The real key to better photography is more about YOU than it is about your CAMERA. Sure, camera features matter, but what matters more is how you use your camera and how well you understand the fundamentals of photography.
There’s the old joke about a person who invites friends over for dinner. The food was wonderful and the guests all enjoyed the meal. At the end of the evening, they said to the cook: “That was a wonderful meal! What kind of pots and pans did you use?”
As photographers, our “pots and pans” are our cameras and lenses, etc. I am not saying our camera gear is unimportant. I am just saying what matters more is how you use them.
Or as Ansel Adams said: “The single most important component of a camera is the twelve inches behind it.”
The key to better photographs is about YOU:
Know the fundamentals of photography and all the technical aspects of aperture, shutter speed, ISO, focal lengths, white balance, etc.
Understand your camera features and use the right settings at the right times
Become an avid student of LIGHT, all aspects of light, qualities of light, ways to manipulate light, mixing light, creating beautiful light
Always strive to be better, always learning, always growing
Hey friends! I thought I should post a comment about this common misconception about the use of a flash diffuser in wildlife photography.
A few years ago, I took a quick snapshot with my iPhone of a photographer’s setup photographing elk over 50 yards away. In fact, he wasn’t just a photographer, he was a photography instructor leading a group of other photographers on a “wildlife photography workshop.” I have since seen numerous “photography experts” advising the use of this exact setup, with the claim that a flash diffuser like the one used above will “soften the light and blend it more naturally in wildlife scenes.”
I don’t want to embarrass anyone who may do this, but actually this advice is totally incorrect. Adding a flash diffuser on a speedlight/flash while shooting wildlife with a telephoto lens like this is totally pointless, so don’t bother following that advice from “experts” who claim it is so important to do so.
Let’s say you just put a flash on top of your camera, without a diffuser. Depending on whether your flash has a zoom capability, its light distribution will vary a bit, but the light will be projected outward like below.
The only portion of the light that illuminates the elk are the light rays in the red region. The light that goes above the elk, into the sky, has no effect on the photograph.
IF you use a flash when doing wildlife photography, really the only thing you need to make sure you do is to not have the flash be a dominant source of light. It should only be adding a small amount of light on the animal, otherwise the photograph will not look natural.
In this case, with the elk being 50 yards away, it is not likely the flash will even have that much effect on the photograph, given the inverse square law of light will result in only a small amount of light illuminating the animal. That’s ok since you don’t want much light contribution from the flash anyway.
Now, let’s say we add a diffuser on the front of the flash because so many “experts” say that will soften the light on the animal. Note below how the light rays are just scattered more broadly by the diffuser. Doing so, does not “soften” the light whatsoever. It only scatters the light.
Again, the only portion of the light that illuminates the elk are the light rays in the red region. The light that goes above the elk, into the sky, has no effect on the photograph. And the light rays are just as much coming from a pinpoint source of light, and the light on the animal will not be diffused any more than if you used a flash without a diffuser. The light actually illuminating the animal will look exactly the same either way.
What’s worse, adding a diffuser will cut down on the light output of the flash by maybe 2 stops or so, right when the flash is already limited in being able to have much effect on a subject 50 yards away.
What that means is the diffuser, at most, is really just causing you to burn through batteries much more quickly because the flash will most likely have to push out a full-power pulse of light to have any effect at all, AND the light isn’t diffused anyway. And harder you make the flash work, the slower the recycle times.
Some people have questioned me on this, saying they have noticed that when they use a diffuser, it does seem to “soften” the light and make it not look as much like a flash was used. Actually, when that happens, what is really occurring is the diffuser is inhibiting the light output, so the ambient light is more dominant and the flash is less dominant. It is not really softening the light from the flash. It is just diminishing its light output by a couple of stops. You could also reduce the light output by reducing the power level of the light, or if you are shooting with TTL, use the flash exposure compensation to reduce the light output, and save your batteries. No need for a diffuser, ever, for a scenario like this.
