Color Change in PS

Hey!  
I got an email from my old buddy, Nate, who asks, "How can I change the color of a dress in Photoshop?"


It's always much easier to explain something via illustrations than it is using words. This is my best "step by step" explanation of how I change the color of an object in PS, keeping detail and realism as intact as possible.


First, I pre-select the area of color change.  This will insure that only the object I need will be changed, and will lessen "clean-up" later on.  In this photo, it's the lady's dress (Don't try to be precise when selecting, it will only hinder clean-up later!):

 I pre-selected this area using the "Lasso" tool.


After selecting, I copied and pasted the selected area to make a new layer.  This will make clean-up much easier later.
So....now we have TWO layers, but we will only be working with the top layer (the selected area).  Be sure that the new layer is selected in your "layers" options (It will be highlighted in blue, as seen below).

Next, I go into IMAGE / ADJUSTMENTS / REPLACE COLOR, as seen below:

This will allow us to select the colored object that you would like to change.
Using the "eyedropper" tool that is built into this, start selecting areas of the red dress.  Hold down the SHIFT key as you do this.  Click on ALL of the various shades of red in the dress (shadows, highlights...etc).  Once you do this, use the slider on the left to fine-tune your selection.  The white area will be the area that will change color, the black area will be left intact.

If some undesired areas are still showing up, use the eyedropper tool with the - sign next to it (minus sign) to "un-select" areas the same way you selected the desired areas.  (I had to un-select areas of her arm skin).  You can either fine-tune it this way, or clean it up in the last step...it's up to you.


Once you have the desired area selected, use the "HUE" slider to choose the new color:

I chose blue.  You can then use the "saturation" and "lightness" sliders to fine-tune your selection of color according to the desired result.  I did not use these since I am just making a simple illustration.

Once you have your color selected, click "OK".  Once back to your regular screen, you are ready to do your clean-up.  Choose the "eraser" tool and adjust the size and hardness of your brush.  Don't make it too hard, or the edges will look un-natural.

 Be sure to toggle from "hidden" to "show" of the original layer, so you can see how your clean-up is looking.  You can clean up with both layers showing if you'd like.  I usually keep both layers showing, but this view showed the clean-up brush better.
I also cleaned up her arm some more (the black in the tattoos turned blue-ish in the conversion).


Once you are all cleaned up, you just need to "flatten" the image (in the LAYERS option) and save it.

Then you have a nice blue dress where once was a red dress.  All without having to buy the lady a new dress:

It's a Ratio Thing

I was recently asked a very good question by a client. 
I felt it would be a good question to discuss here, because it not only applies to clients ordering reprints and enlargements, but it can also apply to the beginning photographer when composing their photographs.


The client asked "I ordered an 8x10, and when I got it back, some of the edges were missing!".


This is because most digital SLR cameras shoot in a format that has an aspect ratio of 3:2.  This creates a "full frame" image in the standard size of 4 by 6 inches.  Most "point and shoot" digital cameras have a ratio of 4:3, because that is (well, used to be, anyway) the ratio of the standard computer monitor.


The 3:2 DSLR aspect ratio is perfect, as long as you're printing 4x6 images.  But if you want different sized images, there will most likely be cropping involved.  How much cropping?  Let's find out by doing some first semester algebra.  Let's say you have a DSLR image that you'd like to make into a 5x7.  How much will be cropped?  You have a frame that is 5 inches wide, but how long will the "long" edge be?


4             5
---   =     ---
6             x                      (6x5)/4 = 7.5


Your final image will be 5X7.5, which means that you will lose a half an inch off the long edge.  That's not much of a crop and can usually be done without any manual  adjustments.  The standard lab will cut .25 inch off of either end for a symmetrical crop.


