

Portraits are about people. Environmental portraits are about people and what they do with their lives. They are about the kind of house a person lives in and how they decorate it; about what kind of work they do and where they do it; about the surroundings they choose and the things they surround themselves with. Environmental portraits seek to convey an idea about a person by combining portraiture with a sense of place.

Group Portraits

Group portraits are hard to do well, and the larger the group, the harder they are. It’s not easy to get a good, telling photograph of one person, and the problems are compounded exponentially with groups. We have all had the experience of trying to get the family or the ball team to pose for a picture. Just getting all of them arranged so you can see their faces is hard enough. Then, of course, you want an image where everyone looks good—no one’s eyes closed, no grimacing. Making group portraits takes imagination, patience, and diplomacy. Use your imagination. Find a way to relate the group to an environment that expresses something about what kind of group they are. Do it literally, humorously, dramatically, or by complete contrast. Get ideas from them.

Familiar Subjects

Our family members are the people we photograph most frequently. We record the momentous occasions and the occasional moments. Albums full of baby pictures, first steps, Little League games, Halloweens, Thanksgivings, and weddings mark our passage through time. These photographs are our memories made real and are probably the most important pictures we will ever make or have. You should apply thought and technique just as rigorously, if not more so, to photographing your family as you do to any photo assignment. There is no better group on which to practice photography. No others will be so trusting or willing to indulge your ever present camera, your fumbling around with lights, and your mistakes. When you are photographing strangers, you either get the picture or you don’t. There is no going back to a fleeting moment. With your family, you can work on getting a similar moment again, and again, and again.

Hands and Other Details

The hands of a farmer, a pianist, a baker. The feet of a ballet dancer, a long distance runner, a place kicker. The belly of a pregnant woman, the bicep of a weight lifter. Hair caressing a pillow, fingers clutched in prayer, a peering eye. The details of the human body make great photographic subjects, either as expressions of ideas or emotions, as graphic shots, or as a way to say something about an individual. Whenever you are photographing someone, try to think of details of their body or dress that would get your message across in an indirect way.

Are there particular parts of their body or items of what they wear that are important to what they do for a living or a hobby? Does some part of them really stand out? Can you find a way to abstract what you want to say about the person by using one of these elements?

The point is to use your eyes and your imagination, whether you want to use detail and abstraction to say something about an individual or about the beauty of the human body. If you are making photographs of details of the human body, you will be working intimately with people and will have to direct them, tell them where to pose, and how.

http://travel.nationalgeographic.co.uk/travel/photo-tips-portraits/

Photographing People When You Travel

• Photographing People When You Travel
• More Photo Tips

• Learn a Few Complimentary Words

  Photograph by Catherine Karnow

  Catherine Karnow is a San Francisco-based photographer whose work has appeared inNational Geographic, National Geographic Traveler, and other publications. She has been teaching photography workshops since 1995.

  Photographing people in a foreign country presents a specific set of challenges, among them increased anxiety, language barriers, and unfamiliar customs. But when you’re abroad, as at home, it’s most important that you gain the trust of your subjects. This is what will allow you to photograph people as they are in their shops, their favorite cafés, and even their homes. Always emit a positive vibe and approach your subjects not as a camera but as a person—let your smiling face be the first thing they see. And ask permission to shoot when you feel it’s appropriate.

  Before I travel to a foreign country, I always learn a handful of complimentary words like “beautiful” and “wonderful.” Even if they’ve agreed to be photographed, many people are uncomfortable in front of a camera and uncertain of what they should be doing, so it’s essential to be encouraging by repeating positive words. While in France, I came across a farmer and his wife heading home for lunch in their classic Citröen. They were confused about why I wanted to photograph them, so I explained that it was because they were a handsome couple and the car was wonderful. Simply conveying that I saw something beautiful in photographing them was reason enough, and they gave me time to make this gentle portrait.

• Sit Down and Have a Drink

  Photograph by Catherine Karnow

  Socializing with the people you hope to photograph lowers barriers and puts your subjects at ease. I was lucky to be invited to the home of these Russian twins whose likeness to Lenin has led to parts in movies and print ads. During my visit, I wanted them to be themselves and found that we all became more relaxed once I sat down with them to share a bite to eat and shots of vodka. Their English was good enough to make (very) small talk, and between looking at their photo albums and conversing with gestures, I was able to get natural, spontaneous photos. —Catherine Karnow

• Be Culturally Sensitive

  Photograph by Catherine Karnow

  Cultural sensitivities vary greatly around the world, so it’s always important to get to know the customs of the country or region you’re visiting and to understand when it’s okay to shoot and better not to. If I’m uncertain, I ask permission of a person in charge or try to catch someone’s eye to get an affirmative nod. When in doubt, keep a respectful distance. At a temple in Beijing, I wasn’t at all sure of the correct etiquette for photographing these monks, so I stayed well behind them and decided to include the beautiful old bell to make this shot. —Catherine Karnow

• Buy Something

  Photograph by Catherine Karnow

  When I’m shooting in a market or shop, I always make it a point to buy something. In Hong Kong, I walked into the city’s oldest herb shop and was astounded by all the drawers of dried herbs, roots, and strange reptile specimens. Behind the counter, the shopkeeper was weighing mysterious items and wrapping them in bits of paper. It was all so fascinating that I could have spent the entire afternoon shooting photos there. To make a positive impression on the shopkeeper, I asked her to put together a package of remedies for me, gesturing to convey my various ailments. Since I was now a bona fide customer, she didn’t seem to mind being photographed—and even seemed rather pleased. —Catherine Karnow

• Make Friends With Pets

  Photograph by Catherine Karnow

  It may be a surprise to learn that one of the hardest places in the world to photograph people is in Paris, home to so many legendary photographers. Although I’m fluent in French, my perfectly crafted requests are often denied. Parisian cafés are particularly daunting places to shoot—as soon as I raise my camera, I’m greeted with angry looks. My solution has been to approach the patrons who have dogs. Since the French love to bring their dogs to cafés, I usually have a selection of subjects to choose from, and they rarely object when I ask if I can photograph la petite Fifi. During the cooing and petting, the owners often come around to allowing themselves to be in pictures too. —Catherine Karnow

• Know That Sometimes People Don’t Mind

  Photograph by Catherine Karnow

  Having photographed people in foreign countries for over 35 years, I’ve found that sometimes people don’t actually care if you photograph them. Of course, how you act can make a difference. I tend to smile a lot, look happy, and emit a pleased presence, as if we were all having a great time. But sometimes, even from the start, people honestly don’t care. I was in a tiny village south of Shanghai one clammy March when a traveling opera troupe came to town. They were performing in the local temple and twice a day donned colorful silk costumes and entertained the audience with their dramatic singing and acting. In between performances, they ate meals, smoked cigarettes, played cards, or got ready for the next performance. My Chinese was little to nonexistent, and I had no translator. Much to my surprise, they didn’t pay the slightest attention to me, so I just shot away. During the four days I spent with them, we barely communicated outside the occasional smile and nod. Every once in a while, it’s nice to be a fly-on-the-wall photographer. —Catherine Karnow

• Accept Invitations

  Photograph by Catherine Karnow

  In certain countries, I always seem to get invited to weddings and parties. In the lobby of my hotel in Jaipur, India, I met a bridal party getting ready for a wedding about to take place on the hotel grounds. After offering my congratulations and shooting a few fun snapshots that I would email to them, they generously invited me to the wedding. Indian weddings are about as photogenic as any event can get, so I eagerly accepted. Weddings and parties are great places to shoot because people are joyous, festive, and usually delighted to be photographed. —Catherine Karnow

• Overcome Anxiety

  Photograph by Catherine Karnow

  Every time I start an assignment in a foreign country, I feel shy all over again. To get warmed up and into the groove, I’ll sometimes begin by photographing my guide or a doorman at my hotel. They’re usually willing subjects, and the environment is unthreatening. In Phnom Penh, Cambodia, I was drawn to the gentle features of the bellhop stationed in the hotel lobby, so I decided to spend some time shooting his portrait. Seeing his pleasure at the image on the back of my camera gave me the confidence to venture outside and start my shoot. —Catherine Karnow

• Communicate Clearly

  Photograph by Catherine Karnow

  People who look confused and distant in portraits probably were confused and emotionally far away when the photo was shot. To get a direct, unwavering gaze, you have to clearly and persistently communicate your intentions. I was with the clergy members from a village church in Transylvania one Sunday, and as they were about to go home for lunch, I suddenly decided to do a group portrait. My translator was nowhere to be found, so it was up to me to ask for the few minutes it would take to get a powerful portrait. I gestured for everyone to look directly into the lens. Gracefully, keeping my hand gestures gentle and nonaggressive, I pointed to my own eyes and then touched the front of my lens. The men were distracted, though, so I gently guided darting eyes back into the lens. When people sense passion and a resolute desire, they respond despite any language barrier. —Catherine Karnow

• Take an Interest in Your Subjects

  Photograph by Catherine Karnow

  If you show a genuine interest in your subjects and their work, your portraits will communicate the bonds that you’ve created together. In Sydney I came upon a wonderful shop that sold didgeridoos. As soon as I saw the owner’s soulful eyes and splendid leather hat, I knew I wanted to photograph him with the instruments. But I could sense his shyness and knew enough about the Aboriginal culture to understand his reticence. So I started by getting permission to shoot the didgeridoos and asked him to explain the significance of the various carvings. As we talked and worked together, he saw that I was fascinated with his artwork and culture. After shooting the didgeridoos, I gently asked him if he would pose with his own creations. I was happy that he easily agreed, and I knew that he felt proud. For the subject to have had as meaningful a time as I’ve had is deeply important to me. —Catherine Karnow

Another example is an article I discovered that offers a general outline of how to capture good quality editorial portraits.

http://photography.tutsplus.com/articles/quick-tip-creating-excellent-editorial-portraits–photo-6757

Quick Tip: Creating Excellent Editorial Portraits

By Cameron Knight,11 Jun 2011

Portraits in magazines or other publications are different than what you might want for purchase for a graduating senior or an engagement announcement. Typical portraits, like these, are keepsakes and are filled with smiling faces. The main subject, and often the only element is the photo, is the person. The best editorial portraits include something to show why the person is being recognized, especially if they aren’t famous. Today, we’ll be taking a quick look at what goes into editorial portraits.

Wide Angle View

When learning to take portraits, you’ll hear over and over again that telephoto lenses are the way to go. They’re flattering to the subject and can produce soft backgrounds. When shooting editorial portraits, wide angle lenses are often preferred for a couple reasons. First, they allow you to easily include background elements that add to the story of the picture. Second, they allow you to get closer to your subject which creates a sense of intimacy. This isn’t to say telephoto portraits are never used for editorial portraits, but don’t feel like telephoto is your only option.

Rosson Crow is a Brooklyn-based artist. She standing in her exhibit, which was paired with custom painted motorcycles, at the Contemporary Art Center in Cincinnati, Ohio, U.S. I shot this photo from a low angle to line up the elements in the shot.

Expression

As with any portrait, expression is key. For editorial portraits, keep in mind that the expression may not be joy or happiness. Don’t force your subject to smile. Have a conversation with them while keeping them framed in your camera. In between sentences or statements, their expression will reflect what they’re talking about. If you’re having them do a deliberate or tricky pose, like balancing on something, it may be necessary to prompt them and give them a count-down, but generally this isn’t needed.

This tennis player I photographed has that competitive look in his eyes. Notice that in this image the addition content is not in the background, but in the foreground.

Environment

Including the environment in your photo allows you to add another layer of information. The background can tell us where a person works, what they do or even what happened to them. This might mean using a deep depth-of-field, which is also typically not recommended for regular portraits. The combination of a deep depth-of-field and a wide angle view can work great for editorial portraits. Also remember that “including the environment” doesn’t always have to mean including the entire enviroment, often only part of it is necessary.

This mother of two agreed to be photographed at her husband’s grave, who died serving in the Army in 2005. In this photo, she is posed, but her children became part of the enviroment. Even though it was bright outside, I still lit this portrait.

Lighting

Just because you’re shooting on-location doesn’t mean you get to ignore lighting. Natural lighting can work, but it’s a gamble. Maybe light only comes through a window in the afternoon, and you’re there at 9 a.m. Having off-camera lights at your disposal is very important. It’s a very rare to produce a good editorial portrait that doesn’t have a well-lit face. Also practice balancing ambient light and the light from your flash by making your shutter speed slower. It’s hard to include a background when it’s pitch black.

This photograph was made in a dark diner. I lit the owner of the diner from the side with a flash in an umbrella. I used a long shutter speed to allow the lights of the diner to come through.

Making Do with Unrelated Backgrounds

Sometimes things don’t work out. The artist you’re photographing is having their studio fumigated. The runner has pulled a muscle. The person is studies medieval philosophy. Sometimes you just can’t put your subject in an appropriate environment. There are two things that you must now do. First, it’s time to think abstractly. The person is a doctor who treats depression; put them in front of a blue wall. Second, you need to make sure your other elements are perfect. The lighting and expression must be compelling enough to make up for the lack of an informative environment.

This is an organizer of a film festival. We met at a place which (obviously) wasn’t a theater. I utilized a wall of glass block to, hopefully, create a subtle reference to the silver screen. She was lit with a single flash bounced off a wall to act as a fill light.

Keeping it Simple can be OK

We always strive for unique angles and interesting lighting. I encourage you to do this every time you shoot. But know when to back off. Know when to get off your knees, abandon three-light setup and just take a picture. Occasionally, we get lucky and find something that doesn’t need any help from us to look compelling. Look for those moments and try not to get lost in technique. Some times we’re so worried about our composition and shutter speeds, we forget to just look.

This is professor Herbert Shapiro, who taught at at the University of Cincinnati during the Vietnam War. He was also there when the school was shut down after the Kent State killings. He was once arrested along side his students during a peaceful protest.

Some More Examples

Restaurant owner Aunt Flora had some great windows in her restaurant that I used to create this natural light portrait.

Bam Powell is a musician. We met in a park for his portrait: not exactly his natural environment of night clubs, but he was willing to perform an impromptu version of the Pledge of Allegiance yielding this photo.

This portrait is more about the environment than the person. He helped to redevelop this old structure into new condos and apartments.

This musical couple calls themselves Shiny and the Spoon. They recorded much of their first album in this tiny attic space. I consider this a portrait because they were prompted to go to this space, but the music vibe took over and they started playing. I didn’t want to miss the moment.

Another example of this is an article that offers suggestion of 10 practices that every editorial photographer must know.

http://photography.tutsplus.com/tutorials/10-practices-every-editorial-photographer-must-know–photo-14450

10 Practices Every Editorial Photographer Must Know

By Diana Elizabeth,25 Jun 2013

Breaking into editorial photography is a great way to get more exposure, build your portfolio, and receive unique assignments that will allow you to work with models, real people, and even allow you to travel the world.

If you’re already an accomplished professional, transitioning to editorial photography can be fairly easy if you can remember a few things that make it different than typical portraits.

1. If the Article is Already Written, Ask to Read It

There may be an angle or a specific item or location the writer talks about in the article that you should focus on. Your images are to compliment the article, so giving the story a quick glance can help you look for specific items in stores, or help you visually set a tone for the shoot. If it mentions an old antique chest, ask where it is located. If it describes a specific dish, request it to be made, because often readers will want a photo to reference.

Being overly prepared and educated on what you are shooting will help you prepare when you’re on site shooting and will also impress the art director.

2. Ask if a Specific Orientation is Needed

Some editors already have an idea of layout for the story content. Don’t be afraid to ask for the predicted size for the feature or orientation preference they have in mind. However, still shoot horizontally and vertically for every shot for options as content can change.

Knowing that the story text will overlap the image can also help you go into a shoot looking for a clean background or shoot with a shallow depth of field that won’t compete with text.

You may also not know if the content will be on the right or left, so make sure you shoot with the subject looking in both directions so they don’t look off the page.

