how to avoid or reduce redeye

How To Avoid Or Reduce Red-EyeWriten by Jakob Jelling

Photography with the aid of a digital camera is beyond doubt very fascinating. However, it also has many a nooks that the users of the digital camera must be aware of and also must be well educated to deal with in order to produce good photographs worth the most prized digital camera. Such a concept is that of the red eye! In order to understand what this red eye actually is, a little detailed introspection is necessary. Basically speaking red-eye is a function of at least three things, they are firstly, ambient level of light because stumpy light level causes the retina of the person to be photographed to open wider to admit more light thereby divulging open the iris, which is the primary part that reflects the red light hence giving the appearance of red eyes for the subjects. Also secondly the younger the person being photographed the wider remains the retina and hence the greater the effect of red eye in the picture. Thirdly, the reflection angle of the flash plays a vital role, as the light is recoiled back to the digital camera and the closer the incident light beam is to this reflected light beam, the greater becomes the red eye effect. To prevent this instruments such as flash brackets are useful to make the flash a bit removed from the propinquity of the lens. Thus the red eye effect is somewhat revealed till this part of this discussion. Now is the time to look into a greater detail in order to analyze the various aspects of the red eye effect and also find out ways of reducing the problem as far as possible.

It can be noted here that the only important thing is that the users must ensure that the proper fixing of the angle between the flash beam and the lens axis. The general rule here is that the photographer must keep the angle wide enough that the light beam from the flash does not reflect off the retina of the person being photographed and comes right back into the digital camera lens. A good idea is to make the red-eye reduction work by making the flash shine a light into the eyes of the person being photographed just before the flash is incident and the shutter is pressed. This causes the irises in the eyes of the person being photographed to narrow down or shrink. As a result of this the eye develops a smaller opening for the eye view of the digital camera and does not show off the blood filled retina. This light is called pre light! And very importantly this process works only if the person to be photographed is in point of fact looking directly at the flash for the pre-light to come.

Other factors influencing the red eye are the level of ambient light during the time when the photograph is being taken and how near the flash light is to the lens. The rule of thumb comes out that the brighter the ambient light; the lesser is the effect of red eyes, everything else being one and the same. As the flashlight goes farther from the lens, the fewer becomes the effect of red eyes, everything else being one and the same again. Thus the key idea is that red eye is not caused if the ambient light is comparatively high. And it does have a significant effect if the shooting area is dark. Many digital cameras have built in features for anti red eye that is used to reduce red eye when taking a picture of a person looking straight at the camera also. But manually, the best red eye reduction can be obtained with the help of an external flash as described.

The above discussion has dealt with the most important ideas regarding the red eye effect. The discussion has analyzed the inherent facts about the digital camera red eye effect, their causes as well as remedies. The only thing that remains is that the users must implement these ideas while shooting under circumstances discussed here so that the red eye effect cannot harm the beauties of art created with the aid of the fantastic device, the digital camera!

About The Author

Jakob Jelling is the founder of http://www.snapjunky.com. Visit his digital camera guide and learn how to take better pictures with your digicam.

setting up group portraits

Setting Up Group PortraitsWriten by Kenneth C. Hoffman

We dont want any posed pictures is a common admonishment from
young people these days. What they mean is that they want to appear natural and relaxed in their portrait of the family. A certain amount of
posing is a necessary evil in order to accomplish what they want. Of course, it is up to the photographer to make this as painless as possible.

There are some general rules of group portraiture that have been around since Rembrandt. Never line up the faces vertically or horizontally. The reason for this rule is that curves, triangles and diagonals create a more dynamic flow and are more pleasing to the eye.. Straight lines are static and tend to line up with the edges of the picture. Another rule is never to have faces look straight into the camera for if they do, unsymmetrical features are more easily apparent and the eyes take on a stare. Now, rules were meant to be broken, but first you have to know the rules.

While couples can be considered a group, I will start with a group of three. The easiest of numbers, three people make an automatic triangle. Heads can be placed in an uneven triangle, foundation side down. Spacing should be varied, but similar in distance. Other successful patterns are the inverted curve with the middle person highest, a diminishing, flatter curve with the smallest person nearest the camera, and a stacked triangle in a vertical format. Groups of three generally look more together when the outside persons face in to the center. Enough body should be included in the composition so an not to appear bodiless. A general rule is to leave twice as much space above the heads as below the feet or hands in the picture. Spacing between heads are measured from the center of the eyes, not the edge of the head. Please do not crop off at the wrists and ankles.

