Another win on Ebay

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Another win on Ebay

I won this Nikon N65 35mm film camera on Ebay a few weeks ago.  It came with the 28mm to 90mm lens.  It is an auto-focus model.  I have not yet taken any pictures with it.  But I'm looking forward to it.  If you've been reading my posts for any length of time, you already know I love buying equipment on Ebay.  It doesn't matter what time of year you might be shopping for cameras.  Ebay is a good place to buy great used or new equipment.

If you know of a good source of inexpensive lenses (I don't want to pay more than $50 per lens) for Nikon brand cameras please let me know.  I'm probably not going to be buying many more cameras.  I currently own 12 of them.  But I do want 100mm lenses or longer for each of them.  I'm looking forward to your feed back.  'till next time, Happy Shutter Bugging!

 

 

How to Photograph Fantastic Portraits with One Flash

Tags: Photography for Beginners,  Studio lighting, Flash, Portraits

 

 

By: Jackie Lamas   

Using a flash for portraits can be a great way to enter the world of studio lighting without having to spend too much on an expensive lighting kit. While there are affordable systems, using a flash is both easy to set up and use when you know how to do it right. After some practice, you’ll achieve looks that have that studio quality and creative lighting all-in-one.

Use one flash for portraits and bounce light off the ceiling for an even light on your client’s face.

Why use flash for portraits?

Flash can give you the portability that you’re looking for in a lighting system without having to carry extra gear just to use it. You can use a flash on or off-camera. It offers versatility in use so that you can achieve the look you want in your portraits.

Use one flash on-camera to light your clients against a sunset sky.

Also, when you need to fill in light, say during sunset or compete with afternoon lighting, using a flash can help you get better exposure from frame-to-frame during your sessions. This gives both you and your clients more final images to choose from that are correctly exposed. You’ll also spend less time working on the images in an editing program.

What kind of flash is best to use for portraits?

While most flash systems are pretty good in their own right, you’ll want to invest a bit in a flash that is able to be used in both manual and TTL modes. Having a flash that has the ability to use both modes will give you more range during your portrait sessions.

Difference between flash and no flash. Notice the background in both pictures. This was using one 

flash on-camera.

Choose a flash system that is compatible with your camera. It doesn’t have to be of the same brand family. However, choose one that is made to work with your camera brand. It will give you better results and have fewer faults when the time comes to set it up and use it. You will spend less time learning how to use it on your camera and more time experimenting with it instead!

Modes on flash

There are two main modes on a flash and both have their purpose when it comes to portraits: TTL and manual.

One mode is TTL, which means “through the lens.” It’s when the flash meters the light and then chooses how much light it will fire when you take the photo. This result can sometimes be inconsistent lighting frame-to-frame, but it’s helpful when you need to work quickly without having much time to change the settings.
TTL does come with flash compensation, however, so you can choose it to output more light or less light depending on what you want to achieve for your portraits. This will still allow the flash to meter and adjust accordingly on its own – thinking for you.

Use TTL when you need to fire the flash quickly without wasting time with the settings. Use for 

moments that seem like they’ll pass quickly like fireworks. The flash meters the light and sets what 

it thinks is the correct power output.

The other main mode is Manual.
Manual allows you to set the power output from full (1/1), down to 1/128, on some flashes. This gives you control over how much light you want the flash to fire onto your subject and you can adjust as you go along. Manual gives you more consistent output and light since you only need to set it once. You can then leave it until your lighting situation changes or until you want to try something different.

Taken with one flash on-camera at half-power to compensate for the fading light.

Both modes are great to explore when using flash on or off-camera to achieve your desired look in the portraits you take.

What happens when you use flash during sessions?

When you use flash during portrait sessions, you’re essentially taking a photo of the ambient light and the flash in one photo together.
Flash happens quickly. This is why many cameras often won’t allow you to use a shutter speed faster than 1/200th of a second so that your camera has time to capture the light in a scene. Some flashes come with an “h” button for high-speed sync, where it gives you the option to use a high shutter speed with the flash.

Hitt the “H” button to be able to use the high-speed sync mode and photograph portraits with a 

shutter speed faster than 1/200th of a second.

Changing your shutter speed only changes the amount of ambient light. Whereas, when you change or adjust the ISO and aperture, both change the flash and ambient exposure. Changing the flash power only changes the flash exposure.
All are important to take into consideration when you use flash, whether on-camera or off so that you can correctly expose.

