Think Before You Speak

Tonight's mini post goes back to a previously touched on topic that was nearly turned into a rant when I discovered something earlier this week.

I do not believe in trying to be-little the work of a fellow photographer just because they choose to shoot something I would not. I also do not believe in a violation of the trust that every model and photographer should build before taking on a sensitive shoot. Most of all, I feel that people who violate the requests of their clients should be ashamed to call their work “professional”.  Remember please that I do not believe in insulting a colleague because it will be important as I cover this next bit of information...

On Monday I was doing some research into other area boudoir photographers and came across something very upsetting. I was intrigued by the first few shots on this site and wanted to see more of the beautiful model in kitten heels he had on the first page. I always feel if their clients are familiar with their portfolio and comfortable with that type of session, there is nothing wrong with letting the photographer suggest something different. I was happy to see that the particular photographer I stumbled across that evening has a talent for shooting well in low light. But I was greatly disturbed by something that I feel shows the unprofessional behavior this particular individual would use on his subjects. The models he worked with had not signed releases for him to use their images; in fact, he stated that we was sad how many of them felt that their bodies should not be shared with the public even though. I dug deeper, and found that this was a secondary page created under a false name so that his work could be displayed without the knowledge of his clients.

I do not limit my customers from making requests; on the contrary, I invite a challenge or request from my subjects because this business is all about pleasing the client. I often ask my clients if they would be willing to sign a model release when I feel that the session contains images of an exceptional nature. Most sign the release, excited at the prospect of being able to send their friends to see their images on the walls of the studio or in my advertising campaigns.

In the case the a client refuses to sign or asks that some shots not be displayed, I mark the files or session to ensure there is no confusion. It is my obligation to clients that I act with integrity and continue to protect their privacy. Even with permission for clients, I choose not to make many of my boudoir images public because they are a form of sensitive material. I believe that my subjects have the right to expect that their privacy will be respected,

I understand that not everyone will feel that we are obliged to protect a person if they wanted to pose for something others might find offensive. If you are part of that mindset, I am not here to rant at you. What I choose for my business is based on what I feel is right for my comfort level and the type of customer I want to attract.

As a photographer we may look at our work and see beauty, but that is not always the case of the viewer. Every girl is somebody's daughter, and her “Daddy” may not be too pleased with the person showing off her goods on the internet without written consent. I takes only one click for a reputation or career to be ruined through a thoughtless post. All I want to remind you of is how sensitive the world has become with social media being available across the globe.

How Much Is Too Much (Visual Lesson)

Well darlings, it is time for our second lesson on editing. I am sorry it was posted a little late tonight, I had social obligations that were just too much fun to pull myself away. I hope you can forgive me. Just have a cold drink and a long read...

To edit things well is a skill I do not lay claim to in the least. I am fairly good at smoothing skin tone when redness appears. I can brighten, balance lighting, and fix backdrop issues. I can even clone out problem spots and heavy make-up lines when there was no way to pose around the problem. But I also know when to call in a professional.

When it comes to large shoots and orders I will often select a few items that I feel are the strongest candidates for making a real dazzling image with a little technical TLC. Even with weddings, I don't edit every image, I just ensure that I take out the ones that have no business in an album and make sure there are some true gems for the bride and groom (and family) to display. The rest get a once over to make sure they are not too dark, too light, or too blurry to be of any use.

Why am I pointing these things out? Because the very first rule of editing well is this:

KNOW YOUR LIMITS

The worst thing you can ever do as a professional is promise perfection. Those creamy skinned models with the pouty lips and big dark lashed eyes, they don't even look like that with full make-up and hair. There is a massive amount of work put into the ads we see, and a massive falsehood behind those same ads. As photographers, we should not be trying to feed into those visual lies; it only makes our jobs harder.

If you are good with lighting and poses but not always fantastic with editing, that is alright. There is a huge sub-industry of digital editing gurus willing to help reduce your time spent on each shot, and who have honed their skills to perform the final touch-ups. I suggest finding a good retoucher as a fall back for when you are in a seasonal crunch or have a large order to complete. Weddings are something I use outside assistance for, and I do not feel it detracts from the work I do even in the slightest. Clients receive their proofs or prints faster, I am free to shoot more sessions in the following weeks, and my business sees benefits rather than costs.

This cost/ benefit portion can be seen in the next rule as well, though in a slightly different area:

UNDERSTAND HOW TO SAY NO

I am a people pleasing kind of person. I go out of my way to make others comfortable with my studio, my work, and do everything I can to ensure they get the outcome they want... everything within reason, anyway...

When an older customer (and even some younger ones) come in I always try to get an understanding of how they would like to look. As I said before, I am no expert when it comes to editing, but I also know that there is a line that does need to be drawn. You need to understand that saying no does not make you unreasonable; rather, it makes your clients have to question what it is they imagine themselves looking like in the end.

A client once had me do a sitting for her and requested I shoot her posed at a specific angle and in an unflattering outfit. She was not an unattractive woman, but she did have some extra weight and was a had a noted jowl-line. She also explained that she had to see everything before I edited or deleted “the best ones”. After expressing my concern at how the images might not turn out to her liking or that I would only delete items not at all suited to framing or printing, I was told in very firm terms that those were the things she wanted. Because this was one of my first sittings as a self-employed photographer and money was a driving factor, I took the shots. To this day, I am not proud of that session. After uploading everything, fixing the problems from poor lighting, and cleaning up the edges of some shots it was time to show her the preliminary results so she could choose what she wanted. She insulted every one and complained that I had made her look fat and old. I took the abuse, spent almost four hours editing her choices down to show a slender (which she was not) woman with just a few scant laugh lines and a light weight to the jaw to show she was aging well. Even after all that work, she called me to complain that she looked old and ugly. I am sure now that nothing short of removing 20 years or so would have pleased her. When I brought her prints out to her home to drop them off I did notice a very telling little sign; all her other photos only showed her prior to being married or having children. From her comments in our consultation, she had been widowed after nearly thirty years and had three grown children living scattered around the country and was sending these prints to both them and her college aged grand-children.

