Photography From Cameras To Smart Phones

Photography has come a long way over the past few decades. When I was a kid I remember we had to put in film roles into the camera every time we plan to go out on a picnic. And with each new film role we could only take 34 to 50 pictures. Then the roles were sent to the studio in order to get the film strips developed into photographs. The entire process took a couple of days before the pictures get ready for you to check them out. And if you weren't unable to finish the film role at one event, you had to wait for another event to take pictures so that you could finish the roll and have it developed. Even with so much trouble, those times we fun.

As we grew up, dad got us the first digital camera. That thing was new and very advanced for that time. You could click hundreds of pictures and directly download them on your computer. Anyone who owned a digital camera made it a point to show it off at every function and make the other kids jealous. I did pretty much the same, until one day when I saw a friend taking pictures with his mobile phone. I was hardly 15 at that time, and this mobile camera was quite fascinating for me. But it was not so advanced at that point. I waited for about two years and bought the latest mobile that had a built-in camera in it and entered the mega pixel war game.

While we had all our energy focused on getting the mobile with the highest mega pixel camera, smartphones entered the arena. And those phone could do magic with pictures. People did not even have to copy the pictures to their laptops to upload them on any social networking site; it was all being done directly from these smart mobile phones.

While I was busy figuring out the features of my first smart mobile, the app market was bombarded with thousand of amazing apps that could help you do numerous super cool things with you mobile gadget. One category of those apps were focused on developing apps for the smartphone camera. Some applications allowed users to edit pictures or add contrast and color to them, same enhanced the camera features of the smart phones and some allowed the users to play cool tricks with those images.

I just checked out a similar photo app for iPhone users with the name of Pic Talk. The best part about this app is that you can record you voice with the picture after clicking it. So you don't done have to write a caption for the picture, you just have to say it. It's a fun app allowing users to save their memories in a whole new way. I think every iPhone user must have this app on their mobile devices!

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Photo Tip - How To Use The Portrait Photography Catch Light!

While most of you know what a portrait photography catch light is, bear with me. At some point, it was a new idea for you, just as I'm sure it is for some of the other readers. In the interest of being thorough, in today's photo tip, let's have a quick look into the catch light.

Simply put, a catch light is the reflection of the portrait lighting source in the eyes.

We generally just think of it as a specular highlight in the eye, but it can be (and is) a vital part of the image. Particularly in portrait photography.

While the old cliché that, "the eyes are the windows to the soul" may or may not be true... a catch light makes the eye appear brighter and more exciting. Eyes without a catch light appear dull and lifeless.

If you have catch lights in the eyes, they are generally not noticed. If you don't have them, their lack can ruin a photo. Or not! If you want to make a person appear evil - why you'd want to I don't know - an old cinematographer's trick is to eliminate the catch lights!

Try it this Halloween, you may win a contest or two!

If you DON'T want your subject to appear evil, a catch light in both eyes is vital. So vital in fact that if photographers are using a lighting pattern where they are not getting a catch light, they will add a special "eye" light to their lighting setup.

Typically, an eye light will be of low intensity so it doesn't affect the highlights and shadows of the overall lighting pattern. It just puts a little glint in the eye.

In learning how to create various lighting patterns or trying to determine what type of lighting the photographer used, it is often helpful to examine the catch lights.

The eye acts like a mirror and will reflect the light source(s). By studying the reflections, we can determine how many lights were used, what type of light (diffused or hard light) and their general location in relation to the model.

These are all good things...

A bad thing about the refection showing the type of light, is that sometimes that reflection is unattractive and takes away from the photo. If you've ever noticed the reflection of a "ring light", it (to me) looks creepy and I think it is why ring lights are not more popular.

Btw, a "ring light" is an on camera flash that goes all the way around (rings) the lens.

So, bottom line, make absolutely sure you have a catch light - in both eyes - unless you have a specific and preplanned reason not to. This photo tip is one of the vital rules of portrait photography that should never be broken whether you are shooting people, pets or anything else with eyes.

To learn more and enroll in a FREE "photo tips" course, go to: http://ontargetphototraining.com/

Bonus... You will also get YOUR free copy of "7 Secrets To Stunning Photos!" AND you'll get a FREE daily photo tips newsletter! Check it out right now while you are thinking about it!