In the photo on the left, I used one flash off-camera to camera right near the couple. On the right, 

no flash, same location and time.

For example, you can leave the flash power at a consistent output and change the ISO and aperture to achieve the desired look you want.

Single flash tilted about 60 degrees toward the top with the bounce card up to bounce light back 

onto the girl’s face.

When you’re getting started in using flash for portraits, keep in mind that you’re taking two photos in one exposure. A photo of what the flash lights and what it doesn’t. It takes some practice to achieve good results, so don’t worry if you don’t get it right the first time.

On-camera vs. off-camera

On-camera

Flash, on-camera, works really well during portraits when you need to add a pop of light, or to bounce light to fill in shadows. It’s also great when you can angle it in a creative way to add some interesting light to your portraits.
Most often, you can use the flash on the camera and get the right look for your portraits. Especially if they are families, weddings, and other similar types of portraits.

One flash on-camera pointed toward the client at night.

The great thing about external flashes is that they come with the ability to angle at different degrees. They also give you the option to rotate the head and get the flash to fire in the direction and angle that best fits your situation. For example, a bride getting ready in a room with low light is the perfect time to use the flash, either bouncing from the ceiling or wall perpendicular to the bride.

The photo on the left is with the flash angled to the side. For the photo on the right, I pointed the 

single flash toward the ceiling to bounce light back into the bride’s face.

Using the flash on-camera, angled at the ceiling will give you nice even lighting, especially if the ceiling is white. Additionally, if you use the flash pointed sideways, it will bounce light at an angle that will give your bride some shadows and thus more drama and depth.
At a beach, for example, place the flash on the camera and angle it toward your clients. Here, you can make sure your clients are lit while the sun rises or sets. Depending on where you’re located, you can light them evenly while getting the colors in the sky exposed correctly as well.

Both portraits are lit with a single flash on-camera.

If you’re competing with midday sunlight, with the flash on your camera, you can fill in shadows as you photograph your client. This is a good alternative to using a reflector or having an extra pair of hands to help reflect light.
Another great advantage of having your flash on-camera is that it moves with you. You take your light where you need it. For example, if you’re following a child running along the seashore, your on-camera flash goes with you and fires each time you hit the shutter fully. That way, you don’t have to worry about moving the flash while trying to capture this fleeting moment for your clients.

Single flash on-camera pointed directly at the clients to be able to expose for both the background 

and clients.

Another pro is that when the flash is on your camera, it’s faster to set or change your settings for the particular situation you’re photographing. Let’s say you need to work quickly while photographing the portraits for a bride and groom right after the ceremony.
Having your camera on your flash will make it easier to adjust the settings and power output for smaller or larger groups as they can change from frame-to-frame. Or when you’re photographing in sunlight that keeps hiding and coming out from behind moving clouds. You can adjust your settings at each change of sunlight so that you can expose your clients perfectly.

Both photos use a single flash on-camera to light the client. Flash can be used indoors and outdoors.

Off-camera

You’re more likely to achieve more studio-like lighting to your portraits using off-camera flash. It’s also an excellent choice when you’re photographing individuals, couples, or in a closed space. The ability to trigger your flash while not attached to your camera can offer lots of different creative lighting angles too. It can give you results that more closely resemble what you had visualized.

Only one flash was used to camera left pointed at clients directly while I stood about 45 degrees 

from the flash.

For example, in the photo above, the couple was walking along the shore. The cloudy sky didn’t offer us much light before setting behind the horizon. Having the flash off-camera angled at them, but also angled so that it lit the sand below, helped create more drama.

The photo on the left has no flash. However, the portrait on the right is using the flash off-camera 

left. Notice the difference in the ambient light temperature (the lamp post lights are warmer in the 

photo with flash).

With the flash off-camera and on a light stand, you have the ability to photograph portraits with a longer focal length without having to worry about changing settings.
Let’s say you want to light a portrait with the light at 45-degrees of your client, and pointed down so it adds a little bit of drama to the scene.
Set the flash and adjust the settings on a stand. Now you use a longer lens like an 85mm, 100mm, or the 70-200mm lens at about 10-feet of distance. You get the same results with other focal lengths because you don’t have to move your flash around.