Hands play an important part in the language of the portrait. To look graceful and slender, hands should present their edges to the camera. Oppositely, to appear strong, the backs of hands should face the lens. Never allow the arms to hang down vertically, but find something for the hands to do so the arms are bent at the elbow. Arm rests, furniture and other people are handy tools for creating a dynamic angle for the arms.

Shoulders look best when placed at a slight angle to the camera. Views across the back play up the curve of the spine and the jut of the jaw instead of the breadth of the shoulders. Too much of an angle will make the near shoulder appear too large, due to foreshortening.

Groups of four present an interesting challenge. You dont want to place one head in each corner, making a square. People are basically made up of curves, not straight lines and appear mechanical and lifeless in this configuration. So what can you do with four people? An inverted curve can be formed with the two highest people in the middle. Make sure one is higher than his neighbor. For a more compact composition, overlap the shoulders, fitting them together like a jigsaw puzzle. This places the heads closer together without dead, empty spaces in between shoulders. Remember to turn the outside faces toward the center for a cohesive look. Other shapes that fit the quad portrait are an off center vertical diamond or rhomboid, a staggered vertical or horizontal zigzag line and an inverted curve of three with the smallest below in the center. Be aware that vertical faces should never be in line.

Five is an interesting and easy number to pose. Spacing becomes more important, informing the viewer of the warm relationship between family members. Basically, the faces place themselves in two triangles, the lower middle person sharing the triangles. A vertical composition stretches the space vertically and compresses the spaces horizontally. Six faces can be grouped as two uneven triangles, one slightly higher than the other. The classic oil paintings of large groups of people contain masterful examples of group posing.

Environmental settings play an important part in the balance of a portrait, creating a foil of shapes against the more important faces. If there are masses of light areas, they must be balanced with the appropriate mass of darker areas elsewhere in the picture. The eye travels an omega curve, starting in the lower left corner and wandering through the centers of interest (faces) until exiting out the lower right corner. The centers of interest should fall along this comfortable line.

The skills of the photographer retain the interest of his subjects with a constant patter, all the while making decisions pertaining to height and placement of faces pertaining to the over all pattern. Time should be allotted to the straightening of clothing without seeming too fussy. All eyes should be in one direction, that is on the photographer for a cohesive look. An exposure where one person is looking at the camera lens can not be considered as a viable pose. Try to make the process fun so that your subjects appear relaxed and natural. To quote a famous philosopher, theyll never look younger.

A retired portrait photographer would like your comments.

what your eye doesnt see

What Your Eye Doesn't SeeWriten by Eric Hartwell

My mother used to say what the eye doesnt see the heart doesnt worry about. To this day I dont know what she was on about and why she used to say it to me when I was just a young boy. Moreover, there are plenty of things I worry about without witnessing them first hand. Indeed, I contribute, where I can, to various charities that help poor and disadvantaged people, although I have never met any of these people nor seen the conditions they survive in.

My mothers statements did, though, serve to try and apply this principle to photography in a weird sort of way and I will see if I can describe my feelings in a sensible way. I dont hold out much hope

Photography is all about visual impact. Creating an image that says something to the viewer. These utterances can be subtle or in your face but a photograph must say something to be deemed acceptable.

Perhaps a smile, a sneer, a chuckle or a tear. A dilapidated building or a new skyscraper. Water, trees, grass, animals. Every picture should tell a story. Every image should at least attempt to make an impact. Somehow.

This means you have to look closely at your compositions. What the eye doesnt see the heart doesnt worry about what your image doesnt show cannot be consumed by the viewer. And perhaps the best part of your image is hidden and the eyes cannot see them.

Look for something special in each potential image. Actively strive to make your images different even in small ways. Play with the light and shadows, find a different perspective, add a prop, change facial expressions. Develop a method and style that encourages you to think before you click.