Of course, this is a bit ironic, considering that little white device you can attach to your flash is often called a “diffuser” and ads for those devices often boast how they soften and diffuse the light, but that really is for indoor use where it scatters the light more broadly so it will bounce off more surfaces like walls and ceilings. For outdoor use, you won’t be bouncing the light off the sky. Keep your diffuser for indoor use. 🙂
I guess most of you have heard of the song “With a Little Help from My Friends.” Well this blog post really has nothing to do with that song. :-}
In this blog post, I am really am just briefly talking about how much a little help from electronic flashes / speedlights can enhance a portrait. They are my best friends for portraiture on location whether indoors or outdoors. The key is to use them to enhance and blend with the ambient light in the scene to make the image better.
I have seen so many people say they hate using speedlights because they just don’t like the results they get, the light is too harsh. Actually the trick is to use them in the right way. Of course, you sure don’t want to add bad light to a scene. Use speedlights to add good light, to a scene. By “good” I mean light that has attractive qualities, mixing in soft diffused light, or adding subtle highlights intermingling with the ambient light. You can do this with various light modifiers such as reflectors, photographic umbrellas, or softboxes.
So, this post is intended to just encourage you to not give up on speedlights. Just use them in the right way at the right time. They are your portable magic light sources if used in the right way. They are your friends.
Here’s a famous quote by legendary photographer, Ansel Adams:
“The single most important component of a camera is the 12 inches behind it.”
There is so much truth in this! What matters more than the particular camera features, is the photographer who is using it! You simply must manage the critical setting choices such as aperture, shutter speed, ISO, exposure modes, focusing, depth of field, focal length, white balance, metering modes, etc. The camera can’t make those choices automatically on its own and always get it right. You, as the photographer, must make those choices, based on the artistic intent that only you know. (The camera is not the artist, you are!)
We photographers must make choices that go way beyond camera settings. If we’re shooting portraits, we must bring out the best in the person being photographed, help them feel comfortable in front of the camera, shoot their best angle, manage the best qualities of light, etc.
If you are a nature photographer, you have a wide array of other issues to consider, the weather, sun angle and light qualities, timing, location, wildlife patterns, the flora and fauna at different times of the year, what time you’re getting up in the morning, travel plans, etc.
Yes your choice of camera gear matters, camera features, lens features, tripod quality, and all that, but still these other factors beyond the camera often matter more. Whether you shot the photo with a 20 megapixel camera from 10 years ago, or a brand new 60 megapixel camera will affect various image qualities such as level of digital noise, resolution and fine details, but ultimately the creation of a great image is up to you more than the camera. Whether you shot the image with a Nikon, Canon, Pentax, Sony, Fuji, Olympus, etc. is secondary.
You are that important component that is “12 inches behind the camera.” Upgrade that component, and you’ll get better shots!
Practice, practice, learn, practice some more. Make mistakes, but learn from your mistakes, and you’ll be a better photographer!
I hear this from so many photographers! In fact, I’d say this is the #1 issue people encounter. The solution is multi-faceted and I’ll touch on the key factors you, as the photographer, must keep in mind if you want consistently sharp images.
Focus It is critically important to correctly focus on what is most important in your image. Whether it is an animal or bird in the trees in a wildlife shot, or someone’s eyes in a portrait. All current generation cameras offer automatic focus features, but you’ll need to make sure you really know how to use those features appropriately. A poor setting choice will lead to poor results.
WHERE to focus: You may not want the camera to simply automatically decide where to focus. Depending on your camera’s capabilities, that might even lead to terrible results. You might need to choose single point focus which allows you to point at exactly where you want the camera to automatically focus, or if you’re shooting portraits and your camera has an eye-detection feature, you could turn that on. Single point focus is pretty universal across all cameras, and that provides the greatest degree of control when automatic focusing.
WHEN to focus: Also, consider whether you want the camera to focus once, or continually focusing up until the shutter fires. For relatively static scenarios where there is not much movement, stick with One-Shot focusing (Canon) or AF-S (Nikon,Sony,…). For active scenes like an animal running or a bird in flight, use AI-Servo (Canon) or AF-C (Nikon,Sony,…)
Aperture Your choice of aperture value affects the “depth of field” (range that appears in focus). While this is not a focus setting, it is still very important. The higher the f/number, the greater the depth of field. A poor choice for the aperture value could lead to problems with part of the image not being in focus. Let’s say you photograph a group of people. If they are not all the exact same distance from the camera, you need to make sure you choose a high f/number like f/8 or even higher (just depends on how far their distance varies). Photographers often forget about this, and this leads to serious problems.