However, if you wish to get an 8X10 printed, the cropping is more drastic.  For an 8X10 you are going from an aspect ratio of 3:2 to one of 5:4.  If you've done the math, you will see that a "full frame" image would be 8X12, NOT 8X10.  Two inches is quite a chop, and rarely will these images look perfect with a symmetrical chop.  Here's a visual:

This is a standard 3:2 ratio image from the camera:

This is the above image with a "symmetrical" crop, one inch from either end.  This would be the standard crop from most photo labs:

Here is an adjusted crop that will give you a better result.  Now the head is no longer cropped off, but we still end up with the proper ratio for an 8x10.  Many labs will let you adjust this cropping area, but you must first specify where you want your cropping.  If you don't, you will get the standard, symmetrical crop.

Here is the final 8X10 cropped print with the adjusted ratio:

How does this apply to the beginning photographer?  Because when you are taking photographs, keep in mind that you (or someone else) might want an 8x10 of the photo and you may wish to leave some space on the edges for cropping.  This is especially important with large group photos.  When a group is large, the tendency is to stretch the group all the way to the edges.  But this can cause a problem later if 8X10 (or 16X20) enlargements are wanted.

This was the final image AFTER cropping.  I purposely left room on the sides for cropping.

I hope this has been helpful!


JB

Who are you hiring?

There are times in life when you wish to be specific about the people you trust.  Most people are uncomfortable going to a Doc in the Box instead of their usual, trusted personal physician.
People develop similar relationships with their dentists, hairdressers, car mechanics, and babysitters.


So when the day comes that you decide to get married and hold a grand event for all of your family and friends, you naturally want to hire quality personnel.  They will be the people ensuring that your day is flawless.
Hopefully, you have done your homework so that your caterer, photographer, florist, and DJ will be good choices to ensure that your day is happy, and memorable.


No one wants a caterer who runs out of food, flowers that wilt, a photographer who can't focus, or a DJ with the personality of Ben Stein.
So, when you hire these folks, naturally you interview with them, look at their past work, contact former clients, and check them out thoroughly on the internet.  Right?  RIGHT?


"But I'm on a budget!"
To a degree, we're ALL on budgets.  The current economy has tanked, so everyone out there is looking to get the most for the least.  Please remember that the most expensive service provider does not automatically mean they're the best.  Just like the least expensive doesn't automatically mean they're no good.  The secret is to find the right balance between the two.


For example, there are "big name" places that offer package deals for weddings.  They will offer you a DJ and a photographer in one very cheap package.  I used the word "cheap" on purpose.  These places are often not locally based, and hire people on-contract to carry out the work.  To grab a quote from the movie "Armageddon":  


"Hey Harry, you know we're sitting on four million pounds of fuel, one nuclear weapon and a thing that has two hundred thousand moving parts built by the lowest bidder.  Makes you feel good doesn't it?"


Here's the main problem with these places:  You normally hire them 6-12 months in advance.  Within that timeframe, these photographers and DJs realize that working for peanuts isn't paying the bills, and they move on.  This means that the photographer and DJ, whom you may have already checked out, may not be the same one(s) to actually carry out the job.


Check out this complaint about one such company online ( found on ripoffreport.com).  The bride had hired one specific DJ, who bailed before her wedding and a substitution was made (which is common for these big companies).  She had specifically asked that no sexually explicit songs be played at the reception, as there were to be many religious folks there:
  "During the recption, the following songs were playing:  Baby Got Back, Hot In Herre and the like. I had to tell (name of subbed DJ removed) at one point to turn off the song he was playing. After the wedding, I had to call several guests and apologize for the sexually explicit music that was played at the reception."

Did you catch that?  The bride had to apologize to her guests at her wedding!


With the exception of the caterer, there is NO training or licensing required to become a DJ, florist, or photographer.
That's right.  A guy with an iPod and a Mr. Microphone can become a "professional DJ".
A guy who picks daisies from his back yard can become a "professional florist"
and a guy with a camera phone can become a "professional photographer".


Spend a few hours researching before you write that deposit check.  It could make the difference between this:

And This:

Here are some great resources for your research:
www.ripoffreport.com
www.complaints.com
www.complaintsboard.com
http://www.bargaineering.com/

Good luck, and happy wedding planning!

Who are you?

