Photographing Twins

Writen by Kenneth C. Hoffman

Capturing a portrait of twins compared to one person is more than twice as difficult. For a good comparison while retaining individual characteristics, all eyes must be focused at one point. There is a tendency to place the twins on a bench which unfortunately puts them both at the same height. This produces a static look and may lead the viewer to place false emphasis on minor height differences. Many methods can be used to place the twins at different heights. The ideal configuration is one in which the chin of the lower subject is even with the eyes of the upper subject.

Many methods can be used to attain this height difference. A small (four inch) riser can be placed under one subject or one subject can be standing. A small chair for one subject and the floor for the second satisfies the composition for a full length portrait. Teens to adults can be photographed one in an arm chair and one on the arm. Some sporty poses have one kneeling on one knee and the other sitting back on his heels. The aim is to make a diagonal of a line drawn between the faces. This has the effect of a more dynamic and energetic composition.

For twins portraits that have a priority to compare faces, it is important to make sure that the turn of the faces is identical. If the differences in facial characteristics is important, the body angle and head angle may be slightly different. Many more exposures should be taken in order to insure there are enough good poses. Blinks, off looks and bad expressions have to be discarded.

Triplets portraiture follow the same rules with the addition of the third subject. A constant flow of conversation is helpful in keeping the triplet’s attention on the photographer. Make sure no two heads are in the same plane and that all three heads are the same distance from the camera. This is to minimize any effects of foreshortening. A longer than normal telephoto lens can be used to help in this department. If identical clothing is worn, extra attention should be placed in arranging the clothing for a neat effect. Inevitably, comparisons will be made. Facial expressions that are on the moderate side will help create a nicer twins portrait. Buddy pictures are ideal for twins. Arms around shoulders, leaning on one another and interaction shots (reading, gaming) play up the closeness of twins. Be sure to have twice as much fun!

Retired portrait photographer. Comments welcome.

Photography Software

Writen by Edward Ginsberg

My friend Harry Potter and I have recently combined forces to develop a new kind of photography software. This will be built into digital cameras and will allow the photographer to take a perfect picture every time. When we say perfect picture, we don’t mean correct focus and exposure. A lot of cameras can already do that. We mean subject matter and composition.

It shouldn’t be difficult. After all, the rules of composition were devised before the camera was invented, and the Internet is full of useful tips on how to take a good picture. All we have to do is program the software. It would compare the picture that is on the photographer’s digital camera screen with an ideal photo. Then, by means of a voice program, it would direct the photographer to improve his image. So, for example, if he is about to take a shot of a statue, he might hear the following:

“This picture violates the Rule of Thirds. Move the camera four degrees to the right. That is better. General Photography Tips also suggest that you get closer to the image. Move two feet closer. You now have a perfect picture. Snap the shutter.”

That’s about all the entry-level software would do. But a lot of photographers want to be more creative. Don’t worry. The advanced software will take care of this. It will allow a photographer to dial-in the style of his favorite photographer. The program will then analyze the image in terms of the basic program while incorporating the style of the selected master photographer. An example is the deluxe Robert Frank model. Here the software voice would function as it did above but, before the snap-the-shutter command, it might add,

“You have a perfect picture, but it is not a Robert Frank picture. To achieve that, kneel down, point the camera slightly upward – not so much – now tilt the camera and dial in the grain filter. You now have a perfect Robert Frank picture. Snap the shutter.”

Okay, for those of you still with me, the question is as follows. If you could buy a camera that could do all these things, would you? If you say no, then I ask why not? Countless photographers study the rules of composition and read the latest photo tips. They ask strangers on blogs to tell them how to make their pictures look more like everyone else’s. In short, they try to do for themselves what our hypothetical software program will do automatically.

But how many people study the work of photography masters. How many have the courage – yes, it takes a certain amount of courage – to try to develop their own style? I’m always amazed that a painter is willing to spend four years at an art school, while a photographer wants to read the camera manual and instantly turn out great pictures.

For those of you who want to learn to express your individuality, it takes time, study, and sweat. But it’s a rewarding process. And to those who want to turn out flawless photos quickly, have I got a piece of software for you!

Edward Ginsberg is currently writing a book to help the beginning photographer find true happiness as he embarks on the road to creativity. Ed’s photos can be seen on his website, http://www.line17.com, where he also offers a free tutorial.

Composition – Improving Technique at the Picture-taking Stage

Writen by Eric Hartwell

Out of all the steps involved in taking a photograph, the one that creates most impact is correct composition. It is also the one that is the most fun and where you are likely to have the greatest control. It follows, then, that getting composition right in the viewfinder at the time of shooting will yield the best results with regard to the final image.

