Better Photo Tips - New Photo Insights

Photo By:Pixellens
Story By : Tedric Garrison

We all do it at one point or another. We like taking photos of nature (for example), so we take more and more photos of nature, and tend over look other areas of photography. Then one day, someone calls up and says, "Hey, we were talking the other day about you doing photography. I think I have some extra work for you, are you interested?"

"Sure!" You say enthusiastically, then almost as an after thought you ask, "What are we shooting?"

The person you are talking with has decided to go for the World Speed Record in a wheel chair. Now, I've taken photos of people and I've taken photos at more traditional sporting events, like Football, Basketball, and Soccer; but how do you gear up for something you have NEVER shot before? The first photo tip to remember is to always have business cards with you. Because even though he said "the other day" you realize it has been almost two years since you had this discussion, but you did give him a business card and obviously he kept it.

Back to the problem at hand, this photo shoot is prior to the actual event. The photos he wants you to take are to be used as promotion shots. The customer suggests a local park for the photo shoot location. The first photo obstacle is the location itself, yes there are some nice points but, this park has office buildings on one side and a huge school on the other side. Always be aware of the background in your photo shoot.

Admittedly this was a new situation for me, but the first dozen shots or so just didn't feel right to me. Then my mind starting thinking about how I take photos of little kids at weddings; I get down on their level. Yes, this was a full size adult, but the photos didn't feel right until I was at the same level he was. If the subject is looking down and you photograph looking down at him, there is no interaction. Always take your photos with interaction in mind.

This particular person designed this particular wheel chair specifically for racing. Being totally naïve regarding handicap racing, I had to reply on his expertise to get the right photo. Regardless of the type of event you are shooting, remember this photo tip: use other people's knowledge to make your photos look more professional. In wheelchair racing for example; the front wheels control all the steering. If I had only shot photos with his hands resting on the back wheels, anybody who did know the event would know I (the photographer) didn't know what I was doing.

Even though we started this photo shoot early in the morning, the higher the sun got, the more dramatic the shadows got. When the subject was in an actual racing stance and he was leaning forward in his chair it did create some really deep shadows. I experimented with a reflector, a flash and some photos with both. Even though it was a beautiful day, quote "not a cloud in the sky"; I had to be prepared to control the existing light.

To review the lessons learned when photographing something totally out of your everyday experience, this is what I had to learn, or relearn to get the job done:

A) Always have photo business cards available, you never know when they can lead to new and exciting photo opportunities. (Even two years later.)

B) Always be aware of the background! That sounds obvious, but you want to make sure the subject is the main center of attention in your photo, not a reflection off an office window.

C) Always take photos with interaction in mind. Originally I was going to say at the same eye level, but during this photo shoot I also got down and took pictures at ground level as well.

D) Always use other people's expertise to make your photos look good. This is especially true when shooting things you have never shot before. The subject is more likely to like your work if he or she knows they actually helped with the input.

E) Always be prepared to control the light in your photo to meet the needs of the shoot. A bright sunny day is not always the best time to take a great photograph. Remember this: the brighter the light, the harsher the shadows.

A final thought, as a photographer, your most valuable tool is your mind and the ability to think and see creatively. Do not get so wrapped up in one specialty area of photography that you forget to apply those same photo tips to other areas as well. Life is a journey, not a destination. Likewise, who and what we are as photographers is what we learn from the different types of things we allow ourselves to photograph.

Award winning writer / photographer Tedric Garrison has over 30 years experience in photography. As a Graphic Art Major, he has a unique perspective on the Elements of Design and how those elements relate to all aspects of photography. His photo eBook "Your Creative Edge" (http://www.betterphototips.com/creativeedge.htm) proves that creativity CAN be taught. Today, he shares his wealth of knowledge with the world, at:http://www.betterphototips.com

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Better Photo Tips - Photographic Standard

Photo by Pixellens
Award winning writer / photographer Tedric Garrison has 30 years experience in photography would like to share his view on better photo tips

It has been that said the most difficult thing for man to do is to judge his or her creative work, objectively. Be honest, can you tell when your work seems to be missing something? More importantly do you know what it is that’s missing? You can only improve your photos if you set a high photo standard to compare yourself against.

When Time-Life selected 250 photos for the Great Photographers volume of their Time-Life photography series; they choose sixty eight photographers out of thousands. Those editors defined “Great” photographers based on three main factors.

The first factor was intent. What did the photographer have in mind when he took the photo, and did he achieve it? For example, did the photographer successfully make the viewer feel empathy when taking pictures of survivors of a major natural disaster?

The second factor was technical skill. Did the photographer show a thorough understanding of composition, light, exposure, and design?

The final factor was consistency. Did the photographer have just one or two great shots, or did they produce success time and time again? One great photo . . . or even several . . . does not a great photographer make.