This isnt going to be a blog about photography.
Today I'd just like to take a few moments and talk about people.  People;  you, me, our friends, family, the cashier at the grocery store, and your trash collector.  Everyone.


There's a lot to be said about treating people right.  People who treat others with respect will gain mine.  People who tolerate others, despite the fact that they dislike them, also gain respect.

But people who feel the need to go out of their way to exert their false sense of superiority display such a voided sense of honor in themselves, raise themselves to a whole new platform of asininity.


School bullies are a good example.  "Hey, I'm a bully, so I'll yell childish names at you to make myself feel uber superior!"
But this behavior doesn't stop in the school hallways.  Sometimes it involves name-calling, sometimes it involves unmistakable body language.  In either case, how we behave in the presence of those we dislike speaks volumes about who we are.


You don't have to like the people around you, but it would be to your own reputation's benefit to be cordial.  You are watched by everyone around you, whether it be children, other adults, prospective employers (known or unknown), teachers, students, family, and friends.


Set an example of what a prudent human being should be, and remember that those you disrespect may be carrying heavy burdons themselves.  You may be in those shoes one day.

Mawwiage....

"Mawwiage is what bwings us togevah...today". ~ The Impressive Clergyman
If you've seen "The Princess Bride", you will get that.  If not, I probably sound like an idiot.

I get so many questions from people, and since this is the season for wedding planning, I thought now would be a good time for some photographer-ly advice.

I've designed a set of suggestions to help prospective brides get the most out of their wedding photography.  I know I have a vested interest in this advice, and I suppose the importance of this advice is in direct proportion to the importance you place on your wedding photos.  I've seen both end of the spectrum, from brides who are flippant about photos to brides who plan their entire day around the photographs.
Personally, I have more fun with the latter :)
Let's face it, ladies.  When, again, will you ever wear a dress as elaborate and expensive as the one you will wear on your wedding day?  When, again, will you have every hair in place (with an Aqua Net insurance policy), every fingernail immaculately manicured, every blemish professionally Mary Kay'd, and 6 of your closest friends at your every beck and call?
If there is ever a day in your life to exploit Paparazzi, this is IT!

Suggestion #1:  Do your photos ahead of time!  Yes, you will need to see your groom.  No, this doesn't cause any increase in the divorce rate :)  As of today, I can still say I have received 100% positive feedback from this decision....some going as far as saying it's the best decision they made in the wedding planning.
Why?
Unless you designate 2 hours between ceremony and reception (which is pretty rough on guests, especially if they are elderly), then you will have to squash your important "together" photos (plus all the group shots) into a very rushed timeslot.  This causes a lot of stress on the wedding party (who now wishes to get to the reception and eat/party/dance) which in turn can affect the images.

Seeing your fiance' before the wedding is a great time to sit and talk together....ALONE!  You won't get another moment alone until it's all over!  Brides say it alleviated their fears to speak with their finace', they know he has arrived, is dressed, and is ready for the big day.  It's also a perfect time to exchange personal gifts for one-another.  And as one bride put it:  "I wanted HIM to see me in my dress first! I wanted to see his reaction and get photos of his reaction.  I didn't want to share that special moment with 200 other people!"

And the biggest reason to ditch this archaic tradition is the history behind it.  This tradition stems from the age of arranged marriages, where a father was paid a dowry and a woman was married off (with or without her consent) to the guy with the largest sum of money.  If she was unattractive, this tradition kept the groom from backing out ahead of time.  Um...EEEEK!!

SUGGESTION #2 : Don't overdo the makeup, at least for the photos.

Sure, you're going to want a professional makeover, and if the makeup artist is experienced with bridal makeup, s/he may already know this tip.  Some brides will go light on the makeup, then "touch up" before the ceremony.  Imperfections will be retouched in post-production, so there are no worries about a flawless complexion.  Too much makeup can cause pictures to look un-natural (the "Barbie Doll" look) and can cause extra facial shine.
And guys?  This would definitely be a good day for one of those "clean, close shaves".  It's also a good idea for the guys to get a haircut about a week before the wedding, and not immediately before.  Hair looks more natural and "tan lines" even out better when there is a small gap between the haircut and the wedding.

