35 rules of good potraits

Rule # 1. No Sleeveless Clothing in The Head and Shoulders Portrait. I took the image on the left, cloned her blouse several times in order to cover her right upper arm. Note the difference as to where your eye is drawn when you view the image. In a portrait the first thing you should see is the face.

Rule # 2. "No shorts in group portraiture." That is because our eyes are attracted to bare skin, and that is why the ONLY bare skin that should show in PORTRAITURE is the face. Remember, the FACE is what portraiture is all about.

3. Avoid Bright Colors and Bold Patterns in Clothing. The idea of a portrait is to see the face of the subject. Brightly colored clothing and bold patterns draw the eye away from the subject's face. (This is especially true in the head and shoulders portrait.)

4. Avoid Football Shoulders-The body should not be turned straight to the camera.

5. Solid Pyramidal Base - The body should not be turned 90 degrees away from the camera. 45 degrees is usually the ideal angle for the head and shoulders portrait. Posing someone at a 90 degree angle to the camera does not allow the head to appear to have proper support. After posing the subject at a 45 degree angle, bring the arms out to form the sides of the pyramid.

Lastly, Sit Tall- (Rule 7) Do not allow your subject to slump over or get round shouldered.

Rule # 6, Correct Posing Stool Height- I have found that a 24 inch tall stepladder works wonderfully as a posing stool for nearly all of my traditional head shots, provided my subject is not very overweight. For the overweight subject use a taller stool to allow their paunch to drop. I added a wider top rung (the seat) to the wooden ladder because most people's buns are wider than 4 inches!

In the image I posted below, you can see my modified stepladder. It also shows how raising the leg closest to the camera will tilt the torso (and the shoulders) slightly away from the camera, which happens to be Rule 9. This rule applies to females only.

9. (Females) Lean Slightly Away From The Camera. I also place a small wooden wedge under the buttock closest to the camera. This will keep the shoulder that is closest to the camera higher than the other one, but will still allow the subject to relax. I added "sides" to my widened top rung with slots on both sides for the wedge to fit into.

Rule 8. Lean Forward Slightly-"Over the belt buckle." This eliminates the static straight up and down look and will give a feeling of movement and motion to the portrait.

Rule 10. Project The Chin - Especially if your subject has a full or double chin. By projecting the chin out toward the camera and using a slightly higher camera position the double chin can be nearly eliminated. Photoshop can finish the rest!

11. Proper Head Tilt- Never tip a man’s head to the high (feminine) shoulder as he will look feminine. Women's heads can be tipped toward either shoulder, but the feminine shoulder is more appealing.

Rule # 12. Proper Eye Direction-Generally speaking, in males the eyes should follow the direction of the nose. For females there should be slightly more whites of the eyes on one side than on the other. Rule 12a. The eyes should never be turned so far in their sockets that there is no white area on one side. A slightly higher camera angle will give more whites at the bottom than at the top which is more appealing in images of young females. In the image below the subject is staring up into space. Some wise sage once said; "The eyes are the windows to the soul." This is not to say that every image must have the subject looking directly at the lens, but it seems most people like images that the subject is looking at the camera (them) and sales data will bear this out to be true.

Rule 13. Proper Camera Height - Generally speaking, the camera lens should be at about eye level for head and shoulders portraits, chin level to chest level for ¾ length and chest level to waist level for full length portraits. An even lower camera height for heavy set brides, that are posed standing, will make her appear taller and more "regal."

This rule is perhaps the one I break most often. Just as I will not tilt the head of a 60 year old female as much as I will of a 16 year old female, I also don't usually stand on a step ladder or stool to photograph a 60 year old woman, but I do for a girls high school senior portrait. A higher camera position in head and shoulders portraits of high school seniors will give their eyes a more "glamourous" look. If the 60 year old woman wants to look glamourous, I will of course use a high camera position (or if she has a double chin) it all depends of the final use of the image.

In the image below, I broke rule 13. I was on a step ladder about nine feet above the subject in the second image and at ground level for the first image. Note how much thinner she appears in the second image. This seems to work best for subjects seated on the floor.

Rule 14. Use The 1-2-2 or The 1-3-2 Posing Technique. Males look best with the 1-2-2. Females look best with the 1-3-2 technique. For a complete run down and additional information on this technique see my posting in this tutorial sub-forum entitled The 1-2-3 Posing Technique. The images below shows both.

Rule 15. Avoid Flat Lighting. Portraits usually look best with one side brighter than the other side. When the shadow side of the face is closest to the lens it is called short lighting. Short lighting will make the face appear narrower and more slender. If the shadow is on the side opposite of the lens it is called broad lighting. Broad lighting will make the face appear wider and heavier. Flat lighting is where there are no shadows on the face at all. On camera flash will give you flat lighting. In the image below, the flat lit image was lit with my home made ring light, the other with a 24 x 32 inch softbox with louvers at camera right.

Rule 16. Watch the Nose and Cheek Line-The face should not be turned so far away from the camera that the nose will break or nearly break the far cheek line. This will make the nose look large. 16 a. The far eye should either been seen completely or not be seen at all, but one should never photograph the face so that only 1/2 of the far eye shows. Note that this pose will also cause the subject's eyes to have too much white on one side of the eye as opposed to the other side of the eye (a violation of rule 12.)