3. Shoot for the Cover

If you’re not a vertical shooter, get used to shooting verticals. Especially if you want to do magazine work. Typically magazines know what their feature story is for the publication so if you are shooting a part of the assignment, there’s a fairly good chance you can land the cover. Make sure you leave space for the magazine header. Do this by avoiding busy backgrounds and keeping signage out of your shot.

If you’re not used to shooting verticals, consider investing in a battery grip with a vertical release. It will help you make straighter shots.

4. Be More Mindful of the Details

There is still only so much that can be done in post. Editorial art directors like smart, sharp images with straight lines and clean composition. Sometimes fixing crooked horizons in post can’t fix it as well as just taking a step to the left or right.

The new Upright Tool in Lightroom can do wonders for straightening out lines in architecture, but it’s not perfect. Throw a couple curves in with the lines and you might be out of luck. Get it all right before you leave the scene.

5. Take a Step Back

Often photographers are in the habit of cropping in the camera. The difference with shooting for magazines is that the images often take up the entire page and need bleed room. You can avoid any images from being thrown out by simply giving extra room along the sides. Take a step back before taking the shot. It might be hard to get used to, but remember extra space is needed for the bleed. You don’t want your images to be unusable because you’ve shot too tight.

When magazine designers talk about a page having a bleed, they mean that the design or photos go all the way to the edge of the page. Think of it as the ink bleeding off the paper. In order to do this correctly, the design elements are bigger than the actual page. Then the page is cut back to it’s final size. This cutting is never exactly precise, so you need the extra wiggle room to make it look right.

6. Be Active in Model Selection

Your assignment might require models and you could be given access to a modeling agency’s talent database. If this is the case, know what the magazine’s demographic is. While most of us are attracted to youth, a magazine’s readership might be more sophisticated therefore it’s important to find subjects that fit the editorial’s readership.

Don’t be afraid to ask to look at the models with the art director and give feedback on preference. You can also recommend stylists and makeup artists that you prefer that may help strengthen your shot.

7. Take into Consideration Who You Are Shooting

By knowing your subject’s profession or role in the story, you’ll be able to capture them in a way that compliments the tone of the article. Your images of a comedian should not be shot in the same way as your images of a CEO.

With every photo, make the environment, props, pose, outfit, and mood of your subject all match the overall message of the shoot.

8. Be Professional and Quick

Art directors enjoy working with photographers work quickly, just as any other boss would. The sooner you can wrap up a shoot, the less likely you are exhaust the subject or take up too much of the art director’s day. This all goes toward getting the more jobs from these people later.

You’ll also need to edit well and deliver quickly. I find that my editing for editorial is not as soft or romantic as my wedding photography, but more bold, clean and saturated.

9. Turn in Your Assignments Early

I often hear complaints from editors waiting for images that were taken several weeks ago so they can lay out their magazine in time for deadline. The sooner you deliver your files, the quicker you get hired again for another assignment.

With so many freelance photographers working on the same issue, being one of the easiest to work with and turning in assignments quickly can easily make you to stand out among the rest when it comes to the next assignment that needs to be given out.

10. Know the Purchasing Cost and the Release Date

Editorials tend to have a waiting period, such as 60 to 90 days after the issue comes out when they prefer no one has access to your photographs. If you are the copyright owner, and you should fight to be, you’ll often want to sell images to the subject of the shoot or other involved parties.

Most often the pay you receive from an editorial shoot is less than what you’d normally charge for marketing usage, so know what you would charge for purchasing rights for one image, or the entire session, plus usage.

You should consider giving images to people for free if you think you’ll work with them again. A restaurant’s chef might be doing a cookbook, throw him a few free images to see if you can land shooting the whole book. You’ll also run into the same models over and over again, so giving them free images fosters a good relationship.

Keep in mind, if a business wants to purchase an image that features a model from an agency, you must speak with the agency because they have a rate in mind for their models to get paid as well. It will drastically increase the price, but it may cost less purchasing an image you’ve already taken than it would to rehire an entire group of professionals to shoot again. Don’t be afraid to ask for a fair amount.

The Editorial World is Small

I’d like to leave you with this final thought, the editorial photography world is small. Even in the biggest cities like New York and London, it seems that everyone knows everyone else. Therefore, it’s very easy to get shut out altogether.

Being professional, level headed, fast working, humble and nice is just as important as making good photographs.

I also found an advice page relation to environmental portraits specifically, an area of editorial photography that holds greater creative interest and future potential.

http://www.digitalcameraworld.com/2013/11/13/environmental-portrait-photography-how-to-shoot-candid-reportage-style-portraits/

Environmental portrait photography: how to shoot candid reportage-style portraits

jmeyer | Photography Tips | Portraits | 13/11/2013 00:01am

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Learn how to shoot environmental portrait photography, as we show you how to break out of the studio and take reportage-style portraits of people going about their everyday business.

Add a modern twist to your portrait photography by getting out of the studio and into the big wide world. Environmental portraits are shots of people taken in their natural surroundings, the places where they live, work or play.

This environmental portrait photography style is commonly used by magazines and newspapers as including background detail and elements of someone’s environment tells more of their story than a plain portrait shot.

As well as dipping a toe into documentary photography, environmental portrait photography is ideal if you’re ever asked to photograph a business, or if you just want to add something fresh to your portrait work.

The other great advantage to this type of environmental portrait is that your subject will be far more relaxed in their everyday surroundings, so it’s easier to get a natural pose from your model. It’s easy to take environmental portraits with impact with just your DSLR, kit lens and a bit of patience, and we’re going to show you how to do it.

We headed to Society Café in Bath to snap the coffee shop’s staff at work. A busy environment like this is an ideal place to practise taking portraits in as there’s plenty going on and the background is attractive and provides a narrative.

The key to getting environmental portrait photography right is finding a good balance between your subject and their background. Remember that the person is still the focus of the shot, and their surroundings are just there to add interest and hint at their personality and life.

Follow our guide for tips on how to use props and different setups to build a great collection of portraits, how to vary your shots with wide angle lenses and monochrome effects, and how to pick the right settings for great images every time.

How to shoot environmental portrait photography

01 Get candid
Warm up by snapping some candid shots of your subject going about their normal routine – here, barista Ash is making coffee. Try not to be too intrusive as the less your subject notices you’re there, the more relaxed they’ll feel. It takes people a few minutes to stop feeling awkward in front of a camera.

02 Add props
Add a prop to show more personality and to give your subject something to pose with, like Katie’s cake here. This is also a great solution if you’re working with an uninspiring background; tools of the trade or even pieces of uniform, such as a chef’s hat, instantly add interest and detail.

03 Simple monochrome
Further enhance the reportage feel by converting your photo to monochrome in post-production. Black-and-white has timeless appeal and is also a great way to make a busy shot like this one more restful to look at.

04 Perfectly posed
When you’ve taken a few candid shots, ask your subject to pose for you. Position them in their surroundings in a way that keeps them in the foreground as the main focus of the shot and keep chatting to them while you snap to keep their face animated and natural. If the background feels too busy, dial down to an f-stop like f/3.5 to blur it.

05 Widen up
For a different look, whip a wide-angle lens like our Sigma 10-20mm out of your camera bag and try including more of the surroundings in the shot. This is an especially effective trick if there are multiple people milling around as you’ll be able to capture them all in one photo.

06 Find the light
If you’re shooting indoors, like us, position your subject near a natural light source. We asked barista Alistair to pose next to the café’s window for a brighter final portrait, but another option in low light is to ask a friend to use a golden reflector to bounce more light onto your subject’s face.

Setting up your camera for environmental portrait photography

Switch to ‘A’ mode
You’ll need to shoot handheld and be prepared to move quickly to grab great shots in a busy working environment, so shooting in Manual might not be the best choice. Switch to A mode so you’ll have control over your aperture but the camera will take care of other settings for you.

Bump up your ISO
As we’re photographing indoors, a higher ISO like 1600 lets us compensate for the low light. The final images may be grainier, but it’s worth it for the freedom to move about and get photos that are reliably sharp each time.

Pick a narrow aperture
You might normally use a super-shallow depth of field in portraiture, but when you’re taking environmental portraits you need to avoid knocking the background out of focus completely. If you’re using your kit lens, choosing a narrow aperture such as f/8 will allow more of the surroundings to stand out and tell their part of the story.

http://www.thephoblographer.com/2013/10/22/7-tips-photographing-people-public-events/

7 Tips for Photographing People at Public Events

by IBARIONEX PERELLO on 10/22/2013

The best way to get past any fear that you might have of photographing strangers is to make pictures of people at public events. Be it a concert, parade or street festival, people are there to see and be seen.

The reservation that some might have about being photographed by someone that they don’t know seems to go by the wayside when they are part of a crowd. This makes it easier to approach people. They often feel very flattered to be noticed amongst a throng of hundreds or thousands.

But while it becomes easier to approach people, this same situation is not always ideal for making portraits. Here are some 7 tips that can help you contend with some of the frequent challenges of photographing people at a public event.

Find the Light First

A portrait is only as good as the light that you shoot it under. And when it comes to a public event, there is always an abundance of bad light, especially if you arrive during the middle of the day.

I prefer to look for a spot where there is a nice quality of light. It could be strong directional light in the late afternoon or some diffused light in an area of open shade. Once I find it, I’ll camp out there and look for subjects that will allow me to take advantage it. I will allow the subjects to come to me and once they agree to be photographed, I will move them into that good quality of light.

Stay Aware of the Background

With so many people milling about, the backgrounds can be incredibly cluttered. So, as well as the quality of the light you should also be looking for as clean a background as you can.

I sometimes find such a background with a the side of a tent at the food court or just a nearby wall. Regardless of what it is, I’m looking to find something clean and simple to help keep the viewer’s attention on my subject. When I can find good light and a clean background, I’m already halfway there.

Get in Close

Sometimes, there is nothing that you can do with the background. There are people moving around. There are distracting signs or banners behind the subject and you can’t just go up to someone and have them remove it just so that you can make a better picture.

That’s when I move in close and will fill up the frame with the subject’s face. Getting in tight allows me to not only eliminate those distractions, but it also makes the subject’s face the most important thing in the photograph. As I have an affinity for characters, rather than just “pretty” faces, I have frequently used this approach to my advantage.

Take Advantage of Depth of Field

An effective way to reduce the impact of the background is through the creative use of limited depth of field. By throwing the background out of focus, your sharp subject can appear to pop off the frame for a very beautiful portrait.

To achieve this, I will often use a longer focal length in combination with a moderate to wide aperture (e.g. f5.6, f4, f2.8. I tend to prefer a moderate aperture to help keep most of the face sharp, but I will sometimes use an extremely wide aperture such as f2 or f1.8 if I want to emphasize a smaller area of the face.

A telephoto focal length of 85mm or longer will also help you to achieve that shallow depth of field, but it will also create compression. Compression is the optical effect that makes the background appear that it’s closer to the subject than it actually is. That combined with a shallow depth of field provides a great look to the background.

Use the Environment

Sometimes, the things behind the subject are not a bad thing. They can actually provide a sense of place and reveal something about the subject. It becomes a way of telling the story of the subject and the happenings around them.

For these shots, I will use a wide angle lens and move to close to my subject. I keep the subject relatively close to the camera so that they are a dominant element in the frame. I will normally compose them off center and use the rest of the frame to include the important elements behind them. I will favor a moderate to small aperture in order to increase my depth of field to keep both my subject and background relatively sharp.

Take My Picture

When people see you making pictures and taking it seriously, you will often be approached by people to make their photographs. Always take advantage of such opportunities. Some people are not expecting you to say yes, but you should never look a gift horse in the mouth.

If I have found the light and the background, a willing subject may complete the trinity of a good photograph. I will immediately make some photographs. But since most people are mugging for the camera or giving me the V-sign, I will quickly approach them and ask to change the position or body language to help improve the photograph. All the while I am complimenting them for something that I find interesting about them in the hopes of keeping them long enough to make the kind of picture I want.  But there are times when the subject gives you something better than I could have come up with and I just go with it.

Have Fun

The camera provides you the ability to meet and talk to people that you might not encounter during your normal day. It is a wonderful opportunity to have a name and a story to go along with your images.

Even when my conversations with my subjects only last a few moments, I get to take away more than a good picture, but also a memory of that person and who they were that lives outside of the photograph. I often enjoy sharing those stories as much as the photographs themselves.

http://digital-photography-school.com/asking-permission-to-photography-people

Asking Permission to Photograph People

A Post By: Darren Rowse

“I’m heading to India next week and am looking forward to using my new DSLR. I’m particularly looking forward to photographing the people I come across but am a bit worried about whether I need to ask permission before photographing them in the street or other public places. Any suggestions?” – question submitted by DPS reader, Graham.

Thanks for the question Graham – you’re not the only person asking it. In fact I’ve written on this topic previously in my series on Travel Photography but I thought I’d go over my approach to asking permission to photograph people, especially in a foreign country.

Keep in mind that this is my own personal approach and that others do it much differently.

1. I always ask for permission if the person will be the main subject of my photo – I figure that I’m a guest in another country and that I want to behave like I’d expect someone to behave if they were in my home – with respect and friendliness.

2. If a person is a minor subject in a larger photo I don’t seek permission – it’s just not logistically possible to ask everyone on a street if you can photograph them!

3. Getting ‘permission’ can mean different things in different situations – often it’s simply a matter of holding up your camera and smiling with a raised eyebrow. Other times you might actually ask but gesturing will usually be sufficient enough to get a nod or a shake of the head. I find that it’s quite rare to get knocked back from a friendly approach.

4. If permission is not given or I’m sensing the other person is not comfortable with my actions I always stop and politely move on. I’ve found that in come cultures people say yes just to be polite but don’t really want you to take their shot. If I’m getting these vibes I stop immediately.

5. Before you travel do some research on what is and isn’t acceptable culturally – last time I traveled I was amazed to see how many people in the tour group I was with who had no clues about the culture they were visiting. As a result they often dressed and acted very inappropriately and annoyed a lot of locals by breaking social taboos. While this isn’t directly related to taking photos it does have an impact upon those you meet along the way that you might wish to photograph.

6. Smiling at the person and maintaining strong eye contact before, during and after taking your photo does wonders – for starters it helps with getting permission, then it helps them relax and lastly it shows your appreciation and that you value the person. Show a genuine interest in the other person, their life and what they’re doing and you’ll not only get a great shot but you’ll leave a positive feeling with the person – you might even learn a thing or two and make a new friend.

7. If I’m watching a performance or show where photography is allowed I don’t ask permission of individuals – I figure they’re doing it for some sort of payment and are used to it.

8. If photographing children I take extra care to get permission from a parent where there is one present. I think photographers need to be particularly careful in this area.

9. I don’t pay or tip people for photographs – I know many photographers do this but it’s something I’m not comfortable with. I do travel with little gifts from home (toys, pens, badges etc) which I like to give to people I meet along the way but don’t use these as ‘payments’ or bribes as such.

10. Don’t travel in a large group – One of the keys that I’ve found to getting good street photos of people is to travel in small groups or (when it’s safe to do so) alone. There’s something about a large group, all carrying cameras, coming up to a person that is very overwhelming. If I am traveling with a larger group I tend to hang back on the edges of the group and look for my own opportunities.

As I’ve written before – “Keep in mind what you’d feel like if a stranger walked up to you in your neighbourhood and asked for a photograph and act in a way that you’d want to be treated in that kind of situation.”

Throughout this wealth of information, I found it reassuring that there was so much knowledge available to consult upon almost every dynamic and issue involving when photographing people, in an effective and ethical capacity.

Through this research and previous references for editorial and fine art portraiture, I have been able to recognise the strengths and weaknesses within photographing human subjects. One of the core aspects of this is that there must be a mutually beneficial relationship between photographer and subject.

The role of a photographer far exceeds that of physically an capturing an image we must begin by considering both the aesthetic (technical) and conceptual (narrative) impact, as well the effect this might have upon the life and situation of the people we intend to photograph.

Although it can be quite intimidating at times, often people aren’t as hostile as they might first appear, a kind and sincere attitude goes a long way to reassure people of your intentions.