SUGGESTION #3:  Don't forget to include your photographer(s) and DJ in the dinner count.  We really don't have time to stop off for a Happy Meal between the ceremony and reception (especially if you don't go with Suggestion #1) and we're usually famished come reception time :)  We thank you, and we appreciate it!


SUGGESTION #4:  If you have any aspiring photographers in the family, please let them know that you've hired someone for the day.  I don't mind it when other guests take pictures at all, unless they try to take over or get in my way.  It just seems easier if they arrive at the wedding with prior knowledge that they aren't obligated or expected to produce.  I rarely have problems with casual shooters.  I want guests to get lots of pictures!  It simply makes for awkward situations when they get carried away :)  THANK YOU in advance!

SUGGESTION #5:  Please don't stress out if the little ones in your wedding party are not as cooperative as you'd like them to be.  The more you stress, the more they sense it and act out accordingly.  If they refuse to pose for a group shot, simply don't include them in the photo.  A majority of the time the little guy/gal will realize that he's not so happy being excluded, and the problem will solve itself.  If not, there will probably be plenty of other opportunities to get some natural candids of those children.  They won't be forgotten!  In 10 years you can chide them about why they aren't in some of the group photos, and you can all have a good laugh over the deal.  :)

And finally, SUGGESTION #6:  Take the advice of Suggestion #1  :)

A Rebel (or a Nikon) With a Cause

Okay, maybe "rebel" is a strong word.  How about "light rule breakers"?


Today I'd like to impart why it's not always in our best aesthetic interests to follow the rules of photography.  We're all taught those rules in first and second semester photography.  You know the ones:  "Rule of thirds!", "Keep your horizon lines straight!", "Always photograph children down on their level!".
If you didn't follow these rules, your grade suffered.


Well suffer no more!  We're bustin' out of this joint and today we're gonna run with scissors...photographically speaking.


First rule:  RULE OF THIRDS


This rule was implemented to keep folks from chopping their picture in half via horizon line.  In other words, this is unacceptable:

Why?  Because it's boring.  Half sky, half ground, all boring.
However, why must it be "Rule of Thirds"?  Why discriminate against all of those other perfectly good fractions?  Play around with it a bit.  If the sky is gorgeous, use LOTS of it!  If the ground has awesome scenery, use lots of that.

Ask yourself, "Where do I want my viewer's eye to focus in my image?"  When at all possible, frame it in the viewfinder.  Cropping is great, but it also cuts down your resolution, decreasing the largest realistic output size.




Rule #2:  ALWAYS KEEP THOSE HORIZON LINES STRAIGHT!


Okay, I'll admit it.  This one's a sore spot with me because one of my photography teachers and I butted heads over this one.  I don't even remember the image, but I remember him making a big deal about it.  All humiliations aside, I still think this is a great rule at which to thumb your nose....usually.  
But what fun are images if we must keep them level at all times?  We don't keep our heads level all of the time.  Have some fun with it!:

Rule #3:  PHOTOGRAPH CHILDREN FROM THEIR OWN LEVEL
This one is actually a good rule for a majority of child photographs.  Pictures of kids just look so much better when they are taken on their level and not from the adult's point-of-view.  But again, this blog is about being a rebel, chewing gum in the library, smokin' in the boy's room, or...um....not following the standard rules of photography 101.
With kids, ANY angle can be a fun angle!  As always, try to let the kids call the shots.  To pose them is to strip them of what makes them what they are...children.


Lay on the ground, shoot from above, emphasize thay little tushy as that ballerina takes her bow after her dance.  Anything but the "looky here and smile!":

Rule #4:  CENTER YOUR SUBJECT!
To that I give a hearty.....NOT!  Of course, for certain things it's obligatory.  The formal posed bridal images are usually (USUALLY) best composed as centered.  But there's a whole world out there that's just a little out-of-whack.  Why can't we reflect that in our imaging?