Rule 17. Avoid Clutter - Simplicity is usually best! Too many props in an image or a busy, sharply focused or brightly lit background will create confusion for the eye.

17 a. Busy clothing will create confusion for the eye. The eye should immediately be drawn and rest upon the subject. Using a telephoto lens with a large aperture will give you short depth of field which will blur the background.

Rule 18. Crop Between The Joints, Not At them. Cropping at a joint makes the subject appear amputated. Several months ago, I critiqued an image on the 'net that broke this rule and the image maker responded that he sees "amputated" limbs in fashion magazines all the time. I told him he needs to keep two things in mind. 1. He was seeing the image after the art director of the magazine had cropped the image to fit the space allowed in the magazine, and these rules are mainly for the portrait photographer.

Rule 19. Watch Recessed Cheek Line with Glasses. I usually have the subject obtain empty eyeglass frames which will solve the problem immediately. Otherwise you may have sacrifice good lighting and turn the head straight toward the camera.

Rule 20. Don’t Overuse Hair and Kicker Lights-The hair light should kiss the hair, not blast it. Same for the kicker lights.

Rule 21. If It Bends, Bend It-This rule is perhaps the single most important rule. 21 a. Wherever there is a joint, “break” it. Combining these rules along with Rule 8 (Lean the body over the belt buckle, Rule 9 Lean slightly away from the camera Rule 31 If the subject has two of them make them different and lastly Rule 32 (A general rule) Avoid 90 Degree Arms will create a very dynamic image devoid of any staticness. These rules are basically true whether the pose is a head and shoulders pose or a full length seated pose.

Note in the posted image nothing is straight (other than her wrists) or straight up and down. She is at a 45 degree angle to the camera, leaning back, her hips are canted, her shoulders are slightly tipped, her head is tilted, her back leg is bent, both elbows are bent, all of her fingers are curled and even her eyes are not straight in their sockets (Rule 12.) All of this bending, leaning, tilting, twisting and turning also helps in following Rule 31, If The Subject Has Two of Them, Make Them Different. Note her hands are not at the same height nor are they across from one another, her elbows are at different heights, her knees (even though you can't see them) are at two different heights.

Rule 22. Don’t Stack The Hands or Clasp Them Together-Seperate them and place them apart and between the joints. Hide the rear hand if possible in group portraits. I've posted three images showing how this rule was broken three different ways.

Rule 23. Subdue the Near hand-The hand that is nearest to the lens will appear larger than what it actually is. 23 a. Don't project the hands toward the lens and keep them within the range of focus. 23 b. Generally speaking, if the hand is above the subject's waist, the fingers should be directed upwards. If below the waist, the fingers should be directed down. The little finger side of the hand photograph's best. I will post an image that does NOT break this rule.

Rule 24. Don’t Photograph The Back of Women's Hands. The sides are much more graceful than the flat of the hand. Fists are masculine, open hands are feminine. Note how much more graceful the edges of the hands of the young lady in the second image looks when compared to the flat back of the hand in the first image.

Rule 25. Place the Weight on the Back Foot- and shift the hips (with standing poses.) This will put the hips and shoulders at a pleasing angle. Ask the subject to point her foot that is nearest to the camera toward the camera and shift her weight to the back hip. This means the front leg and foot will have no weight on it. She should then bend her knee slightly toward the other leg. This will give a pleasing “S” curve to her body.

Rule 26. (Couples Portraiture) Do Not Photograph Two Heads at the Same Height- Ideally the eyes of the shorter subject (usually the female) should be at the same height as the mouth of the taller subject.

Rule 27. (Couples or Group Portraiture) Have No Head Directly Above Another-All heads should not only be at different heights but also not directly above another subject.

Rule 28. Avoid Crotch Shots-Raising the leg that is closest to the camera in a standing pose will prevent shooting into the subject’s crotch. In groups, turning the subject's body to a 45 degree angle and keeping the legs together should prevent shooting into the crotch. This rule has been "relaxed" in the last decade or so for high school senior images, especially for boys and to a somewhat lesser extent for gals.

Rule 30. If The Subject Has Two of Them, Make Them Different. Feet, knees, arms, hands and elbows at different levels are more interesting than when placed side by side. Note in the posted image that everything that can be made different has been made different. His hips are not level, his shoulders are not level, his head is tipped to the masculine shoulder, he is leaning slightly, his knees, feet, arms, hands and elbows are not side by side but are placed at different and multiple levels. Sameness leads to boringness in a photographic image.

Rule 31. Avoid "90 Degree" Arms (a general rule for females.) Don Blair called these arms "Carpenter's T square arms."
Gently flowing lines usually look best in portraits of women.

Rule 32. Don't Shoot Into a Bare Armpit. Either cover it with something or raise the opposite arm and bring the near arm down. I've seen bare armpits covered with the young lady's long hair, flowers, toul, strips of cloth, and small props. With long sleeved clothing shooting into an armpit is usually not a problem. In the example image I covered one with her long hair, and I heavily retouched the other.

Rule 33. (Group Portraiture) Have the subjects at either end of the image face in toward the center. This will keep the viewers attention on the subjects. I also use this technique in my high school senior foilios. The images on the left side of the folio all face to the right and those on the right face left. The master painters of the Rennaissance used this technique to keep the viewers attention within the painting.