The final stage of this research is to reflect upon each subject and start to formulate ideas for a potential portrait as a starting point of developing my work.

 

Photo: Sony World Student Focus Competition

To become more involved in my intended photographic practice, I decided to review my collection of recent images, particularly those featured as part of my video project process and submit an image to the Sony World Student Focus Competition.

I wanted to select a single photo that would tell a narrative of conflict between human/urban development versus the conservation and protection of local eco-systems. Additionally, it needed to fulfil the rules and guidelines set out upon their website (as referred to in potential wildlife and landscape exhibitions, events…).

The result was this image:

Another challenge of this was decided how best to professionally caption this using only 15 words.

I found a variety sources with potential advice, however, the most useful of which was on Shuttershock’s editorial image caption guidelines.

http://www.shutterstock.com/buzz/creating-the-perfect-editorial-caption

To make it easier for editors to search and correctly identify Shutterstock images, we require the following standard editorial format for captions:

CITY, STATE/COUNTRY – MONTH DAY: Factual description of the image content

on [date] in [location].  Qualifying newsworthy second sentence (if necessary).

Dateline:

The dateline is very important because it allows editors to quickly scan through image titles for the date and location they need. Therefore, the dateline must be in an exact format, and in all CAPITAL LETTERS.

• If the city is large or well-known, such as MOSCOW, it is not necessary to include the country in the dateline or description. Please see the bottom of this article for a comprehensive list of standalone cities.

• If the exact date is unknown or does not apply, please provide as much information as available, and replace unknown information in both the dateline and description with CIRCA (Example 2).

First Sentence:

Look at your photograph. Describe what is going on in the image. Here, include the necessary factual information which directly describes the depicted scene. If the photo depicts people, start by identifying the subject(s) with the person’s/people’s name(s), and describe what they are doing. Be sure to describe the action in the active present tense (Example 3). End the first sentence with the date, followed by the location.

People:

• Sports and Celebrity images should ALWAYS include the name of the person depicted.

• Human interest photos – if the name of the subject is not available, simply write “unidentified” in your caption. For example, “An unidentified woman sells vegetables…”

• Children – due to the sensitive nature of photographing children, provide the name, age, and general area of residence for all children in editorial photographs. If this information cannot be obtained and the photo is particularly newsworthy, we will consider approval, provided the description is factually accurate, and states “an unidentified child” .

Action:

• Always describe actions in the active present tense (Example 3).

Second Sentence:

Sometimes a second sentence is not necessary (Example 3). However, if the first sentence is not enough to fully describe the photograph, use a second sentence. Ask yourself: why is this newsworthy? Remember, all photos of famous landmarks or cities can be newsworthy, even if they are not taken during a particular event. You simply need to find the news angle (Example 4).

Image Manipulation:

Editorial images should never be digitally altered. Scaling and cropping slightly is acceptable (sometimes you must crop a newsworthy editorial image), but you should never add or remove elements to make an image sell more, such as adding smoke at a protest or removing background elements.

What you could do simply in a darkroom is generally acceptable with Photoshop. However, changing key elements of the image to your advantage is not ethical. The best editorial image is the full frame image. If you must crop it, the “message” of the image must not change at all.  It is of utmost importance to maintain the editorial integrity of the image in every way.

From this, my caption became:

SALFORD, ENG- OCTOBER 10 – View of active landfill in Clifton LIVIA, 10 October 2013 in Salford, England.

I then emailed this to my tutor, hopefully I shall receive good news. Either way, this has encouraged me to think about how to prepare relevant images for submission, a practice I intend to perform more often throughout my third year.

Reading & Seminar: Susan Sontag

For this session, we were ask to read the first chapter of Susan Sontag’s book, On Photography. As would form the basis of the seminar there we needed to confident in our association of the text.

When first beginning to read the chapter, I started by looking at the title – In Plato’s Cave. I find philosophical concepts to be quite interesting and felt it would be productive gain an understanding of the origins for this allegory.

The principles of this association with Plato’s cave made more sense in the given context. An overview of this idea is as follows.

1. Plato has Socrates describe a gathering of people who have lived chained to the wall of a cave all of their lives, facing a blank wall.
2. The people watch the shadows projected on the wall by things passing in front of a fire behind them and they begin to ascribe names to these shadows.
3. Socrates suggested that these shadows are as close as the prisoners get to viewing reality.
4. He then explains how the philosopher is like a prisoner freed from the cave and comes to understand that these shadows on the wall do not make up reality at all as he can perceive the true form of reality rather than the mere shadows seen by the prisoners.

Sontag relates this allegory to describe human kind.

Humanity lingers un-regeneratively in Plato’s cave, still revelling in mere images of truth.

Unlike other forms of visual art, photography covers a wider spectrum, almost everything has been photographed at some time or other. In teaching new visual codes, photographs encourage us to clarify what holds value as a subject and what we allow be to seen, ‘an ethics of seeing’. This encourages us to believe that we can have entire knowledge of the world, through the ‘evidence’ of images (shadows).

Sontag highlights that a still image is also an object, lightweight, cheap and easy to reproduce, easy to carry about, accumulate and store.

However, this isn’t necessarily true in today’s digital age of photography. A still image can be used for digital purposes alone and therefore doesn’t offer the same intimacy or sensation as with film prints.

To photograph is appropriate the thing being photographed. It means putting one’s self in relation to the world feels like knowledge.

Photographs are seen to signify more than other mediums such as literature, painting and drawings, acting as piece of the world, elements of reality for anyone to produce or obtain.

From this, she moves on to discuss how the format and presentation of images can alter their ‘longevity. Physical prints in public access become alter over time, often lost, valuable but reproduced. Often the fate of photographs that seek to challenge preconceptions. Those that are seen to correctly represent the world are packaged in albums, framed in houses, complied and mass produced.

Books however can offer immortality but force the viewer to view them as the photographer decides as a opposed to how they were first experienced.’ Sontag offers the suggestion of dated and numbered stills as a response, as a means of evoking a greater emotional impact.

Photographs are often seen to act as proof of evidence. Either to incriminate or justify that an event or action has occurred. In law, CCTV is prioritised over verbal testimony of witness. Although, we now also offer greater priority to scientific evidence – DNA.

Sontag continues to suggest that even in attempting to distort the image, we can assume that something exists or did, similar to that of what we know. Whether this is through amateurism or artistry, it appears more innocent thus more accurate in their representation of reality.

The photographer seeks to show something through their images, waiting for the ‘best’ shot based upon their intentions, whether professional or hobby. Our pre-existing concepts of morality, social background, poverty, geometry can influence the decision of how an image should look (composition, light, expression). In a sense, the photograph is a representation of the word in the way paintings and drawings are.

Within its origins, photography offered the capture of the widest possible subjects. It was subsequently industrialised in technology, promising to encapsulate all experiences and covert them to images. Starting as an elitist tool, ‘the toy of the clever, the wealthy and the obsessed’ has become available to anyone. Prior to this, photography had no application in social use, simply acting as less pretentious art form. Since, it has become widely practised as than more than an art but as ‘a social rite, a defence against anxiety and a tool of power’.

Sometimes this is to immortalise family events or achievements – ‘not to take a pictures of their children, particularly when they are young is a sign of parental indifference, just as not turning up for one’s graduation picture is a gesture of adolescent rebellion’. This construction of the ideal family portrait offers an ‘imaginary possession of the past that is unreal’.

Or some, it offers an opportunity to establish proof of travel or exploration through tourism. It is often seen as unthinkable to travel without a camera, ‘Photographs will offer indisputable evidence that the trip was made, that the program was carried out, that fun was had’. Which aims to add reality to what is being experienced.

A way of certifying experience, taking photographs is also a way of refusing it – by limited experience to search for the photogenic.

As a results, she asserts that photography has become one of the tools from which we can experience something. Offer an appearance of participation. The act of picture taking is an event in itself. A position of observation, ignorant of what’s occurring around them. Thus, raises the ethical debate, to interfere or act as a silent observer, regardless of the atrocities taking place.

I believe that context is important in deciding whether it is right or constructive to interfere in a given situation. Interference can ignite further issues especially from the perspective of an outsider. Devastating events can not always be prevented through a photographers actions. However, this still raises the debate of priority for the desire of recognition and self gain at the expense of another’s well being or life.

The person who intervenes cannot record. The person who records cannot intervene.

At times, the position as the observer can almost become voyeuristic in its approach. Photographs aim to show an interest in observing the physical evidence of things as they are whilst working toward what makes the subject interesting, a worthy subject at times, regardless of another’s pain or suffered.

Arbus describes photography as a naughty thing to do. Ascribing various contexts to a situation of silent observation, something exploitative or sexualized. This notion of fantasy is connected with the camera, ‘a predatory weapon’. Advertised like a car, ‘automated’ and ‘ready to spring’, demanding no skill or expert knowledge.

To photograph people is violate them, by seeing them as they never see themselves, by having knowledge of them that they can never have, it turns people into objects that can be symbolically possessed.

Although, it could be argued that modern policies in relation to street photography and the general practice of photography have protected the interests of the human and animal subjects above the creative direction of the photographer. Release forms and licenses allow restrictions on the public distribution of unknowing subjects of images.

However, the wealth of images distributed via the internet is a ‘chosen’ invasion of person privacy, offering an enormous quantity of personal information. In some ways in has never been easier for someone to be a voyeur.

Sontag discusses how cameras have replaced guns in ‘the ecological safari’.

Nature has ceased to be what it always has been – what people need protection from. Now nature – tamed, endangered, mortal – needs to be protected from people. When we are afraid we shoot, but when we are nostalgic, we take pictures.

Changes in the human landscape has caused a desire to use camera to record the disappearance of biological and social life. She suggests that documentation of the world, no matter how colossal can serve to reaffirm our knowledge of the unobtainable, the desirability of such is enhanced by distance. Photographs express a feeling of sentimentality, almost magical.

This aims to raise issues relating to altruism. That even in a photographers honest intentions, there is still a sense of self gain or reassurance of morality.

Ideology determines what is an event, especially when it follows the agenda of editorial or commercial client. This is particularly the case in terms of nationality and preference, only highlighting the vulnerability and victimisation of their nation and not that of their current ‘enemy’.

Within the seminar, I brought quite a significant amount of this consideration and preparation into general discussion. The session itself was quite productive, encouraging contrasted opinions and debates. Encouraging us to consider new aspects previously un-thought of.

Overall, the enjoyed the atmosphere offered within the group situation.

 

Research: Basic Studio Lighting Setups & Techniques – Still life

Within this area of research, I intend to highlight basic lighting setups and techniques for still life subjects in studio environment.

This is a subject matter within the studio that I feel more confident about than portraiture. However, I would like to start thinking about broadening my experimental (art) or marketable (commercial) directions within my still life approach. Therefore amongst a few extracts of research relating to standard compositions and lighting techniques, I have also started to look at more definitive aspects such as experimenting with perspective and creating professional pack shot for product photography.

From this, I have been able to de-construct various core aspects to consider within future still life/pack shot images.

http://www.digitalcameraworld.com/2013/01/30/the-still-life-photographers-guide-to-lighting-4-techniques-4-different-effects/

The still life photographers’ guide to lighting: 4 techniques, 4 different effects

jmeyer | Photography Tips | 30/01/2013 11:29am

1 Comment

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Still life photographers often tell us that lighting their scenes is the biggest challenge they face. In fact, lighting is one of the most common photography problems in any genre. In this tutorial, Ali Jennings of our testing team singles out 4 foolproof still life photography lighting techniques that you can use anywhere.

Each still life lighting technique shows you how to adequately light some of the most common subjects for still life photographers: flowers, fruit, images for eBay and stock photos. Follow these techniques and you’ll be well ahead of other still life photographers!

The key to successful tabletop studio photography is the lighting, and how you use it to create different effects, without spending a fortune on equipment.

We’ll use a variety of different simple light sources – window light, a pocket torch, and a pair of common-or-garden desk lamps to cut down on the additional kit needed.

But you will also benefit from a few extras – such as some fabric and paper for the backdrops, and a reflector and a light tent for creating a more even lighting for some of our close-up set-ups.

So, find a bit of free time and clear some space, and have a go at our four still life photography ideas in the comfort of your own home.  But first, let’s take a look at some….

Essential gear for still life photographers

01 Desk lamp
A small lamp with a flexible head, such as an anglepoise, lets you direct the light, so is ideal choice for small home studio projects. Using two adds foreground and background lighting and boost other lighting on dull days.

02 Black velvet
This fabric has the amazing ability to absorb light, so when lit correctly it looks as though a subject is literally floating in black. Buy a couple of metres at a material shop, but make sure you don’t buy the crushed sort!

03 Torch
Light painting is a quick, easy way to manipulate the light in exactly the way you want. A small powerful torch, such as a Maglite, can directed as needed, and with a focusable beam it gives you creative control.

04 A2 paper
An inexpensive and easy solution for creating backdrops, as well as being cheap and readily available from all art stores. When you make your selection, a paper with a matte and subtly textured finish will help to avoid reflections.

05 Light tent
The advantage to these simple translucent structures is they create even lighting for product photography using nothing but natural light from a window, and cut out reflections. A Hama light tent costs as little as £30/$45.

06 Reflector
Even with diffused light shadows can be a real issue, but with a small reflector these problems can easily be resolved. For still life projects look for one with both silver or white surfaces. This Lastolite Trigrip costs £55/$70.

The still life photographer’s guide to lighting flowers

Place the vase of flowers close to a wall but leave enough space to position a lamp to create the backlighting.

On the wall, tape a piece of A2-size coloured paper that complements the flowers, and make sure it covers the full frame of what you see through the viewfinder.

Now place the first lamp behind the flowers pointing up and slightly towards the paper. For the main lighting place the second lamp in front of the flowers just off to one side.

Kit needed
■ Kit lens (18-105mm) ■ 2 x desk lamps ■ 1 sheet of A2 coloured paper ■ Remote release

Two angle poise lamps will provide all the light you need for this simple set up.

With small apertures and long exposure times there are two essential pieces of kit that will help you to capture pin-sharp images every time.

The first is a remote release. These can cost as little as £10 and enable you to fire the shutter without touching the camera and introducing shake.

The second is a tripod. Any tripod will do, but the more solid it is the better!

The still life photographer’s guide to lighting fruit for high impact

Position a length of black velvet cloth over a box, making sure you have a good amount of length in the foreground to place the fruit on, so that once composed the subject will be surrounded by black.

Position the fruit in the middle of the cloth. We want the lighting in the room to be as dark as possible, so the only light shining on the fruit is that produced by the torch.

Use thin paper (a cupcake case is ideal) to diffuse the light; this will reduce reflection on the skin.

Kit needed
■ Kit lens (18-105mm) ■ Black velvet ■ Maglite ■ Thin paper ■ Tripod ■ Shutter release

A torch provides strongly focused light; diffusing it will stop highlights being too harsh

QUICK TIP!
If your camera has the Mirror Lock-up feature, switch it on. It’s usually positioned on the dial under the mode dial. If not, using Live Mode when shooting will lock the mirror up, helping to avoid small vibrations that can be caused when shooting.

The still life photographer’s guide to lighting stock photos

First set up by a window, and then tape a piece of white paper to a box to create a curve, creating a seamless backdrop. Arrange the crayons so that once framed they will be surrounded by white.

Check how the lighting falls on the crayons. You want the lighting to be as even as possible – if the crayons are casting shadows, a reflector can be used to help reduce the shadow effect.

If you don’t have a reflector then a simple sheet of white paper will do.

Kit needed
■ 40mm macro lens ■ Sheet of white A2 paper ■ Remote release ■ Reflector ■ Tripod

The reflector helps remove harsh shadows, keeping the lighting nice and even

Highlight burnout can be an issue, so use the camera’s preview to check the exposure. This process is different according to your camera’s make and model.