So, how can you ensure great composition and a great image?

fill the viewfinder: if your subject is too far away, get closer; if it is too near, move further back. Alternatively, use a zoom lens to alter the relative size of the subject in the viewfinder

avoid empty space: look around in the viewfinder and only choose to shoot when you are certain all the elements you require are in view

don’t just look at the subject: check the background and the foreground. Are there unsightly objects or distractions? If so, what can you do about it? Moving your subject might be an option. Otherwise you can either remove the distractions or shoot from a different angle

check your viewfinder: next time you have your camera to your eye, look around at the whole field of view in the viewfinder. Look at the edges, the top and bottom and both sides. It is so easy just to focus in on the subject without being aware of the huge spaces around it

isolate your subject: anything near to the subject will create a distraction. You can isolate it in a number of ways: move the subject or move the distractions; use a larger aperture to throw the foreground an background out of focus; wait until the surroundings get clearer (e.g. when taking pictures in crowds); get in close

turn your camera: most cameras have a rectangular screen and picture taking capability. Most shots will be in landscape format (with the long sides of the image at the top and bottom resulting in a postcard-shaped image). If you turn the camera 90 degrees you then have “portrait” view. Try using this for some of your subjects and see what difference it makes

Many of these steps may seem simple, but you will be surprised how many photographers ignore basic rules. By thinking about your composition when you take your photography, you will enhance the potential of the final image and improve your photographic skills.

Eric Hartwell runs the photography resource site http://www.theshutter.co.uk and the associated discussion forums as well as the regular weblog at http://thephotographysite.blogspot.com

Last Wish, First Sale

Writen by Kenneth C. Hoffman

As a new employee of a large studio, I was afforded several one time perks. The boss took me out to lunch at a nice restaurant, some of my previous attempts at portrait photography were allowed to occupy a small corner of the display window and I was permitted to print one negative of my own in their custom lab.

The picture I chose was a photograph of King Ludwig’s castle I took while on a trip through Austria. This is the famous castle Walt Disney used as a model for his Disneyland Castle. The print came out beautiful and I mounted, textured and sprayed it with clear lacquer. I planned to enter it into a photography contest as soon as I had enough to satisfy the rules.

A couple of weeks later, a rumpled-looking gentleman entered the studio and asked if I had any pictures of an Austrian castle for sale. I was puzzled as to how he knew that I owned such a picture since I had not shown it to anyone and certainly not to this person. I invited him to sit down so I could hear the rest of the story. He told me that he had just come from the hospital where his Dad was dying. In a moment of clarity, his father asked his son to bring him a picture of the Austrian Castle of King Ludwig, his memory of the famous castle rose in the mists of the Austrian mountains not far from where he grew up. Not wanting to refuse his father’s last wish, he searched the local galleries with no success. He said that he would pay any amount to please his father.

I quickly went through my basket of samples and found the picture of Ludwig’s Castle. The owner told him that the regular price of this large wall picture was $250.00 but he could have it for $100.00 and she would also frame it for no charge. The man was amazed and ecstatic at this stroke of luck. He had little hope of finding the exact item that his dear father wished, but felt he had to keep trying until the end. After he left, the owner turned to me and gave me $50.00, half of her surprise sale, saying, “Your talent for photography was what made the sale.” This early experience figured importantly in my confidence as a beginning photographer.

Occasional trips to Europe feed my brain with ideas.

Night Photography

Writen by TJ Tierney

No sun, no fun? Don’t kid yourself. A lot of us think of night time being dark and dreary and prefer to stay indoors – but do you realise what you are missing out on. When light starts to fade it’s the perfect time to grab the camera and explore the magical scenery that the night brings us.

Urban landscape can be a real bore to photograph during the day; the dull grey buildings are lifeless and can sometimes leave you feeling as stiff as the buildings themselves. But when light from the day starts to fade our cities and towns are turned into a magical vista of outstanding light jumping out to be photographed.

So do you have the skills to take successful night time portraits? If not, the following tips are here to help you improve.

The first thing to decide is what film to use. If you are shooting static subjects such as buildings or street signs a slow film is recommended – the Fuji Velvia with an ISO of 50 or 100 will work best. If you are shooting fast moving subjects use a fast film – ISO 400

There is no lens that will help to get better night time images. It is best to carry a variety. Make sure you have a telephoto lens. This will help to zoom in on buildings and get rid of any unwanted dark areas.

Use the same composition rules that you use when taking landscape pictures.