Then there is one more issue related to depth of field and focusing. For higher depth-of-field shots, when you choose a higher f/stop you can also achieve better results by not focusing on the foreground or the background, but instead focus on something in between. This technique is called “hyper-focal focusing.”
Shutter Speed Sometimes a blurry photograph has nothing to do with a focus or depth of field issue. It might be an issue where the shutter speed was simply too slow to freeze motion of the subject, or freeze any camera vibration that is problematic at slower shutter speeds.
Handheld Shots: A general rule of thumb is to keep the shutter speed at least 1 / focal length to ensure you minimize hand vibration blur. So if you are shooting at 200mm, make sure the shutter speeds are at least 1/200th or higher. Technically you would need to take into account your camera’s sensor crop factor that affects the effective focal length of the lens. At least this rule gets you in the ballpark of sufficient shutter speeds. When in doubt, err on the side of faster shutter speeds. It can really make a difference.
Action Shots: When there is movement of different elements within a scene, you might need to choose even faster shutter speeds. For example photographing birds in flight or an animal or person running, you might want shutter speeds in the 1/1000th or faster range.
Image Stabilization This feature, offered by many different camera manufacturers under different names (Image Stabilization, Vibration Reduction, Vibration Compensation, Optical Steady Shot,…), is designed to help eliminate motion blur caused by movement in hand-held shots, allowing you to break that 1 / focal length rule by a bit. The features vary depending on the make and model of camera and lenses you are using, but are quite helpful. I most definitely highly recommend taking advantage of this feature in hand-held photography!
Using a Tripod Another way you can stabilize your camera is to use a tripod. It won’t eliminate motion blur in moving subject, but at least it will eliminate or reduce blur caused by camera movement. There are still some situations you must be mindful of.
When Image Stabilization is a Problem Sometimes when your camera is mounted on a tripod that otherwise-wonderful image stabilization feature actual can cause a problem in some scenarios and actually introduce some vibration. So the general rule is to turn off image stabilization when using a tripod. Otherwise it could conceivably introduce a slight amount of motion blur.
Unstable Tripod There are several ways your tripod might not be as stable as you’d like. Let’s say you have the tripod on a wooden deck, that you are also standing on. You can introduce movement that might cause some motion blur, simply by moving around, so stay very still. Or if you accidentally bump the tripod when shooting, that can cause a problem. Or maybe one of the legs is not latched securely and the leg slides down ever so slowly while you are shooting, that could also cause a problem (hey, I’ve seen it happen).
DSLR’s Have Mirrors There is one other factor that is more rare but can cause a problem. It’s the mirror inside a DSLR. You mirrorless camera owners don’t have to worry about this. Inside a DSLR, when the shutter fires, the mirror slaps up very quickly to get out of the way, for the shutter to open. That action causes a very tiny amount of vibration right when the shutter fires. Even if you have the tripod on very secure ground, there is always a slight possibility that this tiny vibration can hurt image sharpness. Some DSLR’s support a “mirror lockup” or “mirror up” mode. Check your camera user manual for more information. This usually is only a problem in rare cases where you are using a long lens (400mm+) and a moderately slow shutter speed (1/4th – 1/60th ish).
An Update on This Article: Almost two months after Apple released Catalina 10.15.2 (12/10/19) that caused the breakages, they released Catalina 10.15.3 (1/28/2020) which fixed the tethered capture bugs. The other problem I reported regarding that “Disk Error” message persisted even after updating to 10.15.3. I never found anyone with an answer to what was causing that, but I discovered on my own that it was a file permissions issue that was somehow introduced with the 10.15.2 upgrade. I had to modify folder permissions to allow Lightroom and Photoshop to have read and write access to the folder containing the files, even though in earlier versions there was no problems with this. I am still experiencing intermittent problems with my Mail app since upgrading. Not sure what the cause is. Very frustrating.
I have a MacBook Pro and recently upgraded to the latest Mac OS Catalina 10.15.2 and have been TOTALLY regretting having done so. I am hearing from several of my former students that they are also running into problems since upgrading to Catalina 10.15.2.
I have personally encountered several problems that I would categorize as SERIOUS and I hope will be addressed ASAP.
Here’s what a rep at Adobe says about Catalina upgrades on Mac: “You may want to remain on your current version of macOS until these issues have been resolved.”