Rule 34. Use A Telephoto Lens- Short telephoto lenses will prevent foreshortening, which is where objects nearest the lens will appear larger than objects farther away. Use of a short telephoto lens in group portraiture will make all the faces approximately the same size regardless of whether they are in the front row or the rear row. (I used a short telephoto lens in the family image above in rule 33.)

Rule 35. Avoid Posing A Bride Kneeling on the Floor. The wedding gown is designed to look "correct" and usually flows beautifully (and therefore photographs best) when the bride is standing. A bride seated on a posing stool is of course perfectly acceptable.

Photographing fireworks

Fireworks are fantastic to see in photos but are really hard to shoot well. There are a number of techniques that can allow you to take some spectacular shots of fireworks.


Plan in advance. Make sure you have an unobstructed view of the fireworks by arriving well before the show begins. Find a place away from light sources (signs, lamps, car lights) and where people won't walk in front of you. Finally, make sure you're upwind of the fireworks display. Fireworks create smoke that will obscure the display if the smoke is between you and the explosions. On the other hand, smoke behind the explosions will reflect the light and make a better shot.

Use a Tripod. This is essential for fireworks photography as most of your exposure times will be between 1 and 15 seconds.


If you don't have a tripod handy, you will get some camera movement. You can counter this and create a special effect by exaggerating the movement by moving the camera in a circular motion, or zooming in.

For best effect, you really need a camera where you can control the shutter speed and the aperture. Some cheaper P&S cameras may not allow you to get the best results, but it's always worth trying to see how you go.

Use long exposure times (keep the shutter open for a long time). You will want to capture both the initial explosion as well as the trails left behind by the burning particles. Anywhere from just under a second to more than 15 seconds will work. Try a few different options and use what's best.

If the sky is black, you can leave the shutter open for a long time and wait for the right firework to be in your viewfinder. Alternatively, you can cover the lens with a piece of black cardboard until the right firework arrives.

If you can't control the shutter speed, take LOTS of shots. Use Continuous mode to keep the camera shooting. Some of the shots won't work, but you should get 3 or 4 good shots for the night.

Use a Cable Release or remote control. This is a button on a lead that allows you to tell the camera to take the shot without moving the camera itself. If you use the shutter release on the camera, you can wobble the camera too much and produce unwanted effects. If you don't have a cable release, you can use the timer function of the camera so it takes the shot a few seconds after you press the button. Note you'll need to pre-empt the firework so the camera shutter is open at the correct time.


Focus. Most of the time all fireworks will be the same distance from you, so you can use the same focus setting on your camera for the whole show. Use the first few fireworks to set the focus and set your camera to use that for future shots. This will save a second or two in focus time for each image. If your camera can't preset focus, set it to Landscape Mode.

Turn off the flash. If you can't turn it off, try covering it with something like tape.

If you want full-framed shots, you should use a telephoto lens. Keep your tripod head loose and follow the tracer with your viewfinder. Release the shutter when it explodes. To include most of the fireworks in a scene, the regular lens is fine. Zoom in enough to compose all your fireworks.

Make sure there are no unwanted buildings or lights in frame that will distract from the final shot.

Merge the fireworks together using Image Manipulation software. It's a lot easier to get an image with lots of fireworks if you take lots of images separately and merge them together afterwards on a computer. You can even make some fireworks appear smaller or larger to make a more balanced and pleasing composition. The quickest way to merge firework images is to use Photoshop and the "Screen" layer merge option.

Every situation is unique so the best advice is to go to a place that regularly runs fireworks shows and get lots of practice.

Night scenes are some of the most difficult to shoot and get right in digital photography. My book, "Digital Photo Secrets" has not only these fireworks tips, but lots of other techniques to help you with other difficult lighting settings such as at sunset or at night.

Stop Blurry Images


It's one of the biggest problems that can occur with cameras - Blurry Images. Angela, a tips subscriber, emailed me last week asking if her camera was working OK. She had taken a lot of shots of her daughter's 21st birthday, and they were all blurry.

Have you taken shots like this before? Blurry images are usually a by-product of taking a shot using your camera's auto mode, but without using the flash when there is low light (such as when you are indoors or at night).

An even bigger problem for Angela was that she did not know about the blurry images until she uploaded the images to her computer a few days later. She had been using the LCD screen but didn't realise that because it's so small, it won't show if any images are blurry.



Why does the image turn out blurry?
Well, technical reason is that the camera moved while the shutter was open. In low light the shutter needs to be open for longer so the camera gets enough light to properly expose the shot. That's why holding your camera in your hand works OK in daylight - because they're more light and the shutter is open for less time.

How do I fix it?
While it's impossible to fix an already blurry image, there are a number of ways to ensure future images are ultra sharp - each with it's benefits and disadvantages.
1. Turn on the flash! Modern cameras warn you if they think a flash should be used - usually by flashing a hand symbol (which basically says you'll get a blurry image if you take the shot while holding the camera in your hand). A flash will provide enough light for the camera to use a quick shutter speed and stop the blurriness. The disadvantage of using a flash is the flash light 'dies away' quickly, so only the subjects close to the camera are fully lit. The background will be very dark.