I still have the photos from that session stored on my back-up drives. I keep them to remind myself that there are limits, and then there are impossibilities. I also keep them to remind myself that there are times we need to remember to say no.

No, I will not give you blond hair and blue eyes if you are a brunette with browns. No, I will not inflate your chest to supermodel proportion if you are under age and cannot supply a very good reason. No, I will not use my non-existent magic wand to make you into a person that is not real. No, I am not a therapist; but I will do everything in my power to make you like or even love who you are and how you look without having to resort to a computer-age lie. Yes, I believe that honesty in photography is best.. and that there is such thing as “beautiful ugly”.

This brings us to the last point I will make tonight.  And yes, this is the one with pictures:

STAY TRUE TO YOUR STYLE

I am not a fan of overly enhanced eyes. This is a trend lately in magazines and popular photography that I just cannot find it in myself to like. For this reason, my style does not show intense eye colors. I have dabbled in this style, done a bunch of training and some testing, but I think the results are just not up to par with what clients have come to expect from me.

I work very well with unique lighting and color contrasts. Years of painting, working with stained glass, and sketching with oil pastels finally paid off when I became a photographer. I learned how to pair bold and muted colors with specific skin tones for an exotic look. I used a blend of light and bright hues to help play tricks on the eye to tailor a shape for seduction. I figured out hundreds of fun ways to work a single remnant of patterned silk into newborn photos that captured just the right combination of warmth without being over-powering. I even learned how to fake my way around a horrible fake tan and turn it into a summery bronze glow.

I also know when something should remain untouched. This last skill to far longer to learn, and involved many failures along the way. It is a simple fact that on rare occasion, perfect in already there, and all we need to do in snap the photo. In those moments, I feel most like an “artist”, and less like a photographer. Nowhere is this more obvious, than in the photos I take of my own family, most of all... my son when he was a newborn.

How Much Is Too Much?

Today I want to discuss digital editing limits.

Before we get deep into the issue and I run the risk of this becoming a rant, I'd like to make my thoughts on the topic very clear; I believe that who we are is not just how we look. That may be why it is a little difficult for me as a photographer when clients want to look twenty years younger and three stone** lighter. I believe there is a limit to what is reasonable, and there is a line that I will not cross with my editing. In this rare case, the client is not going to always be pleased by my feelings. It is a risk, but one I am willing to admit to and take the full consequences like a big girl.

In the interest of full disclosure, I do indeed lightly edit some images of myself. I am proud of the fact that I have laugh lines at just twenty-seven... they are my proof of a life well lived. That said, there are parts of my body I am less proud of showing off. I am on a diet and exercise plan to loose the weight I gained while pregnant, and so I am not as happy with shots showing the squishy belly that my son left behind. This means that I pose to hide much of that, choose clothes to help mask my less attractive curves, and sometimes edit things a little if there is an offending muffin top when I bend or move in my post-pregnancy jeans.

I am not saying that there should never be any editing done. Marketing requires editing for images, though what they try not to tell you is that it often adds as much to the figure as it subjects. I can assure you that many of those models in your favorite lingerie advertisements do not actually have gravity defying anatomy of that proportion. But I can tell you that the web is full of videos on how to use some impressive visual math and give anyone a model figure with creative addition and subtraction.

To see where the general consensus on the topic would land, I posted a pole to the fans and friends on my facebook page. This gives me the chance to understand what people think, while also offering a little advertising as it goes viral. It has also given me the chance to see that a little bit of editing appears to go a long way for many people, something that makes me happy. There are some common editing points I would like to suggest that every photographer learn as they take new clients with higher expectations through the wonders of “photoshop”.

Those points will be the subject of tomorrows visual update (I'm fighting with the formatting tonight). Until then, think about what you like or dislike about your own face or photos and remember to check back to see if this is covered by our quick fixes.

** In an effort to help expand the world's vocabulary, I used a less common British term and have included a link here for those not familiar with that word.

Consultation Topics

Consultations.

These little meetings or phone conversations can honestly make or break your whole business. It is through a consultation that you begin to understand how a child's personality can best shine or a teen wants to celebrate their high school years.

I have become a broken record when it comes to drilling the idea of “thinking beyond the same three poses”. What I want to do now is drill into you how vital it is to ask questions of your clients. Find out what they want out of their session. Never worry that you will appear insecure; you are the artist but they are the ones that will buy or not.

For years I worked for retail studios that never really had consultations. We would call the day before a session to confirm that the client was going to actually show up, get a few snips of information so we could fill out all the corporate regulated forms, and maybe even ask them what cheesy holiday props they wanted to include in their very canned sitting. As you can most likely guess, I felt these calls and the following session often ended up impersonal. The same six poses showed up in every album, and after a while I felt like there was nothing lovely about my photos which would otherwise be “good” technically.