For me, it was specifically the upgrade from 10.15.1 to 10.15.2 that started causing the most grief.
Strange behavior in my Mac Mail app, intermittently not being able to connect to my mail servers, but then the problem goes away, and then comes back again. Seem awfully coincidental with having just upgraded the OS.
The latest version of Adobe Lightroom Classic CC Version 9.1:
Tethered capture connecting via USB to any Canon DSLR (I have 3) simply does not work at ALL any more. Tethered capture is totally broken.
The Edit In Photoshop command when using the “Edit a Copy with Lightroom Adjustments” is totally broken. Now I just get an error claiming there is a “Disk Error” but there is no problem with my hard drive (after scanning with Disk Utility for problems). The only time I get this error is when doing this one command from Lightroom. It simply does not work any more, at all.
I have heard from a couple of other people who were having problems opening their catalogs, although I haven’t encountered this problem (yet, at least).
Canon EOS Utility (3.11.1 latest version)
Tethered capture connecting via USB to any Canon DSLR (I have 3) simply does not work at ALL any more. Tethered capture is totally broken by any means, whether using Canon’s utility or Adobe’s.
Canon tech support says 3.11.1 is compatible with the latest Catalina, but I am experiencing results that are contrary to that.
My battery on my MacBook Pro is virtually brand new. I just replaced it a couple of months ago. I am noticing the power is draining at a much faster rate than it ever did before. At the moment, my battery is at 50%, but one hour ago it was at 100%. Checking to see what app has been the biggest power consumer, it reports Photoshop is the culprit. BUT I didn’t have this problem until I “upgraded” to Catalina 10.15.2.
p.s. 5 minutes have passed since I type this and I am already down to 40%
SO the bottom line is unless you have a very compelling reason you just need to upgrade to Catalina 10.15.2, I’d say DON’T DO IT.
Some people respond saying they haven’t experienced a problem with Catalina, but I am not sure that is relevant because lots of people ARE experiencing problems like this and if you search, you will find a lot of discussion and frustration over the problems. So if you upgrade, maybe you’ll be fine, or maybe you will totally regret it. I am in the latter category. :-/
I guess I’ll have to look into rolling back my MacOS to a previous version. That’s a pain also though. I am hoping Apple will make some fixes to resolve these problems OR I am hoping that Adobe and Canon can put out releases that work around these problems caused by the most recent Catalina release.
p.s. If anyone is curious about my particular model of MacBook Pro, here are the specs: Retina, 15-inch, Late 2013 model,2.6 GHz Quad-Core Intel Core i7, 16 GB 1600 MHz DDR3, Graphics: NVIDIA GeForce GT 750M 2 GB w/Intel Iris Pro 1536 MB; Hard drive: Apple SSD SM1024F
I have been a photographer for quite a few years, and I have taught photography classes to a wide range of photographers, from beginner to advanced, with almost every camera on the market.
Over the years, I have occasionally discovered various myths photographers sometimes believe and are perpetuated in the photographic community.
I’ve noticed the reason behind the photography myths are varied:
They just “guessed” something to be true and never tested their assumptions.
It might have been a standard practice that was relevant back in the old “film” days but is not relevant today.
Everybody in their camera club does it this way, but no one knows why. (“Hey if everybody’s doing it, it can’t possibly be wrong.”) 😉
They had an instructor who taught them incorrect information.
They read it in a camera user manual or photography book.
Believe me, this isn’t an exhaustive list. These are just some “off the top of my head” I am writing down on a Saturday morning. I won’t bother with photograph illustrations of each, but if any of these don’t make sense, just ask and I can add an example.
Uncovering Some Myths I Have Heard… Here are 10:
Myth: Some people are “just not creative.” Truth: Brene Brown said it best: “There is no such thing as creative and non-creative people, only people who use their creativity and people who don’t.” So don’t give up too soon by believing the myth that you just can’t be creative. (I have a class that would help.)
Myth: The purpose of Neutral Density Filters is to cut down on glare. Truth: I hear this a LOT from people who were mistakenly told to use an ND filter on bright days to reduce glare. The purpose of Neutral Density Filters is to enable the use of slower shutter speeds.