Lead with lines: leading with lines into the main part of the scene will draw your viewers attention into your image. These lines don’t have to be straight. Lines, such as streetlights, the light from moving traffic, or any fences that are brightly lit may work successfully.

Foreground interest: Simple foreground objects will give your night-time image a greater sense of depth. This is the same as if you are photographing a landscape image during the day.

Natural frames: Frame your scene with the elements all around you. This will focus attention on the main part of the picture. Example: If you are taking an image of a building use the dark buildings around it to frame your image.

Remember, always use a tripod. Your exposure time is going to be long – it’s impossible to get sharp images at night with a hand-held camera.

Exposure: This is probably the hardest part of taking night time images. How do we calculate the proper exposure? Colour temperature varies when working with artificial light, so different exposure times are necessary. It’s best to bracket your shots to get the perfect result. Don’t be afraid to use plenty of film to get the perfect result.

If you are interested in photographing the moon, use an ISO of 100 – shoot with a shutter speed 1/125 and use an aperture of f/11.

Safety: When working at night you need to be visible. This is for your own safety. Don’t take risks for an image. A lone person walking around a building may draw attention. Seek permission, if possible, before you start your photo shoot. Stay clear from restricted areas.

Many buildings are best photographed at night, if possible get shooting when there is some detail left in the sky. You don’t need the most expensive camera on the market to get great night images – bring plenty of film and a good tripod.

Safari Wildlife Photography Top Four Tips

Writen by Bruce Whittaker

I’ve been practising wildlife photography on safari for over twenty years now in places like the Kruger National Park, Chobe, Okavango Delta, and Hwange game reserves and these four tips have been indispensable in making sure that I get some decent wildlife photographs.

1. The Right Equipment

I believe that you can’t beat the quality of film but that digital offers wildlife photography practitioners more options at a better cost so for the purposes of a safari trip a digital camera is your best bet.

It should have some of the following characteristics to qualify as a good safari camera.

There should be little or no lag between the time you depress the shutter release button and the photo is taken. Some of the compact digitals on the market today suffer from this affliction and it’s not ideal when you come across fast moving wildlife subjects.

It should be ready to take photographs at a moments notice because that is sometimes all the time you have before an animal disappears into the undergrowth. No long power up cycle.

Due to the fact that most of your nocturnal wildlife sightings on safari will occur during early morning and dusk it needs to be able to function well in low light conditions as well as bright sunlight during the day for the diurnal animals.

Lenses should have a focal length of at least 70mm for adequate wildlife photography and an image stabiliser is not essential but a great help in eliminating blur.

Another piece of equipment that is essential however is a deadrest in the form of a beanbag or a window mounted tripod that you can rest the camera on to help stabilise the long lenses. Handholding a long lens will often lead to blurring and the dead rest will prevent this. A tripod or monopod is impractical because you will be taking photos from the safari vehicle for most of the time.

2. The Best Wildlife Photography Areas

You can have all the right equipment and the best wildlife photography talent in the world but it won’t mean much if you can’t find any wildlife to take pictures of.

Some areas in Africa are better in terms of safari photography than others. The top five for getting excellent overall wildlife picture opportunities are:

Kenya – Masai Mara
Tanzania – Serengeti
South Africa – Kruger National Park
Botswana – Moremi
Namibia – Etosha

3. Patience and Luck

Everything comes to him who waits is a very relevant saying for wildlife photography. Patience will help you get better photographs because you will be able to take pictures of animal behaviour that you would otherwise have missed.

The role of luck mustn’t be underestimated either. There is no guarantee of what you will encounter in a game reserve and whatever you do get to see and photograph is a matter of a little bit of planning and a lot of good fortune.

4. Light and Composition

Because you are at the mercy of the elements in wildlife photography, you don’t have too much control over the light. Flash is of no use when the animal is at a distance and you can’t wait for better light conditions because the subject could move off at any moment so you need to make the best of what you have.

And due to the habits of nocturnal species you will find yourself taking lots of pictures in low light conditions at dawn and dusk which is why a fast lens and a dead rest is essential. Using bracketing (changing the exposure by one stop up and down) will also help get the optimal exposure in the available light.

What you do have some control over is the position of the safari vehicle which can be moved to change the aspect of light that is falling on the animal somewhat but even that is sometimes not possible because in most reserves you are not allowed to go off-road and moving might scare the subject away.

Composition is something you do have more control of however and you can apply the rule of thirds and framing using the available vegetation just as well as in any other form of photography.