Then you may uncover those things that the eyes, on first glance, misses and perhaps this will bring greater satisfaction into your heart.

My mother, at least, would be proud.

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.

creative automotive pictures things to consider part 1

Creative Automotive Pictures, Things To Consider - Part 1Writen by Anthony Palmieri

Low cost digital camera, and high quality printing now coupled with some imagination can open the door for you to create unique pictures ranging from the family pets, to autos right to custom cards and wall posters that you have created. Custom printing was expensive, and mostly restricted to advertising companies. However now, you can go to your local office store and have them print out a high quality laser print for a few dollars. So now that you have all this capability available, what can you do with it? Well, how about start to create custom pictures for yourself. Software packages like Adobe Photoshop have many capabilities that allow you to customize your pictures, but the question often asked is well what should I do. The intent of this article is to give you many ideas to think about and experiment with to see what fits your personality and likes. We will focus on automobiles, although these ideas can be applied to family portraits, pictures of your loving pets, and even landscapes.

When you are taking a picture of a car, do not just think about what you see in the viewfinder, but think about the final composition. A few questions to consider are:

1.Will the car be a stand alone in the picture?

2.Will there be multiple images of the car merged together?

3.Will there be different elements of the car used?

4.Can the car be used as both a background element as well as a foreground element?

5.What unique features stand out?
. and the list goes on.

Taking a digital picture does not cost you anything until you print it out, so I recommend that you take many pictures at different angles, and of all elements. Looking through the viewfinder gives you only one perspective of the final picture, but, using your mind will open the door to an unlimited world.

Things to consider when looking and photographing a car:

1.Is there a large surface such as a sloping trunk with a minimal amount of details? If so, this may make a great background where you could overlay a side view of the car on the trunk. To add to the personalized component, keep the license place in the picture so it ties the picture to the owner.

2.Are there any distinctive features such as a massive open grill as on many pre 1965 cars? This may also make a great background to overlay a side view of the car in the grill. Keeping any logos or license plate adds to the personalized impact.

3.Many of the older cars have trim pieces that are art in themselves. Take for example a 1958 Bel Air. The front fenders and sides have bullet like trim that would make a great border.

4.Do not just focus on the exterior of the car, think about the interior. How about those detailed and distinctive dash boards and large buss like steering wheels. These also make a great backgrounds. Imagine the car centered in the steering wheel where you get a glimpse of the gages. Or for that fantasy effect for a performance car, edit the speedometer to show a high speed, and slightly blur the car to represent the speed.

This is a brief list of things to consider, and after a while when you look at something your mind will run with the endless possibilities. Your biggest challenge will be to weed through those ideas and pick the best ones.

In part 2 of this series we will talk about taking these ideas and enhancing them even more through things such as making elements stand out by fading, blurring and defocusing portions of the composition.

For some examples of what is described here, refer to www.PalmieriConcepts.com in the Examples section. When you look at these examples, think how you can apply these to your own work.

Anthony Palmieri founded Palmieri Concepts, http://www.PalmieriConcepts.com after 20 years of creating custom art work for his own pleasure and enjoyment. This business grew out of a love for motor vehicles and was started to share with others what started out as a hobby. After taking how his own pride and joys (yes this really started with family pictures and not cars) and combining them with creativity, it became obvious that many others would like to showcase their trophies as he has done.

that child is your photographic friend

That Child Is Your Photographic FriendWriten by Eric Hartwell

Your child is your friend. Yes. Your friend.

Forget, for a moment, about all the sleepless nights, tantrums and constant demands over the years. Forget about the lack of authority you seem to have and the way in which your child can manipulate you at will. Forget also about the costs to your health and bank balance that your child has caused since birth.

Your child IS your friend.

Why?

Because children love having their photograph taken. They never tire of it. Daytime, night time. Indoors or out. They will always be ready and willing. Whether it be a few snapshots in the garden or a formal portrait session, they will be there to help you.

They will strike any pose. They will sit, stand, lay, jump. They will have a multitude of expressions to share smiling, laughing, sad, serious. Its all there waiting for you.

They love props something to hold, something to shake, water, material, sand. And dressing up is all in a days work for the average child.