While a good photographer will ask many questions, there are some points where you can advise in a consultation and it is those points I want to cover right now:

Clothing choices:

I know that we have all had those clients who just have to get a shot with all the kids in those massive holiday knits that grandma made last year. I always feel a twinge of pity for the kids as the melt under studio lights and layers of itchy wool. I also remind parents that layering is great because we can take the required “thank you for the itchy gift” shots and follow up with a few things that can be displayed year round.

When clients ask about color choices or clothing styles I always suggest a simple pair of jeans and solid black or brown long sleeve shirt. These colors work with all skin tones and hair colors as well as translating perfectly for color edited images. Jeans are relaxed, and the warm shades of brown can be a great way to make an impression without letting color dominate the image.

Something with a scoop neck is most flattering to women, and an Oxford style button-up in white or black is wonderful for men. Women who are pregnant should try the white or black oxford as it can be used to full advantage for flattering displays of the belly.

Make-up: Less is More:

Never underestimate the power of bad make-up.

If the Jersey Shore has taught us anything, it is that beauty is completely in the eyes of the beholder... and not in the eyes of the spray tanner. I know that some people feel that an orange glow is an expression of health, but it rarely translates well without digital editing. Find a tactful way to let your clients know, brides especially, if their tanning is not captured well. Massive charges to the time spent fixing lighting are never a client wants to see, and working to tone down their bronze glow is something you will have to take in stride.

Next to fake tanner, make-up can honestly pose a massive problem because of “bleeds” from red lipsticks, mascara smudging, and glitter explosions under the flash. In this situation, you can always talk about going for a natural look. Clear gloss, matte finishes on eye shadow and powders, and using browns in place of black for the eyeliner and mascara can make a huge difference. Using some pageant world tricks like a touch of vaseline across the teeth to repel lipstick stains and encourage smiles can really make a difference.

Hair:

Big hair went out with the 80's... unless you are in child beauty pageants. Remember that the client's individual style should always come through, but hair should be kept simple if they are not doing something for a special event. You will want to check for curls and fly-away strands each time you change pose, so keep a comb or soft baby brush handy.

Braids and ponytails can be great, but try not to have everything pulled too tightly. Better still, let the hair fall freely and brush it out to catch some silky texture and gloss. Fans are wonderful for models with long hair moving freely, but letting a small section fall over the shoulder or across one eye can make for truly a sultry look.

Either a smooth wave or spiked tips look best if they are all “moving” the same way. Angle and direction is important, so just keep it flowy when the look is soft. If you have a “hard” look, like spiked hair, you'll want to ensure that gel is not gobbed on making visible shifts in color and texture.

Bling is NOT Everything:

Finally, talk to the girls and women coming in about jewelry.

Less is more here as well. Massive earrings and mounds of chunky necklaces can be a big problem because they block facial features if the model does not hold the pose just right. A simple, sleek look will work best here because it cannot take away from the natural grace of the neck, or block the face from poor placement like some things can.

Rings, bracelets, watches, and necklace latches should all be checked carefully so they are not a problem. Just as hands can be a problem because they will detract from a wonderful face, jewelry can pose the same problem from catching the flash at the wrong time.

As with everything... there are times you need to break the rules and go for the jewelry. In general, you must get shots of the rings for engagement, wedding, and anniversary albums, They are the visible centerpiece of an event. There are hundreds of ways to show rings while getting the personality of the bride and groom into the shot. A great way to do something different is to have the rings placed on a newborn's toes if the parents are both coming in for infant sittings.

Color Theory

Going to aim for a few small updates this week since I am a little scattered between having just held a birthday party for my husband, looking into renting a better studio space, and some family issues here at home. I'll be treating you to a few nice images in these updates, and be promoting another photographer with one of them.

Today I want to discuss how to work with colors. Not in terms of how to pair things in an image, but how to shoot for an emotional impact by using the colors inherent in a setting. This will be a very visually in depth process, so I will only touch on a few emotions and the best way to communicate them in color. This will be a post of strictly my own work, though the concept is not at all something I lay claim to as an original concept; many books, blogs, and other works exist based on this topic.

If you follow traditional thinking, water is an emotional element because it is so closely related to all life. We emerge from water through the process of birth, we require water to survive must faster than food, indeed we even loos what when we feel the strongest of emotions (both joy and sorrow). So it should be no surprise that water is often an essential element of using color to transmit emotion; water is naturally blue. Using blue and purple shades are an obvious progression and can make a basic shot even more commercially presentable.

This photo was a lucky catch while on a vacation with my parents and an ex-boyfriend of mine about four years ago. I point out that there was a UV filter placed on the camera for this, so it did tint the shot slightly, but only enough to prove my point. Below is the shot taken just prior; this time without using a filter and the default settings and basic white-balance. Just looking at the two quickly, it is simple to tell how there is a dramatic feel to the filtered image.

The lesson I want you to take from this is simple, editing is not always required, but can enhance an image to the perfect level to make a sale. In this case, I am discussing non-portrait images, but the same rule applies there too. If you can frame, light, and pose well, the image will simply need to be uploaded or printed. And for now, I leave you with a few more shots where a slight addition or filtering of color has an obvious effect on the outcome.

Bright Lights

This week you get a double dose of information... Lucky You!

In this lesson we will be looking at how to use alternative styles of lighting to sculpt and complement the curves of the female body. No offense to the male models out there, but this is focused on making a big show of that big belly or those lovely curves. This can be very difficult because it requires just enough illumination on the subject to make them visible with the camera without loosing the shadows and highlights into a monotone pallet. For most poses and situations, windows are ideal light sources; but, this is not always the case.

