This video is a Must See! It’s only 9 minutes and 20 secs long…but filled with golden nuggets of GREAT TIPS!

This video will show you how one of our NPB Pro students creates AMAZING portraits with a super simple set up. Try to say that 3 times fast

Honestly…you’ll be surprised how simple it is and you’ll be able to start creating these Amazing Portraits Too!

Click Play to watch the short video

After you watch the video…leave a comment below!

…and click the “LIKE” button and share the LOVE

Here’s the transcripts from the video Joe and I did called Digital Photography Split Lighting Using Flash And Fast Shutter

SCOTT: Hey, folks!  Scott Voelker here.  I’m here with my good buddy, Joe Marshall.  Joe, how’s it going?

JOE: Okay.  We’re ready to talk about some excellent work by some of our students in our Ez Flash Workshop.

SCOTT: Oh, yeah.  This is a good one here.  And I’ve seen it; you’ve seen it.  And you went a little goo-goo on it.  You really just loved it and you commented on it.  I mean, it’s an awesome shot, and Derrick great job.  We’re going to tip our hat to you because you did a great job.

Thanks for sharing it, and I’m hoping that we can show this to other people and other people can try this.  And again, this is a whole nother concept, a whole different idea.

People usually think that you have to take an image and fully expose it, every shadow has to be filled in.  And this is a just a perfect example of the mood.  Now looking at this too though, Joe, you would think that the room was dark, but it really wasn’t was it?

JOE: Now these are all the things.  If you know your camera and you know the things that we’ve been discussing, you know in your mind’s eye what you want to accomplish.  Then all you do is you look at your camera and you say, “Oh, I know what all these controls do.

I know what the ISO does.  I know what the shutter speed does.  I know what the F-stop does.  And when you truly know that and you know what your picture is going to look like in your mind’s eye, it’s simple to just make your camera do these kind of tricks.

SCOTT: Yeah, no, this is perfect light.  It’s like you said too.  It almost looks like one of those images that you’d see on TV where they make the kids look kind of like sad and the donations.  I don’t mean to laugh at it, but I’m just saying it brings you into that mood.

I mean, I know when I watch them and I see the pictures that they have of these kids with the flies around them and all this, I’m the first one to reach into my wallet because they just grab my inner emotions.  And that’s exactly what it does here.  It makes you feel just like you’re drawn into that mood.  And that’s what you say.

You’re painting to create moods.

JOE: Well, this is a very commercial shot and what you want to do is—I like to say a picture tells a story.  And this one you get in your mind an idea that you want to convey, and this just might be his beautiful child, and it’s just a pensive look on his face.

But the commercial world eats this stuff up.  This is like you said, Scott already put his hand in his pocket to give to this.  This could be any organization that wants to use this shot.

I mean, Derrick really, enter this in contests.  Let people get to see this.  I mean, you’ve got black above it for copy.  Anybody can use it.  Donate here or Red Cross or any of this kind of stuff after a hurricane or a flood victim.  I mean, this just has so many possibilities.  This has to get into stock.  I’m falling all over myself, Scott.

SCOTT: I know you are.  All right, calm down.  Calm down, Joe.

JOE: But so early into our course for me to see this on our Facebook, and that’s what was so good.  I’m still working with people with one light, bouncing their flash.  And here Derrick Jones just overwhelms us here.

SCOTT: Yeah.  And let’s just break it down real quick too.  He writes in that it was shot with a SB-600 Flash with a wireless remote, shot in a well-lit room.  Did you hear that?  It was shot in a well-lit room.  And the flash was on the edge of the couch.

So it was off the camera.  And the shutter speed was a 320, so it was 3/20 of a second.  Then it was 5.6, ISO 200, and the focal length was 55mm.  And the flash was set at an eighth power with a Sto-Fen Omni-Bounce.  And do you want to just talk a little bit about those settings, Joe?

JOE: All right.  I mean, this is not expensive equipment.  It’s one of the smaller flashes from Nikon.  There are six.  They have an eight and a nine.  He just bounced it.  There’s a clear cap that comes with these.  It’s a diffuser cap.