2. Use a tripod. This will steady the camera while the shutter is open. When shooting people, you also need to ask them to be still while the shutter is open. You also need to be aware that your finger depressing the shutter button will shake the camera, so you should use either the timer, or a remote trigger, so the camera is still when the shot is taken. This method works well when you want to take shots of inanimate objects, but not so well when taking shots of people, such as in this photo.

3. Use "Shutter Priority Mode". Some of the more expensive cameras have a shutter priority mode that you can use to override the camera's default shutter settings. Using this mode, increase the shutter speed as far as you can go. The camera will compensate by opening the aperture more (to let in more light) and also increasing the ISO value (so the camera needs less overall light to get an acceptable image). If you use this method, your images may turn out to be too dark, so either take a few shots at different shutter speeds, or increase the EV level to brighten the image. This method also tends to increase the 'noise' in the image.

I also recommend practicing. Practice taking some more indoors shots using each of the tips above. Make a note of which settings you used for which shots, and then check the images on your computer. Note which ones turned out best and use those settings next time you need to take shots in that situation.

Learning how your camera works beforehand can go a long way to ensure photos of your special occasions don't end up in the digital dustbin.

Nice Shot of Baby - Maybe
by Kenneth Hoffman


When a new addition to the family arrives, the cameras pop out like weeds

in the garden. Unfortunately, most of the pictures, while enjoyed, never quite capture the cuteness of the new baby. Here are some tips to help you do the little darling justice.

First, let me advise you never to use a wide angle lens for a baby picture. The foreshortening of a 28mm focal length lens will be sure to (1) make the baby's nose appear larger, (2) reduce the size of their ears to looking smaller and out of shape, and (3) probably cause an overexposure of the image due to the closeness of the flash to the subject. One the other hand, a short telephoto lens (100mm) will reproduce our angel's features to a normal proportion, all of his (or her) different parts presented in the proper ratio. Even a small distortion of proportion has a definite (and detrimental) effect on the features.


While I'm not excluding taking pictures at night with a flash, I am recommending that you wait for daytime for that wonderful light coming from your window. Turn off the flash or cover it with two layers of white handkerchief. A setting of 200 ISO should be sufficient for a good exposure. The bottom pane is the one with the most photogenic light, so if you can, close off the upper part. Try raising the mattress in the crib so that you can see the baby without looking down. Soft light from the sky or light reflected off clouds produces a three dimensional rounded effect especially flattering to a baby's face. If the room is furnished in dark colors, place a reflecting surface near the baby to fill in the shadow. Use a tripod or other support and shoot away.

Try different angles: a high angle looking down, a position on the opposite side of the crib (turn it around), or even through the bars. Avoid using the macro setting on a zoom lens, since this setting most often incorporates a wide angle focal length. Find the closest distance possible on your short telephoto lens (85mm - 120mm) and stand at that distance. A two diopter close-up attachment lens could halve this distance for super close-ups.

For twins, try to have one sit and one stand. The diagonals produced in the composition introduce a dynamic note to the picture. Important is to have all eyes pointing in the same direction. A squeeze toy helps.


Don't forget the comic possibilities of baby photography. A cold piece of lettuce often produces a variety of quizzical expressions. A slice of lemon brings a riot of surprised and sour looks. A messy finale to a noon time meal is best enjoyed at a distance. Tickling feathers, air blown through a straw or a spray of water from a hidden source can supply an endless source of comical expressions. Before long, you'll have them captured forever in pictures and in your hearts!

Want to know how to take photos in specific situations such as at weddings, at the beach, of lightning, or flowers? Then take a look at my 267 Simple Tips for Sensational Photos book. It's full to the brim with handy tips and techniques for lots of common situations.




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Digital Camera Modes - Advanced Modes
Digital Photography Bonus Secret
by David Peterson
Once you've mastered shooting with basic modes, try some of the more advanced modes your camera supports. When starting to use these modes, I recommend some experimentation so you get familiar with each mode and how it changes the final photo.
Program Mode
This mode is similar to the Auto function in that the camera does some of the work, but you still have some control over how you want the photo to look. Program mode allows you to select from one of a number of shutter/aperture combinations for a specific exposure. I suggest learning how the different modes affect the shot by setting your camera on a ledge or tripod and shooting a scene with each of the different program modes. Notice how each mode changes what you see with the image.
Aperture Priority / AV Mode
This mode allows you to set the aperture setting for your camera and let your camera choose the appropriate shutter speed. Changing the aperture allows you to control the depth of field in your image - basically so you can choose how much is in focus.
Shutter Priority / Time Priority / TV Mode
Use Shutter Priority when the portrayal of motion is most important. When you want moving objects to blur, choose a slower shutter speed. A fast shutter speed will freeze your subject. The camera will select the appropriate aperture for a correct exposure.
Manual Mode
Here you can choose both the shutter speed and aperture to get just the setting you want. This mode gives you total control over the depth of field, lighting and motion in your images.
Most professionals use Aperture Priority, Shutter Priority, or Full Manual mode because they provide the most control over the image. All these extra settings do take some learning though, so I recommend trying one mode at a time and see how it affects the images you take.