A single flash was positioned closer to the client in front of me while I stepped about 10-feet back 

to use my 50mm lens and get some interesting light on the portraits.

The advantage of off-camera flash is that you get consistent lighting without having to worry about moving it around the scene even when you use a different lens and are farther from your subject.
In addition, while the flash is on a stand, you’re able to use attachments like an umbrella or softbox with your flash and not have to worry about it falling over or moving it at all.

Single flash used off-camera on a stand. I placed it high to mimic the sun in a small bedroom.

With off-camera flash, you’ll need to use a radio transmitter/trigger of some sort. That way, your flash, and camera can communicate wirelessly and achieve different lighting techniques.
Some transmitters come with receivers, and you’ll need to physically touch the flash to change the settings. Other transmitters come with a built-in LCD screen where you can change the settings of the flash from your camera. This is a huge advantage if you are at a distance from the flash.

Single flash used off-camera on a light stand. I made the photos warmer in post-production.

Taking portraits with one flash can be a much easier setup and offer many different lighting opportunities for your portraits. Whether you use the flash on or off-camera, you will be able to create and manipulate the light in your portrait both inside and out on location.
Have you used flash during portraits before? Share with us your setup and experiences.

Share this article. 

 

 

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Photography Freebie

"The Basics of Photography"by Adam Dachis

Basics of Photography: Taking Better Photos by Understanding How Your Digital Camera Works Adam Dachis — With so many cameras available, figuring out how all the specifications and options translate into your everyday use is complicated. For our first lesson in the Basics of Photography, we're going to learn how cameras work and make sense of what that means in terms of choosing a camera to buy and how it affects your photographs. 

 

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Photographer Bob Gruen on being in the Right Place, Right Time

by Nick Spacek

Bob Gruen, American photographer // Photo by Hanna Toresson

Rock ‘n’ roll photographer Bob Gruen’s work is iconic. From his portrait of John Lennon in the sleeveless New York City t-shirt to Led Zeppelin preening in front of their personalized airplane to dozens–if not hundreds–more, the man’s work over the last six decades has defined how fans have viewed these idols. His recent book, Right Place, Right Time: The Life of a Rock & Roll Photographer, was released in October of last year, and sees the photographer telling many of the stories behind some of his most famous photographs and the relationships which led to them. I spoke with Gruen just ahead of the New Year to discuss the book and more.

The Pitch: You say in your book you still go out and hit shows. How are you dealing with that, being as how there are no shows?

Bob Gruen: Well, it’s interesting because there are no shows, so it’s not me. I haven’t stopped going out: there’s just nowhere to go. It’s awkward. It’s a little boring. I miss running into my friends. Just talking to my wife this week, there’s a lot of people that we don’t necessarily visit at their house or go to dinner, but we see all the time at different openings and different music events and just kind of missing those people–a lot of friends that we just haven’t seen all year and wonder when we will.

It’s such an odd time but my wife reminded me that the pandemic of 1918 was followed by the Roaring ’20s. So, as Lenny Kaye said to me yesterday, “Let’s have fun in ’21.”

That is a motto behind which I can readily get.

I’m always looking on the positive side of things, generally. The reason my life happens the way it does is because I don’t really like watching television–I like going out and being at real events and seeing real people in life so this is really awkward, to kind of try to figure out what to watch on television because I’m not a television person. All these online concerts? For me, that’s television and it’s just not the same as being in a room with people. I go not just for the band, but for all the people I run into: all my friends that I get to chat with.

That is 100% my stance on the whole socially-distanced concerts thing because it does seem like part of going to a show is the social aspect of it: wandering around the venue and talking.

It’s not just that the musicians play perfect notes or something. You’re having a good time, you’re running into people, people are buying drinks, you’re meeting new people. That’s what happens. I was thinking about that a lot–that a lot of my networking and being in the right place at the right time was how I made a living, by meeting people in bars and in clubs and at backstage rooms. You don’t meet them on the internet. It’s very different–you can’t share a drink with somebody in the backroom on the internet.

I mean, luckily I’m old enough that I’m not making that many connections anymore, but I really feel for young people who are just not getting out. I have a 15-year-old granddaughter who I can’t imagine what it’s like to not be active and out there. Give her credit: she got a job in a record store, so she is out of her room, at least.