And he just tilted his flash up, dialed down to an eighth of a power because at the close setting he didn’t want to get an F11, F22.  So he made sure that he got just a 5.6.  And if that meant dialing down the power, so be it.  He did it.  And he left it at ISO 200, which gives us a clean non-grainy.  Really good because like I said, if those goes to a commercial, this could be on a billboard or on a truck.

So it’s really big.  Now the well-lit room.  Yes, to his eye, he saw a well-lit room.  But you have to be able to use flash.  I know people like to use continuous light because they like to say, “What I see is what I get.”  But if you use flash enough, you also become adept at doing that too.

And he knew that if he put it on the side he would just skim the side of the face.  And he knew it had what we call “split lighting.”  One side of the face lit, the other side dark.

Didn’t use a reflector.  Didn’t want to bring up that fill side [05:14].  We wanted the strong impact of this.  And here’s the thing, folks.  F-stop gave him 5.6 but the darkness is because of the shutter he used.  And I’ve said shutter can be anything.

It’s the F-stop is the distance the flash is to the subject, and he dialed it down to get his F-stop.  But the shutter speed, he could have said, “What do I do?  I’ve got a bright room.”  Well, he went to the highest shutter speed his camera would allow.

Now I use a Nikon and I’ve gotten a 320.  Most of the Nikons say 200 or 250.  I know the D90 is 200 and the others are 250.  But I know that mine is 320 because I did it by accident and it worked.  And he did it.

Now what that does is the high shutter speeds darkens down the ambient conditions you’re in.  Now he said the room was bright.  If he went down to a sixtieth shutter or thirtieth, he would have seen all that brightness projected in his picture.  But by cutting down the light in his shutter, he made the room go black.

And that’s all I want you to know.  Your shutter speed can be anything, but if you know you want a high shutter speed to cut out the room light or do I want to let it open up.  Do I want a thirtieth or a fifteenth?  Do I want to get candles on a Christmas tree lit up in the background?

Maybe I’ve got to go down on a lower shutter speed so that the candles show back there.  So that’s important for you to know just what the shutter does because your meter already told you what F-stop.  Now you’ve got to figure out what to do with the shutter.

SCOTT: That’s great.  And I think right there everyone listening to this you should really understand that because it makes perfect sense.  And a lot of times people think that the F-stop is all about the lighting and getting the proper exposure.

And in a sense it is, but it really is more about your depth of field.  And I mean, so much more goes into the shutter.  I’ve even learned that just by going through the course with Joe.  I mean, I never realized it as much as I do now.  I knew it, but I didn’t really realize it was that powerful.  And this picture right here proves that it is.

So again, Derrick, thanks for sharing this.  Joe, again, I think it’s a great shot.  I know you do.  And I may even send this out to our subscribers just to let them see this and, again, show that you don’t have to have all of this equipment to get shots like this.

JOE: This is a moneymaker for you, Derrick.

SCOTT: Yeah.  Go with it and let us know on the contest that you enter too because you’ll have some fun with it.  And who knows?  You might win; you might not.  But you know what?  It’s a lot of fun.  And keep posting your stuff because we do really enjoy this.

And anybody else that is in our workshops, post pictures.  And even if you’re not in our workshops, send us pictures.  E-mail them to us.  Send us links to them so we can see them.  We’d love to see them.  And if we see something that we want to talk about, maybe we’ll include it in our podcast.

So that’s it.  That’s going to wrap up this little short video.  Again, great job, Derrick.  And anyone else out there that has anything that they want to post, please do so.  And we may just comment on it.

JOE: Let me just say, Derrick, get a model release.  If he’s your kid, obviously you can do that, but you’ll need that if you’re ever going to sell this picture.

SCOTT: Yeah.  Another great tip.  Thanks Joe.  Okay, so that’s going to wrap it up.  So again, go out there, keep shooting, have fun, experiment, and we’ll see you in the next video.  Talk to you later.  Bye.