Photo Review
by Curtis Routh
Professional reviews of photos are one of the best ways to improve your photographic skills. By studing what works and doesn't work, you learn to shoot more 'winners' yourself.

Curtis Routh has kindly agreed to review the following photos for me. Curtis runs a photography business called LeaveTheCamera.com and his insignts are very valued. Click on the photos to comment on the image, or rate it yourself.

Tired of Waiting by tsiklots

Tired Of Waiting
Overall: This is a very intriguing photograph. I have looked at it...gone away...came back and looked some more. This is the type photo that a great photographer is happy to get and should be in a "How to" B & W manual.
Summary: I cannot find a thing wrong with this photo. From trying to see what is outside, to the loosely hung curtains, to the pajamas he is wearing...to the half loose blinds....to the leather sofa. It's all there! The lighting is very good. There is major light coming in from the front and minor light highlighting his back and the scar on his arm. His little ear barely comes through and looks as if, even though he is sleeping, he could be listening. The black & white medium sets it off even more. This could be early morning or late afternoon. Either works well. I would love to see the original in color.

I give this picture a 9.9. A little more light might have brought out a few more of his features. Very wonderful shot. I like it very much. Congratulations on a great picture!


Up For Air by MikeK

Up For Air
Summary: I love nature shots. Especially in the raw and up close. The colors are very vivid and the detail is a testament to the glass and camera you are using. The depth of field is very good. I really like the scum bubbles in the water (lends to the fact of where they actually live). His eyes are very clear. You can see he is checking you out as much as you are him. Good exposure, great detail, and the colors are really outstanding. The AWB worked well in this shot. The focal point is his eyes. I like it. I like the title, too. Very accurate portrayal of the meaning of the shot. Overall, this is one of the best nature pictures I have seen on the site.
Improvements; The tight crop is great for detail, but it is almost disappointing not to see the rest of his reflection in the water. A little looser shot might have added a complete head reflection in the water. The shiny spot on his nose draws my eyes. I would like to see this shot after softening the bright spot in P.S. or another editing program. One step up in color saturation (P.S. or custom parameter) would have made the green jump off the page. I feel the colors, although very accurate, are a little flat. Contrast is good. Mood is good. Overall I rate this picture at a 9.8 Great job. I know these critters don't sit still very long. I give a 10 for catching the shot!


Daisy Kaimai by maryann

Daisy Kaimai
The setting for this photo is a stark contrast between light and dark. The flower is very prominent in the picture and the blurred, dark background gives a sense of foreboding drama. Kind of like good verses evil. It looks as if a flash were used to highlight the flower. This provides a definite contrast between light and dark as the flash falls off.
Improvements: I think the picture would be more interesting if the background were in focus ( a least a little). It would certainly make it easier to see where this was taken. Looks like it was taken near a pond or lake. Don't discount detail in the background. It is a little out of focus and I feel the flower would have been better served if it were more centered. I love the different light and dark colors. The blue in the center would have made the flower jump off the page. This would have made a happier picture if the white was more predominant than the dark. A little closer zoom would have brought out more detail in the flower. A tripod, if not used, would have worked well in this light.

Overall: I think this a great shot. The flower shines like a brand new dime in a bucket of old pennies. It says there is light, even in the darkness. I like the deep blue color in the center. It adds yet another perception of depth. I feel the overall rating of 8 is right on. Good picture!


Bobo by girdnerg

Bobo
Summary: Very nice photograph. I like the tight crop and the big brown eyes. The little shiner tells of recent boo boo. Nice touch. The lighting is good. Good skin color (a little pink). Flash worked well.
Improvements: I can't tell if that is an arm or leg in the photo. I think just her face would have worked better. Nice contrast between the foreground and background. Digital re-touch to remove the little blemishes off her forehead and nose, along with only her face, would have brought my full attention to the black eye(s). Overall a very nice shot. I give it an 8.5. Beautiful girl. Hope the eye gets well soon. Makes me want to say "ahhh".


Me & Grandpa by girdnerg

Me & Grandpa
Summary: Nice photo. Good light and good contrast between the green water and blue inner tube. I like the rugged forest in the background. Good reflection in the water down low. water gives a sense of motion.
Improvements: I would like to have seen the subjects a little closer to the trees in the back. There is too much to look at between the subjects and the background. The bright sunlight gave way to great color and detail, but it also caused both subjects to squint. Looking away from the light source for a few seconds and then looking back into the frame would have made for more natural facial expressions. I would recommend a half step down on the exposure to prevent the washout on the subjects and water. A polarized filter would have deepened the water and added color overall. I would have recommended a 5.6 aperture setting to darken this shot down a little. Overall I think it is a very good effort in very bright sunlight. I like the picture. Looks like fun. I give this shot a 7 overall.

I know all of this is a lot to think about when capturing the moment, but that can be fixed by taking several shots with varying aperture settings. Click, click, click. Pick the best.

More on Unusual Angles

Hold your camera at waist height and click while walking around. Some photos will be blurred, but you can usually find some that are very good. This works particularly well in sunlight when walking around a tourist area.

When shooting any subject with a lot of straight lines (like someone on a fence), turn the camera 45 degrees to give a diagonal look to your image that enhances the mood of the picture.