On most Nikon DSLRs, for instance, click up on the control dial to rotate through the different views until you see the one that displays the image information, histogram and highlight mask. If any areas of the image are flashing, reduce the exposure slightly to help recover highlights.

http://photography.tutsplus.com/tutorials/10-tips-to-get-started-with-still-life-photography–photo-8278

10 Tips to Get Started with Still Life Photography

By Simon Bray,3 Dec 2011

There aren’t many photographic practices that date back further than still life photography. When photography originated, it was necessary for exposures to be quite long, so photographing static objects was the ideal subject matter. However, as the technology developed, the fascination for capturing still life has remained and is still one of the most viable photographic professions today.

At the top end, it is an extremely lucrative business, as magazines, catalogues and websites all require product shots. There are many advantages to working with still life that are often underestimated, so hopefully you’ll be able to see it’s scope for creativity and get started with taking some shots yourself!

1. Getting Started

Contrary to common perceptions, you don’t need a studio or a fancy location to make a start with still life photography. You can begin by simply using a space at home, such as a table placed by a window, along with a simple backdrop and utilizing a couple of lamps.

It varies greatly to landscape or portrait photography, in which you are provided with the subject matter, for example, a stunning mountain scene or a model, which come with a huge amount of variables, but the creative content is there in front of you. With still life photography, there are far less variables, you, as the photographer have complete control over the situation, including the subject matter, but you need to think extremely creatively in order to capture it in an interesting and engaging way.

Photo by apwizard

2. Choosing the subject

What you photograph is completely up to you. Have a search around the house to see if you can find something simple but interesting to start with. Please don’t feel like you have to take photos of fruit or flowers just because everyone else does, think outside the box without being overly ambitious.

If, when you’re out and about, something catches your eye, take it home with you (don’t steal it!) or make a note of it so as to remember to try photographing it in a still life context. Try to avoid reflective surfaces such as glass and metal to begin with, as they will be extremely difficult with regards to lighting. Once you’ve mastered the single object shots, try mixing it up, combine objects of contrasting shape, colour, texture and see what you can come up with.

Photo by whereisyourmind

3. Lighting

Lighting doesn’t have to be expensive, I know certainly for me that a set of studio lights aren’t really within my budget, so for still life shoots I need to utilize all the light I can get my hands one. Remember that you have full control over the shoot, so if you want, find a room in which you can block out all natural light by using shutters or curtains, this way you will have complete control over the light upon your subject.

Using standard lamps can work extremely well if used effectively. Be sure to try multiple positioning set ups, not all light has to come from the front of the object, side and back lighting will add interest, shadows and depth to the shot. Alternatively, choose a room that is well lit via a window, and use this to your advantage. The natural light from one side will comprehensively light your subject and you can compliment this with a lamp or reflector.

Photo by brtsergio

4. Tripods and Angles

Depending on your lighting situation, you may or may not need to use a tripod and shutter release. I would recommend using these as they will allow you to observe and work with your subject matter. This set up will also allow you to use slightly longer shutter speeds than usual to ensure a small aperture allowing the image to be in focus front to back, if you so choose.

However, please don’t let a static camera stifle your creativity, it quickly gets forgotten that your camera has been sat in the same position for the whole shoot. Be sure to vary the angles and heights at which you are shooting. Otherwise, before you know it, you’ll have a whole collection of shots all take from the same point with little or know variation. Mix it up a bit. Try shooting at the level of the subject or try a bird’s eye view, looking down onto the subject, but be careful if you are moving around not to cast any shadows on your subject!

Photo by yjhsu

5. Get the backdrop right

Having a suitable backdrop for your subject matter will play a crucial role in the overall success of your shots. It’s best to keep it nice and simple, so it doesn’t interfere with your subject. A plain painted wall or a large sheet of white or plain colored paper would be ideal.

Think about how your choice of background contrasts the subject, do you want a neutral background, or are there tones that may work in complimenting the shades within your subject. For smaller objects, you may not need a backdrop as such, but instead require a surface to place the items on, for which something like black velvet is ideal, as it absorbs light and looks like a solid black surface.

Photo by darktechsystem

6. Composing the shot

The compositional element of your still life work is an absolutely crucial part of ensuring that your work is engaging and unique. Consider the rule of thirds, how can that be applied to your shoot to create a strong composition. Ensure there are no distractions within the frame, just the subject and the backdrop.

Be sure to vary the composition of the subject matter through the shoot and think outside the box. Where are you leading the eye within the image? Are you utilizing negative space or might it work to try and fill the frame? Engage with the subject, what are its defining features? What is it used for? Are you able to put it into context or does it work as a stand alone subject?

Photo by lindenbaum

7. Taking all day over it

I often find that my mentality surrounding a shoot is dependent on the reason for the shoot. So if I am simply taking photos for pleasure or for myself (as opposed to being assigned work by somebody else), I will be less stringent with ensuring that all the aspects of the shoot are as well executed as they can be. This is obviously a bad habit that am aiming to shed, but when it comes to still life photography, there is no reason not to get it right. You have as much time as you need to do a good job!

Unlike a landscape shoot, the light isn’t rapidly changing and unlike a portrait, you’re subject isn’t going to get bored of keeping still for long periods of time. Take advantage of this, set up your subject, lighting, backdrop and camera, try a few shots, then move things around a bit and have another go. If you get to a point where you feel like things aren’t going quite right, you can just leave everything set up, make yourself a cup of tea and come back to it refreshed later on.

Another advantage is that there’s no excuse not to have clean and sharp images, take time to get the lighting and focus just right. If you can get your hands on one, a macro lens will be ideal for this sort of work, however, if not, try selecting macro mode on your camera to give you the best chance of capturing the close up detail in your subject.

Photo by vamedia

8. Inspired by the masters

If you’re struggling with the lighting, composing or structuring of your shots, then you need to find some inspiration, and where better to look than to the original still life masterpieces of years gone by. Have a search online for renaissance still life artists and observe the elements of the pieces.

Studying these paintings will help you to think about form, shades and how the colors work together and will hopefully give you a few ideas on how you can shape your photography work to form strong and engaging images.

Photo by layos

9. Now it’s your turn!

Now it’s time for you to have a go yourself. Find a quiet day in your schedule and set aside some time to practice. Try setting up your camera and backdrop by a suitably light spot next to a window and get snapping!

Once you’ve mastered the basics, try getting creative, experiment with camera angles, lighting angles and alternative light sources such as candles and lamps. You could even try getting creative with apertures and use a f/1.8 prime lens to achieve an artistic shallow focus. However, if you take one thing from this tutorial, let it be this: still life photography does not have to be of fruit and flowers! So find some unique and inspiring subject matter that gets you excited and start shooting!

Photo by apwizard

10. Making a living?

There is plenty of demand for still life photography, particularly now that it is so simple for photographers to provide images for stock photography libraries, that are accessed by magazines, business publications and for online content. Once you’ve got your shots, don’t be afraid to share them online, you could even try using Envato’s PhotoDune stock photography service. So each time you set up a shoot, work as if you are on assignment, you never know, your still life work might even make you a few bucks along the way!

Photo by gfpeck

http://learnmyshot.com/forced-perspective-technique-for-still-life-photography/

FORCED PERSPECTIVE TECHNIQUE FOR STILL LIFE PHOTOGRAPHY

Watch this photography tutorial video to learn photography technique of forced perspective.

Article By Sasha Gitin Video By Robert Grant

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Wish you could take gorgeous photos? now you can! see our Review of a New Educational Resource – Tools and Techniques for Creative Photography – eBook

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OPTICAL ILLUSION:

Visual illusion is a tremendous tool in the hands of an artist. When she creates something that is not aligned with reality such process of creation rewards the artist with a sublime feeling of being a unique creator. Reality itself is a relative term. Our perceptions about the world around us are based on points of reference that we create for ourselves. Points of perspective, in our society are based on religion, constitution, laws of science and our personal set of beliefs. Discord of these points is what generally creates unrest in the world. It’s often impossible for two individuals to agree if each one is looking at the same thing from two different points of view.

DUAL PERSPECTIVE:

In photography, perspective is a constant variable that becomes a universal point of reference for all spectators.Altering the perception of a vanishing point creates a dual perspective. Dual perspective is a fourth dimension that can set its own rules upon the universe within the image.

^{Photo by Robert Grant}

When I look at Robert’s image, the unity of two perspectives allows distinctive subjects to create harmony and balance within the space, while complementing each other.

USE OF FORCED PERSPECTIVE:

Forced perspective often is used in architecture and landscaping to create desired illusion of space. Greeks made their columns narrower towards the top to create an illusion of a greater height. In cinematography and theater force perspective is often used in making the set to create a feeling of vast space.
Adelbert Ames Jr. Was An American Scientist and artist who dedicated much of his life exploring the philosophy of perception. He is most known for constructing the Ames Room, the Ames window.

AMAZING AMES WINDOW:

TIPS FOR CREATING A FORCED PERSPECTIVE STILL LIFE PHOTOGRAPHY:

1. Place your camera on a tripod.

2. Use a wide angle lens. Wide angle lens visually expands perspective remember that telephoto lenses force perspective to compress (See our tutorial on perspective compression) Using the wide angle lens is not mandatory to create forced perspective, but using wide angle will make it much easier.

3. Use adequate f-stop to ensure that depth of field is deep enough to maintain subjects in focus (f/16, or f/22).

4. Use Aperture priority or manual mode to make sure the camera will not change your f-stop automatically.

5. Alter the shape of the surface or any other element within your composition to create an illusion of perspective.

6. Keep some elements real (in our sample we used a geometric shape; human mind subconsciously gives priority to a square over trapezoid when it comes to judgment which shape is more real). Everything is relative only to a point of perspective. If you never wake up from your dream how would you know it wasn’t real? If your intention is to force perspective to create an illusion of size then use two subjects that are universally recognized.

CLIP FROM HBO MOVIE TEMPLE GRANDIN:

What other examples of forced perspective photography have you seen? (you can post links in comments). What do you think about reality itself is it something subjective or objective?

ASSIGNMENT CHALLENGE:

Create a Visual Illusion in your image using Forced Perspective. Use “Share your shot” feature in comments box to post it here.

http://www.wix.com/blog/2013/06/effective-product-photography-for-websites/

10 Tips for Effective Product Photography

Photography | June 19th 2013

Setting up your eCommerce site? You’re definitely going to need some captivating photos to present what you offer. Ideally, you should get a professional photographer to perform that well-calculated magic. However, if you’re working on a tight budget, or if you just happen to like photography, you can always pick up a camera and give it a go yourself. Follow the tips below and make the most out of your photo shoot.

Get Lots of Light

Natural light works best for any type of photo and should be used whenever possible. Typically, shooting your photos during the day will grant the best results. What matters is not only the quantity of the light, but the uniformity of distribution as well.

Hard shadow vs. soft shadow- Hard shadows are created when the size of the light source is small compared to the size of the subject. Conversely, soft shadows are created when the size of the light source is larger than the subject. For your needs you want to aim for soft shadow.

As demonstrated in the example below, the more diffused the light is, the better its spread on the object you photograph and the more smooth and whole its appearance.  To avoid a hard shadow, use a flash diffuser. A flash diffuser can be created by taking a white tape or a white plastic bag and attaching it to the flash of the camera. In turn, the light will be distributed in a softer, more even way in all parts of the object, rather than be centered in one spot.

White Background – Create the Infinity Curve

Often in product photography, a clean white background looks best since it creates a focus on the object itself. The “Infinity Curve” enables photographers to shoot products against an endless white background that reveals no horizon in the back, only a clean and pleasant view. To create this type of background, place a piece of white paper or fabric and bend it to create a curve. Your product will be the center of the photo and the only item to capture the viewer’s attention.

Find the Unusual Point of View

No one knows your products better than you. However, nothing is better than a product photo shoot to bring out special features of your product that may surprise even you. As you take photos, go for unusual angles, get close ups and look for unique points of view. Tell a story with the images you capture, while you accentuate particular angles. You never know what angle will end up revealing the most impressive or attractive tale, so test different options.

Use a Tripod and a Timer

As you take a picture, even the slightest vibration or movement can cause motion blur. Moreover, the closer you get to an object the more obvious the motion blur becomes. A tripod will assure you remain stable as you take the photo. Even an inexpensive tripod will make a big difference in the sharpness of your images. Additionally, you can use the camera’s built-in timer to minimize camera shake and maximize accuracy.

Sense of Scale

Some products may not be easily recognizable by viewers. This is where giving a sense of scale can be very helpful. If you include an item in the image that people are familiar with, it can really help to visualize the size of the product. For example, if the product is a miniature doll, you could place an object like a standard sized pencil next to it, and give people a sense of scale.

Show the Product in its Natural Environment

Take pictures of your product next to an item that will help people relate to it in real life. Moreover, the use of props can help to bring out certain features in the photo. For example, if you take a picture of a watch, show it on someone’s wrist. If you are selling a coffee table book, take a shot of the opened book on an actual table with a small fruit bowl next to it. If you are selling jewelry or clothing, having at least one picture of your product on a model is great. Potential buyers will get an idea of how the item will look on them and also, it could show the type of target audience you’re aiming for.

We Sell this Shirt in Red, Green and Grey

You may offer a particular item in a selection of colors. In this case, don’t spare any visual details, bare it all in the photo! On many site images, people display a single item and then write under it “also available in blue and green”. A set of photos showing the variety of colors will make the product look richer and more attractive. Don’t just tell them about it, let people see for themselves.

Don’t Delete from Camera

Don’t get tempted to make quick verdicts about your pictures when you review them on the camera. Be patient and wait until you download the photos to your computer. Images look very different on a bigger screen and this is the way to decide which photos make the cut and which will move on to photo-heaven.

Taking a Detailed Photo? Use the “Flower” Setting

Most cameras have a “close-up” setting that you switch it to when you are taking a closer than standard photo. The “flower” setting is really called “Macro” and it appears on most cameras as a tulip-like icon. This is often used when your subject is a small item like a piece of jewelry or a flower. The result is a narrow depth of field and a different perspective.

Pro tip- If you’d like to take a picture of something very small, and even the “macro” feature is not enough, use an extension tube – it gives a focus for the tiny details. The extension tube is typically a tool used by photography pros but as you advance with your photo shoots you may find yourself developing an appetite for advanced tools and other photo instruments.

 Editing Is Important

Taking a shot is often just the beginning, next comes the editing and the touch ups. As you prepare images for your site, make sure they are approximately the same size. Choose 1-3 different sizes from large to medium and small. Edit your photos to fit one of the pre-selected sizes so that you won’t have too much variation.

You don’t have to be a web designer or even computer savvy for this one, just upload your pictures into any photo editing software, and get to business. Things like cropping and color correction can make a world of difference in a photo. You can also use the Aviary image editor directly on the Wix editor and make your photos really shine.

Like my similar research of portraiture, this has allowed me to gain a sense of professional studio practice and how to achieve more successful still life photography for personal and commercial purposes. The distinction with still life is the importance of subtle features that can massively influence the viewing of the image.

As I have mentioned in previous posts, the choice of colour and the application of it (hue & saturation) can generate certain psychological associations, a tool which is utilised heavily within marketing and advertising.

Even slight readjustments in the angle and scale upon which we frame the object(s) can produce very different results for better or worse depend upon the intended outcome.

I found that this was especially relevant when developing images of food photography. The intended images must do more than demonstrate distinct or abstract shape and sleekness like pack shot of non-consumable products. It must encourage the viewer the find the food appetising something that once again is massively impact by colour coding.

Again, we find that there is a lot more to consider when aiming to confront still life subjects. I believe that this area of research has refined my knowledge and encouraged me to reflect upon studio practice as as whole.

Research: Basic Studio Lighting Setups & Techniques – Portraits

Within this post, I shall discuss and review some of recent research of basic studio lighting set-ups and techniques in relation to portraits. In this area of research, I want to revisit some the methods outlined within Photo Skills A during my first year and from this then expand my knowledge of studio techniques and practice.

Studio work is generally less important within my intended practice, however, I would like to gain further insight into general techniques and set-ups as a means of broadening myself as a photographer, so that if a time comes when I might need to produce images within a studio set-up for commissioned work, I will be more confident in my approach.