Click Here to Check Out our Ez Flash Photography Workshop

This lesson shows you how one of our Ez Flash Photography Students (Derek) created some AWESOME portrait using Split Lighting with some basic equipment. He creates a very dramatic mood that takes advantage of shadows and the power of a fast shutter. You won’t believe how easy this is.

Joe walks you through how he did it and How You can TOO!

Watch the video below to see how it’s done.

Leave us a comment below and let us know what you think.

Well…Joe and I just finished up our first EzFlashPhotography lighting workshop and it was AWESOME!

We had over 100 students that went through and tested our new class and gave it a BIG Thumbs Up

But…that’s not what this post is about. We wanted to share one of the questions that came in from the class, and hopefully help you create better portraits.

The lesson was created from a portrait that one of our students submitted in the class and wanted to know how to fix it. So…we created a video that explains exactly how to make it better.

*****Here’s what we’ll be talking about in this short lesson*****

• 1. How to get your white backdrop to actually look white. (No, it’s not about white balance, but yes you should always keep an eye on that too.)

• 2. How To Get Wrinkles Out Of Your Background (We talk about creating a shallow Depth Of Field and making the backdrop out of focus.)

• 3. We Give A Few Pointers On How To Avoid Eye Glass Glare (Sometimes the smallest things can make a HUGE difference.)

Click the play button below to watch the lesson!

Make sure to leave a comment below and let us know what you think!

In this podcast we talk about Continuous Lighting and  Flash Strobes and what we would recommend using.

The one BIG mistake people make is mixing continuous and flash lighting. This can create a White Balance Nightmare and your results will show it.

Listen to the podcast and leave us your feedback below.

Help us spread the WORD!

If you’ve ever wondered what sRGB or RGB color space is and what one you should use, you need to listen to this short Podcast.

We also talk about different printing options that Photographers have available and all the pros and cons when using them. We as Photographers need to understand that our final printing of our work is REALLY IMPORTANT!

If your shots are great, but your printing is bad…you will look BAD!

The printing and color of your images are a true reflection of your work as a Photographer and Artist.

Give us your thoughts below in the comments section. We would love to hear what you think.

Enjoy!

Help us spread the WORD!

]]> http://newportraitbiz.com/blog/517/should-i-use-rgb-or-srgb-color-space-for-my-digital-camera/feed/ 10 http://newportraitbiz.com/blog/259/digital-photography-tips-for-great-family-portraits/ http://newportraitbiz.com/blog/259/digital-photography-tips-for-great-family-portraits/#comments Wed, 13 Jan 2010 19:04:41 +0000 NewPortraitBiz http://newportraitbiz.com/blog/?p=259

Taking family portraits presents a wonderful opportunity to capture the intimate relationships between all the family members.

What we will focus on here is mostly the immediate family that usually consists of between two and six people. Here are a few Digital Photography Tips For Great Family Portraits to remember when working with families:

Tip #1 Make them Comfortable

It is difficult to get great expressions on faces when people are straining to maintain a certain pose. It’s important to make every effort to pose the family in a way that will give you the best opportunity to capture their best ‘side.’

Tip # 2 Watch your Composition

Part of the challenge of family portraits is to compose your shot in a way that will draw the viewer into and around the photograph in a pleasing way. Pose family members in triangles. The natural flow of the portrait will then allow the viewer to see each family member in an easy and progressive manner.

Tip # 3 Using Props

Using a big wing-backed chair with mom or dad sitting in the chair and the rest of the family members posed around it always makes a great shot. Using park benches, trees, rocks, fireplaces, stools and even the ground or floor are all good ideas to help you capture that unique shot. Don’t be afraid to use your imagination and creativity!

Tip # 4 Dressing Similar

This should be discussed before the family shoot is to take place. It will save you a lot of headache if all the family members are dressed in complimenting styles and colors. Strips, polka dots, clashing colors and printed clothing can give you a disconcerting and uneasy feel to a photo. We want to produce a photo that will convey the harmony and love between family members and draw the viewer to the faces; not be distracted by clothing that is outlandish or clashing.