Dan Eitreim has been a professional photographer in Southern California for over 20 years - his data base exceeds 6000 past clients, and he says that learning photography is easy, if you know a few tried and true strategies.

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Photo Tip - How to Intensify The Colors In Your Portrait Photography!

Here is a photo tip that has gotten me more compliments on my portrait photography than you would ever believe! I am always hearing about how my colors are so intense and how my subjects "pop" out of the frame, etc.

It is soooo easy! In fact by the time you finish reading this article, you will be fully qualified to use this strategy yourself.

Here it is...

Photo tip - Turn on your camera's flash!

In another article we discussed turning your flash off when you are too far from the subject for it to help. With the Olympics just around the corner, watch some of the track and field events... as the runners go around the track, the flashes in the stands are going off like crazy. It's almost like a "wave" being done with light rather than spectators.

The bad news is, it's all a waste of battery power! None of those flashes are doing anything to improve the image - they are just too far away!

In today's photo tip, I say (if your subject is close enough) you should virtually ALWAYS use your flash!

We all know we need a flash when it is dark. We all know we need one when we are shooting indoors. But when you are outside even at high noon, your flash can be a true life saver!

High noon is the worst possible time to shoot! But we don't care. We can still get good shots.

Why is it so bad?

Those are the shooting conditions (the sun directly over head) that will give your subjects "raccoon eyes" or they will be squinting and totally ruin your portraits.

Here's what you do...

Block the sun in some way by putting your subject in shadow. Stick them in the shade of a tree, under a porch awning, in the shade of a building - whatever. I'm sure you know what I mean.

Now the sun is lighting the backdrop, but the subjects are shaded. It eliminates the "raccoon eyes" and squinting plus it gives a nice even - soft - lighting to the face.

But we have a problem. Our subject is darker than their surroundings. If we expose for the background, they will be too dark. If we expose for the subject the background will be too light and get blown out.

Answer - use your flash as a fill flash. This way you will balance the light between the subject and the background, while eliminating the problems associated with an overhead sun.

And as a side bonus using your flash, tends to intensify the colors and makes your subjects "pop". Try it once and you won't go back.

These little tips add up. Use this photo tip and your portrait photography will "pop" with added color and intensity. Before you know it, you will be the best shooter in your area.

To learn more and enroll in a FREE "photo tips" course, go to: http://ontargetphototraining.com/

Bonus... You will also get YOUR free copy of "7 Secrets To Stunning Photos!" AND you'll get a FREE daily photo tips newsletter! Check it out right now while you are thinking about it!

Dan Eitreim has been a professional photographer in Southern California for over 20 years - his data base exceeds 6000 past clients, and he says that learning photography is easy, if you know a few tried and true strategies.

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Photo Tip - Using Short Light And Broad Light Patterns In Your Portrait Photography!

The photo tip for today is: In your portrait photography, use "short lighting" and "broad lighting" patterns. Flat lighting will ruin your portrait photography! Caution... An on camera flash aimed at the subject will produce flat lighting. Bounce the flash off the walls, ceilings, off a reflector or something else. Never aim it directly at your subject.

I've discussed - many times - that you need to add shadows to your portrait photography to create depth and realism. It is the 3D effect of shadows that makes our photography come to life!

If you use flat lighting - where the face is evenly lit and there are no shadows - your portraits will look dull, lifeless and uninteresting. Plus it will make the subject's face look wider and heavier - which is something worth avoiding.

On the other hand, to be fair, flat lighting is a useful technique to tone down or eliminate acne or facial scars.

But, there are better facial blemish removal alternatives... Acne and scars are among the few times that I recommend using Photoshop and "fixing" the photo after the fact.

In other words, shoot using the best lighting pattern for your subject's facial shape and remove the acne later!

The two main lighting patterns we should be using are "short lighting" and "broad lighting."

In previous portrait photography photo tips, I have said that you should have the subject's head turned to about three-quarters to the camera. Straight on makes them look fatter, and more than a three-quarter turn is too much of a profile for most portraits.

Turning the head also makes one side closer to the camera than the other.