I have started this process with the consideration for studio portraits.

I decided to begin with a recap of the five classic studio lighting setups.

http://www.sekonic.com/whatisyourspecialty/photographer/articles/the-five-basic-portrait-lighting-setups.aspx

Bill Hurter

The Five Basic Portrait-Lighting SetupsBy Bill Hurter
Published by Amherst MediaParamount. Loop. Rembrandt. Split. Rim. Bill Hurter provides light-by-light instructions and diagrams to show you how to create these essential portrait setups in this excerpt from his Amherst Media book.

As you progress through the following lighting setups, from Paramount to split lighting, keep in mind that each pattern progressively makes the face slimmer. Each also progressively brings out more texture in the face because the light is moved father and farther to the side. As you read through the lighting styles, you’ll also notice that the key light mimics the course of the sun across the sky; at first it is high, then it gradually grows lower in relation to the subject. It is important that the key light never dip below the subject’s head height. In traditional portraiture, this does not occur—primarily because it does not occur in nature.

The setups described presume the use of parabolic lights. However, most contemporary portrait photographers prefer diffused light sources, which are very forgiving and which do not create sharp-edged shadows. If you choose to create the five lighting patterns described here using diffused sources, very little changes—with the exception that the key light is usually placed closer to the subject in order to capitalize on the softest light.

In such soft-light setups, the background, hair, and kicker lights may be diffused as well. For instance, strip lights and similar devices can be used to produce soft, long highlights in hair, on the edge of clothes, and on the background.

The overall aesthetic of using soft light is not only seen as more contemporary, emulating the images seen in the fashion world, it is also a lot easier to master. Big soft light sources are inherently forgiving, and since the subject is basically wrapped in soft light, retouching is minimized. Also, the transfer edge, where shadow and highlight areas meet, is much more gradual than with undiffused lights.

The diagrams below show the five basic portrait lighting setups. The fundamental difference between them is the placement of the key light. Lighting patterns change as the key light is moved from close to and high above the subject to the side of the subject and lower. The key light should not be positioned below eye level, as lighting from beneath does not occur in nature. You will notice that when the key and fill lights are on the same side of the camera, a reflector is used on the opposite side of the subject to fill in the shadows.

Paramount Lighting

Paramount lighting, sometimes called butterfly lighting or glamour lighting, is a traditionally feminine lighting pattern that produces a symmetrical, butterfly-like shadow beneath the subject’s nose. It tends to emphasize high cheekbones and good skin. It is less commonly used on men because it tends to hollow out cheeks and eye sockets too much.

Paramount lighting

Key Light. For this lighting setup, the key light is placed high and directly in front of the subject’s face, parallel to the vertical line of the subject’s nose (see diagram above). Since the light must be high and close to the subject to produce the desired butterfly shadow, it should not be used on women with deep eye sockets, or no light will illuminate the eyes.

Fill Light. The fill light is placed at the subject’s head height directly under the key light. Since both the key and fill lights are on the same side of the camera, a reflector must be used opposite these lights and in close to the subject to fill in the deep shadows on the neck and shaded cheek.

Hair Light. The hair light, which is always used opposite the key light, should light the hair only and not skim onto the face of the subject.

Background Light. The background light, used low and behind the subject, should form a semicircle of illumination on the seamless background (if using one) so that the tone of the background grows gradually darker the farther out from the subject you look.

Loop Lighting

Loop lighting is a minor variation of Paramount lighting. This is one of the more commonly used lighting setups and is ideal for people with average, oval-shaped faces.

Loop lighting

Key Light. To create this setup, the key light is lowered and moved more to the side of the subject so that the shadow under the nose becomes a small loop on the shadow side of the face.

Fill Light. The fill light is also moved, being placed on the opposite side of the camera from the key light and close to the camera–subject axis. It is important that the fill light not cast a shadow of its own in order to maintain the one-light character of the portrait. The only position from which you can really observe whether the fill light is doing its job is at the camera. Check carefully to see if the fill light is casting a shadow of its own by looking through the viewfinder.

Hair and Background Lights. The hair and background lights are used in the same way as they are in Paramount lighting.

Bill McIntosh created this homage to Hollywood lighting using a 31-inch umbrella as a key light and a weak umbrella fill light, about three stops less than the key-light intensity. You can see the Paramount lighting pattern on the man produced a small butterfly-like shadow under the nose. The woman’s face, because her head was turned slightly toward the light, has more of a loop lighting pattern. A characteristic of the Hollywood style was the weak fill light, which enhanced not only the lighting contrast, but the dramatic nature of the lighting.

Rembrandt Lighting

Rembrandt lighting (also called 45-degree lighting) is characterized by a small, triangular highlight on the shadowed cheek of the subject. The lighting takes its name from the famous Dutch painter who used skylights to illuminate his subjects. This type of lighting is dramatic. It is most often used with male subjects, and is commonly paired with a weak fill light to accentuate the shadow-side highlight.

Rembrandt lighting

Key Light. The key light is moved lower and farther to the side than in loop and Paramount lighting. In fact, the key light almost comes from the subject’s side, depending on how far his head is turned from the camera.

Fill and Hair Lights. The fill light is used in the same manner as it is for loop lighting. The hair light, however, is often used a little closer to the subject for more brilliant highlights in the hair.

Background and Kicker Lights. The background light is in the standard position described above. With Rembrandt lighting, however, kickers are often used to delineate the sides of the face (particularly the shadow side) and to add brilliant highlights to the face and shoulders. When setting such lights, be careful not to allow them to shine directly into the camera lens. The best way to check this is to place your hand between the subject and the camera on the axis of the kicker. If your hand casts a shadow when it is placed in front of the lens, then the kicker is shining directly into the lens and should be adjusted.

Allegro Haynes is a talented violinist who plays with the Virginia Symphony and the Harbor String Quartet. She is frequently featured as a solo violinist. Bill McIntosh wanted this portrait to look as if could be a movie set in the eighteenth or nineteenth century. He used a 31-inch umbrella as the key light and a weak umbrella fill set at about three stops less than the key. Two small kickers from the right and left rear of the subject lit her hair, and a small background light illuminated the painted background. The lighting pattern falls between the Rembrandt and loop lighting patterns.

Split Lighting

Split lighting occurs when the key light illuminates only half the face. It is an ideal slimming light. It can be used to narrow a wide face or nose. It can also be used with a weak fill to hide facial irregularities. For a highly dramatic effect, split lighting can be used with no fill.

Split lighting

Key Light. In split lighting, the key light is moved farther to the side of the subject and lower than in other setups. In some cases, the key light is actually slightly behind the subject, depending on how far the subject is turned from the camera.

Other Lights. The fill light, hair light, and background light are used normally for split lighting.

Split lighting divides the face into halves—one side highlighted, one side in shadow. Vicki Taufer used large softboxes to produce a wraparound light on the highlight side of the face and a silver reflector on the shadow side to produce a moderate lighting ratio and good facial modeling.

Profile Lighting

Profile lighting (also called rim lighting) is used when the subject’s head is turned 90 degrees from the camera lens. It is a dramatic style of lighting used to accent elegant features. It is used less frequently now than in the past, but it still produces a stylish portrait.

Rim lighting

Key Light. In rim lighting, the key light is placed behind the subject so that it illuminates the profile of the subject and leaves a polished highlight along the edge of the face. The key light will also highlight the hair and neck of the subject. Care should be taken so that the accent of the light is centered on the face and not so much on the hair or neck.

Fill Light. The fill light is moved to the same side of the camera as the key light and a reflector is used to fill in the shadows (see the rim-lighting diagram above).

Hair and Background Lights. An optional hair light can be used on the opposite side of the key light for better tonal separation of the subject’s hair from the background. The background light is used normally.

In regards to advice, I found a simple web page that outlines a quick reference point for creating a portraits at home or for me, possibly in the university studio. It offers a useful recap of more contemporary but simple lighting set-ups for studio portraits, as well as offering a means of starting think about the extent in which a photographer can maintain full control of light and composition within a studio.

With access to university equipment and time to experiment, I should be able to elaborate upon some of these methods myself.

http://www.digitalcameraworld.com/2013/04/03/6-simple-lighting-setups-for-shooting-portraits-at-home-free-photography-cheat-sheet/

What’s more, these lighting techniques will provide you with a solid foundation from which you can start experimenting to find your own style.

In our lighting setups cheat sheet below you’ll learn how to use high contrast light at a 90-degree angle; diffused light and a reflector; high contrast light at 45 degrees; high contrast light at 45 degrees with a reflector; low contrast light at 45 degrees with a reflector; and finally rim lighting from behind.

Lighting Setup 1: High contrast light at a 90-degree angle

A striking result achieved with minimal kit. Using a single flash head at this angle can give an unflattering result, though.

The light will show up bumpy skin textures and create stark shadows and bright highlights.

Without a diffuser, the quality of light will be high contrast and if placed near the subject will create problems with fall-off where light is spread unevenly across the face.

By not using a reflector, shadows will be deep.

Lighting Setup 2: Diffused light and a reflector

This is a much gentler set-up where the same light source is softened with a diffuser and a reflector.

Diffusers give the same effect as daylight cloud cover, spreading light from a tiny source into a larger area.

The diffuser will reduce the intensity of your flash unit, so you may need to slide up the output of the flash head, but the effect will be more flattering.

The reflector works by bouncing stray light back onto the unlit side of the face.

 Lighting Setup 3: High contrast light at 45 degree

With a similar effect to the first shot, this type of lighting reveals a bit more of the sitter’s facial characteristics, but with the same pockets of deep shadow.

Positioned at less of an acute angle, this light won’t pick up so much skin texture but it won’t show the face in any kind of flattering aspect, regardless of the pose.

Only one half of the face will be illuminated and, without any reflector, the other half will become a silhouette.

Lighting Setup 4: High contrast light at 45 degrees with a reflector

A much better kind of lighting set-up that reveals the three-dimensional characteristics of the face.

Used in conjunction with an efficient sliver or bright white reflector, there’ll only be a subtle difference between the lit and reflected sides of the face.

This slight drop in brightness from one side to the other can start to mimic natural lighting. Much more flattering and a real starting point for most portrait photographers.

To darken the shadows, pull the reflector away from the subject.

Lighting Setup 5: Low contrast light at 45 degrees with a reflector

With the addition of a diffuser in the shape of an opaque umbrella, this kind of main light is much lower contrast than the previous five examples.

This creates a bigger burst of softened flash, which makes this portrait much more evocative than descriptive.

To further weaken visible shadows, place a warm-coloured reflector near your subject’s face.

An umbrella will create a similar effect to a softbox and can be partially obscured to give strips of light.

Lighting Setup 6: Rim lighting from behind

The ideal method for emphasising the outline perimeter or shape of your subject’s head.

In this lighting setup, the subject is not lit from the front but from behind to create a dazzling rim-light effect.

Only a tiny light source is needed and care must be taken not to set the flash unit at too high a power.

To prevent the face from recording as a silhouette, open up the aperture nice and wide and, if needed, use a couple of reflectors either side of the model to bounce light back into the face.

I have also started to look at more depth articles that offer a wealth of advice, not just in act of controlling light but in the overall practice of studio photography, in relation to people. I found an excellent examples through the insight of photographer, Sara Lando who discusses a great deal of useful aspects to consider before, during and after a photo shoot.

http://strobist.blogspot.co.uk/2012/08/on-photographing-people-pt-1.html

THURSDAY, AUGUST 09, 2012

On Photographing People: Pt. 1

Sara Lando is an occasional contributor to Strobist, but is also a commercial photographer based in Milan, Italy. Today, I am very pleased to present the first in her three-part series on photographing people.

Let me back up. A few months ago, I met with all of the Strobist’s correspondents in Los Angeles. We were brainstorming to fill the knowledge gaps in the site’s content. Suddenly Sara started off on this tangent on all of the things that get lost in the shuffle when thinking about lighting and lenses and cameras, etc. Picture a tiny Italian woman gesturing continuously as she uncorks a full brain dump (from a very, very creative mind) on all of the little things that many people never think of when photographing others.

As I was listening I kept thinking, “Someone should be writing this stuff down RIGHT NOW.”

English is Sara’s second language, and I normally smooth it out a little when editing her pieces. Not today. I am sending this through largely untouched. Should you come across an unusual way to express something, just imagine the Italian accent behind it. 
__________

On Photographing People, Pt. 1: Before the Shooting

By Sara Lando — So you know your f-stops, you can balance speedlights with ambient, you can overpower the sun and color correct light to the point you can walk into a room and guesstimate the Kelvins like a boss… and yet all you get are sharp images of really uncomfortable people?

Can you be a people photographer if you’re not a people person?

My best asset, according to clients and subjects, is the fact that I can make people enjoy having their picture taken and, as a result, I can ask them to do almost anything and they’ll be happy to oblige.

It hasn’t always been like this, though: the first time I had to photograph someone that wasn’t myself, I spent the night before puking, and it was half a disaster. Ten years later, these are the things I wish someone had told me back then.
__________

Before you can even think about what to do when you’re photographing someone you have to convince them to be in front of your camera. And a lot of people find this to be really hard (after all a camera is one of the best ways to avoid talking to other human beings…).

There are basically two possibilities: hiring a professional model vs asking someone, be it a loved one or a stranger (I’m intentionally not going to cover how to steal portraits from unaware passers by with very long lenses). If you’re really uncomfortable with asking people you know, I highly recommend avoiding paying for a professional model. Yet, it is often harder to take a good portrait of a model because they have enough experience to save your pictures when you don’t know what you’re doing. So you end up mistaking a photo of a beautiful girl for a beautiful photo. You learn very little and waste lots of money.

Also, models won’t tell you what you did wrong (but they’ll tell the next female photographer they work with, aka: me), while a wife is probably making a list the moment you unzip the camera bag. Suck it up and go for it!

I very rarely meet someone who doesn’t hate to have their picture taken though, so we meet our very first obstacle:

How to convince people to be photographed by you

Truth is, people don’t hate having their picture taken. People hate being tagged on Facebook in awful photos that everyone will see.

My advice is to start with friends and loved ones, people you feel comfortable with and can easily speak to. If you already know your friend Bob is a Star Wars fan, he will not pass on the opportunity of posing for a portrait with a full Darth Vader costume. And if you’ve been married for years to a woman who hates the shape of her ears, you won’t make the rookie mistake of having her hair up for the pictures (ending up with her forbidding you to EVER show them to anyone).

Volunteer as the official photographer at your nana’s 90th birthday. Bribe your kids. Do it again and again.

I was incredibly shy when I started photography so I decided to take a bazillion self portraits instead. Whatever you decide to do, the main goal is to build a very small portfolio of decent pictures you can show to potential victims subjects. I have a couple of ongoing projects that are great for contacting potential subjects. Both are really easy setups and it takes me just a few minutes to get the shot, leaving me plenty of time to do something else. And most of all it shows potential subjects the kind of image they would be getting from me.

This is important because it takes an incredible amount of trust to let someone take you picture and you have to reassure people you actually DO know how to operate a camera. The only way to do so is by having work to show.

This alone isn’t going to be enough. Most of the time, people will still be wary. Why would you want to take their picture? Why them?

Spot the difference between “Can I take your picture? I asked everyone else and they said no,” and “Can I take your picture? I have this image in mind for a personal project and you would be the perfect fit for that. You can say no, of course, but can I show you my moodboard first?”

The second sentence works best for several reasons:

• you don’t sound like an a-hole
• you are making them feel worthy of being photographed
• you imply you have an actual project in mind
• you are giving them the chance to say no

If you don’t have a picture to show what you have in mind, this is where moodboards come in really handy. I can use less words and be more effective. I’m sure you can perfectly understand what I’m going after if I say: “Botticelli’s Spring, Vivaldi, champagne colored tulle, and really soft hand gestures” rather than “Biker gang in a smokey bar, runaway girl, smeared mascara and a missing tooth.”