Given that you’re so social, how was it, sitting down to write this book? Did you take your time doing it so that you could still go out?

It only took about 20 years, actually. [laughs] I’ve tried to write it many times. It’s been a long time. I’ve been telling my stories to people for years again in clubs and dressing rooms and so on and people have always said, “Oh, you should write a book,” but writing is much more difficult than talking. When you talk, you use words like “um” and “uh” or “you know”–and I call that verbal punctuation–but when you write, you have to use actual punctuation and that’s a whole different ball game.

So, it took a while. I had a number of different people that tried to help me write it and it wasn’t really working out. Then, finally, I found a guy named Dave Thompson who’s written quite a number of books–literally, almost 200 books–he wrote a book from my friend Sylvain Sylvain from the New York Times and Syl recommended I give him a call. It turned out he was writing Walter Lure from the Heartbreakers book at the time, and he helped me a lot–not in the sense necessarily of writing the book, but of organizing all my interviews and my stories because, by the time I got to him I already had a lot of interview transcripts that I had done in preparation and different projects, working towards this book.

Dave took all my stories and he put them in order and he put it into a flow. He had all the connecting words and stories you know to put the whole thing in line with everything else so that was really good and that’s when we finally got to do it. I got together with him last September and by December [2019] we had a transcript and then my wife and I completely took the transcript apart and put it back together, so it’s much more in my words. We had a book by March Actually, I turned it in the first week of the lockdown. We’d just gotten it finished in time.

You have a lot of stories about a lot of very well-known people. Have you gotten any responses back about the book and some of the stories that you’ve told?

People seem to like it a lot. I mean, the only responses I’ve had is people call up and say, “It’s amazing, it’s wonderful, it’s fascinating,” they couldn’t stop reading it–things like that. I don’t really have a lot of scandal in my book. I don’t do blue, you know? I kept it kind of family-rated. There’s a lot left out. All I think about is all the stories I left out because there just wasn’t space or it didn’t fit in the flow of the narrative, so I haven’t really heard anything about any scandals or anything like that–there’s not much of that in there. It’s a fun story of how I came to New York–really with no plan–and ended up meeting some of the best people in the world.

The stories and the arc of your personal life within the book is really fascinating because it seems as though you really made connections. You’ve mentioned that word quite a few times while we’ve been talking and it seems as though you weren’t in this for a sense of “I get to shoot pictures of these famous people”: you were just happy to be taking pictures in general. The fact that it dovetailed with your interest in music was just kismet.

It always is. One thing led to another. The idea in the ’60s was the theory of “Turn on, tune in, and drop out,” and I dropped out by living with a rock and roll band and found out that I really was actually falling in–not dropping out at all–because when the band got a contract, the company used my pictures and hired me to take some more and before I knew it, I was taking pictures all the time. Every time I went somewhere, it kind of snowballed: I’d meet somebody and they’d hire me for some more gigs and then I’d meet more people and before I knew it, instead of dropping out, I was working 24/7.

I’ve been pretty busy all my life, actually, but it’s been fun because I get to work in some of the most exciting places and I get down in front of the stage for some amazing shows. From the Rolling Stones to Alice Cooper–I mean, you name it, I’ve seen it. I started out with Tina Turner in 1970. I took a great picture of Tina Turner. I took a great picture as a strobe light was flashing on Tina when she was dancing off the stage and I caught five exposures in one picture. Ut just captures all the excitement and energy that Tina Turner is.

We went to another show a few days later and I brought the pictures with me to show to my friends and as we were leaving, one of my friends pushed me in front of Ike and said, “He’ll like the pictures,” and that moment changed my life. He liked the pictures and pretty soon, I was traveling with Ike & Tina and about a year later, my first album cover was a Tina Turner picture. Things worked out pretty well: that got a lot of contacts. They introduced me to several publicists and one of them hired me to photograph his new piano player when he came over from England–a guy named Elton John–and so I was right there at the beginning. It’s just been really serendipity. The title of the book is Right Place, Right Time but then you have to do the right thing. You can’t just accidentally show up and then just be there: you have to do the right thing. I’ve always felt that by giving something–by taking pictures and making something that people can use–was a good way to get to know people. Then they’d like to have you around and they call you to come back again.