Intent, skill, and consistency are the same three factors that will determine your own greatness. Study the masters like Ansel Adams, Edward Weston, Imogene Cunningham, and Diana Arbus and you will see these three factors again and again. But the question remains, how do you get from where you are now to that level?

Have you ever heard the phrase, “being your own worse critic?” By the very nature of the words being used; most people tend to think of that as a negative phrase, when in reality nothing could be further from the truth. To learn and grow in photography, you have to be able to be strong enough to admit what does and does not work in your photos.

To that end here is a strength and weakness checklist for you to use when reviewing your own photographs. It’s not complicated, just look at your photo and mark whether it is strong or weak. There is no middle gray, your image either succeeds or it does not. Once you know your weaknesses you can work on improving in those areas.

1. Intent – Could any viewer look at this photo and KNOW what you had in mind?

2. Emotional Impact - Can this photo be described with words of emotion like; peace, calm, anger, rage, joy, or sadness? Does your photo make an emotional statement?

3. Center of Interest – When composing your images do you successful direct your viewers attention to a specific point? Would the viewer know where your center of interest is?

4. Illusion of depth – Have you used framing, balance, and contrast and other art concepts to make your image jump off the page, or does it just sit there?

5. Subject / Background contrast – Shooting a portrait of someone with black hair against a black background is NOT a good idea. Does your subject stand out?

6. Personal Style – Ansel Adams was known for extreme illusion of depth and all planes in very sharp focus. Jim Zuckerman is known for vibrant colors and simplified subjects within their natural setting. Henri Cartier-Bresson once said, “There is nothing in this world that does not have a decisive moment.” How will others describe your unique approach?

7. Selective Focus – Do you choose where the viewer will look? If the background is just as sharp as the foreground things can become very visually confusing.

8. Composition – Do you consistently use the rule of thirds, formal or informal balance, and leading lines? Take control of where the viewer’s eyes are most likely to fall in your image.

9. Exposure – Do you always shoot at whatever the camera says, or do you take control of the light? Can you see details in your shadows? Have you ever used a reflector or bounced a flash as opposed to straight on?

10. Story Telling – Is there a feeling of movement within your image, or does it just sit there? Does it leave anything to the imagination, or is it just a statement of what is? If your image doesn’t tell a story, there is no reason to give it a second glance. Great photos make you want to look, again and again.

Use this checklist A) to see where you are at the moment and B) to see where your work is going in the future. Having a photographic standard is like having a road map. It is possible to get from here to there without one . . . but it’s a whole lot easier with one. Knowing what areas you need to improve in, is the first step in becoming a better photographer.

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Award winning writer / photographer Tedric Garrison has 30 years experience in photography. As a Graphic Art Major, he has a unique perspective on the Elements of Design and how they relate to photography. His photo eBook; Finding Your Creative Edge in Photography, proves creativity CAN be taught. Tedric shares his wealth of knowledge with the world, at: Better Photo Tips.com

Tips and methods for under water photography

By: Jessica Thomson

These days, under water photography is fun for everybody. Thanks to the range of equipment obtainable now a days. On the beach or pool, in the waves the reef, there are huge water proof like point and click cameras and even one use models that one can use for getting good picture, provided if someone follows few simple tips. For that lot of talent and equipment needed for specialized under water photography and many scuba training programs have good photography courses. But if you want to come home from where it's wet with some cool photos, here are some tips to get you started.

The best time to take underwater photos is usually mid-day because the sun is overhead and will illuminate underwater subjects clearly. Draftee under water photographers are often astonished how rapidly light and colour get lost after plunging few feet underneath the surface. Most water proof point-and-shoot models got fitted flash and people can use flash anytime and more than a few feet below the water.

Handy tips:
Distance can be deceptive as well. If it is viewed through a facade, the objects may emerge closer than they truly are. Confirm to get closer to the subject as probably before taking a photograph. Try to keep an eye out behind on the subject. While directing in just a beautiful fish, want a jellyfish hovering toward backside. Water proof cameras do have well fittings for wet and sandy times. At the time of rainstorms one can take some very interesting photographs through a waterproof camera and other smart photographers leave their luxurious SLR at home when they go to the beach. Salt water and sand are two of the most horrible enemies of all kind of camera, so by using a shutter model makes a lot of sense and may assist to avoid costly repairs.

Good seminars for tips and method:
At famous seminars related to techniques of underwater photography, people hardly talk about underwater device or the tendencies of sea creatures and how to get in the water. Photographing is matched with an egg. There are many good underwater studios that are really made for photographers. Now a day's many dry-land studio photographers those who know about multiple-light systems seem to overlook all about it when they go diving. Most of them use one strobe over the camera, aimed directly ahead.

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