Sometimes the best images need to be taken from unusual locations such as from the top of a building (for a birds eye shot) or right down on the ground. Also point the camera different ways .including straight up or straight down. Don't be afraid to try different angles. Placing your camera at angles of 30 degrees from the horizontal or vertical lines work well.

When finding that great angle, don't worry about looking the fool! Being self-conscious will affect your ability to find great angles, your concentration, and maybe even the quality of your photographs.

You don't need to go to extremes to find a great angle - even standing on a step, or getting down onto one knee can make a lot of difference.

To make small things look large, lie on the ground and hold your camera towards the sky. This will make your small subject look like a giant! This also works well for tall buildings such as lighthouses.

Digital Camera Modes

-->Most people use the automatic mode of their camera and it takes good shots in most situations. It is often very helpful though to let the camera know what type of shot you're trying to take. This allows the camera to select the best settings for that particular image.
This can be done by changing to a different camera mode. In today's tip, we'll explain each of the different modes, when to use them, and what decisions the camera makes for each mode.

Full Auto / Green Mode
This is the mode that I recommend you start out with. It provides fully automated 'point and shoot' operation. All you need to do is frame the image and press the shutter!
Basic ModesWhen it's time to experiment with other settings, try using the basic modes first. Choose the mode appropriate for the image you want to take, and start shooting!

Landscape Mode
Use Landscape mode to take photos of mountains, scenery or cityscapes. Anytime where the whole image - both the foreground and background - needs to be in focus. Setting Landscape Mode will tell your camera to select a small aperture which will give a large depth of field and ensure the whole image is in focus.

Portrait Mode
Select Portrait mode when you want to take a shot of a person - usually showing their face. The best portraits are where the subject is in full focus, but the background is out of focus, so the camera increases the aperture in this mode to get a small depth of field. This places only the subject in focus.

Sports Mode
Sports mode is perfect for fast action shots. It ensures the camera uses a fast shutter speed so you can take photos of moving subjects without motion blur. Also, on some cameras the continuous shooting mode is enabled so the camera keeps taking shots as long as you depress the shutter.

Macro Mode
Close up shots of flowers, insects and the like require the camera to focus on an object that's really close to the lens. Macro mode provides just that setting by using the macro lens of the camera.

Night Mode
Use Night Mode at night, or at dawn or dusk. This is where you want to make best use of what little light is available. The camera will choose a slow shutter speed and turn off the flash. Try to place your camera on a tripod or keep it steady some other way when using this mode to ensure your images stay sharp.

Beach and Snow
Some cameras provide a "Beach and Snow" mode. This mode is for use when shooting highly reflective scenes - like at the snow. The camera will compensate for the bright scene and ensure the image is exposed correctly.

Digital Camera Modes

-->Most people use the automatic mode of their camera and it takes good shots in most situations. It is often very helpful though to let the camera know what type of shot you're trying to take. This allows the camera to select the best settings for that particular image.
This can be done by changing to a different camera mode. In today's tip, we'll explain each of the different modes, when to use them, and what decisions the camera makes for each mode.

Full Auto / Green Mode
This is the mode that I recommend you start out with. It provides fully automated 'point and shoot' operation. All you need to do is frame the image and press the shutter!
Basic ModesWhen it's time to experiment with other settings, try using the basic modes first. Choose the mode appropriate for the image you want to take, and start shooting!

Landscape Mode
Use Landscape mode to take photos of mountains, scenery or cityscapes. Anytime where the whole image - both the foreground and background - needs to be in focus. Setting Landscape Mode will tell your camera to select a small aperture which will give a large depth of field and ensure the whole image is in focus.

Portrait Mode
Select Portrait mode when you want to take a shot of a person - usually showing their face. The best portraits are where the subject is in full focus, but the background is out of focus, so the camera increases the aperture in this mode to get a small depth of field. This places only the subject in focus.

Sports Mode
Sports mode is perfect for fast action shots. It ensures the camera uses a fast shutter speed so you can take photos of moving subjects without motion blur. Also, on some cameras the continuous shooting mode is enabled so the camera keeps taking shots as long as you depress the shutter.

Macro Mode
Close up shots of flowers, insects and the like require the camera to focus on an object that's really close to the lens. Macro mode provides just that setting by using the macro lens of the camera.

Night Mode
Use Night Mode at night, or at dawn or dusk. This is where you want to make best use of what little light is available. The camera will choose a slow shutter speed and turn off the flash. Try to place your camera on a tripod or keep it steady some other way when using this mode to ensure your images stay sharp.

Beach and Snow
Some cameras provide a "Beach and Snow" mode. This mode is for use when shooting highly reflective scenes - like at the snow. The camera will compensate for the bright scene and ensure the image is exposed correctly.