In high school, I was always friends with the musicians and the artists and the actors–basically, anybody who’s staying up late at night–and that’s continued all my life. I don’t make friends with everybody, but some people you get along with, for some reason. When I met the Clash, they liked me, and I liked them. Same thing with the Sex Pistols. I get along with people, so it’s been a very interesting life, but I’m glad I can sum it up in my book.

You present very human stories of these larger-than-life characters. So many of the people with whom you had close ties and relationships with have had biopics made about them, such as Elton John and Ike and Tina Turner. You say you’re not a television person, but have you seen some of these films like Rocket Man or What’s Love Got To Do With It? and if so, what was your take seeing these people you knew portrayed in this way?

Those are two very different movies. What’s Love Got To Do With It? was interesting. Also, I like those movies because they use my photos and I get licensing fees. In fact, there’s a Tina Turner film that they’ve made–hasn’t come out yet–but that’s helped me get through this pandemic.

But it’s awkward when you see people you know acted out by other people and What’s Love Got To Do With It? I think was a very important story about domestic abuse and it really opened up a conversation that had been hidden for so long. It was just so important because now it’s still a very, very important conversation. I don’t think Ike Turner necessarily needed to be the poster boy for that– they sort of made it as if that was his personality, rather than that’s what happens to a good man who takes too much cocaine. You just go kind of crazy. Ike was awake often for more than a week to 10 days and you tend to get really crazy when you’re on drugs for that long–not to excuse anything that he did.

Like I say, it’s a very important movie but I was just a little disappointed that Ike took the fall for it because he was actually a really great man and had helped many, many people. I went to his funeral when he passed away and there are more than a thousand people there because those were all people he had helped. So, you see these stories come out and they’re very wildly different. The Elton John movie? I liked a lot. Most of the movies I like. Some of them, it’s really awkward when you’re looking at somebody that you know and somebody is pretending to be that person and they’re really not.

There’s a TV show called Vinyl that was just awkward as can be. Everybody was portrayed by awkward people and, yet, a lot of young people told me, “I love that show: it’s such good history,” but it’s totally false history. There’s a lot of exaggeration. People hear three different stories and put them together into one, so to see your life–I mean the fact was that I went to CBGB to hang out and meet girls and all of a sudden, that’s history and it’s in documentaries and people talk about it as if it’s a part of the culture– that’s very weird, to see your life turn into history, but it’s only because I’m lucky enough to get old.

 

 

 

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500px Commercial Grants: Project #ShowUs

500px strives to capture authentic representation within the global experience. As part of the 500px Commercial Grants program, we provide photographers with opportunities that encourage inclusivity within commercial photography.

500px is awarding five $1,000 US Commercial Grants to women and non-binary photographers who want to tell their stories as part of the Project #ShowUs Commercial Grant.

Project #ShowUs:

“Project ShowUs” is an initiative put together by Dove, Girl Gaze, and Getty Images. The Project was first launched in 2019 and won a Cannes Lion, Silver Lion, Glass: The Lion for Change award, for their groundbreaking work devoted to shattering beauty stereotypes. 500px is honored for the opportunity to participate in this Commercial Collection for the second consecutive year.

Women have claimed various roles within commercial advertisements, ranging from homemaker, mother, super model, entrepreneur, leader. Their presence within advertising has created the construct of female identity and who the ideal woman is, how they behave, and most notably how they should look, providing representation for the select few who fit this mold. While we have begun to shift the narrative, there is still more work to be done.

According to Dove Impact of Beauty Stereotypes Quant Study 2019:

“70% of women still don’t feel represented in media and advertising.”

Each model comes with their own unique backstory, something that can provide context and representation within photography and advertising. Incorporating authentic details and featuring models who live and breathe the concept they represent contributes a narrative for people to connect with and see themselves reflected, providing real representation for those who are under represented.

The Theme:

#ShowUs is meant to both empower proud women and non-binary people and showcase communities and support systems that unite and encourage them to become achievers, leaders, business owners, and thought provokers. We want to see your models in action as they contribute to real representation that is not limited by age, sexuality, body type, ethnicity, or belief, reflecting authentic experiences around the world.

Winners & Selection Process:

5 women or non-binary photographers will each receive a $1,000 US Grant to develop a commercial series to be featured in this Collection.