Just don't go nuts with it.  Make sure your off-centeredness serves some purpose :)


Rule #5:  WATCH THE BACKGROUND!
While this rule was designed to remind the photographer to keep the background simple and non-distracting, that would defeat the purpose of this blog!  I say, "Watch the background...and see what you catch!":

This DJ thought his singing would entertain the guests.  The flower girl thought otherwise!

So there you have the top five "rules to break" in modern photography :)

J.

Black and White conversion

Hey, Blog-ees!


I'd like to touch upon the art of converting color files to either black and white or monochrome.


Remember that a pleasing black and white image will take a lot more than just converting to grayscale.   Grayscale is called "grayscale" for a reason.  Black and white images that are flat and gray hold little appeal to the viewer.  They scream, "Next!"...and that certainly is not what we wish to hear or see.


Let's try a few conversions.  We'll start with a picture of a baby...very basic, easy lighting, great fleshtones:

The little guy's name is Eli, and we'll try a few different conversions.  We'll mostly be converting to monochrome, but we'll try something extra, too.
Here is what happens when you simply convert to grayscale:

Notice the flat, lifeless look to the image.  The depth is now gone  The photo truly is grayscale, as there are no real "whites" and no real "blacks"...just varying shades of grayness.  "Next!!"

Okay, now I imported the original, color image into Lightroom and tried a few presets, along with "tweaking" the numbers to give me the desired result.  First, I tried a preset of "Black and White, High Contrast":

I had to move the exposure down to -29, blacks up to 12, and contrast to +71.  But look at how much more depth the photo has.  Look how his little eyes actually sparkle and catch the viewer's attention.  Same photograph, same lighting, different post-production technique.


Here's another done in Sepia with the same idea:

This is done a little lower key than the black and white image.  Sepia emulates another era in photographic history where photographs had a more subdued look to them.  I wanted to preserve the depth, but not completely white-out the highlights like we did in the high-key black and white image earlier.  The only drawback to this sepia image of the boy is the loss of any real lightness to his eyes.  This is a blue eyed baby, but the technique makes his eyes look brown.  But for this image, it works.  And if anyone suggests using selective color to leave just his eyes blue, I'll thrash you with my cable release.


One last technique you can use that's not technically black and white is called "aged photo", and it's a Lightroom preset.  It gives the illusion of an old time sepia-ish image without actually converting 100% to monochrome.  See here:

A little of the original flesh tone and lip tone are preserved (as is just a hint of his eye color) while pulling out most of the color.  This image has been desaturated 71%, and was processed at a lower contrast and a recovery of about +85.  This preset is great to employ when you like the color, but don't want the color to be so distracting as to detract from the emotion.


We took one photograph of a baby and created several moods.  As the artist, it's up to you to guide the viewer's mind and tell the story, not just with your images, but with the feelings, moods, and emotions that must emanate from them.


J.

The "Sun", the "Man", or the "Mountain"?

I remember being somewhere with someone, and they had a "point and shoot" (PAS) camera with them.  They wanted to know what was the best setting to capture their photograph.  "Should I use the Sun, the Man, or the Mountain?", they asked.

I had to giggle at the question, but the inquiry was sincere.  Just what do all of those little pictures on the dial mean?  Isn't it just easier to put it on "auto" or "program"?


Let's explore!  Using the above dial as a universal reference, let's start with the flash setting (the one on the bottom of the dial that looks like a lightning bolt arrow with a "no" slash through it).
Generally, PAS cameras will have 3 flash settings:
1.  Flash
2.  No flash
3.  Red Eye Reduction
Personally, I nearly always use a flash on the PAS cameras, even outdoors.  The little flashes on those cameras do a good job of filling in shadows in sunlight.


Remember that red-eye reduction mode will send out several pre-flash flashes which can cause children and animals to flinch or close their eyes.