And, when the images are taken, they wont criticise your efforts even if you, yourself, consider them to be substandard. But if the images you produce are lacking in that certain something, then your child will be there once more, to help out and pose again.

Yes, make friend with that child.

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.

be an expert wildlife photographer in one simple step

Be An Expert Wildlife Photographer In One Simple StepWriten by Eric Hartwell

Do you drool over the superb nature photography found in glossy magazines and long to be able to produce images that are even half as good? Do you wish you had the time and the money to travel to far off lands in search of exotic locations and even more exotic wildlife? Do you feel restricted and frustrated?

No worries! You can get great opportunities for fantastic images easily and cheaply and right on your doorstep.

How?

By going to your local zoo or safari park.

Most of us live a reasonable distance from wild animals in captivity. The ethics may disturb some, but the fact is that most establishments are clean, safe for the animals and regularly inspected and kept to a high standard. Some institutions have animals in minimally-restricted areas affording even better opportunities for the photographer.

If the idea is beginning to appeal then think on further. Most establishments would be only too pleased for you to purchase an annual (season) ticket - in this way you can contribute towards the upkeep of the animals and visit as often as you wish.

No more rash rhino shots or lifeless lions. Now you can stay all day, in one location if you want, and be ready to capture the animals going about their daily business. And, unlike the far off locations, there will be places to eat, drink, rest and keep warm nearby!

With an annual pass you can visit at times that suit you and therefore almost certainly avoid the crowds at peak times. This will give you time and space for your best shots.

You may even be able to negotiate a special visit with some of the staff. Being around the animals when they are being washed, fed and otherwise cared for can be a great inspiration for some unusual images. Why not ask the groundstaff and animal keepers?

With he right equipment and technique you can avoid the appearance of animals in cages or pens and many of your shots , whilst not winning Wildlidfe Photographer of the year, will look professional, authentic and pleasing. Most importantly, you will have had a great time and a perfect opportinity to photograph unusual animals. And your payment will help towards their care.

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

how to create a family history video memoir with photos and interviews of your loved ones

How to Create a Family History Video Memoir with Photos and Interviews of Your Loved OnesWriten by David Scheldorf

Here are examples of two basic videos you can create quickly on a great budget:

Example A Do-it-yourself for around $125 + extra copies

1. The interview

Rent a digital video camcorder or if you have one already, use it. At the Video Kitchen in Louisville, Kentucky our $48 daily rental charge includes a tripod, a 60 minute digital tape and one DVD copy of your video.

In a comfortable room with bright and warm (incandescent) lights behind the camcorder facing the subject and no back light (windows behind the person) videotape your relative. Make sure there is water to drink and the camcorder is within 6 feet of the individual. First record 15 seconds of silent video with the lens cap on at the beginning of the video. For more information on how to shoot great video, check out the article by Video Kitchen owner, Carlile Crutcher at: http://www.videokitchen.com/greatvideo.html

There are usually two parts to a biography video: questions and photos. First, in a clear voice, behind the camera or preferably sitting next to the subject, read the questions and allow for plenty of time for answers, this is not a race, make sure the subject feels comfortable to tell stories, or go off on tangents. Here are examples of questions to ask:

What is todays date?

What is your full name (and maiden name)?

When is your birthday?

What year were you born?

What was going on in the world that year?

What were your parents names? Ages when you were born?

Tell us about your aunts and uncles.

What is your most prominent memory of your grandmother? your grandfather?

Did you have brothers and/or sisters? their names and ages?

Did you have any farm animals and/or pets when you were little?

What was a typical day like when you were 5 years old?

Did you have a nickname when you were younger?

What sports or games did you like to play?

What was something you did as a child that was really scary?

What subjects did you enjoy in grade school? Why?

What was a typical day like when you were 10 years old?

What were some things you and your friends did for fun as a child?

Who was your best friend when you were a young teenager?

How many people went to your high school?

What was a typical day like when you were 15 years old?

Did you like to dance or listen to music? What kinds?

When did you start dating? Who was your first kiss?

When did you first learn to drive? What kind of vehicle? How fast did you go?

What was your first occupation? your starting salary?

Did you go to college? Where? What did you study? What did you like most?

How did you meet your spouse? What first attracted you to him or her?