Even a quick sketch can be helpful when you’re trying to explain a concept. Here’s an example of a concept sketch and the resulting image (takes a good leap of imagination, but it still works better than “I want to paint your face.”)

Of course you need to make sure you’re picking the right idea for the right subject. Don’t be the one who sidelights the girl with bad skin using hard light or tries to force the shy girl into a skimpy bikini; if the picture comes out awful it’s not because they’re bad models, it’s just that you’re a jerk.

The same approach is valid even if you are contacting potential subjects on Facebook or on websites for test shootings. Have pictures in your portfolio, approach people with a project that is designed around them and be professional about it.

If you’re working with a creative team everyone needs to receive the same reference material. You’re the director of the whole thing. If it comes together, it’s thanks to the team. If it fails, it’s your fault.

THEY SAID YES: NOW WHAT?

Once you start planning a shooting, the first thing you might want to do is to gather all the data you will need: contact info, location availability, measurements, details that might ruin the photo shoot (e.g. a long haired model who just cut her hair really short, or has a big tattoo you weren’t aware of). You can send a questionnaire to fill out, you can talk to people over the phone.

I’d rather invite them for a coffee. This is great for several reasons:

• you get to see them in person and you can start figuring out their best angles
• you get to see how they move
• you can start building a relationship with them, making them excited about the shooting
• you can answer any question or address any concern they might have and see if some of your suggestions rub them the wrong way

There’s a bunch of questions first time subjects always ask me:

1) what clothes do I bring?

Unless the concept is very specific or I have a stylist involved, I usually ask them to bring something really basic, preferably in plain color. A black top, a white top, something they are very comfortable in, and a bunch of their favourite clothes. I want them to feel beautiful. Everyone has that pair of pants they wear when they want to impress. It might not be what you end up using for “The Picture,” but it’s a great starting point.

One piece of advice I always give: do not wear stuff your kids might mock you for, 20 years from now.

2) What about makeup?

Having a makeup artist can be great (it makes people feel pampered and special and really cuts the time you spend post producing skin.) But I often like to work without one and for a first timer I’d rather have no other people on the set.

Usually women can take care of their own makeup, but I still ask them to keep it natural. A nice base and some mascara will be enough not to make them feel “naked” and a bad makeup can really ruin a good photo.

This is also when I reassure them about skin imperfections: I will take care of them. The lights I use will make their skin beautiful and if there is a pimple, I will get rid of it in 2 seconds in Photoshop. I also send them this rollover image.

Why would I do that? Because people will obsess about a single zit and they will try to cover it with their hand, hair or hiding it away from the camera. I want them to completely forget about it when we are working. Photoshopping away an imperfection takes less than 2 seconds, but I cannot photoshop away a scared expression.

3) can I bring someone?

I don’t mind people watching me work now, but it used to make me really nervous. I’ve always been honest about it, and I still prefer not to have people sitting around just watching.

Some may get very self-conscious while others are watching them—even more when it’s loved ones—because they are afraid of being judged as “vain”. My policy now is that if someone is on set, they work. I have them hold reflectors or strobes, I ask them to throw rose petals in the background. Wind machine? Pppft. I’d rather use a big piece of cardboard and someone’s escort.

There are things subjects usually don’t ask, but I tell them anyway:

a) bring your own music.

I like people to bring their i-Pods or burn CDs of music they love. It’s something familiar in a very unfamiliar situation and can be the difference between getting to the shot in 10 minutes or 2 hours. I ask for something specific according to the mood I’m going for: bring music that makes you feel powerful. Bring the kind of music you’d listen to on a rainy day. Bring music that makes you wanna dance. If they have the reference images and I have asked them to pick songs, I can be pretty sure they will be rehearsing in front of a mirror.

One of my best purchases has been the Jambox by Jawbone. It’s a small, powerful wireless bluetooth boombox you can take with you on location.

b) What I will do with your photos and what I won’t do with them.

You have to have this conversation before people step into your studio. They need to know they’ll be asked to sign a release and they need to be comfortable with it. I take the time to explain that the release also prevents me from using their pictures for commercial uses without their consent and that I will never publish something they haven’t approved first.

c) I give them my contact informations and collect theirs.

Not only I will need this information for the model release, but I will definitely need to get hold of people if something happens and there’s a change of plan and I need to make sure they can contact me if they have any problem.

My advice for dealing with “models” who don’t want to give you their phone numbers or at least an email? Don’t bother booking shootings with them. The pizza delivery place asks for my phone number when I place an order: it’s part of what they do. No number, no pizza.

THE DAY BEFORE THE SHOOTING:

Make sure the studio (or location) you’ll be shooting in is going to be clean, comfortable, with the right temperature for the clothes your subject is going to wear and a separate place for changing into them. If you don’t have a changing room, a screen or a sheet stretched between two light stands will do just fine. If you’re going to be outdoors, invest in a small popup tent.

Get food and water for the shooting. This might be obvious to some of you, but I assure you most photographer don’t even offer their subjects a glass of tap water.
I usually go for tea and cake, but also have bottled water and fresh fruit available. I’d recommend avoiding stuff that stains teeth (no cranberry juice) and keep disposable toothbrushes and dental floss available: you don’t want to photoshop speck of food out of people’s smiles.

Have a list of shots you want to do and figure out in which order you are going to shoot them: you’ll want to keep the time you spend building sets while your subject is standing there to a minimum. But you also might want to think about makeup and props: go from simple to most messy. If you have several steps of makeup, remember that building up is easier than taking away.

Build the first set and test your lights. Mark the spot in which you want your subject to stand. I usually ask my husband to stand in (after all that’s part of his marital duties), take a bunch of self-portraits or use my pig mask impaled on a light stand, which works just as well. (You don’t need to be fancy: I have used upside-down mops duct taped on chairs for quite a while and it works like a charm.)

I check my gear: batteries must be loaded, cards must be formatted, lens must be clean.

I make a call sheet and send it to everyone involved in the project: location address should be written on it, as well as everyone’s contact info and a list of things they are supposed to bring and a rough schedule of the shooting. It might sound something really silly to do if it’s not a big production, just like you might feel uncomfortable asking your friends to sign a model release because, after all, they’re your friends, right? To answer your question: my mum signed a model release when I took her portrait.

This might make me look a bit of a nutjob, but the night before the shooting I mentally go over the whole process: I lay in bed staring at the ceiling and imagine every step of the shooting; me taking out the camera and choosing a lens, me moving lights, etc. if I get stuck at some point, I know I have a problem to solve, then I figure out a way to do that and I come up with a plan B. This is particularly helpful when you have to transition between several sets. Your model will need to wash her face from glitter before wearing a white dress and you’ll be outdoor: did you get wipes?It’s not going to be like this each and every time, of course. And experience is going to play a great part in being able to get a good portrait even if my hair is on fire and my subject hates me. But being prepared gives me the luxury to make the most of the time I will have with them. If I get the picture I want in 15 minutes and the model is there for a whole hour, I now have at least 55 minutes to experiment and that is exactly what I want (I’m not great at math, but I’m quite good at pushing time limits).

On Photographing People: Pt. 2

Editor’s note: This is part two of Italian photographer Sara Lando’s three-part series on photographing people. Part one is here.
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By Sara Lando — So you got yourself a willing subject, everything is ready, you’re pumped up and ready to shoot. Your doorbell rings. Woo hoo!

Slowly put down that camera and breath: we don’t fire yet. Now we welcome. 
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During the Shooting

If this is the first time you meet your subject, you want to have some kind of conversation while they relax a little bit and you study their face. If you’ve already met them before, you still let them catch their breath. Ask them something about themselves; make them talk, be interested. Create some kind of connection.

The most basic human need is to feel like someone else in this planet gives a flying duck about us. We all secretly think we’re special (and maybe our invite from Hogwarts just got lost in the mail) and the the whole process of taking someone’s portrait is to let them know we agree with this assumption.

Having your picture taken is something intimate. It is about giving someone else total control over the way they are going to be represented, and they want to feel like you are actually invested in making them look good.

You don’t have to ask them about their most intimate thoughts, though: just find something you have in common a build from that.

You’re both runners? Ask them bout their next race. They have kids? Have them talk about them.

But remember: you’re working, already. You are studying their face, the way it catches light, how they move. Finding good angles is key to a good portrait.
Let me show you why:

I have a very asymmetrical face, due to falling face first from 6 feet high when I was 4.

You might not notice it too much if I face you straight on (to accentuate it, I’m actually lighting from one side, so you can see the shape of the shadow)
This means if you photograph me from this side I’ll be OK:

And if you photograph me from this other side I’ll be mortified, no matter how well lit your picture is going to be:

Quite a difference, uh? Most people have more subtle asymmetries, but 99% of us have a better angle. Many are aware of this and they will keep presenting what they think their best side is to the camera, no matter how many times you ask them to face the other way.

This is where you decide wether you should reconsider moving your main light on the other side. And if you think their best side is the one they’re hiding, take two pictures and show them the difference. Let them know you are paying attention and all you want is to make them look good.

After my model for the day has shown me the clothes and accessories they have brought and is ready to hit the changing room, I have them sign the model release. I have stopped using paper for that, as I found that using easy-release on my iPad is more fun, much faster and I can e-mail the release to myself and them right away.

Don’t be a jerk about the release, though. Having them sign something like “I can use any of the pictures everywhere, forever and ever and you’ll never get any form of compensation” is not going to help you gain trust.

If you’re working with a creative team, you probably want to make sure that make up and hair are going to be ready in a definite amount of time. You do that by prioritizing: let the MUA know what is the focus of the picture. I’d rather have them spend more time on the hair (which is something I don’t like post-producing) than spend 20 minutes covering a zit.

Before starting to take pictures, I pop on their music. It doesn’t matter if I’d rather not listen to death metal while I work, I’m going to like it. There are 3 things you should never diss: people’s mums, their ex-partners and the music they listen to.

At this point I’ll start explaining them how I’m going to work and even if I’m eager to start, I’ll take my time with that. I will place myself right where I want them to be (thus showing no ninja is popping out to attack them) I will tell them which one is the light I want them to be facing, and I tell them that if I say “light” it means they are facing the wrong direction and they should look the other way.

I’ll also show them the masking tape cross on the floor. I will tell them that I need them to have their feet on the mark to make sure the light is beautiful on their skin, so let them know that each time I say “mark”, I want them to go back there (I never took pictures of someone named Mark, but I’d probably say “spot” in that case).

This gives them stuff to do: they’re on my team, now. This also makes it very easy to direct them, because asking them to turn, twist, move to the right (no! The other right) usually just leaves them very confused.

I also let them know that the first 20 minutes are going to be a warmup for both of us because I need to figure out some technical stuff and they need to get used to the lights and the camera. Why would I say something like that? first of all, most people’s experience of being photographed is a single shot that will go on Facebook, taken while they perform a duck face with a glass in their hand and that’s it.

I already know the first bunch of shots is going to capture a scared/stiff person who doesn’t know what to do, but if I don’t tell them it’s normal for me to take many pictures, they’ll think I keep doing it because they are not good enough.

The picture on the left is a very normal awkward first picture while I test lights. People, without directions, will just face the camera straight on and look uncomfortable. The picture on the right is 5 minutes later.

Let them know they’re doing great, keep the energy level high, let them have fun. Stopping too often because you need to adjust stuff is normal when working with professional models, but can be very upsetting for the average Joe.

You want to make everything in your power to make sure they’re having a great time and they feel taken care of. This is particularly important if you’re asking them to do something weird or extreme (e.g. shooting naked on the snow means you have hot tea waiting for the model in between shots and a warm blanket, or if you have your subject fully painted, you need to make sure you have a shower at hand).

Being considerate is probably the easiest part, but if you want them to really act natural in front of your camera, you want to prevent them from feeling stupid. What does this mean?

If there are people on set giggling, the subject will think they are laughing at them. Don’t be afraid to (kindly) throw people out of your set. Unless that’s the client, in which case you should take the time to explain why their behavior is going to cost them money.

Also make sure there aren’t several people shouting directions at once. This can happen when the subject mum/ fiancé /best friend is watching. It often comes from a good place, but is a recipe for disaster. There should be only one top dog on set, and you have to make sure it’s the one holding the camera. If everything else fails, have them hold a reflector while facing the wall. This won’t make much for your light but will make everything lighter just the same.

Connect with your subject, not with the gear. The more time you spend adjusting stuff, the more they will think they are not good enough.

Don’t be afraid to look silly while you are shooting. Show them what you want them to do. Go there yourself. If someone is not used to posing, mirroring your poses will be easier. Or at least tear some pages from magazines that they can copy. Quick tip: if you want them to turn their body, ask them to turn their feet your way and move in front of them. It’s easier and quicker.

If something is not working, keep shooting a couple of pictures before changing it up. Smile while you do this, or people will think it’s their fault, and will get frustrated or scared (imagine a dentist looking at your mouth saying to himself “hmmm… this probably could work… no wait, this sucks”)

Start from something relatively easy and comfortable for both you and the subject and then build the photo from there, then go back to something simple at the end of the shooting, when they are more relaxed. Taking pictures “just for the LOLS” after the official shooting is over often leads to way better and more natural posing.

Have fun. Let them go crazy and then bring them back. It’s important to find a balance between under-directing your subject (standing there without knowing what you’re supposed to be doing really sucks, which is why I really think each portrait photographer should have their picture taken regularly) and over-directing them (they might become really stiff really quick).

Asking people to scream, give me their best pirate face, saying something totally weird or having them jumping on beds is pretty much standard practice. Not that I care about taking pictures of people acting silly, I just want the picture that comes right after that.

The “official” shot is on the right. On the left, what was happening moments before.

Here’s a good example of what I’m saying. Angelica is an adorable girl who’s pretty shy. She doesn’t have much experience in front of the camera and she doesn’t know her angles yet.

When we started shooting, she was evidently uncomfortable, she was posing after each shot and waiting for the next one and she wasn’t really *looking* at me, but she was rather resting her eyes somewhere behind me, without focusing them, which is very common when uncomfortable people try to “zone out”.

So how did I get from the picture on the left to the picture on the right?

1) I moved the main light to have her show her best side.

2) I walked to her and started explaining what I wanted while focusing on a spot on the wall behind her back. Yeah, it was weird. Then I looked right in her eyes and said “can you see the difference now? This is why I need you to really look at me.” I also shared a trick models often use: look down and then look at me when I ask you.

3) We forgot about taking pictures and spent about 10 minutes doing this. There was a lot of laughing involved.

4) I gave her a story to play in her head. If I tell someone “hunch your shoulders and look sad, but still elegant” it’s probably going to look fake. I’d rather say something like “imagine you are a very rich woman and you just got home from a party. You realize all these people don’t care about you: you are alone and it hurts.” They are going to fill the gaps with their own experience and that’s what I want.

5) I asked her to perform a specific action (cross you arms and stroke your hair while you look at me) rather than holding a pose. If she has a gesture to perform, her hands are going to look natural.. She was transitioning too fast at first, but it took less than five minutes to show her what I wanted and we were great after that.
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Note: I am a tiny girl with a tiny voice. If I curse like a sailor and pull out a gun most people will still react as if I were pretty much harmless (and they’d be right. I’d end up shooting my foot). If you are a huge man with a beard and a peg leg and you are taking pictures of young girls, you need to factor that in.

When I say “OMG That bra is so awesome!” to a model, we’ll end up talking about lingerie. If a man says that, it’s a creepy way of hinting he was looking at boobs.

For the same reason you never ever touch a model. Have a female assistant fixing that shoulder strap for you, or ask the model to do so herself. And if for any reason people need to change on your set, that’s the best moment to chimp at your camera.

Don’t try to be funny or witty if you’re uncomfortable, but being likable helps. Treat your subjects the way you wish you would be treated if you were in front of the camera. If the person in front of you is evidently anxious, talk to them with the same tone you would use to calm down a scared kid. Your tone and body language should say “Everything we’ll be alright. I have it. We’ll get through this.”