Lets admit right now that nothing compares to the sun. I know we can blow all the money we want on strobes and such, but nothing compares to the huge fiery ball in the sky. And I didn't even mention the best part... IT'S FREE! While that should be all the sales pitch anyone ever needs, that is simply not the case, so I will continue.

Windows are fabulous backdrops, they harness the glorious free solar lighting goodness, while giving us the option of making a beautifully draped set for some fantastic silhouettes. Add a strong angle or a soft pose and you can achieve perfect shots without having to put in the hours of retouching that harsh studio lights can require. A lovely lady in some killer shoes can stand in a strong pose with her back to the camera and look over her shoulder with a fierce expression. You want there to be just a hint of curve from the chest while there can be plenty of long legs if your model is comfortable. Also remember that it can be enough to allude to sensuality through great eyes, there is never a need for the model to be nude for them to be irresistible.

“A woman is closest to being naked when she is well dressed”.
-- Coco Chanel.

The other beautiful element you should consider is perfect for maternity images, a profile pose with light from the side and slightly behind. This casts a lovely eclipse around the curve of the belly. Place the hands carefully, the arm facing the camera should be at the model's side, and the other should rest lightly on the top of the belly. If she has long hair, it can be left loose so long as the face receives enough illumination to show the profile. Work with the subject to make sure she is looking down lightly but you don't want to cause the double chin that can form with women in pregnancy from the water weight they gain.

From the base with the pose above, you can even incorporate her partner either kneeling to kiss the belly, or standing behind and placing hands on the belly as well. This must be done with attention to detail so that enough light hits the subjects to illuminate the figure partially. It may help to think of this in terms of watching an eclipse or even the cresting images taken in space as shuttles returned from the “dark side of the moon”.

“Life is always a rich and steady time when you are waiting for something to happen or to hatch.”
-- E.B. White, Charlotte's Web

This is a short entry, I know. Only two alternative light styles are covered and I only described one complete pose. I do this because you should always strive think beyond what I am giving you as a starting point. Look in sports magazines and you will see some great alternate lighting styles as well. I may have over six years in a studio, but even that is just a blink of the eye when it comes to experience with all forms of lighting. Perhaps someday I will share more, but for now this is what I feel I could best explain. Enjoy.

Now In Technicolor

Now that the Easter and Passover holidays are behind us, many photographers are gearing up for the wedding season crunch. In warmer areas there may already be outdoor events set for the coming weeks, making the use of white balance and other tools are must. But this week is not about those shoots - not directly at least - though some of the tricks used for boudoir and maternity work can also be put to use on a wedding day.

First I want to cover color theory. What I mean here is how to work with props, subjects, and backdrops to create interest through color. For this to work we will forgo the usual break between written lesson and a follow-up of visual aids and skip directly to a visual lesson. Once again we see some Google results to spice things up, complete with links to even more information on how to use color without having to rely on retouching to do all the work.

(Wizard of Oz, MGM's 1939 Production)

Dorothy had awesome shoes! No, I'm not telling you to run out and buy a pair of ruby slippers, I just wanted to make a comment on how brilliantly those red kicks of hers would work for a shoot. Perhaps it is my own personal bias because I adore shoe-shots... but I think everyone should have a close-up of some sexy stilettos in their portfolio. This goes double for some hot color kitten heels and a nice pair of black stockings.

I would like to point out how the pose I just mentioned can be used as a go-to when working with a shy client making their first attempt at boudoir or modeling. This kind of thing can be done without any nudity and in a very classy way. As an added bonus, it is a very easy way to work with the 1950's revival taking hold in popular culture. Stockings should have a back seam and shoes should be true “pumps” that cover the toe and use a two-inch minimum heel. Pair this with some retro coloring in the final retouch and you have a great salute to classic Americana.

To really understand the colors of the time you have a few options.  But I suggest doing a search for stock photos to get a feel for how color is or was used in the style you are looking for.  In the case of Americana, I suggest use RetroStockPix as they have a great selection.  Please note that you must pay to use those images for any marketing purposes, but that they have a wonderful range of products and places.

Remember that these rules do not just apply to shoes.  Use a great pair of gloves, a fantastic fascinator - alright that was worth a groan for the bad pun - or any other little thing you can think of to get some color.  The only advice I have is to avoid ultra-red lips unless you are willing to work with some serious color bleeding if your lighting is not spot-on.  Use your imagination and never be afraid to experiment!

Now that we have covered choice item coloration with and without retouching I want to discuss the wonders of natural light color photography. Walking through a Victorian rose garden is a fantastic way to appreciate the value of natural beauty. Soft pink buds, gossamer ivory blossoms, and the lush greens of climbing ivy are all a source of inspiration for painters and clothiers. Let them be an inspiration for your photography as well.

There is an inherent beauty in the world, vibrant color can really be seen in weddings. Let the natural light guide you and remember to set your white balance for the unique tones that come from unfiltered sunlight. This is not quite the same as shooting in a studio with light from bay windows, though the need to understand shadows and light sources is still a key factor here. The major difference is in the way that yellows, whites, and pinks will display their strong influence on everything around them.

(Photography Copyright (c) 2010 -  Akelis Studios)

I envy photographers with more exotic tropical locations because they can really put natural colors to use with the help of local flora. If you have a hibiscus blossom in your bride's hair or bouquet you should put it to use. If you have palm trees to pose a model with, let the fantastic texture of their bark to make a statement in your shots. This does not mean your should underestimate the beauty of a New England autumn either; those fiery oranges and reds are a great backdrop for pet, kids, and adults to interact with in every session. Tossing leaves in the air or laying on a pile of them can give a subject the chance to bring out their genuine smile while they release tension and play.