Digital Camera Modes Most people use the automatic mode of their camera and it takes good shots in most situations. It is often very helpful though to let the camera know what type of shot you're trying to take. This allows the camera to select the best settings for that particular image. This can be done by changing to a different camera mode. In today's tip, we'll explain each of the different modes, when to use them, and what decisions the camera makes for each mode. Full Auto / Green Mode This is the mode that I recommend you start out with. It provides fully automated 'point and shoot' operation. All you need to do is frame the image and press the shutter! Basic Modes When it's time to experiment with other settings, try using the basic modes first. Choose the mode appropriate for the image you want to take, and start shooting! Landscape Mode Use Landscape mode to take photos of mountains, scenery or cityscapes. Anytime where the whole image - both the foreground and background - needs to be in focus. Setting Landscape Mode will tell your camera to select a small aperture which will give a large depth of field and ensure the whole image is in focus. Portrait Mode Select Portrait mode when you want to take a shot of a person - usually showing their face. The best portraits are where the subject is in full focus, but the background is out of focus, so the camera increases the aperture in this mode to get a small depth of field. This places only the subject in focus. Sports Mode Sports mode is perfect for fast action shots. It ensures the camera uses a fast shutter speed so you can take photos of moving subjects without motion blur. Also, on some cameras the continuous shooting mode is enabled so the camera keeps taking shots as long as you depress the shutter. Macro Mode Close up shots of flowers, insects and the like require the camera to focus on an object that's really close to the lens. Macro mode provides just that setting by using the macro lens of the camera. Night Mode Use Night Mode at night, or at dawn or dusk. This is where you want to make best use of what little light is available. The camera will choose a slow shutter speed and turn off the flash. Try to place your camera on a tripod or keep it steady some other way when using this mode to ensure your images stay sharp. Beach and Snow Some cameras provide a "Beach and Snow" mode. This mode is for use when shooting highly reflective scenes - like at the snow. The camera will compensate for the bright scene and ensure the image is exposed correctly. Next Time: We'll delve into the more advanced modes available on the higher end cameras. © 2005. www.Digital-Photo-Secrets.com. All Rights Reserved. Email:info@digital-photo-secrets.com

Wedding Photography

Weddings can be a great time for photograph taking. Note the following tips:
Most couples hire a professional photographer, so be careful not to interfere with the professional's work.

Buy some bridal magazines beforehand and look at the photos inside for inspiration.
The bride's dress can overpower the camera, as it's all white. Either the dress looks perfect and the bride's face is too dark, or her face is perfect and the dress has no details. This can be circumvented by using a reflective surface (like a large white card) to direct extra light towards the bride's face. A white wall can achieve the same purpose.

Use different angles. Try zooming in on a kiss, or tilting the camera slightly.

At the Church: Some churches don't allow flash photography. If your camera doesn't work well in low light don't try to take any shots in the church. Instead wait until the happy couple pauses on the church front steps. Plan ahead and find a good location before they exit the church.
Don't just focus on the bride and groom - take photos of the other guests.

At the Reception: Events at the reception include cutting the cake, the first dance and the bouquet toss. Plan ahead so you can be at the right place at the right time - it helps to have a family member alert you when the event is about to start.

"Be prepared" is the motto when shooting weddings! Attend the rehearsal and take note of the sequence of events. If there is no rehearsal, visit the scene of the wedding beforehand and study the lighting and other conditions that will affect your photos. Knowing what to expect will save you lots of time on the day.

When shooting at weddings you want to minimize the distractions of using any manual settings of your camera, but still want great photos. One way to do this is to use your camera's custom white balance feature. Take a white balance reading at the front of the church; inside the church; and in the hallway - whenever the light changes a lot. Use the same reading for all shots at that location. If your camera supports it, you can also 'save' these settings beforehand as index shots and switch back to the appropriate settings when you take the photos.

For interesting shots, try not showing everything in your image - leave some to the imagination. For instance, the bride may have a veil and a headdress etc. Rather than showing these with every picture, cut it away and leave hints every now and then.

Macro Photography

Macro photography is the art of photographing small objects like flowers and bugs. Here are some tips for fantastic macro photography.

Start to train your eye to see macro opportunities. You'll be surprised at the objects you'll want to capture : Stamps, Paper Clips, Coins, Pins etc. Some of the best subjects are provided by Nature - Flowers, Plants, Bugs and Leaves.

Try getting in really close to everyday objects such as the wood grain of a table, the veins of leaves, the texture of gravel or the worn look of a slippery slide.

Use a flash if there isn't much light - but be careful because at this close range the flash could over expose the subject and image. A 'Ring Flash' unit can help. This clips onto the front of the lens and can give a softer effect.

If your camera has trouble focussing at close range, try moving away a little and use the optical zoom to incease your magnification.

Try purchasing a 'close up lens' that attaches to the end of your camera's filter thread. This is a great alternative if your camera doesn't have an inbuilt macro, but does have a thread to attach filters.

Use a small white card to fill any shadows in the image. Shadows can be a problem if you are shooting in bright sunlight, or using an overhead lamp. Any single light source will cause shadows.

Increase your ISO setting so you can use faster shutter speeds. This will ensure your images will be as sharp and clear as possible. Don't increase your ISO too far as you'll get a very 'noisy' image.

Use a tripod as much as possible to eliminate camera shake and to be sure your camera's focus is right.

Don't use the optical viewfinder. Because of 'parallax', the image you see in the optical viewfinder will not be the same as what the camera sees... Particularly for macro shots.

Candid Photography

Candid photography is photography that focuses on spontaneity rather than technique. Your subject's focus is not on the camera, but on their current task. So we're not talking about the photo albums full of people looking at the camera and smiling here! Your subjects are un-posed and the shots are unplanned.