Myth: Keeping a Polarizing Filter on your lens all the time will make your photographs more colorful. Truth: Actually if you adjust a polarizing filter on a per-shot-basis, you might be able to get richer colors in blue skies and eliminate some glare and reflections, BUT you really should not just keep a polarizing filter on your lens all the time. Only use it when you need to. For removing reflections, it is great! For just enhancing the colors in the sky, you can do that easily in post processing without using a polarizer. Negative side effects you’ll get by shooting with a polarizer all the time is slower shutter speed or unnecessarily high ISO values just adding digital noise to all your shots. Only use it when you really need it. Otherwise, take it off!!
Myth: The key to a more perfectly exposed photograph is to have a histogram that is a nice bell-curve in the middle range. Truth: I actually read this in a camera manual, but that is not at all a universal truth. For a dark image, the histogram should have a hump on the left. For a bright image, the histogram should have a hump on the right. For an image that has both bright and dark areas, the histogram might have a hump on the right and left like an inverted bell curve. There is no one “right” histogram for all photos. It depends on each individual shot, and most importantly pay attention to the left and right sides to make sure you are not having the dark areas fall off into blackness (clipping) or bright areas blowing out to pure white.
Myth: You should never use higher ISO values. Truth: While higher ISO settings do result in higher digital “noise” (a graininess), keep in mind that modern digital cameras are offering better and higher ISO ranges. On a camera that goes up to 102,400 ISO, a value of 1600 is not bad and you can always apply noise reduction in post processing. If you have an older camera that only goes up to 3200, though, 1600 is not going to be very good. So it really depends on the camera you are using. Twenty years ago, I had a camera that was terrible at 800. Most modern cameras do much better, and note there is a REASON camera manufacturers are pushing their technology to higher ISO ranges. Higher ISO values allow you to take photographs that were much more difficult in “the old days.” Higher ISO ranges allow you to ensure the shutter speed is fast enough to freeze action. If you are so afraid of high ISO that you don’t use it, you’ll get motion blur that might ruin the shot, and that is not nearly as fixable as simply applying a little noise reduction. The main point with ISO selection is do not be afraid to use higher ISO when needed, but don’t use it if you don’t need it.
Myth: The best camera exposure mode to use is P (Program) Mode. Truth: I noticed a pretty prominent online photography instructor was saying this, and his reason was you don’t have to do any thinking and that the camera chooses the “best” settings for you automatically. That’s just not true. It has no way of knowing what’s “best.” The fact is, the two most important settings that give you the most creative control in photography is the aperture (which controls depth of field) and shutter speed (which controls the freezing or blurring of motion). Program Mode surrenders those important decisions to the camera which has NO idea what would be the best choice for any shot. So actually it is not the best camera exposure mode at all! Of the four modes, Manual, Aperture Priority, Shutter Priority, or Program Mode, I’d say Program Mode is the one you should use the least if at all!
Myth: When using a tripod, always make sure to extend the center shaft all the way up before extending the legs, to achieve greater stability. Truth: I started hearing this myth coming from various photographers a couple of years ago after a pretty prominent photography instructor at a well-known school was telling his students that. I heard this from multiple sources and was truly baffled. All I can say is that’s just wrong, completely wrong. I am not just a photographer, I have two engineering degrees, and speaking as an engineer, that’s wrong. And just because it was so startling that anyone would make such an erroneous claim about how to best use a tripod, I contacted the well known professional tripod manufacturer, Manfrotto to see what they said. They agreed with me.
Myth: A good hand-held incidental light meter is essential for studio photographers. Truth: While it is true that they will give you very accurate information for adjusting lighting and camera settings, their greatest value was back in the “old days” of film where they were pretty necessary. These days, with digital cameras, you have the ability to simply take a shot and look at the image on the back of your camera and check the histogram and that gives you even more valuable feedback than just a digital display on a light meter. So, I’d say you should save the $500-$600 you might spend on a light meter and instead put that money into quality lighting instead.
Myth: You need a top-of-the-line camera to get the best quality photographs. Truth: You need to know how to use the camera you have really well. That matters much more than upgrading to the most expensive camera. Your choice of camera settings, managing shutter speed and aperture, ISO, etc. is really the key. I laughed one time when I saw an ad on Craigslist that said: “Camera for Sale – Takes great photographs.” That is like saying “Paint Brush for Sale – Paints great paintings.” What matters most is how you use the tool you have. You’ll see that some pretty outstanding photographs out there on the Internet were taken with less than top-of-the-line cameras. Granted the higher end cameras may have better features, faster frame rate, more sophisticated auto focus capabilities, more durable, etc. Still, the real key is you and how you use the camera.