In this situation you will want to keep an eye on your shots, review them often so you can confirm that the white balance remains accurate for shifts in light due to clouds or time of day. Sunset is ideal for outdoor photography because a whole new range of tones will appear as the sun's rays shift and refract off the atmosphere at a greater angle. Be sure to use these colors to you advantage too, perhaps planning a beautiful shot that can capture a bride and groom silhouetted against a blazing sunset or a family walking down a dirt path as leaves let the light dapple the ground. This can be tweaked with retouching, but the truth of the colors will already be there so long as the time of day and the ideal location are paired with a great pose.

Finally, I want to talk about how to play with retouched colors or black and white in a tasteful way. I say the following in all seriousness... “Every photo is not meant to be Black & White just because you can select gray-scale options on your editing panel!” At the risk of sounding like a rant, I want to make it very clear that not every image should be colorless. The over use of sepia and other tone changes has made us less able as artists to really see why color or the lack of color can enhance an already wonderful image.

Don't get me wrong, I love working in black and white when I am just shooting on my own time. Many of the works I enter in competitions are a prime example of that fact. But everything has a place and time when working with retouch options. And thinking that subtraction of color is the best way to fix lighting flaws will only cause an area for improvement to grow into a void that eventually requires massive work to fill.

If you think an image could benefit from color shifts, ask yourself why you think so. Are you looking to match a unique pose to a feeling that cannot be achieved with lighting techniques alone? Perhaps you have the intention of creating some of those beautifully recolored works of art that are making their way back into popularity with the return to 1950's beauty. Consider that toned down shades can look faded if done incorrectly so this will have to be handled with care.

(Photography Copyright (c) 2010 - Akelis Studios)

I made the retouches and recolors to this shot after watching some reruns of The Little Rascals before going into a shoot. Comments have been made that I should have perhaps added a slingshot to the back pocket, but over all I feel that the effect was successful. My model here is very light skinned which made the removal of red pigments less tricky. In general, this was a success, but he has deep blue eyes that did not translate quite as well even with some enhancements. For that reason, I went with complete color removal from the facial features to avoid the zombie-like appearance that can occur from over enhancement of the eyes.

This application of retouching managed to be tasteful and simple if I am allowed to complement my own work.  In general, tasteful application is something highly ignored in the age where everyone with a cellphone can make “great antique photos” through apps the download for a dollar. And it is exactly because of those widely available features that we should all be diligent in using our artistic eye and professional discretion to avoid the temptation to over use an option that can go from tasteful to tacky in just one click.

Next Lesson

Hello again,

Well, if you were not scared off by Monday's update I applaud your determination. Our blog appears to have crashed last night, so this week is a little off in timing. But with patience comes pay-off. To save time and sanity I will jump right in to the last two topics for this week...

Subject Focus:

If you did any of your research, you will be somewhat familiar with the “Rule of Thirds”. Of course, there are two applications of this rule, so we will cover the one most misunderstood first. In portraits this can most be explained with close-up images. Honestly, it is best to think of this in a grid form, so I will show you three methods of blocking to create thirds on different forms of head shot and close-up.

The best way to tell is break the photo into thirds and plan on having the subject's eyes in the top third, nose in center, and the lower line should run right about the middle of the mouth. Though my subject in the example photo here has a slightly tilted head, you will notice this frame is very even all the way around. Using the top, middle, and lower thirds you can ensure that you are clearly focused on the subject as a whole.

You might want to refer now to the earlier lesson update when I said this week would be full of “well, Duh!” moments... because yes, the first application of the “Rule of Thirds” is just that simple. Now... apply it; suddenly it becomes so much more difficult to achieve. Don't worry, we've all had those days.

Alright, next application is slightly more abstract, so I'll try not to make you feel like this week was a total let-down. This time the idea is making your subject the obvious main feature in your photo. Again, it sounds simple, but think of how often you see a vacation photo with the less-than-thrilled kids crammed in the corner and about 70% of the frame is a blurry backdrop of nondescript scenery.

Below are two methods of using thirds to position a subject for dramatic effect. The first set show the subject being brought to attention by using the majority to their advantage. You can also see how this works to the benefit of landscapes.While not all three are exactly set to two thirds, you can see the general cropping intended and how it promotes an attention grabbing detail

There is a time and place for photos with an off-set subject.  Even in portrait photography a well placed profile or posed model with dramatic lighting can make a statement.  That said, you should remember that a framed photograph is meant to be a keepsake.  Telling a story can be great, but does not always have to be done with abstract posing or placement.

The opposite set of thirds can be used to create an ideal image for later editing. Think if this in terms of advertising and you can understand why it is a favorite trick of visual marketing firms. The key here is to use a less imposing backdrop so that the focus can be placed on later additions to the image. Text is a common addition so that a product or spokes-image can be displayed along with company details. For additional reference I suggest looking at a magazine, billboard, or marketing campaign poster.

Focal Length:

I apologize completely right now for any ranting I am about to do on this topic. This may well be the one thing that most drives me insane when looking at the pictures many people post online. I am sad to see many photographers who do not know what focal length is at all; or who appear to simply not care about the distortion that it can cause.