Commercial Grants will be awarded by the 500px team and will be selected based on the applicant’s ability to execute on the requirements of the Commercial Grant. 500px will take into account the photographer’s portfolio as well as the narrative within the submission.

For more information, please review and submit your photos to the Reimagining Mental Health Commercial Grant Quest

Learn more about 500px Commercial Grants.

 

Great gift ideas

Things I wanted for Christmas but knew I'd probably have to buy them myself...so I did.

 

My “Caden” brand back pack camera bag. It has lots of compartments for holding all my photography gear and even a space for my tripod and water bottle. The price was just under $30.

My Nikon 300mm telephoto zoom lens was just under $52 (including shipping). Great for nature photography when you don't want to get too close to wildlife but still want to get a close up shot.

 

A “Neewer” brand 2X telephoto converter. This converter, when attached to my 300mm lens will effectively double the focal length from 300mm to 600mm. This was less than $30.

“Xit” brand wide angle, fisheye lens for getting a great wide angle view of the landscape you're photographing. Cost (including shipping) was less than $30.

 

A “Bower” brand 3.5 telephoto converter lens. This converter will effectively convert my 300mm lens to over a 1000mm lens at no where near the normal cost of a traditional 1000mm lens. The cost was less than $30. All of these items were purchased on Ebay. If you're unfamiliar with ebay.com you can check them out using this link: https://ebay.to/2Smb1ho

 

This last item (my favorite) did NOT come from Ebay. This large capacity drinking cup w/lid came from an online ETSY store. The store / business is female owned and operated. She does excellent work as you can see. The drinking cup is metal (keeps my beverages cold) but surrounded with a resin (like plastic) that keeps the cold from transferring to my hand. If you're wondering how I know this is a female owned business, I work with her husband in the office furniture business.

This was my Christmas gift list to me. Ebay and Etsy are great places to shop for gifts any time of the year. Check them out and tell me about your experiences. I'd love to hear about the great gift deals you get.

 

 

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5 Signs Your Landscape Photos Are Way Too Busy

by Michael Zhang

 

Figuring out the line between “good” and “too much” is one of the big challenges in photography, whether it’s making adjustments in post-processing or figuring out what to include in a composition. In this 14-minute video, photographer Mark Denney shares 5 things to look for to figure out if your landscape photos are too busy.

“In an effort to determine how I can better understand when I’ve added too much into my landscape scenes, I decided to dig into the archives of some of my past photos in search of images that I now feel are way too busy,” the photographer says. “I’ll share with you the 5 most common signs of busy landscape images I encountered in my own photos and how best to resolve them.”

 

#1. Edge Patrol: Walk your eyes around the edges of the frame to see if there are any distracting elements that could distract your viewers’ eyes from the center/subject of your photo to the edge.

#2. The Subjects: Is there a main subject (or cohesive subjects) to capture your viewers’ attention, or will they be confused about what to look at?

#3. Bounce Factor: Is there a visual “flow” to your photo, or does it make the viewers’ eyes bounce around?

#4. Scene Stuffing: Trying to stuff everything in a landscape into your photo can lead to too much going on.

#5. Distractions Count: Is the landscape photo littered with so many small distractions that could be composed, cropped, or cloned out?

Watch Denney’s video on You Tube for explanations of each of these points and for more examples showing what to and not to do.

You can also follow along with Denney’s work by subscribing to his popular YouTube channel.

 

 

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Tips for Preparing for a Portrait Session

Tags: Photography for Beginners, Photography, Portrait Sessions

 

A Post By: Erin Fitzgibbon

A portrait session can be a nerve-racking event. There’s so much to remember and prepare before the actual press of the shutter button. It takes a lot of prep work. People don’t always realize what goes into being ready.
Even if you’re an amateur taking pics of your family and friends, there are some important steps to take if you want to capture some really beautiful images. Here are some tips to help you out.

In some cases, planning for a shoot is really simple. In this case, we took the kids to the beach at 

sunset to shoot some pics we could share on social media.

Logistics and Planning

This is the part where you discuss the portrait session with your friends or clients. You need to pick a date, location, and a time. You should also discuss backup dates in case the original plan doesn’t work.
If you’re shooting professionally, you need to get the contract signed, collect a deposit and ensure that clients know under which circumstances their deposit (retainer) is refundable.