Be especially careful using the autofocus on your camera because it will cheerfully focus on a twig or tuft of grass close to your animal subject and spoil your composition.

You will also need to make your compositional decisions quickly as wildlife often doesn’t hang about long waiting for you to make your mind up so it pays to have a solid foundation in the basics.

Collection of African safari pictures depicting most of the animals you can see on safari like lion, leopard, cheetah, elephant, crocodile, chimpanzee, baboon, gorilla, rhino and many more species.

The five best African lion safari destinations will give you some excellent opportunities to take photographs of the king of the jungle.

Create Photographic Halo Effects

Writen by Eric Hartwell

Have you seen those lovely images where a subject, such as a person or animal, is surrounded by a glowing halo of light? It looks nice doesn’t it? Would you like to know how it is done?

Here’s how – it’s easy.

Place your subject in front of a light source. A lamp or studio light would be okay to use, but a window during the daytime would be just as useful. It helps if the light source is coming from a lowest angle – at or just above the level of the subject’s head is best. It also helps the effect if the subject has some hair – a human head or a furry animal is best.

Then make an exposure reading. Take the reading from the subject. As the light source is so much brighter, it will be overexposed and enhance that lovely halo effect. The highlights will be bright.

The light source will highlight the hairy areas and strong diffused light will surround the subject. It can give a really professional feel to an image. It is worth practicing by changing the exposure (compensation) and by moving either the light source or the subject to get the best effect. You can also consider changing the intensity of the light source if this is possible.

With practice you will be able to produce a wonderful and flattering halo effect.

Eric Hartwell runs the photography resource site http://www.theshutter.co.uk and the associated discussion forums as well as the regular weblog at http://thephotographysite.blogspot.com.

Tame Those Memories

Writen by Barbara Hemphill

Family vacations, summer weddings and family reunions are in full swing, and the warm memories and envelopes of photographs are ever growing! You certainly intend to organize them — but the boxes in the attic are full of intentions, and now the photograph CDs are being to pile up! What can you do to stop the madness?

Step 1: Decide why you are saving the photographs. My mother- in-law, for example, wants to ensure them for future generations, which means acid-free paper and detailed labeling. One of my clients, on the other hand, just wants to enjoy them now. She has an antique trunk full of loose photographs (with names and dates!) she uses to tell stories to her fascinated grandchildren.

Step 2: Don’t set unreal expectations. Mary had a house full of photographs of her 18-month-old — duplicates, in fact — because she was always going to send them to her mother. But first she wanted to write a letter explaining the picture — the birthday party, the trip to the zoo, or the first haircut. There wasn’t time for that, so her mother hadn’t seen a picture of her grandson in months, and Mary felt overwhelmed by her failure. Undoubtedly her mother would have been delighted to see the photos — without the perfect narrative descriptions. If you are a working parent with active children, the best way to organize your photographs for now may be a shoebox in the front hall closet — with the lid off, so you can get to it easily!

Step 3: Avoid tackling too much at one time. Dolly decided to organize 25 years of photos. She declared the living and dining room off-limits to her family — and began making piles. In the midst of the project, old friends called to say they were in town. So Dolly quickly gathered up all her piles and stuffed them in a suitcase. Several years later they’re still there! Begin organizing your photos by sorting them into major time blocks — before kids, pre-school, elementary school, high school, college, for example. Put each category into a large container. Then take one container, and divide it into smaller categories — by year, then by season, and finally by months. (Keep your old calendars. They can be a great resource to retrieve specific dates for major events!)

Step 4: Eliminate the unnecessary. The first candidates for the wastebasket are double exposures, pictures of the inside of your lens cap, and those shots you wonder why you took. You are also bound to find some photos that have little meaning to you, but could be special to someone else. Drop them in the mail to bring a smile to Aunt Amanda’s face. As a birthday present for my 85- year-old grandmother, I took one photo of each of the members of her family, and one or two of each of the major events in her life and put it in one album. It was the first thing she shared with every visitor.

Step 5: Taming the Paper Tiger software to the Rescue! The beauty of using The Paper Tiger for taming your photos is its incredible flexibility! You can put a number on each photo (or photo holder) with keywords, dates, and a category for each one. Or, you can put a number of an entire packet of photos, and then use the keyword field to describe specific contents. This is a great way to solve the problem of the packet of Johnny’s wedding photos that also contains a single photo of Jenny’s new car. Organizing photo CDs with Paper Tiger is also a cinch. Just put a number on the CD and use the keywords to describe the contents. A keyword search on Johnny’s wedding will instantly tell you where to find the portrait (on the wall in the hallway), the packet of photos (in the family room credenza) and the photo CD (in the CD box by the computer).