I am not talking about a fish-eye lens being used to purposely curve and alter an image, but the awkward exaggeration that comes from standing too close to a subject and zooming out to fit it into the frame. I often refer to poorly executed focal length in portraits as “Myspace Pix”. I know this reference has become slightly outdated, but it is based on the popularity of these shots really beginning with the rise of social media sites. In particular, this was (and is still) a favorite of teen girls as a self-portrait can be achieved with any form of camera in any location.

To explain what I mean, I have included two examples of such a self-portrait in the examples of poor execution. This is done by holding the camera up over one's head or at eye level and moving it back until the arm is fully extended before snapping the shutter. You will note the enlarged appearance of the forehead or nose in each image. The third example here was achieved by simply standing quite close and zooming out as the subject moved in for a look and failed to fit in the frame.

The solution to this whole problem is simple. Step Back. I know you want to get that ultra-tight cropped shot of the baby and her beautiful blue eyes; but your camera can zoom in for a reason. Start at least two steps farther away from your subject than you believe you will need to be. From there you can move in physically or with your zoom options to get the cropped image you want. The very first image on this lesson is tightly zoomed and cropped, but taken without distortion by using this exact method of control.

As you can see, the angles explored in the first sequence can be achieved without distortion. The next step is training your photographic eye to work on selecting a particular location in the photograph to focus on. This is done by planning where in the image you intend the audience to direct their eye.

Most artworks are made by placing the focal point in the foreground and creating a blurred backdrop. Occasionally a prop or two may be added to tell a story, but there items are placed at or near the level of the subject so they remain in similar levels of focus. However, a truly unique image can be achieved by positioning the subject so that the foreground is not in sharp focus, asking the viewer to “step in to the image”. Think of it as leading your audience down a path by using your setting or subject pose to the advantage.

Here I offer two images taken in sequence.  The only change was made through the use of manual focus to select the foreground or background as the focal point.  Notice how they display a different sense of motion even being taken with the exact same elements in frame.

Finally, I want to present a sample of how pose can be used to create depth of field when correct focal length is applied. In this situation, the viewer must look along the horse's back and up to the focal point centered on the animal's eye. Again, it forces the audience to follow the visual cues from foreground to focal point while still managing to have a backdrop that is not completely in focus either.

And with that image, I give this final advice; remember that once you know how to apply the rules you can start to break them for specific reasons.  Keep in mind that there are many elements to a photo and bending one of the basic rules works, but intentionally breaking several at once hardly ever ends in a presentable photo.   In general, try to follow the technical guidelines and always test a shot before you try something in a “one-time-only” setting.  Never promise something you cannot deliver, you will only loose clients that way.

Visual Lessons

Welcome back.

Because this week's visual lesson will be quite lengthy, I will be trimming it into two updates (Monday & Wednesday). This will allow us to focus on examples of each problem, simple fixes, and a final product. Both will have various moments of stupidly simply answers; but those are the kinds of things that we often forget as big fancy “professionals”.

This first set will cover the lessons on Lighting, Pose, and Set/Prop Involvement. For obvious reasons, I will break them down into individual lessons, then build one onto the next to explain why the use of a sequence is vital.

Step One : Lighting

The three images above all show flaws in lighting. For the first two, the issues should be obvious; over-exposure vs under-lit. The third flaw has to do with indirect lighting problems. To make things easier I will go in sequence according to the photos and how they may be corrected at the end, and cover general rules in the beginning.

Begin every session with a simply white balance check. Though the method will change with each camera body and manufacturing company, there is always a way to white-balance. I personally use Canon cameras and make use of the WB menu for sunlight, flash, tungsten, and cloudy settings on a regular basis on my “little rebel” when hiking, test shooting a retail product, or taking vacation photos.

The next simple solution, reposition and re-shoot. I did warn you that this post would be full of “well duh” moments... Anyway, yes, reposition. By reposition, I mean shift either yourself or your subject based on the light source itself. I used a landscape because it is an example of having to move the photographer instead of the subject. In basic portraits it is best to reposition the subject based on where the light source is stationed and learn to work with a set structure of lights to maintain a set level of lighting on hair, face, and figure.

Do yourself a favor and try not to get too fancy with light tricks until you have mastered basic lighting, and avoid the use of “beauty dish reflectors” or other advanced tools until you have a firm grasp on the basics. I still don't use reflectors unless I am doing a fashion shoot that absolutely requires them. View them as enhancement tools to be used sparingly and you will find that results can be achieved even before you ever whip-out the big guns.

Eventually you may run into an issue that can only use digital editing as a remedy. For those situations, and I have run into them as well, understand that “less is more”. Actually, consider the “less is more” thing a general rule for digital editing and you may find yourself a bigger success than otherwise expected. But when it comes to an image that must be edited, you need to remember that color quality will be degraded as you alter things.

Finally, use judgment and patience. The first photo in the collection above was taken on a hike with my husband in early autumn of 2010; as was the updated version below. The difference is simple, I stepped back slightly and waited for a cloud to shift. Sometimes you just need to wait and try again later, I did. This is very true with landscapes because it is difficult to control weather and nature.

So, now that I explained the solution to the first example, can you guess the corrections for the other two?

Solution one, timing and slight repositioning of the photographer.

Solution two, repositioning the subject to correctly face the light source.

Solution three, use of some slight digital editing to remove awkward hair highlights. Additionally, I have

changed the image to a black & white on request of the client, but you can see in both edited version

there is a distinct shift based on lighting.