Okay, let's move onto the "man with a star behind his shoulder".  Generally, this is a slow shutter speed that also uses flash.  This is a night-time setting which allows you to use a flash to light up your main subject, but keeps the shutter open to grab the background lights.  For example:

You will want to use a tripod for this one.  In the above picture, I wanted to capture the muti-colored laser patterns that were on the ceiling.  They would not show up with simple bounced flash, and it was too dark in there for simply using no flash at all.


The next setting we'll discuss is the "running man".  This is your "action" setting.  Even though PAS cameras pretty much do everything for you, they also need to know WHAT it is you're shooting.  If you read my last blog, you will know that you can get the same exposure in several different ways.  You can have a fast shutter speed and wide aperture, or a slow shutter speed with a small aperture.  Both will give you the same exposure, but the results will look different.
For action, we want the fast shutter speed.  This setting lets the camera know that you are more concerned with a fast shutter speed, and sets itself accordingly.

The "flower" setting tells the camera that you're trying to take a closeup of something, and adjust its focus for closer-up items:

The "mountain" setting tells the camera that you're taking a landscape photo, and it adjusts itself to focus on a far-away object, while maintaining some depth-of-field:

And finally, the "profile of a woman" setting tells the camera that you're taking a portrait.  This allows the camera to use a very wide aperture to blur the background so the subject in the portait is the emphasis:

You can get more from your little PAS camera if you let it work for you!  =)

Ready....aim....ACTION!

A friend of mine was asking how to get decent action shots with her old 35mm SLR.  Film cameras seem very different from the new digitals, but the basic fundamentals are exactly the same:  Balance shutter speed, ISO, and aperture, depending upon what you want to accomplish.


Remember, when you close down your aperture (like going from f/ 5.6 to maybe f/11) then you must compensate by slowing down the shutter speed (from like 1/250 to maybe 1/60).  It's like a see-saw.  If you let in less light in one area, you have to use the other to let that light back in.  The slower the shutter speed, the more light that can enter the camera.  The bigger the f/stop, the more light that can enter the camera.


F/stops are confusing to people because the BIG opening is a small number, and vice-versa.


Okay, with that in mind, we're going to look at what different shutter speeds and different apertures can do for a photograph.


Let's try some action-stopping settings.  Using a fast shutter speed will stop action, but you must be careful not to underexpose your image.  There are two things that will let you have a faster shutter speed:
1.  A large aperture (between 1.4 and 5.6)
and
2.  A higher ISO (or ASA in filmspeak)
If you're using film, you'll want to buy some faster speed film, like 400 or 1000.  Remember that the faster the film, the grainier the image.


Higher ISO/ASA lets you shoot in lower light.  They used to call it "fast" film, even though the film had NOTHING to do with stopping action.  It simply allowed a camera to use a faster shutter speed since less light was needed.


Okay, here is one action-stopping image:

Shutter speed:  1/1000

Aperture:  5.6

ISO:  400

Focal Length: 200mm

Sometimes you might want to actually SHOW the speed of something moving by using a slower shutter speed and panning the camera to follow the moving object.  This does a good job of showing the action in a picture:

I don't have the metadata that gives me the pic info for this one, but I'm estimating that the shutter speed was probably about 1/30th with an aperture to compensate.  Most likely the ISO was around 200.  Just be sure to PAN the camera with the moving subject or you'll simply end up with a blurry blob.


Once you get the hang of it, it's really pretty easy.  But there is one more thing that factors in here:
The longer the focal length, the higher your shutter speed must be to stop any action.  Remember that a lens that magnifies 200X will also magnify the movement.


Never have your shutter speed slower than your focal length.  For example, if you're using a 105mm lens, keep your shutter speed above 1/105 (on most cameras, the next step up would be 1/125).  This will need to be even HIGHER for stopping action.


The best and easiest way to get your action shots is to put your camera on "shutter priority".  (Usually marked as an "S" on your selection dial).  This forces the camera to shoot at a specific shutter speed and lets the camera choose the proper aperture to compensate.  

If you're using a DSLR, you can have the extra option of also letting the camera choose the best ISO to accomplish this.