Where did you go on your first date? How did they ask you to marry them?

How old where you when you got married? Where was it?

Did you or your spouse go away to any wars? Which ones? What was that like?

Where were you when JFK was assassinated? How did you hear about it?

Where were you when man first walked on the moon? How did you hear about it?

When did you attend your first movie? What was it? Was there sound?

Which president from your life did you like the most? Why?

How old were you when you had your first child?

What are your childrens names? What do you like the best about each of them?

What are your grandchildrens names? What do you like the best about each of them?

What is a typical day like for you now?

What are some of your favorite things to do now?

What is the most beautiful thing you've ever seen?

What do you like about your life today?

If you could re-experience one thing in your life, what would it be?

What is the one most important thing you have done in your whole life?

Is there anything that you always wanted to do, but never did?

2. Discuss family photos -
Now comes the second part of the video photos. You dont want to have whole books of pictures to go through. A good number is 30. Have the subject look at each photo, describe what is going on as if they are showing it to someone, and tell its story. Let them know that they do not need to show the print to the camera, and not to point to specific things, but to just describe them in any detail they wish. Once they have finished with the photos as them one more question

If they could give one message or bit of advice to their generations of descendants to come, what would it be?

Now your source video is finished and you are ready to edit it.

3. Edit the video and photos -

Call your local video editing suite and reserve an edit station. Let them know that you have a MiniDV digital tape that you want to edit video from, photos you want to include and music to be added. At Video Kitchen in Louisville Kentucky, our basic edit station has a $19 setup charge plus $29 hourly. You need to bring in the videotape, the photos and a CD with soft background music (we can provide the music if necessary). If everything went well and you have a good plan, it should take a couple of hours to complete the editing. We will put a title page at the beginning, replace sections of video with the photos and add the background music to the audio track.

Now you have a digital master tape. Your first DVD copy is included in the price of your camcorder rental. Pricing for additional copies are found on our duplication page.

Example B Work with a production company's staff for around $550 + extra copies

1. The interview

Call the your local video production facility and setup a shoot. At Video Kitchen in Louisville Kentucky, our shoots include a broadcast quality camcorder with an operator and a wireless microphone. Lights are extra. We will come to your location and make sure that everything is captured perfectly. There is a $49 setup fee plus $99 per hour and we will probably be onsite for an hour and a half.

The shoot will proceed as in example #1 with a friend or relative reading the subject questions, describing photos, telling stories and sharing memories.

2. The Edit session

Then set up an appointment at the video production facility to come in and sit with an editors at a digital computer non-linear edit station. At Video Kitchen in Louisville Kentucky, this station runs $99 hourly and depending on how much editing is needed, it will probably take around three and a half hours. At this station, we can add photos, music and titles with fades and dissolves. Then we would create your digital master and make one DVD copy which is included in your shoot. Pricing for additional copies are found on our duplication page at http://www.videokitchen.com/dupes.html

More tips

The object is to get the central figure of the video to start talking. Think about it, there are times this person does start telling stories without end. It might be after a large Thanksgiving dinner, it might be late at night, it might be at the kitchen table, it may take a glass of something to reduce tension.

Sometimes it takes something to set the subject off, to get them on their soapbox, to tell the kids how it was back in the good old days. A lively discussion of world events, the way kids dress today, the cost of gasoline may help getting the juices to flow.

There are some masters at this art. Two come to mind. Jim Lipton on Bravo in the Actor's Studio program interviews movie stars in a way that probes their personality and background without parallel. He has done his research and has questions on blue index cards. His questions not only are ell me but also open a subject by telling the actor something that Lipton already knows a little about, and the actor is invited to fill in the blanks, resolve the conflict, complete the joke.

Charlie Rose is another superb talent at drawing information out of his guests. Same blue cards. Same method of asking questions by making a statement and inviting the guest to enter into the conversation. He is on PBS late most evenings. You might want to catch some of these kinds of shows to help you map out a strategy you are comfortable with.

If the person asking the questions is nervous and tight, it may not work. Find a replacement. If the subject of the interview is lost in the best family sofa and you remember most lively discussions being around a table, go for the table. Sound is more important than the picture. Stay close. Leave the camera running through minor errors; just say it again after a small pause. It will be easy to cut out later. Try to keep going. If the first session doesn't work well, laugh it off and let the subject know you'll be back. A bad dress rehearsal frequently makes for a great first performance.