 

Step Two : Pose

There are many common flaws in pose that can greatly change the result of each click of the shutter. I will highlight some things to look for and some common errors in posing that can be solved with more simple tweaking. I will give you ideas for all ages, but remember here that I work mostly with children. These can be done with wriggly little ones that give you about 15 seconds to set up and snap.

After evaluating your lighting, you need to start the posing phase of a session by letting the subject know where their “mark” is and how to stick to it. This is where you need to establish a relationship with parents or guardians of children at your studio, and where you will need to communicate clearly to even seasoned models that may not watch their movements. Remember that if you set your lights up correctly, the subject mark will be where the optimal lighting is located, so you want to pose from that spot. You also will need to understand the location of your subject mark for ensuring that you are able to use correct focal length.

Once you get the subject to the mark, you need to know where you are starting and where you are going. Over years in the studio I have found that what one of my trainers told me is very true; you either start down and work up (ie: belly/napping for kids to standing/jumping/action) or visa-versa. This is really because you can add in or remove continued props and chairs as you work without interrupting the session's flow. Personally, I work from the belly up with younger children because tummy poses are the hardest once they figure out crawling and walking; also, being at their eye level and letting them see you on your tummy can sometimes get kids with the coldest of shoulders to warm right up.

While there are hundreds of poses, there are a few pretty common ones most photographers know well and use often. This is not always a good thing. Some of these poses are seriously over used, so I will try to stick with the ones that sell best. In all honesty, once you have a plan for poses, the best thing to do is focus on making sure that you avoid certain pitfalls.

Tummy and back poses are fairly easy to do well. Unfortunately they are equally easy to do poorly. In the case of newborns, it is all about working set, colors, and moving the photographer around the sleeping subject. The first example of laying poses in this collection is of my own son at just six weeks old. The trick is to ensure the infant is angled properly to keep the focus on the face. The next is an example of variation on a tummy pose done with an adult. In this case, I had the model shift her shoulders to face the camera more directly while keeping her body angled away from the light source. Slight sifts in arm placement, head level, and facial expression can change tummy poses from sensual and suggestive, to quirky and childish, to innocent and peaceful.

 

The first is what I refer to as the “Football vs Cheer Leading” situation – no, I don't mean this as anything offensive, I just find that phrasing works best to support the visual. First we have the football player – standing square to the lens makes every person look broad shouldered and heavier set. In general, it is unflattering to everyone and only should be used when taking an image for Federal ID purposes (passports, etc.). To solve this, subjects should be turned about three-quarters to the lens. This allows for there to be greater curve of body line, and makes people appear slimmer. I sometimes increase this tilt to a two-thirds level when working with pregnant women, models looking for basic head-shots, or graduating seniors wearing sports uniforms. It can be combined with a good deep breath to accentuate the bust and belly curves depending on if the subject tilts back slightly (belly) or forward (bust). 

Next is what my trainer called the “head on a stick” situation. Again, this name might be useful after an explanation, but if you agree to call it “cannibal candy” then you are in good company; a studio full of zombie obsessed, online video game playing, photographers helped me come up with that name. The issue is this, too often a subject's arm is placed under the head and chin in such a way that you get a lollipop line-up. The solution is really to just shift the arm slightly and tilt the subject's head so you get less of a line up to a circle.

I adore that classic look of seduction from one hooded eye as a girl looks over her shoulder into the camera. I also loath the strained feeling I get in my own neck looking at a kid twist around at what is obviously an uncomfortable angle and cannot manage to hold a believable smile. Be careful when posing over-the-shoulder that you do not get into the lollipop situation I explained just a moment ago by making sure you follow the step-by-step process I outline here.

Begin by setting your subject at a three-quarters angle with their body facing away from the camera lens. Have the subject roll the shoulder closest to the lens back slightly by shrugging their shoulder and leaning it back slightly. From there help them turn their head in small increments until the achieve a point slightly past profile with about sixty-percent of their face visible to the camera. For those not certain about how to judge the right turn, you want to just be angle to see the eyelashes and corner of the further eye. From there, work on touching up details with hair and jewelry before you snap the shutter.

Step Three : Prop & Set Involvement

Finally, think beyond the box. There are thousands of things you can do with a subject in a room or outside. Toddlers and infant that are able to sit un-supported at a three-quarters away angle and looking not at the camera but at a toy. Models on their back, waist bent, with feet up against the wall with roses in their hands and petals on the floor. Kids jumping-rope or leaping up like they want to reach for something overhead. Teen leaning their chin onto their hands over the back of a chair. I adore shots that show personality, and all of these can do just that. I finish this week's first visual lesson with examples of different man made and natural settings for great portraits.

Indoor sets should be clean and basic. Don't fill up a room with objects that pull interest from the real focal point. Objects used for seating are a great thing, stairs are a special favorite of mine and I suggest them often. They are stark but interesting in a professional way. Use test shots if your judgment might need a little nudge one way or another.

Color choice for indoor sets is also vital in both backdrops and additional objects. White, black, and a muted blue or brown tone will provide a good base. In general, even children should not be placed on too bold a color because it can detract from the focus. Bright colors just sitting on the floor against a dark shade of drop would honestly harm more than help. Bringing those colors up around the shoulders or face will accentuate the expression and eyes.

Outdoor sets offer wonderful variety of both interest and tools to assist with pose choice. Unfortunately, outdoor sessions face their own challenges. Rain, unpredictable light levels, unpleasant temperatures, and the occasional passer-by that wants to “watch” as you try to coach your model... all of these can make a photographer's work more difficult.