Make it a good experience for them and they are going to like the pictures before they even see them. Most of all, remember to have fun. You are doing what you love to do, enjoy it!

On Photographing People: Pt. 3

Editor’s Note: This is the third in a three-part series by Italian photographer Sara Lando on photographing people. The series beginshere. I asked her to select some of her favorite images to illustrate this piece.

By Sara Lando — The model is gone, your studio is a mess, you’re tired but still a bit excited about the shooting and can’t wait to see your pictures on your big monitor.

Some might call it a day and go grab a beer. But there’s still a couple of things you might want to do before wrapping it up. 
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I won’t talk about the importance of post production in digital photography (long story short: when you think you’re not doing any because you shoot jpeg, you’re just demanding it to some random guy trapped in a camera factory, who decided which de-mosaicing algorithms to apply to your raw files) and I still think most of what I’m going to say is still valid if you shoot film: just because your model is gone, it doesn’t mean the work is done. I know mine isn’t.

After my model is gone and the door is shut, I download my images right away and back them up on external hard drives. Memory cards are small, sneaky and the last thing you want to do is to format one of them before you know all your photos are safely stored in three different places. You don’t spend all this time, money and effort on learning how to use a very expensive camera just to lose those files because you were careless or lazy. I did, it burned.

With portrait photography especially, people are often emotionally invested and you’re kinda sorta supposed to actually give them some pictures at some point.

SENDING PREVIEW IMAGES

While I’m waiting for the files to download and copy, I usually quickly select 3 of them to send to my subject. Right after the shooting is the best moment to do so for several reasons:

1) I’m stuck there anyway.

2) I have just shot those images and I already know which ones I’m going to pick. There’s this feeling I get when I’m shooting someone and I really like what I see through the lens: it’s a little bit like being in love. And I know what came before and what came right after, so it takes me very little time to track those images down. It might take much more time after a couple of days or a week.

3) I want them to see a preview while they are still excited about the whole experience. This keeps the hype going.

4) If they receive a preview right away, they will not think it’s been photoshopped to death. If it takes you 3 month to get back with the final images, people are going to assume you have been spending the whole time working on them, so they most likely are going to think they look nice only because they have been retouched. This is particularly true for those who are used to seeing bad pictures of themselves. I almost never show the pictures to them in person because I want to make sure I don’t accidentally show them that one photo in which they have their eyes closed, their mouth open and no neck (there’s always a bunch of those).

5) It gives me the occasion to thank them for letting me take their picture. A small “thank you” goes a long way and even though your name is going to be the one on the credits, it takes two to play the game and you should recognize that.

I only send very small samples (400x600px) and keep the post production at minimum, usually I just develop the RAW files and adjust contrasts or sometimes convert the shot to black and white. I explain that what they are receiving are not the final images and I ask them not to publish them on Facebook/Twitter/wherever, yet. I also let them know exactly when I will be giving them the photos.
One of the most common complaints I hear from models when they talk about photographers (believe me, they do), is the amount of time it takes them to send them usable photos.

I don’t care if I’m shooting a paid job, a test or doing a favour for a friend: I treat each and every shooting as if I was paid top money.

If I don’t have time to deliver, I’d rather postpone the shooting. People forget how much they paid (or didn’t pay) for their photos, but they always remember how professional you have been, when it’s time to name a photographer for a job.

DELIVERING YOUR SHOTS

The more experience I gain as a photographer, the less post production I need to do on my images, yet everything I deliver to anyone has to be finalized. You never know who’s going to look at those file and unless you are working for a big client and just hand over the memory cards, what you show—and how—is something you should have complete control over.

You should already know how many pictures you are going to send (it’s an information I often include in my model release.) But I never just burn a cd with everything that has been shot: the really bad images are erased immediately, never to be missed. And if I said I would deliver 15 images, I try to make it at least 18. Again, it’s all about making people feel treated really well.

I usually send a link to gallery of images (Lightroom works great for that, because it’s fast and looks nice) they can look at on the web and a link to a .zip file of the same images they can download and have on their computers. I also spend some time writing the email that I’m sending, because “here’s the link” is effective but not exactly warm. I usually tell them which ones are my favourites and why. Those are the photos I’ll most likely publish and I want to make sure they are really looking at them.

GIVING YOUR SUBJECT THE POWER TO VETO

Unless the model has been paid (and therefore the client is the one calling the shots), giving my subject the possibility to veto what I can publish has been the fastest way to build endless trust. If I have done my job, I know it won’t happen.

I have never shot a picture that has changed the history of photography and probably never will. But I know how it feels to be on the receiving side of a very bad picture displayed without your consent (thanks mum for hanging THAT shot in our living room for years) and it’s very upsetting. If someone vetoes your shots, it’s usually because you have tricked them into expecting something completely different and that’s your fault.

Sometimes people might veto a shot because of something that can be easily corrected in post production (sometimes it can be as small as “the almost-invisible-ring I’m wearing was given to me by my ex boyfriend and he left me for my best friend, so I don’t want that picture published”), so before you start thinking they’re tasteless idiots, ask them if it’s something you can fix.

You might argue that it’s *your* picture, and you can do whatever you want with your art… it’s an interesting discussion, and I can see the point here. Yet I am not into the business of making people miserable and this has always worked fine for me.

It happened to me only once to have someone asking me not to publish a specific picture. They felt like it was too intimate and even though they liked the shot, they asked me not to publish it on the Internet. I have photographed the same person several times after that, and I’m pretty sure it wouldn’t have happened, had I just told her “I have a signed release, I’m doing what I want”.

WHAT TO SHOW (AND WHY TO SHARE)

Because of Murphy’s law applied to photography, you want to make sure that the images you don’t really like, never EVER leave your hard drive, as they are probably the ones that will end up everywhere and that’s usually when people remember to give credit.

When I select the images, I pick everything I would like to show and a couple of shots I won’t use in my portfolio but I still like and I’m sure my subject will love because they look very good in them. Those are the ones that will be printed and hanged in their houses, posted on Facebook and showed to grandchildren.

One of the things I am most proud of is that a really high percentage of the people I photograph uses my images as their profile pictures in Facebook, Twitter or other social media. I always include the right to use my pictures on social media in my model release, and I’m very easy-going about that. They use something I did as the official representation of their identity and it’s really flattering for me, but there’s more than flattery involved.

Think about that for a moment: that picture is going to be seen by those who know how that person looks like on a daily basis. They see that person on a winter monday morning with a flu and then they compare it to my image. They are going to assume I am a good photographer, even though all I have done was place a light, find the right angle, make them do most of the job and select the best shot!

Regardless of what your subject decides to show others, you want to be very specific about what you publish on your website/ Flickr/ whatever. Many people consider a portfolio a way to show what they have done, but it should be more a display of what you would like to do more of.

You will find that the closest your portfolio is going to be to what you care about, the easiest is going to be to find models that are like minded and perfect for your projects. Don’t try to please everybody, don’t be afraid to stand for something. All you care is the back of people’s heads? Own it.

A great photo is about what you exclude just as much as what you show, and the same can be said of a great photographer.

What I found particularly refreshing about this example is that it build from experience and genuine insight. It is informal in nature but still very informative.

There must be a balance between your own intentions and those of the client you intend to produce images for, regardless of whether it is a favour for a friend or a for a large scale publication, there needs to be a consistent level of professionalism and respectability, this maintain through various elements prior, during and post shoot in the studio. From how you talk to and behave around your model(s) to get the gain the most successful effect or representation to being swift in your submission and response of the featured images.

From this, I believe that I learnt a great deal about the structure and attitude required for successful professional studio practice. Much of this would take years of genuine experience to fully implement, however, it is useful to know how to avoid some the general pitfalls that photographers face within the earlier stages of their photography.

To conclude, through this research I have been able to de-construct various core aspects to consider within future studio portrait images.

Research: Potential Wildlife & Landscape Photography Events, Competitions & Exhibitions

For this post, I decided to consider any potential events, competitions or exhibitions related to wildlife or landscape photography. I felt that this would encourage me to start thinking about the purpose and direction of my visual work after finalising a body of images.

Firstly, there is a huge variety of both wildlife and landscape photography competitions, I have highlighted some of the more poignant examples, starting with the British wildlife photography award. For the purposes of this post, I have drawn emphasis to this years winners.

http://www.bbc.co.uk/nature/23897283

British Wildlife Photography Award winners 2013

George Karbus

The beauty of Britain’s wildlife is celebrated as the winners of the British Wildlife Photography Awards are announced. This incredible encounter titled ‘In the living room’ was the overall winner and submitted by George Karbus who said: “Water visibility is always very limited in Ireland, and I was very lucky to get a shot like this.”

Danny Green

This sleepy autumn scene in Devon, England was highly commended in the wild woods category and was taken by Danny Green who pointed out the intricacies of photographing endangered mammals, saying: “This dormouse is hibernating and so I used a qualified handler to help me.”

James Knight

The winner of the hidden Britain category is titled ‘Viewpoint’ and was taken by James Knight in Buckinghamshire, England. This backlit tiny snail, Helix aspersa, created a shadow that caught Mr Knight’s eye, who then recomposed his image and waited until it reached the end of the fern before taking the photo.

Mark N Thomas

The winner of the animal portraits category was taken by Mark N Thomas at Trefor Pier, Gwynedd, North Wales of this tompot blenny (Parablennius gattorugine). Simply titled ‘Tommy’, Mr Thomas appears to have captured its inquisitive character and said: “This fish could be found in the same place on several dives.”

Richard Peters

In the same category, patience was the key to this highly commended image of little owl chicks titled ‘The three Stooges’. It was taken in Sussex, England by Richard Peters who said: “Trying to get all three in view and looking in my direction was a waiting game!”

Jamie Hall

In the urban wildlife category, the judges looked for an original image that shows wild animals or plants within an urban environment. Jamie Hall spent three weeks travelling between his home in Leicester to London and his persistence was rewarded with this winning image.

Robert Canis

Robert Canis won the botanical Britain category with this image that captures the symbiotic relationship between tiny fungi and massive trees. “This particular day, the conditions were perfect: misty and still,” Mr Canis said.

Michael Gallagher

Sometimes it is not a question of getting the camera close to nature but nature getting close to the camera in the natural details category. This winning image of a cuttlefish’s eye was taken by Michael Gallagher, who said it approached him seemingly “intrigued by the camera-wielding, bubble-blowing intruder”.

What seems to really define each of these images from the other, more generic examples of wildlife is at core both the knowledge of their subject’s and their behaviour as well the photographers patience and enthusiasm to capture a frame, a moment that expresses a sense of character and personality.

A re-occurring  aspect in more contemporary examples of wildlife imagery is an interest that extends beyond simple documentation and aims to create a narrative which projects human concepts of personality upon animal subjects. This is especially the case with film formats of wildlife documentary.

I also started to look at more commercial examples of photographic competitions from travel companies. I have selected a random example to demonstrate the guidelines and format many of competitions follow. This allowed me to gain a sense of what type of travel photographs such organisations might look for when searching for potential promotional images.

http://photos.wexas.com/

http://www.wexas.com/about-us/

About us

WEXAS is one of the UK’s most respected travel companies, specialising in tailor-made travel across all seven continents and endorsed by such Honorary Presidents as Sir Ranulph Fiennes, John Simpson and Michael Palin.

WEXAS was founded in 1970 by current Chairman Dr Ian Wilson and remains an independent, family-owned business, committed to providing the highest level of personal service.

Welcome to the WEXAS Travel Photography Competition, supported by The Royal Photographic Society. With Landscapes now closed, we look forward to seeing your entries for the Wildlife 2013 category, open until 31st Dec 2013.

“We love to travel and bring our favourite moments back”

Jonathan Scott,

WEXAS Honorary President

Photo Competition Terms

Terms & Conditions

1. The WEXAS Travel Photography Competition (“the Photography Competition”) is operated by WEXAS Travel (referred to as “we” and “our” from this point on).
2. The Competition is open to adults aged 18 or over only, excluding employees of WEXAS Travel, The Royal Photographic Society, the IoD, British Airways, Golden Eagle Luxury Trains, Norwegian Air Shuttle ASA, Radisson Blu, Lyngen Lodge or their family members.
3. The Photography Competition categories are People & Culture (01 May-30 June 2013), Landscapes (01 July-30 September 2013) and Wildlife (01 October-31 December 2013). You can enter a maximum of three photographs per category and photos need to be taken outside of the UK.
4. Entries must be submitted within the category period and before midnight on the individual category closing dates listed in clause 3. The winner of the People & Culture category will be judged by Robin Hanbury-Tenison; the Landscapes category by Steve Watkins and Colin Prior; and the Wildlife category by Jonathan and Angie Scott. A grand prize will be awarded to an overall winner across the categories – this will be judged by the President of the Royal Photographic Society and the Editor of Traveller magazine. The winner of each category will be notified by the 15th day of the month following the closing date for that category; the winner of the grand prize by 15 January 2014. All winners will be announced in Traveller magazine as well as by email and on the web site. The judge’s decision is final and no correspondence shall be entered into.
5. All entries must be made personally.
6. We reserve the right to upload or not upload any image and to remove any image uploaded without giving reasons for the decision.
7. By entering, the entrant agrees that:
8. They have personally taken the images uploaded.
9. They are the sole owner and copyright holder of the images.
10. Entered photos may be reproduced free of charge in our promotional material, including but not limited to WEXAS brochures, Traveller magazine, WEXAS websites and social media pages.
11. Copyright of entered photos remains with the photographer in its entirety. However, the photographer grants WEXAS non-exclusive rights to free reproduction of photographs entered for up to three years, on the condition reproductions acknowledge the photographer and their association with the Photography Competition.
12. Entries not adhering to the stated criteria will be deemed unsuitable and disqualified. If this is discovered after the prize has been awarded, the winner will be disqualified and the prize, or the equivalent value, returned by the entrant.
13. Photos that have previously won photo competitions may not be entered. This is a competition for amateur photographers and professional photographers are excluded, being defined as any entrant whose primary source of income is from photography.
14. Personal details will at all times be kept confidential and unless you have specifically indicated otherwise, we reserve the right to contact you with news, promotions and offers. Upon entering the Photography Competition you will be provided with a WEXAS membership number and site login, allowing you to access the full range of member benefits. Seewww.wexas.com/privacy-and-cookie-policy/ for our Privacy and Cookie Policy.
15. Our decision in all matters is final and binding.
16. For any questions about the Photography Competition, please e-mail photos@wexas.com with ‘Photography Competition’ in the subject line. We will endeavour to respond to your question as quickly as possible within regular working hours.
17. Entering the Competition signifies acceptance of all the stated terms and conditions.

The competition is organised by: WEXAS Ltd, Knightsbridge, London SW3 1DE

Photographs

1. You may make minor digital adjustments to the image, however it must be a faithful representation of the original scene.
2. Each entrant’s approved images will be shown on our website together with the image captions. We reserve the right to amend the captions and/or associated descriptions.
3. Extra diligence is required when taking photographs of people, especially in relation to children. It is the photographer’s responsibility to seek permission from the subject or the parent where applicable. WEXAS reserves the right not to display photographs deemed sensitive in nature.