Myth: You need more megapixels to get sharper shots. Truth: Unless you are always cropping way in on the photos you have taken, OR you are making extremely large prints, several feet in width, you don’t really need all those extra megapixels in the 50MP and up range. If you make 16×20 prints, you would be hard pressed to even see any difference. Instead pay more attention to ensuring your shutter speed is fast enough to eliminate any slight blur caused by hand vibration, and use IS/VR to further stabilize, and make sure you manage depth of field and focus carefully. If an image is not sharp, having 61 megapixels to record it won’t help at all. Besides, you’ll be filling your memory cards even faster, and you’ll have higher demands on card speeds since it takes longer to transfer from the camera to the card with large images, and then transferring the images to your computer takes longer, and you’ll fill up your hard drive faster. So you pay a real price for those extra megapixels. I am not saying the high megapixel cameras are useless. There are times when they are the right answer. But most folks simply don’t need them at all. Oh and one other point about “sharpness.” Sharpness is really more about edge contrast than it is about megapixels. You could just apply a little sharpening in post-processing your images and people will think you upgraded your camera. 😉
Let me know if you have heard other myths I should add to this list. I am SURE I have heard others I am just not remembering at the moment.
NOTE: “THANK YOU” Shoutout to KXAN:
Many thanks to Stephanie and Larissa for having me on The CW Austin and KXAN to talk about photographing kids as they go back to school! See the Video
It’s that time of year again, when kids are heading back to school. Remember these moments with photographs! Here are some suggestions that might help!
The most important considerations are not really technical.
You can do this with any camera! Actually a smartphone/iPhone can really help because it is convenient, and allows for more spontaneous capturing of a moment in the midst of getting your child ready for school. The best camera is the one you have with you when you need it!
Try to think about the future, years later, after the kids are grown: What will you want to remember about this moment with your photographs? Or even beyond that, what will your kids wish you had photographed, years later, after YOU are gone? Let that inform you as to what to photograph. Include mom or dad in the photo. Include the front of your house, or their bedroom, a beloved pet, or their favorite backpack. Maybe have them hold a small sign or chalk board saying what year it is (“Starting First Grade!”, etc.) Get photos of them getting ready, putting things in their backpack, walking down the street to the bus, etc. Remember you are not just photographing your child. You are photographing a special moment in time, a context in life that will be ever changing.
Change your perspective. See the world from different fun angles, to make a photograph more interesting. Try photographing looking down, or up, or photograph from your child’s eye-level perspective. If you think about it, if your child is still little, their view of the world and memories may be a different perspective from yours!
Composition – Think about placement of visual elements in your photos. You don’t have to always put the subject in the center. There is a popular guideline called the Rule of Thirds, where you divide the scene into thirds and place the key subject at one of those thirds divisions. (see examples below)
Get to know your camera’s features beyond just the basics. This allows you to have more creative control. Learn how to choose where your camera focuses, or to lighten or darken the image. Some iPhones have advanced features such as Portrait Mode or Portait Lighting options. Did you know on an iPhone, in the Camera App, the volume up button will cause it to take a photo without having to click on the round circle button on the screen? That can be really convenient for more spontaneous shots! The more you take the time to learn how to operate your camera or a smartphone, the better your pictures will be!
You’re telling a story about a time in your life and in your child’s life that you’ll want to remember years later. Rather than just one photo of them heading out the door, let your photos tell the story. That story will change as they grow older.
Here are some examples:
Time to Wake Up!
Brushing Teeth Try interesting angles, get the camera down lower to their level. Even try unusual angles!
Get Your Shoes On!
Time to Brush Hair Include Mom or Dad in some of the shots! Years later, your kids will really appreciate this.
Get Your Backpack Ready! Maybe include some shots with a favorite book or toy.
Framing Up the Shot
Consider using the ‘Rule of Thirds‘ when framing the shot. Instead of placing your child in the center of the shot, imagine a ‘tic tac toe’ grid dividing the scene into thirds and use those lines as a guide to where you place them in the photo.
The Rule of Thirds says, don’t place them in the center. So, the photo below is not obeying the Rule of Thirds.