Obviously, to create shadows, your light has to be hitting your subject from the side. This is what will create one bright side and one shadowed side.

If the shadowed side is closest to the lens, it is called short lighting. If the shadowed side is furthest from the camera, it is called broad lighting.

Since the face is turned three-quarter to the side, creating short and broad lighting is simple, just move (or bounce) your light from one side to the other.

By the way, don't forget the sun. I've written this article using artificial light sources as my examples, but everything works with sunlight too! You can't move the light, but you can move the model!

It's not about the type or the source of the light, but about the angles from which it is hitting the subject. (Try doing a portrait using a flashlight. It's a fun experiment.)

How do we determine which lighting pattern to use?

Short lighting - where the shadowed side of the face is closest to the camera - is great for making faces look longer and more slender.

The ideas of what is beautiful changes in various countries, but for the most part a long slender face is considered more attractive than a round, wider one.

If your model's face is wide, round, heavy... Use short lighting to visually slim it down.

On the other hand...

While the world seems to be obsessed with fat and being overweight, there actually ARE thin people out there! Since they are already thin, short lighting could push it a bit too far.

In this case, use broad lighting. It will - depending on the depth of shadow, angles and so on - visually eliminate the too thin look.

Another good use for broad lighting is if they have a facial defect of some sort - like one eye is bigger than the other, they have a scar, whatever - use a broad lighting pattern and put the defective area in the shadow!

With a broad lighting pattern the shadow will be to the rear and the added distance from the lens will further visually minimize un-photogenic areas.

Plus, while minimizing the defect, it won't look unnatural. unnatural.

That's it for today's photo tip. In future photo tips we will discuss more about portrait photography lighting patterns but for now, practice using short lighting and broad lighting patterns. Grab a flashlight - have your model sitting in the dark and see what these patterns do to the face. Your portrait photography will dramatically improve, almost overnight!

To learn more and enroll in a FREE "photo tips" course, go to: http://ontargetphototraining.com/

Bonus... You will also get YOUR free copy of "7 Secrets To Stunning Photos!" AND you'll get a FREE daily photo tips newsletter! Check it out right now while you are thinking about it!

Dan Eitreim has been a professional photographer in Southern California for over 20 years - his data base exceeds 6000 past clients, and he says that learning photography is easy, if you know a few tried and true strategies.

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Photo Tip - Use Rembrandt Lighting In Your Portrait Photography For More Drama!

Our portrait photography photo tip for today is about "Rembrandt Lighting." This is a great lighting pattern to use if you are going for a dramatic mood in your portrait. Not every face is ideal for Rembrandt lighting but it is a powerful addition to your portrait photography lighting arsenal!

First, what is "Rembrandt Lighting"?

Rembrandt lighting is a portrait lighting pattern that shows one side of the face in highlight and the other in shadow - but on the shadowed side, the cheek has a triangle of light.

It is called Rembrandt lighting because the Dutch artist Rembrandt frequently used it in his portraits.

By the way... These photo tips are about ART, not just photography. They work for painters too! Art is art, it doesn't matter what format it is in.

Towards the end of the article there is a link to a Rembrandt self-portrait using this lighting pattern. Check it out.
Notice the triangle of light on his far cheek? That is the defining characteristic of this lighting pattern.

Many budding photographers shy away from using these advanced lighting techniques because they don't have any studio lights - so they think they can't do them! Let this be a motivator for you. Rembrandt didn't have studio lights either! (He didn't even have electricity.)

This - and all of the other lighting patterns - can be used with any light source, not just studio lights. Windows, the sun, reflectors... it just doesn't matter. It's the shadows that matter, not the source of the light creating them.

While the portrait shows the pattern being used with a broad lighting pattern. It can also be used on top of a short lighting pattern.

Remember, broad lighting is when the side of the face furthest from the camera is in shadow. Short lighting is when the side of the face closest to the camera is in shadow.

Since shadow areas tend to visually recede, broad lighting makes the face look wider - more broad. That's where the pattern's name came from!

Since most of us want to look thinner, you will most likely be using the Rembrandt lighting pattern with a short light base in most of your portrait photography. But, not always, so learn and practice creating it both ways.