 Prizes

1. The winner of each category, as determined by the judges, will receive anOlympus E-PL5 camera.
2. The overall winner of the grand prize, as determined by the judges, will receive two tickets on the luxury Golden Eagle Trans-Siberian Express, including flights. The overall runner-up will receive a tailor-made holiday to Norway, including a Northern Lights photography course.
3. The grand prize includes flights to Moscow, returning from Vladivostok, and the tickets on the Golden Eagle Trans-Siberian Express are in Silver Class. The runner-up prize includes a 2 night stay in Tromsø at the Radisson Blu and a 2 night stay at Lyngen Lodge on the upper edge of Lyngen Ford, including full board and a Northern Lights photography course. Transfers between hotels and all flights including airport and departure taxes are included.
4. Travel dates are subject to certain restrictions, such as, but not limited to, availability and black out dates.
5. Travel insurance, visa costs, personal spending money, and items not explicitly mentioned in the prize description are not included.
6. The winning photographs from each category will be printed in Traveller magazine. All winners and the overall runner-up will also receive a one year free membership of The Royal Photographic Society and the special interest group most relevant to their category.
7. Prizes are not transferrable and there is no cash alternative. We reserve the right to substitute a prize of similar value in the event of non-availability of the original prize.
8. The prizes and all elements included within them are subject to availability.
9. All travel is subject to the terms and conditions of WEXAS Travel, a copy of these can be obtained by calling WEXAS on 020 7590 0610.
10. The prize winners must hold valid passports which allow entry to Norway and Russia and are responsible for obtaining any necessary visas. The grand prize and runner-up prize includes flights from a London (UK) airport only and therefore may only be redeemed by virtue of flying from the UK.
11. If any winners of the individual categories live outside of the UK we reserve the right to request that they pay for delivery of the camera prize (including any taxes) to their respective country.

I then decided for look events or festivals relating to wildlife photography. I found a more recent example of a photography festival based around current wildlife and conservation issues.

http://www.wildphotos.org.uk/

OCT 2014 – LONDON

the must-attend event in wildlife photography will return in 2014

2013 brought some exciting changes to the programme. Not only did we have the world’s best conservation and wildlife photographers speaking, we also had some amazing new photography workshops running across the two days.

– See more at: http://www.wildphotos.org.uk/#sthash.4NWgbDbq.dpuf

http://www.wildphotos.org.uk/about/highlights

Highlights from WildPhotos 2013

 Twenty-three speakers from around the world shared their images with a packed audience at the Royal Geographical Society in London, whilst our workshop tutors covered everything from the technical to the creative. Once again, WildPhotos brought home the natural world in all its glory.

Here are a few examples of the presentation and setup used during these talks and workshops.

 

I find these to be quite an interest concept, one which I would very interested in exploring myself towards the end of my year or upon graduation.

I also started to think about wildlife exhibitions that would help me establish what presentations and formats other practitioners within this field have utilised during professional exhibitions. One particularly distinct example of this, is Natural History Museum and their exhibition featuring photographs from their wildlife photographer of the year competition.

http://www.nhm.ac.uk/visit-us/whats-on/temporary-exhibitions/wpy/index.jsp

Natural History Museum

Wildlife Photographer of the Year

About the competition

 Wildlife Photographer of the Year harnesses the power of photography to promote the discovery, understanding, and responsible enjoyment of the natural world.

Now in its 49th year, the Wildlife Photographer of the Year competition provides a global showcase of the very best nature photography. The competition is co-owned by two UK institutions that pride themselves on revealing and championing the diversity of life on Earth – the Natural History Museum and BBC Worldwide.

Being shortlisted in this competition is something to which photographers across the world aspire. Every year emerging talents compete with established names for a chance to be hailed Wildlife Photographer of the Year.

Each of the thousands of annual entries is evaluated individually by an international jury of photography experts, before being awarded a place in the top 100 images of the year.

http://www.nhm.ac.uk/visit-us/whats-on/temporary-exhibitions/wpy/exhibition/index.jsp

Exhibition and tickets

Wildlife Photographer of the Year 2013 exhibition
Natural History Museum
18 October 2013 – 23 March 2014
10.00-17.50 (last admission 17.15)
Open late the last Friday of every month

The world-renowned annual exhibition is on show at the Museum until 23 March 2014. It shines a spotlight on the rarely seen wonders of the natural world.

This is an exhibition I would like to visit prior to March as I believe it would prove to be a very constructive experience for my final major project.

I also searched for relevant talks or workshops involved within this event.

http://www.nhm.ac.uk/visit-us/whats-on/events/programs/naturelive/behind_the_lens%3A_wildlife_photographers.html

Behind the Lens: Wildlife Photographers

TalkAttenborough Studio

14 December 2013	12:30 – 13:00
18 January 2014	12:30 – 13:00, 14:30 – 15:00
15 February 2014	12:30 – 13:00, 14:30 – 15:00
22 March 2014	12:30 – 13:00, 14:30 – 15:00

Diving into freezing oceans, perching in treetops, stalking through savannah and remaining motionless for hours – such is the dedication of wildlife photographers in capturing the perfect image.

Meet world-class wildlife photographers and find out about their work, experiences and techniques out in the field.

This could also be a very constructive aspect to consider when visiting.

During this research, I also looked at landscape competitions and found the take a view – landscape photographer of the year award.

 http://www.huffingtonpost.co.uk/2013/10/22/landscape-photographer-of-the-year-2013_n_4140836.html

Landscape Photographer of the Year 2013 (PICTURES)

FOLLOW:

Photography, Landscape-Photographer-Of-The-Year-2013, Landscapes, Take a View, UK News

From misty forests to riproaring stormy seas, here are the winning photographs from this years ‘Take a view – Landscape Photographer of the Year Awards’

A photograph by Derbyshire-based photographer, Tony Bennett of autumn mists drifting over Crummock Water in the English Lake District captivated judges and won top prize in this year’s search for the UK’s ‘Landscape Photographer of the Year’.

Charlie Waite, one of Britain’s best-loved landscape photographers and founder of Take a view said, “As each year passes, I am reminded of the great talent and commitment of those photographers who make supreme efforts to do justice to the UK’s stunning landscapes. Tony Bennett’s magical image evokes the spirit of the Lakes – a personal view that speaks to many.”

All successful entries can be seen in a free exhibition at the National Theatre in London from 7th December 2013. In addition, pictures from all four years of the Network Rail ‘Lines in the Landscape’ Special Award can be seen together, for the first time, at the National Railway Museum in York from 23rd November.

Mist and Reflections, Crummock Water, Cumbria, England by Tony Bennett (Overall winner)

Ghost of Rannoch Moor, Scotland by David Breen – Winner, Classic view

Mystical Morning, The Dark Hedges, County Antrim, Northern Ireland by Bob McCallion – Winner, Living the view

Catbells sunrise, Cumbria, England by Bart Heirweg (Winner, VisitBritain ‘You’re invited’ Award)

City Twilight, London, England by Charlotte Gilliatt – Runner-up, Urban view

Starlings over Carmarthen, South-west Wales by Nigel McCall – Winner, Urban view

Hebridean Sea III, Scotland by David Baker – Runner-up, Your view

Ferry leaving Newhaven harbour in storm, East Sussex, England by David Lyon – Winner, Your view

Caught in a Web of Iron, North Queensferry, Fife, Scotland by David Cation – Network Rail ‘Lines in the Landscape’ Award Winner

Autumn Colour, Surrey, England by Christopher Page – Young Landscape Photographer of the Year 2013

Each of the winning images, although based in different terrains and directed with varied purposes, all still offer a distinct sense of scale, light and composition when approaching the subject of landscapes. Often the priority is upon picturesque, idyllic scenes.

I also decided to emphasise upon a competition recently suggested by our tutors, the Sony World Student Focus award 2014.

http://worldphoto.org/student-focus/2014-student-focus-competition/

2014 Student Focus Competition Brief:

Enter an image for the front page of a newspaper.

This image can be sensationalist or low key, from a local cat rescue to an international environmental concern.  It can document your family, your friends, your neighbourhood, your people, your country or your world but it must make us want to learn more.

Most of today’s front-pages are made of pixels rather than paper, but they still have to do the same job they’ve been doing since 1880. They have to tell us a story in one frame and they have to make us want to read on and ultimately, buy the paper.

Draw attention to an issue that means something to you. Create tomorrow’s news in one image.

Captions may be no more than 15 words.

Competition dates:
Entry start: 13th May 2013
Entry close: 6th Dec 2013

Instructions:
Students should submit their image to their tutor who will email us your submission. To register your institution, please click here.

Image size:
The image should be a JPEG. Minimum size: 800 KB and maximum 4MB

Judging Panel:      
The 2014 judging panel is comprised of:
Rob Taggart, Director of Commercial Photo Operations, Europe, Middle East and Africa, Associated Press (AP)
Moni Haworth, Photographer
Anne Bourgeois-Vignon, Creative Content Director of NOWNESS.com

Read more about the 2014 jury here.

With over 200 international institutions already participating, become part of the Student Focus community and join this rapidly growing global programme.

Are you a Tutor who would like to register your Academic Institution:

Register Your Academic Institution

Your institution should teach a programme a formalised photography course/credit/module/foundation which is taught at higher educational level.
For full registration criteria or any questions please contact ania@worldphoto.org

1. The Competition is open to all students of photography from WPO selected Universities. All entrants must be aged between 18 and 30 years of age. All entries must confirm, on application, their acceptance of the rules of the Contest and these Terms and Conditions. Entries must be submitted by 11.59:59pm (GMT) on 6th December 2013. By entering the Contest, each contestant agrees and acknowledges that WPA is permitted to receive his/her registration data. All personal information will be used by WPA in accordance with its privacy policy.
2. To enter, institutions must be registered and you must give your image to your tutor. Tutors to email images to ania@worldphoto.org
Entries should be based on the ‘Front Page Newspaper’ theme outlined on the website.
3.1 All entries to be emailed to ania@worldphoto.org by the 6th December 2013.
3.2 Images from all participating universities will then be judged by the selected WPO judging panel to choose 10 universities that will win their place at the London Festival. The selected images will be announced after being deemed suitable by the WPO after the 1st February 2014.
3.3 The 10 winning universities (1 student and 1 tutor from each university) to be chosen from participating universities will be notified by email and will receive return flights to London (economy class) and hotel accommodation for four 3-4 nights in April 2014. Subject to flight ability.
3.4 The decision of the WPA is final and no negotiation will be entered into.
3.5 WPA reserves the right, in its sole discretion, to disqualify and remove any entry that does not comply with the following requirements, even after the entry is submitted on the Website. WPA will not take part in dialogue with any contestant who has been refused entry or otherwise:
3.5.1 Entries must be original and your own work
3.5.2 You have the right to make your entry available to the competition
3.5.3 Entries containing personally identifiable information about the submitter or any other person(s).
3.5.4 Entries containing any infringing, threatening, false, misleading, abusive, harassing, libellous, defamatory, vulgar, obscene, scandalous, inflammatory, pornographic or profane content.
3.5.5 Entries containing any material that could constitute or encourage conduct, which would be considered a criminal offence, give rise to civil liability, or otherwise violate any law.
3.5.6 Entries which infringe upon the copyrights, trademarks, contract rights, or any other intellectual property rights of any third person or entity, or which violate any person’s rights of privacy or publicity. This means, for example, that entries must not include:
3.5.6.1 trademarks owned by third parties;
3.5.6.2 copyrighted materials owned by third parties (including movie dialogue or musical compositions); and/or
3.5.6.3 names, likenesses, voices or other characteristics identifying celebrities or other public figures, living or dead.
3.5.7 Entries in which a contestant has purchased or secured the rights to use stock images.
3.5.8 Entries which contain any commercial content that promotes any product or service other than that of WPA. Entries must not contain screen credits.
3.6 Each contestant submitting an entry represents and warrants that:
3.6.1 They have all the necessary rights to enter the Contest and have their entry displayed on the Website.
3.6.2 The entry does not contain or infringe upon the copyrights, trademarks, contract rights, or any other intellectual property rights of any third person or entity. Each contestant agrees to fully indemnify WPA in respect of all royalties, fees and any other monies owing to any person by reason of the contestant breaching any of the foregoing.
3.6.3 Each person depicted in the entry has granted permission to be portrayed as shown. Any costumes, props or other materials used must be rented or borrowed with the permission of the owner, and all other relevant permissions must have been obtained.
3.6.4 intentionally deleted
3.6.5 If there is sufficient evidence to suggest malpractice and manipulation of the rating process then WPA has the right to remove the relevant entry or entries and, if necessary, award the prize to a different contestant. WPA’s decisions are final.
3.6.6 intentionally deleted
3.6.7.1 By submitting an entry for the Contest, each contestant acknowledges that the Copyright remains that of the photographer. Any photograph used by the Sony World Photography Awards shall carry the photographer’s credit line. Use may include, but is not limited to, publication in any WPA media or documentation for a maximum of three years after the awards ceremony in April 2013. You hereby grant WPA a non-exclusive, irrevocable licence in each Entry throughout the world in perpetuity in all media for any use directly or indirectly connected with the Competition but solely connected to the event, including, but not limited too:
(a) judging the Competition
(b) displaying the winning entries and runners up at public exhibitions promoting WPA and organised by WPA
(c) inclusion within the Website, a World Photography Awards book, magazine or similar
(d) inclusion within any materials promoting of the Competition and / or any exhibition organised by WPA, in the promotion of the WPA
(e) inclusion on Competition- and exhibition-related products to be sold by the WPA or any third party following the individual agreement by the author
(f) sub-licencing the Entries to the press for reproduction in connection with the Competition and any exhibition
(g) allowing viewers of the Website to view images on a computer screen, PDA or mobile telephone and store such pages in electronic form on disk or on a PDA or mobile telephone (but not on any server or other storage device connected to a network) for their personal, non-commercial use only. Please also refer to clause 9.
3.6.7.2 By submitting an entry for the contest, each contestant acknowledges that is the contestants responsibility for marking their own image to protect against image misuse; WPA and its Event Partners assumes no responsibility and are not liable for any image misuse.
3.6.8 WPA assumes no responsibility for any incorrect, inaccurate or incomplete information, whether caused by website users or by any of the equipment or programming associated with or utilised in the Contest, and WPA assumes no responsibility for technical, hardware or software failure of any kind, for lost network connections, garbled computer transmissions, other problems or technical malfunctions with regard to the Contest. WPA assumes no responsibility for any error, omission, corruption, interruption, deletion, defect, delay in operation or transmission, communications line failure, theft or destruction or unauthorized access to or alteration of entries. WPA is not responsible for any problems or technical malfunction of any telephone network or lines, computer on-line systems, servers, computer equipment, software, failure of any e-mail addressed to WPA on account of technical problems, human error or traffic congestion on the internet or any website, or any combination thereof, including any injury or damage to the contestant’s or any other person’s computer related to or resulting from participation or downloading any materials in the Contest. If for any reason a contestant’s entry cannot be viewed or is not capable of running as planned, including infection by computer viruses, bugs, tampering, unauthorized intervention, fraud or technical failures, WPA assumes no responsibility.
3.6.9 In no event will WPA, its parents, affiliates, subsidiaries and related companies, Event Partners, its advertising or promotion agencies, or its officers, directors, employees, shareholders, representatives or agents be responsible or liable for any damages or losses of any kind, including direct, indirect, incidental, consequential, special or punitive damages arising out of any contestant’s access to and use of the Website. Without limiting the generality of the foregoing, everything on the Website is provided “as is”, without warranty of any kind, either express or implied, including but not limited to, the implied warranties of merchantability, fitness for purpose or use or non-infringement.
3.6.10 In entering the Contest, each contestant agrees to participate in related publicity and to the use of names and likenesses for the purposes of advertising, promotion and publicity without additional compensation. By entering, each contestant releases and holds harmless WPA, its parents, subsidiaries, affiliates, directors, officers, employees, Event Partners and agents from any and all liability or injuries, loss or damage of any kind arising from or in connection with participation in the Contest or acceptance or use of any prize to the greatest extent as permitted by law.
3.6.11. All entrants must be able to supply a high resolution image suitable for printing in media.
3.6.12. There are no cash alternatives available for prize winners.
3.6.13. Winners will be published online.
3.6.14 WPA’s and the Academy’s decision is final and no correspondence will be entered into.
3.7 Images must be taken in 2013.
3.8 Images may be digitally manipulated. You must provide details on how your image has been altered.

This has encouraged me to review my recent images and consider what story I could tell within a single image. I intend to submit a captioned photo for this prior to the conclusion of this module. This will encourage me to become more involved within useful competitions that might act as a promotional tool for my creative work.

I will reflect upon the guidelines for submission aim to reflect upon my choices.

This collective research has allowed to gain an insight into relevant directions and applications of wildlife and landscape projects. I will continue to develop my objectives for this module.