The photo below is more in line with using the Rule of Thirds concept. This is not an absolute rule! It is just an alternative that sometimes helps.
All Ready to Go!
Note that most of these shots were all taken at the child’s level.
It’s tempting to just take the photo at the doorway. You might also want to include a shot where you see a bit more of the house. With time, memories fade. Many years later, your child might want to remember what the front of their house looked like.
Dad and Daughter, on their way to school!
HAVE FUN – THIS IS A PHASE OF YOUR LIFE AND YOUR CHILD’S LIFE THAT YOU WILL WANT TO REMEMBER FOREVER!
MY INVITATION TO YOU:
I teach photography classes for all skill levels, ages 13 – adult!
ALSO photography is actually more than camera features and settings. It is truly about how we see the world around us! Something I started about 18 months ago is a group that meets at my studio on Monday nights just to do different book and video discussions and share from our life insights, and we intermittently have some pretty amazing guest speakers. The topic is actually not specifically “photography.” The topic is life and how we can make our lives better and make the world better! We’d love to have you join us. It is ALWAYSTOTALLY FREE TO ATTEND. The group is called LifeInsights. Click Here to Learn More and see our current schedule!
P.S. A “THANK YOU” Shoutout to KXAN:
Many thanks to Stephanie and Larissa for having me on The CW Austin and KXAN to talk about photographing kids as they go back to school! See the Video
If you have been out photographing the Texas wildflowers, email with your BEST shots from this year (no more than 3) and please let us know where you found the best wildflowers!
We’ll then post your photos along with the locations you listed so you can help others get their own great shots before wildflower season winds down.
Rebecca Marburger took these shots in the woods in her back yard in Weimar!
Sarah Lieser reports: There are some pretty flowers around the back roads of Austin and Washington County this year. Also, there are some pretty spots on the back road, Meyersville road, in front of an old white church.
Brandi Pierce reports: These were taken off of Sam Bass Road in Round Rock.
I spent a little time at Inks Lake State Park on Saturday (3/30/19) Some of the wildflowers appear to have “peaked” a few days prior. Still was a nice trip. Here are a few random shots. – Kevin Gourley
This final image was looking down on a Bluebonnet and then the image was taken into Topaz Glow for a little post-processing enhancements.
As the holidays are quickly approaching, I thought it might be helpful to provide a few photography tips!
Think about the memories, activities, and traditions that make the holidays special for you. Photograph those things, not just a group photo. It’s not necessarily the posed photos that will matter the most to you later. Get the spontaneous in-the-moment shots!
Get close. Sometimes if you shoot from too far away, the image will be too impersonal. You’ll want to see smiling faces and special memories up close. Plus, as you get closer, you will be more likely interacting with the person(s) you are photographing and will more likely get genuine smiles.
Go low. If you photograph kids, photograph them from down at their level. Rather than standing up and looking down on them, get down on the floor with them!
Pets are family too! Be sure you include photos of your furry family members!
Photograph the preparation phases as well.: the setting up the tree, the meal cooking, and all the other parts of the holiday experiences.
Make sure your battery is charged and have a spare!! Also spare memory cards will help ensure you don’t miss out on those special moments.
If your photos are turning out too yellow in your living room, find your camera’s White Balance setting and switch from Auto White Balance over to the Tungsten or Incandescent (light bulb) setting. Just remember to switch it back to Auto White Balance the rest of the time!
Use a higher ISO or Auto ISO for handheld shots, to ensure you don’t get blurry images due to hand movement.
If you are photographing Christmas lights or a decorated tree, try shooting with a tripod, and shift the aperture to a higher f/stop like f/16 or f/22. You’ll see the lights have a starburst effect which can be nice.
Using a flash often produces harsh unflattering light. If you own a flash that mounts on top of your camera, point the flash toward the ceiling or a wall to bounce the light. It will be softer and way more pleasing and natural looking.
Sometimes the best camera might actually be your iPhone / smartphone for some of your photos. Your smart phone camera is more likely to be with you at all times. If you don’t have your camera with you at that special moment you want to remember, you won’t get the shot.
What’s important is not really whether you get the “technically perfect” shot, even though that is a good goal to shoot for. More than the technical stuff, what will really matter most to you later on are the memories. The photos will help you remember the stories as memories fade.