Candid photos are usually simple photos without a lot of technical equipment or any time taken 'setting up the shot'. Thus they capture some wonderful 'slices of life'!

Here are some tips for taking candid photos:

Take your camera everywhere you go! Keep alert for candid situations - they can be found everywhere.

Some examples of candid shots: A daydreaming store owner; an elderly man sitting beside you; commuters waiting for a train; two lovers on a park bench about to kiss; a child's delight when feeding ducks; elation of a football supporter when a goal is scored; a city tramp surrounded by clutter; a woman lost in thought staring at the beach.

It's rare to get a second chance with candid photography. When you see an opportunity, grab it!
Don't use complicated lighting techniques for taking your candid shots. Concentrate on the simple and use your camera's automatic features. Technical problems don't matter so much if you have a great candid photo. Most technical problems (like if the image is too dark or too light) can be fixed on your computer.

Set your camera to "ISO 400" so it uses a fast shutter speed. This will help you 'grab' the shot even if you are moving.

The best candid photographers blend into the background so don't be too obvious. Do what everyone else is doing so you fit in with the situation. Then when you see a good candid moment, bring your camera up to your eye.

You don't always need to take the shot with your camera at eye level. Support your camera on your waist when taking the photo. Some luck or experience is needed here to get the framing right.

Use your zoom lens to it's fullest extent so you can keep away from the action while taking your shot. A Telephoto lens is essential if you're going to be a fair way away.

Never take photos of people's backs. Nothing is more boring than a group of people with all backs turned to the camera. It just doesn't work.

Try converting the image to Black and White to get that extra punch and emotion.
People 'doing things' make the best candid photos. Sports players, trades people, farmers and accountants are all excellent examples of subjects with 'things to do'. Try to capture the essence of the person's task. For example, you might capture a plumber concentrating on fixing a leaky pipe.

If you're in a public place, it's usually okay to photograph people. If they object however, you need to stop. If you're not sure, it never hurts to ask permission before hand. Your subject may want to pose, so explain what you saw them doing and ask them to continue as if you weren't there.

Experiment! Sometimes the artistic expression of a candid photo can be limited by you; the photographer. Try different angles, places and scenes. Look at candid photos created by others (they can be found in lots of magazines) for inspiration.

Candid photography is a great way to add some artistic flare to your photos without spending a lot of time with the technical aspects of photography.

Which File Format Is Best?
Digital Photography Bonus Secretby David Peterson
-->Most modern digital cameras give you a choice of file formats when saving your image. It's very helpful to know the benefits (and disadvantages) of each file format so you can make the best decision on the file format to save your images in.
Why do we need file formats?A standard photo taken with a 4.3 megapixel camera has 4.3 million little pixels, or pieces of information, that comprise the image. Each of those pieces needs to store a red, green and blue color value so the color of the pixel can be recreated by a computer or printer. Each color value records the strength of that color on a scale from 1 to 256.
This is a lot of information! Each pixel needs three bytes to store the three color values, and there are 4.3 million pixels. 4.3 million times 3 is around 13 million bytes, or 13 Megabytes.
If each image took 13 Megabytes of storage, you'd run out of space pretty quickly on your memory card! So the file formats used to save images compress the image down to a smaller, more manageable, size.

JPEGThe JPEG, or JPG format was invented to help make image sizes more manageable. JPEG is the most popular format used in digital cameras today because it's a simple and versatile format, and is supported by all image related software.
JPEG works by compressing the image to a much smaller size at the expense of some image quality. Normally you won't see any difference because the JPEG format looks at the image and removes only the information that it can recreate by looking at adjacent pixels when the image is displayed again.

You can specify the amount of compression with JPEG images. Your camera will usually have a quality setting - low, medium or high. Low quality increases the JPEG compression, and although your images will be smaller, they won't look at good.

Uncompressed TIFFTIFF is another file format popular because while it still compresses the image, it does so in a way to ensure that the full image can always be restored. There's no loss of image quality. It works in the same way as ZIP files on a computer. They are compressed, but you can always get the original file back.

RAWImages stored in RAW format are exactly what the camera 'sees'. There is no processing done by the camera before the image is saved. This is one of the major advantages of RAW.
Remember when I said above that each color value strength is stored on a scale from 1 to 256? Modern cameras can actually detect more than 256 levels of strength. But since the TIFF and JPEG formats don't allow more than that number, the camera throws the extra information away. The RAW format saves these extra strength levels resulting in a better image with more contrast levels.

There's another advantage - the camera doesn't correct for exposure or white balance before it saves in RAW format. Meaning you have ultimate control in manipulating the image in a paint program - so your image looks exactly how you want it to look.
All these advantages come at a cost. RAW images don't use any compression so they are large files and take a long time to store and copy. Also, there is no single RAW standard for all cameras, so you usually will need to use your camera manufacturer's software to read the RAW file.

Which format should I use?While TIFF and RAW do give you superior images, I personally don't think the hassle of much larger file sizes are worth it unless you have a really high end camera and need to produce really large prints. Not only do the images take longer to save, but you need to purchase larger (and more expensive) memory cards; a larger hard drive; and more CDs to back up to.

The JPEG format is the most popular - and it's not hard to see why. It provides a much smaller image size without losing a lot of quality. I recommend using the JPEG format set to high image quality on your own camera.