If you're using a manual camera, open your aperture all the way, then adjust your shutter speed to the fastest setting allowable for the right exposure.


I hope this has been helpful!

Shooting under less-than-ideal conditions

Hello again!

I often get asked about lighting. Lighting can make or break a photograph. Two identical photographs taken under different lighting situations can create two separate moods.

In first semester photography, you basically learn two forms of light:

1 ambeint, or "available" light

and

2. Flash.

But sometimes, "available light" isn't, and flash is a no-no. Consider a dimly lit church where the preacher says "NO FLASH!"

In my line of work, it's unacceptable to say, "Gosh, well I guess I'll just go home".

These are the challenges that make you stretch and grow as a photographer, until one day you can meet these challenges with an affirmative "no problem!"....although sometimes we grumble under our breath just a little bit.

I rarely use packed-in lighthing during a church wedding. Not only because it can ruin the sanctity that many brides and grooms place on such a ceremony, but it also yanks away the very mood and emotion you were trying to capture.

Take this photo:

Had the photographer (well, that would be me) blasted them with frontal, artificial light, the mood of the photo wouldn't be the same. With ambeint light, the viewer is focused on the bride, and her gaze into her groom's eyes...no shadows, no red-eye, no hot spots.

"But it's dark in there!"

Yes, some churches can be dimly lit, which can present its own set of challenges. If you are serious about the business, invest in some faster glass (such as f/1.4, f/1.8, or f/2.8 lenses). They are pricey, yet priceless in tight situations where you have no other option.

Invest in a monopod. Even an inexpensive monopod (just make sure it's rated for DSLR camera, as they're quite a bit heavier) will help immensely with stabilization and reduce the shutter speed at which you can feasibly utilize. No one wants blurry wedding photos! Remember to keep that shutter speed at or above your focal length.For example, if you are using a 200mm lens, make sure your shutter speed is no slower than 1/200 second. You can shoot a little bit slower if you use a tripod/monopod and your subject is stationary (like a wedding cake rather than people). But this is a good rule of thumb.

Also, don't forget to use the higher ISO settings! Some cameras have an "auto ISO" setting that will choose the best ISO for you, defaulting to the lowest necessary ISO for a properly exposed image. This setting is best if you may be toggling lighting situations, or mixing some flash images with ambient lighting images.

If strobes can be used, try getting them off of your hot shoe, or bouncing them off of ceilings, walls, or reflectors. If you have distance between you and your subject, you may want to light your subject closer-up, while you step back. You can achieve this with optic or radio slaves. Nikon offers a good Creative Lighting System (CLS) for their dedicated Speedlights. Have someone hold them, or put them on a tripod to light your subject while you shoot from a distance:

All in all, poorly lit situations shouldn't stop you from being your best. Monopods, tripods, fast lenses, high ISOs are all there to accomplish these feats.

Bring on the dungeons of the world! I'm ready to shoot!

You get what you pay for

I've said it before, and I'm gonna say it again: YOU GET WHAT YOU PAY FOR!

Well, usually.

I have run across yet another "I'm a photographer because I bought an expensive camera" person who markets themselves to brides and seniors. I used to see this sporadically in the 80's when the old film SLR cameras were becoming more popular. I worked in several photo labs, and I saw the results (ie DISASTERS) these people inflicted upon now-devastated brides.

Fast forward to 2010. Ashton Kutcher shows us how easy it is for the average Joe-Schmo to be Ansel Adams. Oh, if it only worked like that in real life!

On the TV commercials, Ashton takes his entry-level Nikon DSLR and wows people with the spectacular shots he was able to pull off in any lighting situation, with nothing more than an SD card and a kit lens.

And like Samantha Stevens twinkling her nose and having Tabitha's teddy bear fly across the room, this is TV fiction, for the most part. The entry-level DSLRs can do a beautiful job, no doubt! But these gorgeous TV shots are usually reserved for optimal lighting situations, or for someone with a little knowledge about photography.