Tip # 5 Watch the Lighting

If you are shooting in a studio, make sure you have your lights set up to enable every person’s face to be clearly seen. Although shadows can add intensity and interest, make sure it is balanced properly. Taking family photos outside can present a whole new set of  challenges.

Shooting at the golden hour of the day (one hour before the sun goes down) is an option that will give you wonderful lighting conditions. Once again, it is of prime importance that all family member’s faces can be clearly seen.

Taking family portraits can present some very interesting challenges. You, as the photographer, have the opportunity to capture the very character and intimacy of the family unit. It takes planning and practice to create a stunning portrait that will become a  treasured family memory for years to come.

Happy shooting!

You love animals and you love photography and people are always commenting on how wonderful your photos are. Could you possibly Start A Pet Photography Business, just because you have a passion? Of course, you can!

Most successful photographers have started their own businesses with very little experience and learned almost everything through trial and error. All you need is a little bit of talent, a desire to learn some of the technical stuff and a huge amount of passion and enthusiasm.

Tip #1 Start By Building A Portfolio

Take photos of animals every chance you get. If you don’t have your own pet models, then ask someone you know if you can photograph their pet. Tell them you are building your portfolio and that you will give them the photos in exchange for showing their pet in your portfolio. Most likely they will be flattered and you will be one step closer to getting paid clients.

Tip #2 Getting The Shot

Some of the best photographs of animals are the ones that are natural and spontaneous. The more time you spend practicing with animals, you will start developing a connection that will show in your photographs. Animals know if a person is genuine and they will become more at ease and trusting if they know they are liked.

Tip #3 You Don’t Need A Studio

Now, you may be wondering if you need a photography studio or if you can be an on-location photographer. Many pet photographers do not have a portrait studio and still get great results. If you want a studio, a small set up area in your home is all you would need. Animals are usually most comfortable in their own surroundings, therefore producing the most natural photographs. So, be prepared to do some traveling.

Tip #4 Get The Word Out

Remember to find a wide variety of animals to photograph. Start showing your portfolio around town, leave business cards at pet groomers, veterinarians, and other pet related businesses. As your business develops, your name will travel quickly by word of mouth.

Final Thoughts:

Starting  A Pet Photography Business can be a profitable, enjoyable and exciting career. As a pet photographer, you can choose your own work hours and clients and enjoy the freedoms that come from owning your own business. Pursue your passion, get started on your pet photography business and enjoy the rewards of being your own boss!

Happy Shooting!

I received this email from Debbie and I wanted to share it with everyone. I think it’s very important to realize that most people have some kind of fears and struggles in life, but the ones that constantly Take Action…will succeed.

I’m not sharing this to brag, just to allow you to see that you’re not alone and everyone experiences some kind of challenges through their journey.

I want you to read this and be inspired for this upcoming year and make the decision Today, that you can do this.

Here’s what Debbie wrote to us on  Christmas day.

====================================

Hi Scott

Luv & hugs to you all!
Debbie

====================================

I hope you feel inspired after reading that and see that it takes, passion, desire and a commitment to yourself and your dreams.

Keep focused!

Scott

In this video, I walk you through a simple workflow process for using Digital Backgrounds And Props in Adobe Photoshop. There a many methods and techniques to create cut outs in Photoshop, but this is one of the easier methods.

Adding Digital Backgrounds and Props to your photography business will allow you to offer your clients more choices and not have it cost you a small fortune. Your portrait studio won’t have to store all the backgrounds and props anymore. You’ll just need a bigger hard drive on your computer.

Photography Business Opportunity (No Studio Required)

That’s Right!

You could actually get started without a studio at all using this method. Just go on location with your camera, basic lighting, white background and edit your pictures at your home office. Follow up with a proofing session of the clients portraits. Then….Make Some Sales!

Keep in mind that this does take practice, but if you follow this video and Take Action…you’ll be on your way.

Happy Shooting!

Scott

P.S.

Leave a comment below and let me know what you think.

]]> http://newportraitbiz.com/blog/188/how-to-remove-a-background-for-digital-backgrounds-and-props-using-photoshop/feed/ 2