While it may increase the budget from the numbers suggested above, there are many ways to add other stories, movies and pictures to your Memoir Video. Other members of the family may have great stories to add, video cutaways of the subject in action walking in the neighborhood, sawing a board, or cooking a meal can all add to an understanding of who this person is. But don't throw too many things into your first effort. You will have a digital master. You will be able to add more later. Don't plan delays into your project!

We look forward to learning your families history with you and hope to help you preserve it for years to come. If you have any other questions about video editing, duplication, transfer or conversion, please visit our web page at http://www.videokitchen.com/ or you can write us a 1917 Blankenbaker Parkway in Louisville KY 40299

Good luck on creating your own memory photo montage video!

Video Kitchen can edit, duplicate or convert your video to and from almost any format. Our most popular services are transferring photos to DVD building stunning photo montages and copying VHS and camcorder tapes to DVD to preserve and share those special moments.

We also shoot, edit and do mass duplication of VHS, DVD and CD for businesses and organizations. You can come in and work in an edit suite with one of our editors producing a roadcast-ready program or edit together a family video on a self-service basis.

Our wide-ranging transfer services include converting old Super 8, 8mm and 16mm home movie film to video, converting video footage for PowerPoint presentations and encoding clips to be shown on the Internet, to name a few.

We have a location in Louisville Kentucky's Highlands at 2323 Bardstown Road, Louisville, KY 40205 and one in Jeffersontown in the East End at 1917 Blankenbaker Parkway, Louisville KY 40299. Please browse through our pages at http://www.videokitchen.com/ and feel free to call six days a week.

concerned about photo printing services

Concerned About Photo Printing Services?Writen by Mindi Haehl

Many new digital camera owners have concerns when it comes to the subject of using photo printing services. They are used to the habitual process of taking film to the store to get it developed and waiting till it is finished, then picking it up afterwards. After reading the novel-like instructions manuals that come with a new digital camera, new owners may not want to invest any more time into sifting through tons of information on the web just to find out the facts of photo printing services. However, once you actually get started, the process of finding good information on photo printing services, as well as facts about them is easy.

Questions may often arise before actually searching for information about photo printing services such as How much will the prints cost? and Will they actually look half-ways decent? These questions are often easily answered with a quick Internet search, but if you want to skip the Internet search and just hear the answer, well then, that is fine too. Prints from a digital photo printing service will normally range anywhere from 19 per print to 29 per print. And yes they will look pretty good as well, probably even as good photos taken with film cameras.

Sometimes the answers to these questions will vary though, depending upon which photo printing service is used. It is important to realize that although some companies may offer an attractive price package for printing services, they may also deliver low quality pictures. On the other side of the coin, the pricier printing services may cost a bit more but make superior prints in comparison to the competition. Other factors such as having a user-friendly website for customers may come into play as well, especially for extremely busy people. If youre concerned with more than just the quality and price elements of a photo printing service, then you may have to do a little more research in order to find what youre seeking. In this case, make sure to look for company reviews as they are a valuable asset to any digital camera owner.

To view our list of recommended sources for digital photo printing online,
visit this page: Photo Mugs.

why photograph old barns

Why Photograph Old BarnsWriten by Debbie Jensen

A land without ruins is a land without memoriesa land without memories is a land without history. ~Abram Joseph Ryan

Why photograph old barns? What is the best way to capture them? Are people really interested in them? Let's face it; old barns have so much character. Here in the United States and especially in California, old architecture is not that prevalent. New buildings seem to be everywhere! Old architecture is constantly being torn down while new cities arise. Not only this, but storms and the passage of time take them down too.

Recently, as I drove by and admired the most beautiful old red barn, I was compelled to photograph it. The barn is located in New Castle, California. Since environmental photographers are at the whim and mercy of the landlords, I knew I had to photograph it before a demolition transpired or a storm destroyed it. I strongly believe that old barns enhance the roadside and remind me of oil paintings of old.