Having your cousin shoot your wedding to save money will generally net you 2 things:

1. An unhappy bride

2. An excommunicated cousin

Please think twice before having an amateur capture the most special day of your life! If you're willing to spend thousands on the perfect wedding, make sure you designate a substantial part of that budget for professional photos, or you could end up with this.....(snagged from the web):

I love photos in fall!

Fall in Indiana has a way of improving your mood. It's the only season where it can be sunny, rainy, cloudy, foggy, chilly....and no matter what, it's a great day outside.

I love the challenge that Indiana weather hands me. It's my job to create a photograph of someone that makes the viewer say, "Wow, I wish I was there!"

I've had brides in strapless gowns standing in darkness on lit gazebos in 15 degree temperatures in the snow.

I've had engaged couples traipsing through the forest on a 96 degree/90% humidity days.

But the bottom line to all of these photographs is this: Discomfort is not perceived in the final photograph.

In this photograph I exploited the deep rainclouds overhead. Instead of hiding them, I wanted to use them for dramatic effect.

By shooting from a low perspective, I was able to include a large segment of sky.

The added bonus of such clouds is the nice soft diffused light they give me. I supplement their soft, natural light to fill in gaps, but the overall result from such a day is very pleasing.

Working with sunlight can also be a challenge! While sunlight surely brings out those nasty, harsh shadows, it also brings out the nice saturated colors that can make a photo really POP! The secret is to not let those harsh shadows control you. When you're a photographer, YOU need to be in control. Ambient light is great....sometimes!

You can augment the sunlight with strobe, or you can simply reflect some of that natural light back onto your subject with a reflector. A fancy silver or gold "pop out" reflector works great, but so does a nice big hunk of white board.

The more you light your subject, the better the background can become. If your subject is backlit, the sky will be washed out in the attempt to lighten your subjects, plus your subjects will lack contrast and color.

Here I used the sun to halo-highlight their heads/hair, while using my Metz to fill in the faces. The sun on the hair is always a nice dramatic effect for women, and for couples.

The sunlit trees was an added bonus.

Additionally, you can find ways to exploit harsh sunlight. Use shadow play, look for patterns that shadows cast, and use them to your artistic advantage!

I did not set up this photo. The couple was walking to the spot (where the above photo was taken) and I whipped the camera up and popped off about 4 frames.

Sometimes the favorite shots aren't the ones you set up. In fact, that seems to be the rule rather than the exception, when shooting on-location sessions such as this one.

Shadows can make excellent portraits!

Try to find an interesting and relevant medium onto which to cast your shadow.

For little children, you could use a merry-go-round, or a patch of concrete that they've recently decorated with sidewalk chalk.

Here, we have an engaged couple against the Robert Indiana "Love" statue.

As my high school photography teacher, Kerry Brown, once told us: A camera is nothing more than a light-tight box.

It's what you do with it that makes you a photographer.

Cruisin'

I cruised off to the Caribbean as the snow fell here in Indiana. I visited Grand Cayman and Cozumel, Mexico. It was a welcome break from the cold!

Clouds look so cool from above, don't they? Taken from the plane, somewhere over Georgia, I think.

We set sail in the late afternoon, giving us a gorgeous sunset view of the Sunshine

Skyway Bridge in Tampa Bay, Florida

We passed under the bridge with only a ten foot clearance for our ship!

If you have never seen this bridge, it's quite a sight to see!

I have never driven over it, only sailed under it.

This is a view of the bridge as we approached it from the Carnival Inspiration on our way out of port

at sunset.

Ten feet!

These are the feet of my sisters and me, all wearing matching toenail polish!This was taken on Seven Mile Beach in Grand Cayman. This was the day we got 16 inches of snow back home!

A pretty rainbow at sea

The Carnival Inspiration, docked in Cozumel, Mexico

The "Three Amigos" cantina in Cozumel, patterned after the movie that starred Steve Martin, Chevy Chase, and Martin Short

Inspiration passengers as they walked the dock back to the boat for the trip home. It was an incredible day!!

It was a trip I'll never forget. It was a "bonding time" with my 4 sisters, and was worth every penny!