Try setting your subject on a low tree branch, you get a lovely tummy pose and can create a new twist on a very simple pose. The texture of an oak tree or the spattering of autumn leaves can make even a simple close-up different. Beaches can make lovely sets with soft sand for toes, waves to play in, and rocks to sit on while the wind creates an emotionally charged atmosphere.

Exercises in Development

Well darlings, here we are again.

On Monday I started a blog I had intended to post this week. I got about two-thirds of the way through writing before Thursday. Then, on Thursday morning, I had a shoot with a friend of mine from high school. She is lovely, so there is really not much that I have to worry about editing, but there was some strong lens flare in a few images. Thankfully, we are planning to continue shooting on Saturday and can fix the problem. What we need to do is simple enough that I can fix it with just a few tweaks in posing against the light source. While I really should have caught these problems before finishing, I own the mistake and took the time to research the best way to correct everything I wanted to improve.

This brings me to the point for this week's topic; even once you learned it, you never know everything. The solution was something I had done a few hundred times, I just completely forgot about it when setting up for the session. There is the point where allowing yourself to admit mistakes becomes vital... my botching a few shots worked out alright in this case, but I was lucky. I should really take the time to go through some more test shots – I also should take the time to take some additional educational courses to improve my skills and sharpen my memory.

So, this week I will bring up some common focus points where experienced amateurs and even some professionals fall flat. With each point, you may want to review your sessions for areas in need of improvement. Often there are points we routinely ignore or find ourselves attempting to compensate for with digital editing in place of focusing on the solution prior to even snapping the photo.

1. Lighting - I find myself often cringing at the number of wonderfully posed and airbrushed images that would have survived without the extent of editing if they had only been shot with proper lighting. From beach images that are posed against the sun and cause the subject to squint, to studio portraits without a white-balance check. Remember that colors and light are directly related. As you work with subjects, remember that light can make or break any artistic image; and that is why I suggest that all photographers take a basic drawing class to understand the concept of Chiaroscuro.
2. Poses– There are some stock poses that every artist keeps in their head; while some are great because we all need a classic image to ensure there are clear head shots or fun poses for kids, they are stock because we all know how to take them. The saying may be cliché, but as an artist you need to think outside the box. In this case, think beyond the “over the shoulder half smile” or the cutesy “laying on the tummy with hands under the chin”. If you feel you have to get those poses in, try doing something fun with camera angle, lighting, and proportion.
3. Focal Length – This is a particular pet peeve of mine. It comes from seeing so many otherwise beautiful models distorted because they fell into what I call the “Myspace Trap”. Perhaps I am dating myself here, but I remember a time when taking a photo of yourself by holding the camera up over your head and making a pouty lipped face while pointing the camera right down your non-existent cleavage was sure-fire way to get friends online. Yes, the days when everyone was “edgy and unique” by having a black background and pink glittery font brought about a horrible shift in photographic vantage-points. The problem is not with shooting a subject from above; there are some classic poses using this technique to create very tasteful shots. But one should consider the differences between the slightly bulbous forehead and nose, and the demure downcast eyes of a new bride. The solution is all in how one starts the framing process; starting by actually being farther from the subject and zooming IN with the camera to frame is the correct method. Too many otherwise wonderful images are ruined because the photographer positions themselves too close and zooms OUT to frame their image and then steps back. This causes the parts of the body closest to the lens to become stretched and exaggerated. Ensure that you return on Monday for a visual lesson with examples of intentional and unintentional focal-length changes on various subjects.
4. Set & Prop Involvement – Prior to starting my own company there was a time when I worked as a photographer for a commercial studio. That point in my career may not have always been my favorite, but it gave me a valuable collection of “Do's & Don'ts” to draw on in future sessions. As with poses, some photographers have a single set or item they use in every session because it is just so much a part of their style that they forget how easy it is to have those images become predictable. I admit that in my retail photography days clients knew my collection of silk flowers was unsurpassed for life-like and well-kept details. Every communion season was a wash of carnations, white and blush roses, or Easter lilies. In spring I hauled out my favorite girly poses and pinched bouquets to enhance the holiday dresses and baskets full of painted eggs. Around fall I had baskets of red apples or harvest gourds to use along with bags full of autumn leaves. The only problem with all these silk flowers was that they became my “save zone”. When a customer asked for photos with something different, I had to stop and think because it did not fall in my typical plan.
5. Subject Focus– I actually mean this in two respects: First, it drives me insane to look at work from fellow photographers and see that they clearly tried to shoot everything with the auto-focus feature. While it serves an obvious purpose at times, I find that auto-focus has become just another crutch that people lean on endlessly. There is nothing sadder than a wonderfully posed wedding photo that has the bride and groom as blurry as Sasquatch while that random pebble in the foreground is unusually clear. Secondly, there is no nicer way to say things than this... if your subject is less than one-quarter of the total space in an otherwise solid black or white frame, you have failed. In general one should refer to the “Rule of Thirds” in both close-up or alternately cropped images. There is a significant difference between being artistic with an off-set frame, and poor cropping. Again, I will have examples of correct and incorrect use of subject placement in this week's visual updates.

As you might expect, I fell into a rut and had to dig my way back out. At this point I now hardly use hand-held props or certain poses to avoid the traps that occur with them. I have learned and adapted, but I continue to educate myself, as I did this week after my mistakes with lighting and lens-flare.

When you find yourself seeing problematic themes, take the time to research the solution.  You may well find that there is a simple answer to even the most complex question.  Never think of this as a set-back, simply as a learning exercise.  Never stop learning.