How to create the Rembrandt lighting pattern?

It is easy. Position your subject so the light source is to the side and higher than their head. Then have them turn slightly away from the light source. (Or move the light source if it is mobile.)

One problem you may encounter is that if you are using light from a window or a large reflector, some of the light may be coming from too low of an angle and mess up your pattern.

Just cover up the bottom part of the light source and block off the extraneous light. Problem solved.

In a previous article on loop lighting, we discussed not letting the shadow from the nose touch the shadow on the cheek. In Rembrandt lighting they do intersect. That is what creates the triangle.

Caution: Be sure that the shadowed eye has a catch light or it will look dead, dull, lifeless and any other nasty name you can think of.

Some subjects will have facial and/or nose shapes that don't easily lend themselves to this pattern. In this case - make sure you are doing it right, and if it isn't working - do something else. Another lighting pattern will be more suited to their face.

The Rembrandt lighting pattern is a good one for adding drama to your portrait photography. It is also one of the classic photo lighting patterns and every photographer should be comfortable in using it.
Here is a link that shows a self-portrait of Rembrandt using the "Rembrandt Lighting" pattern.

http://en.wikipedia.org/wiki/Rembrandt:_Self_Portrait_%28Altman%29

Today's photo tip / assignment is to learn the Rembrandt lighting pattern and USE IT in your portrait photography! It can definitely separate you from the crowd!

To learn more and enroll in a FREE "photo tips" course, go to: http://ontargetphototraining.com/

Bonus... You will also get YOUR free copy of " 7 Secrets To Stunning Photos! " AND you'll get a FREE daily photo tips newsletter! Check it out right now while you are thinking about it!

Dan Eitreim has been a professional photographer in Southern California for over 20 years - his data base exceeds 6000 past clients, and he says that learning photography is easy, if you know a few tried and true strategies.

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Photo Tip - Why You Need A Fill Light In Portrait Photography!

In the last few photo tips articles, we have been discussing portrait photography lighting patterns... Short, broad, split, the loop pattern, Rembrandt and finally the butterfly lighting pattern. Today's photo tip is about controlling the pattern's shadows with a fill light.

Each of our patterns has their good and bad points and will be perfect for some faces and terrible for others. If you haven't done any experimenting to master them, I suggest you make that your weekend project!

These patterns are essential building blocks to mastering portrait photography.

As photographers, we tend to concern ourselves with light, almost to the exclusion of everything else - but shadows are just as important! In fact, each of the lighting patterns we've been discussing is named for the type of shadow the light source casts!

This lighting pattern series has been all about building them with one light - the main (or key) light - and how to position it to get the lighting pattern most pleasing for any specific facial type.

While it doesn't matter what sort of light it is, it could be a studio flash, the sun, a window, a reflector even nothing more than a flashlight - it is important to have the shadows to add depth and life to our portrait photography.

But, when we look at portraits done by professional photographers, we note that they almost always have more than one light source. Typically they have three and as many as five or six!

Why? And how do we know when more lights are needed and where to put them?

Again, it all goes back to the shadows!

Suppose you are using a short lighting pattern to help visually narrow the subject's face. This works because - visually - shadows tend to recede and lit areas come forward. Since the shadow is closest to the camera, it makes the face look thinner.

But, the color and depth of a shadow can impart emotions and feelings into a portrait that we don't want! If we are using one light, we will have a sharp line dividing the highlight and shadow areas and we lose all the detail in the shadow area.

The shadowed area can be very dark - which if we want a lot of drama and emotion in our portrait, that's a good thing... but what if we don't want all the drama? Obviously, we need to lighten the shadow, while still maintaining our slimming light pattern.

To do this we add a second light. This is called the "fill light". It's named for the fact that this light fills in the shadows!

With a fill light, we can now have total control over the shadows! We can turn it off and have totally black shadows or we can turn it up and have the shadows virtually disappear - and anything in between!

Note: if we have the same amount of light intensity on the fill light as the main light the shadows are gone. If we have MORE light on the fill light, it will cast a shadow on the (previously) lit side. If it does this, it becomes the main light and the other one is the fill light. In other words the fill light is always of equal or lesser intensity than the main light.