Photographing architecture with diffused lighting (without hard shadows) is a great way to capture barns. Barns are too big for fill flash, so the time of day, lighting conditions, and camera setting are pretty important.

When photographing a barn, look for the best angle. Try to get the barn to fill up the whole image. If foliage is growing up over the barn, photograph it. Try to remember, the closer the better. We want to see the barn. As it is, the image is small--try to keep this in mind. If you learn to shoot bold photographs, you will have more to work with after the fact. You will have a better quality image with more detailed information. Make sure to leave a little bit of room for cropping. You want to have to option to format the image vertical, horizontal, or square.

Barns are part of our environment and trigger our thoughts of fond historical memories. Ruins tell us about the people who lived here before us. Photographing historical places makes for great images for custom postcards and family albums. Always remember, people love barns. Take pictures of what people love.

Debbie Jensen, Graphic Designer and Photographer http://www.debjensendesigns.com

helping dogs feel confident during a pet portrait session

Helping Dogs Feel Confident During a Pet Portrait SessionWriten by Michael Waine

When a dog takes on the misery stance, we will see the tail between the legs, the
eyes looking away from me, and the ears down and close to the head. This usually
happens because the dog is unaware of the owners wishes and unsure of my
intentions. It my pet photography photo sessions this can sometimes be a
challenge. When the dog looks bored or frightened or tired, these conditions make
the photo session next to impossible.

I use a low key and soft mannerism with this type of dog and my task is to make it
feel safe and happy. Before I begin photographing the pet to be seen alone or with
his the owner, we first have our romping around time together. I take the dog into
a fenced in area where it is free to escape for a while to eliminate if necessary, but
more important, to be free to wander around and lose some of the stress they have
when they first arrive for the photo shoot. If I am shooting several animals together,
I do this with each dog individually and deal with them individually so they are not
fearing me. I am very persistent with the animals and I treat them as if each one is
the only animal of its kind in the world. I use praise and reward to get the dog to
become confident. I always have a small bag of treats in my pocket, sometimes 2 or
3 different kinds, and I watch to see which treat the animals likes the most.

When I now bring the dog in front of my camera, I flash the strobe lights several
times while petting the dog. If his tail is not standing, the tail can be made to stand
upright by brushing my hand with the lightest touch from the base of the tail to the
tip using a fast flicking motion. This works very well with cats too. Eventually, the
dog likes this and the tail will stay up. If I am working outdoors, I have also run with
dogs while on a lead and given the lead a quick tug. Since the tail adds balance to
the dogs movement, it will raise its tail when there is a jerk to the lead. The best
way to keep the tail up is by making the dog happy.

Most dogs are very clever and are seldom depressed. I ask the owner if the dog
knows how to respond to obedience commands and I reward the dog when it
comes, sits for me, and especially when it stays until released. I also verbally praise
the dog countless times (persistent positive reinforcement) until we become friends.
The dog no longer fears the photo session and now understands that this get-
together is all about him. By me being persistent, by returning the dog to the
targeted spot where my lighting will be optimal, and by constantly praising and
rewarding the dog when I get really good takes, I finally have the dog feeling
confident that the camera work will not harm him and that he is very special and
doing a good job. Everyone wants to know that they are doing a good job. Animals
are no different. They want to please us. I cannot shoot until the pet begins to feel
comfortable and happy. The ears and the tail go up when I squeak the squeaker that
is always near my camera. Sometimes the tongue comes out and I now feel that the
dog is ready to begin his portrait session. He is no longer unsure about the owners
wishes or my intentions.
He is feeling confident! I can now create a custom pet portrait that shows the dogs
personality. If the owner is to be seen with the animal, I ask the owner to maintain a
smile or pleased look continuously because animals never stay still. Capturing
wonderful moments takes control. With the owner looking good for a continued
amount of time, I can now work the animal towards a great gesture, a smile or a tilt
of the head, and big open eyes that reveals the soul of the animal!

Michael Waine, photographer

My goal is to provide pet owners with photographic art. I love photographing
animals more than any other photography work I've done over the past 30 years.
I am highly motivated by the recognition I receive from pet owners who allow me to
photograph their beloved pets and animals.
Please visit my website to see samples of my work at http://www.michaelwaine.com/pets