Image Sharing

If you are taking family pics at a reunion and you intend to share these photos with everyone, consider setting up an online photo album you can send to everyone. It’s much easier to share the pics this way.
Make sure you have everyone’s email so that they can all download the images afterward. It’s a huge pain to email people separately. You’re taking the pictures to stay in control and don’t overwork yourself sending them to everyone. They can take some of the responsibility.
If there are older family members, consider printing out a set of instructions they can use for accessing and downloading the images. I’ve run into that issue before and found myself driving an hour to click download on someone’s computer.

Another from the sunset shoot of informal family pics.

The Style and Portrait Session Design

It’s also a good idea to discuss the type of look and feel you want to create in the portrait session. If you’re working professionally, this is really important. Make sure you and the clients are on the same page.
Do they want relaxed, candid images or do they prefer something more formal? Clothing can affect the look of a photo shoot so be sure to discuss attire. If you’re snapping pics at a family event, you probably won’t have much control over the look of the images unless you plan and get everyone on board.
I’ve seen families choose themes like “Old West” for a fun afternoon of photos. At some reunions, I’ve seen groups create a t-shirt they all wear to commemorate the pics.
A friend of mine set up a photo booth at a Christmas party. Everyone was asked to bring one piece of “bling” for their photo. When paired with the props and the background she created, it was a ton of fun.

In this case, I was working with a family. Prior to the shoot, I visited the home and we discussed 

possible locations.

Location Matters

The chosen location can also affect the look and feel of a shoot. Consider a big comfy couch in a brightly lit room versus wooden dining room chairs on a studio backdrop. The background can considerably change the feel of an image so plan carefully.

Props

Collect some props for the portrait session. If you’re working with really young people like toddlers, it is really helpful to have things to distract the kids. Teenagers love goofy items they can hold and use for posing.
If you’re working with your own kids, it can be a huge battle to get them to cooperate. I find other people’s kids far more flexible, but if I want to photograph my kids, it’s a huge ordeal.
So think about styling the shoot in such a way that your little ones will cooperate. This might mean including their favorite toy is in the image. That’s okay! Go with it because it’s far better to get a positive, happy image than a forced angry looking smile.

This was another paid session. The family had gathered for a 50th-anniversary celebration. They 

were dressed semi-formal for the occasion.

Be Informed and Plan Ahead

Make sure you do your research. Know the area in which you are going to be shooting. It’s helpful to visit the site before the shoot so you can be familiar with all the little nooks and crannies.
Plan your route to the photo shoot if you can’t visit before the big day. Download offline instructions to your phone in case you lose your connection. It’s happened to me once that I lost the signal and drove around for ages before I could find the location.

Get Permits if Needed

Double check to be sure you don’t need a permit for shooting at a specific location. Some places require you to buy a permit. So don’t get caught without one.
I know of a family that planned to do photos in the Distillery District here in Toronto only to learn they could not photograph each other when they were halfway through the shoot. I’ve also seen a family get in a lot of trouble for trespassing on private land. All they wanted to do was take a family pic for their Facebook profiles.
So double check that you can visit and use the site you want for the session. If you’re shooting professionally, permits and property releases are a must so be sure to take care of the entire nitty gritty well before the day of the shoot.

Backup Plans are Essential

Have a Plan B. Always! Have an alternative plan at the ready. You never know what may go wrong. Have a family member bring an extra camera (or rent or borrow one) in case yours breaks. Choose an alternate site if the first won’t work.
Just be prepared. The reality is that when things go wrong, they usually go horribly wrong. So try to plan for every possible road bump in advance.

This shoot was planned for months. Friends were happy to join me for a day of photographs in the 

winter.

Day of the Portrait Session

Always make a checklist of items that you can use to help you pack up and be ready for the photoshoot. It’s really frustrating to leave equipment at home.
Arrive early! This should go without saying. You don’t want to make people wait.
Check the weather forecast and make sure you can contact people in case of emergencies. Get contact numbers from folks.
Be prepared to have fun! Just before everyone arrives or your clients show up at the studio make sure you’ve relaxed a little. I know some photographers who take 5 minutes to have a coffee before shooting. Others will sit and meditate for a few minutes beforehand.
Whatever works for you, just make sure you are confident and enthusiastic before you begin shooting. Your nerves will affect the quality of your work so don’t let them control you.