To get an understanding of the fill light and what it does, look through your favorite magazines and first try to determine the lighting pattern, then where the main light was positioned and whether or not they used a fill light. If they did use one, why? If not - why not?

In portrait photography, the depth of the shadow is as important as the quality of the light and will make a huge impact on your viewer's perceptions. We control the depth with a fill light.

Use today's photo tip to start thinking about how you can use lighting patterns and a fill light in your portrait photography to start controlling your viewer's emotions - and you will be on the way to consistently winning photo contests.

To learn more and enroll in a FREE "photo tips" course, go to: http://ontargetphototraining.com/

Bonus... You will also get YOUR free copy of "7 Secrets To Stunning Photos!" AND you'll get a FREE daily photo tips newsletter! Check it out right now while you are thinking about it!

Dan Eitreim has been a professional photographer in Southern California for over 20 years - his data base exceeds 6000 past clients, and he says that learning photography is easy, if you know a few tried and true strategies.

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Photo Tip - Master The "Loop Lighting" Pattern For Portrait Photography

In previous articles, we began our study of lighting patterns for portrait photography with broad lighting, short lighting and split lighting. Now for today's photo tip, let's move into "loop lighting!" In portrait photography, this one tends to be one of the most popular. It is easy to do and is flattering to most of our subject's facial types.

Remember that it is shadow that defines form in a photograph. This is such a key concept, we even name all of the various lighting patterns by the shadows they create!

While we always have to think about the light in photography - never forget the shadows!

In a "loop lighting" pattern, we adjust our light so that the shadow of the nose shows up on - and forms a little loop upon - the subject's cheek, traveling down as far as the corner of the subject's mouth.

In our previous studies of lighting patterns, we've been discussing the lights and shadows as if the light source was even with the face, the eyes to be more specific. This creates a shadow with no upward or downward slope.

In loop lighting, we want a slightly downward angled shadow (not too much) so we raise the light slightly above eye level. We want the end of the nose to cast a rounded - looped - shadow down from the nose to around the corner of the mouth. Or even a bit shorter.

The shadow goes off to the side; it is not directly under the nose. The area between the upper lip and the nose (the philtrum) remains unshadowed.

Of course, shadows are cast directly opposite to the light, so to get a shadow going to the side and down, we need a light positioned on the opposite side and up.

Start with the light is off to the side at approximately 45 degrees from the camera. Then tweak and adjust from there. Depending on the subject's face, the best angle may be a bit more or less than 45 degrees.

Pose your model - set your light a bit above eye level, move it to about 45 degrees to the camera and see where the shadow from the nose is!

If needed, move the light up and down and side to side until you get the desired shadow shape. Depending on the shape of your model's face - and nose - this adjustment could go from 45 degrees to as little as 30 degrees. Or in some cases it could even go past 45 degrees.

Keep in mind that you want to keep this shadow small. The light should travel down the nose (with the opposing shadow between the nose and cheek) and continue from the bottom of the nose creating a loop shaped shadow running towards the corner of the mouth.

This lighting pattern is good for people with average, oval shaped faces. Because of the downward sloping angle of the "loop" it will visually lengthen the face a bit. And, to a lesser extent can give the appearance of slightly higher cheekbones.

Grab a flashlight and your favorite subject. Have them sitting on a chair and start experimenting with light and shadow. Figure out how they have to angle their face for short and broad lighting...

Determine where the light has to be for split lighting, and then adjust it to create loop lighting.

Which do you think is better for their face? Why?

The concept of "loop lighting" may seem so basic and easy to understand that you will most likely want to skip the exercise, but don't. Get comfortable with not only understanding these portrait photography photo tips, but actually doing them! That's when the learning starts!

To learn more and enroll in a FREE "photo tips" course, go to: http://ontargetphototraining.com/

Bonus... You will also get YOUR free copy of " 7 Secrets To Stunning Photos! " AND you'll get a FREE daily photo tips newsletter! Check it out right now while you are thinking about it!

Dan Eitreim has been a professional photographer in Southern California for over 20 years - his data base exceeds 6000 past clients, and he says that learning photography is easy, if you know a few tried and true strategies.

View the original article here