Bonus: Organizing photographs can be a great summer project to do with children of all ages!

© Barbara Hemphill is the author of Kiplinger’s Taming the Paper Tiger at Work and Taming the Paper Tiger at Home and co-author of Love It or Lose It: Living Clutter-Free Forever. The mission of Hemphill Productivity Institute is to help individuals and organizations create and sustain a productive environment so they can accomplish their work and enjoy their lives. We do this by organizing space, information, and time. We can be reached at 800-427-0237 or at www.ProductiveEnvironment.com

Canon Underwater Cameras – What You Need To Know

Writen by Nicola Kennedy

Simply for capturing the terrific memories that you experience, you will get fond of using Canon underwater cameras quickly.

Underwater cameras have most of the same features as the handy cameras that we used outdoors – the only difference is that they have certain functions that are more innovative because they are water resistant and can be used to capture pictures under the sea.

Of course, these underwater cameras are not only exclusively for taking pictures under the sea because some of them are also designed to be used in outdoor activities. In heavy rain these cameras will not be affected because of the protective device to guard against water and pressure damage. They come in a number of forms, with their prices relecting the entire range of normal camera pricing.

The cheapest type of underwater camera for instance is the simple disposable underwater camera. These cameras are able to take about twenty to thirty pictures. These cameras are waterproof enough to be utilized when there is harsh rain and snow storms. These are best use for fun scuba trips and family vacations; it will certainly capture the memorable parts of the family fun.

One of the best known brands of underwater cameras is the Canon. It has been proven efficient in all forms of underwater adventures. Canon underwater cameras have a lot of designs that offer different features. Each of the cameras gives advantages and special features that you will really enjoy. However, as you would expect from a quality brand like Canon, these cameras might appear a bit expensive because of the gadgets used on it; nonetheless they are of best quality and you will have no regrets once you see the resolution of your pictures.

Many conventional digital and film cameras have waterproof housings. Placing your camera inside will allow you to ‘transform’ your existing camera into an underwater camera. However, if you want excellent photographic quality from under the water, we would always advise purchasing a dedicated underwater camera.

Canon underwater cameras came in various models. The higher the photo resolution that it has, generally the more expensive the price is. Many of the underworld photographers that I know prefer to use Canon underwater cameras because they offers a “one of a kind quality”. The Canon Company is one of the pioneering companies that launched underwater cameras in the market and you know you will be getting quality when you buy Canon.

Nicola Kennedy publishes articles and reports and provides news, views and information about photography and Canon underwater cameras at Underwater Cameras Information.

This article may be reprinted in full so long as the resource box and the live links are included intact. All rights reserved. Copyright Under-Water-Camera.info

Tips for Still-Life Backgrounds in the Home Studio

Writen by Eric Hartwell

Getting the background right in the studio can be difficult. The home studio often suffers from lack of space, unsightly background clutter and poor surfaces for lighting. But you can enhance your shots by manipulating the background in the following way:

1. Place a sheet behind the subject that is the color of the background that you need. White is good as it can be lit according to your taste. But any color will do and will give a consistent appearance

2. Place the sheet on the ground and drape it over something taller than the subject

3. Get yourself plenty of duct tape, clips and pins to hold the background

4. You can make a sturdy and effective frame for the sheets by using plastic plumbing pipes which fit together easily and have connectors which can allow you to make any shapes or angles

5. Make sure the sheet lays in a smooth curve behind the object – there should be no edge. This will ensure that the background is not uneven or unsightly

6. Using 2 flashes – one each side of the subject – will ensure no ugly r distracting shadows behind it

7. Using a white sheet will enable you to put color gels over the flashes to change the color of the background according to your taste

8. You can buy ready-made colored backgrounds – these are better than the homemade sheets but considerably more expensive. You will also need more space for construction and storage

9. For smaller objects, you can try a ‘light tent’ or ‘light dome’. This is effectively a big, white, translucent dome or tent that goes over the object. The camera lens points into the dome. The lighting is outside. The tent diffuses and disperses the light from outside giving an even and softer effect.

10. You can buy a light tent or dome but they can be expensive. Make one with sheets draped over chairs.

11. At worst, you can remove backgrounds in an image editing program such as Photoshop

The great thing about studio work is that you can take your time and experiment with your set-up. Try different lighting effects and angles to get the effect that pleases you.

Eric Hartwell is an enthusiastic photographer and owner of the photography resource site The Shutter. He would pleased to hear from anyone who might wish to become involved in the site – email click here to send email