Photography is so much more than picking up a camera. To take memorable images, you need to put in some effort and plan out the event. So think carefully about the shoot and make sure you have everything ready.
If you are prepared and relaxed you will enjoy the event more, and so will those you are photographing!

We wanted to create some of those images where you make snow dust. Of course, there was just
too much white space around our chosen location. So sometimes your plans won’t work.

We tried a lot of different locations.

Eventually, we chose to shoot portraits that were much different from our initial plans.

Finally, make sure you share with us some of the ways you prepare for a photography session. Let’s get a good base of tips together we can use to our benefit.

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Tips For Shooting In Wet or Damp Conditions

 BY JIM BRASWELL

Photographing in wet or damp conditions is a mixed blessing. The opportunities are often enormous; in a constantly damp area, the flora can be beautiful. A good example is the Inside Passage of Alaska, where lush, old-growth forests are common. Or a photo journey to a place like Costa Rica (I’ve never been there, but it’s on my “bucket list”).

But, working in these conditions requires some additional care so that our photography equipment will not be affected by the constant moisture.

So what are we to do?

Play Weatherman… Will it Rain?

Before heading out (especially to an unknown location) check out the weather conditions as part of your pre-trip preparation. Using a website like Weather Underground, you can find out what the typical temperatures, rain/snow amounts, etc. are for the area during the time of your expected visit, as well as the actual weather forecast. If rain looks likely, prepare for the trip with rain in mind.

Keep Your Equipment Dry

First, regardless of conditions, use a photo backpack or shoulder bag that is waterproof… you never know when rain may develop! When shooting in wet conditions, I always use some kind of protection to keep my camera/lens dry. I usually use a waterproof nylon cover that fits over my camera body/lens. It has adjustable elastic at both ends, allowing me to tighten it down in heavy rain, or to loosen it to make adjustments on my camera or lens.

But, no need to get fancy, or spend a lot of money. You can easily use small trash bags to keep the equipment dry (I always keep a spare handy in my photo backpack); and you can punch a hole in the closed end of a small trash bag so that it will slide over the lens. Just add a rubber band to keep it firm around the lens hood and you’re in BUSINESS!

Storing Equipment in Damp Conditions

When I’m in a damp location (i.e., along Alaska’s Inside Passage, on a weeklong boat trip) and the equipment is not being used, I always store my equipment in my photo backpack, along with a moisture-removing “mini-dehumidifying” canister. These canisters are small, lightweight and work around-the-clock, pulling moisture out of the air (or off delicate equipment).

These devices are inexpensive, work well, and can be regenerated (i.e. moisture can be pulled back out of them for re-use) when placed in a convection oven for the required time. These can be purchased where GUN SAFES are sold (I get mine from Cabela’s, but most gun dealers should be able to get them).

Drying Wet Equipment (Exterior Surfaces)

Ok, so you’ve worked at keeping your equipment dry, but still MANAGED to get water on the body or lens. What do you do? Well, the first thing is to use a clean, dry cloth to wipe away the excessive moisture on the exterior surfaces. I always carry some clean, dry pieces of old cotton t-shirts in my “cleaning supply” bag, and use these for both removing excess water and for cleaning the glass on my lenses (with a suitable lens cleaner). Most anything that will absorb moisture can be used in an emergency.

Oops, Water Inside My Equipment!

What should you do if you get water inside the camera or lens? This is much more serious and it is likely that you will need professional services from either the manufacturer, or from a reputable camera serviceman. But there are some immediate things that I would recommend you do:

• First, remove all the exterior moisture that you can
• Remove the CAMERA BATTERY and memory card (dry them off, if they are wet)
• If excessive amounts of moisture may have entered the camera body or lens, place the body or lens inside a sealable plastic bag, along with A DEHUMIDIFYING canister (see above). Be careful to not introduce additional substances (dust, particles, etc.) inside the camera.
• As soon as you can, have the manufacturer or qualified repair service person assess your equipment

Don’t Let the Weather Stop You!

Some of the most wonderful landscape images are made in inclement weather, so don’t decide to stay indoors because “it looks like it could rain.” Instead, go outdoors ready to shoot, but be prepared for bad weather! You might even capture that ever-elusive shot that others won’t get (because they stay indoors)!

 

 

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