Say you want to photograph a bride standing in front of the window, contemplating the vows she is about to make (as in the picture above).  As a subject, she will be backlit, because the light source is behind her.

The main challenge to overcome when photographing backlit subjects is that your camera meters for the light. If we left it up to the camera in this scenario, the window would be exposed properly but the bride, our main subject, would be underexposed.

So how do you trick your camera into exposing for the subject instead of the light source? There are two ways I wanted to discuss:

Two ways to meter for backlit subjects

1. Put your camera in manual mode and overexpose the shot by two stops or exposure (ie-move the shutter speed from meter indicated 1/125 to 1/30).

I personally always shoot in manual and love the results. It takes some time to learn, but for me it has been worth it!

OR

2. Use your camera’s Exposure Compensation function.

With your exposure compensation, you are telling the camera how many stops to overexpose for.  (In other words, telling your camera to trick the meter). In most of the images in this post, I overexposed for 1.5-2 stops.

Using Exposure Compensation:

Canon – For advanced Canon’s, like the 50D or 7D,  simply wake up the meter by lightly tapping the shutter release button and roll the command dial on back of the camera to see the exposure scale slide back and forth.

For most other Canon’s, hold down the [+/-] button at the top right of the lcd screen and roll the command dial.

Nikon – For most Nikon’s, there is a dedicated exposure compensation button [+/-]. Hold it down and roll the command dial to adjust the exposure compensation.

IMPORTANT TIP: Don’t forget to zero out your exposure compensation after your down with backlit shooting.

And here is a link to a great blog  post on the same subject by the Pioneer Woman. She does such a great job explaining how to to this very simply!

I enjoy shooting children’s portraits with my 70-200 mm f2.8 lens. Usually, I will zoom all the way to 200 mm f 2.8 .  Shooting with these settings allows me do to a few things, which are illustrated in the images and explained below.

Create a comfort zone

First, I am able to give the child a little more space for their comfort by zooming in to 200 mm. Because of the focal length, I am able to stand further back, but still capture close-up, intimate portraits.   Some kids (lots of them, actually) aren’t comfortable with a stranger pointing a big lens in their face. Their smiles will begin to look tight and they are obviously uncomfortable. Parents aren’t looking for pictures of their children standing formally and on-guard. They hire a photographer to capture those intimate smiles and eye-twinkles. From my experience, shooting at 200 mm allows that to happen.

Draw attention to the eyes

Second, shooting 200 mm at f2.8 will blur the background, which makes the subject in the foreground stand out even more. The image is more focused on those twinkly eyes and bright smiles, with the background blending behind. I really love this look for children’s portraits.

Let me know if you have any questions about working with your 70-200 mm lens.

For most brides, their wedding gown is the most expensive dress they have or will ever purchase. So of course, the idea of muddying up a hem or spilling on the front is horrifying. Because of this, I’ve found many a bride is weary to shoot bridal portraits before the wedding day.

The number one reason for NOT shooting portraits before the wedding (besides brides not wanting their grooms to see them in the dress) is the fear of dirtying the gown.

I’m here to say that it is okay. You can have bridals before or after the wedding without trashing your dress – unless you want to

This is a bridal session that I recently shot in the Red Rocks. I have found that the desert and mountains are a whole lot cleaner than the aisle in venues that brides drag their dresses down. And especially in the desert, the sand brushes right off the dress without leaving any stains.

It’s critical to express concerns to photographers, but then relax and trust us. As a photographer, I value my clients trust and will make sure their needs are being met.

If brides like the look of fabulous, ‘Trash the dress’ pictures, but are concerned about truly trashing their dress, then work them to find a good compromise.

Summer has been crazy and fun. We’ve had a little blogging hiatus, but are back on track with many more great photography tips and tricks. To start off with, I’ve had several people ask about how I take my ring shots for weddings. I wanted to share an example of a recent ring portrait along with how they were taken.

For these close ups, I attach an extension tube to my 24-70mm lens. Here is a link to the exact tube I have so you know what I’m talking about:

http://www.amazon.com/Canon-Extension-Tube-Digital-Cameras/dp/B0000U1N38/ref=sr_1_1?s=electronics&ie=UTF8&qid=1280589307&sr=1-1

That’s basically it! When you attach the extension tube to the 24-70mm it creates the perfect conditions for an awesome ring shot! Basically it allows you to get in super tight and still be able to focus. I love, love, love it!! This same extension tube set up will work wonders for flowers, bugs, or anything small.

It’s also best to use a tripod and experiment with several different apertures. For my ring shots, I typically shoot it at 2.8, 5.6, 11, 16, and 22. I’d love to hear if you get the extension tube and have fun taking great close ups. Just leave a comment with a link to your images.

I have another fabulous photographer and great friend to introduce – Kate Pelura. Kate and I worked together at a studio before we both ventured on our own. Her fine art approach to photography and love for wedding madness combine to create stunning portraits.

Kate willing shared insights to starting her own business, working with brides and tips for newer photographers.

Read on for an interview with Wedding and Fine Art Photographer Kate Pelura.

How would you describe your photographic style and how it has developed?

Kate: My style is very natural and romantic. I believe style is developed by staying true to yourself. Before venturing on my own with Kate Fine Art Photography, I worked at a studio where portraits were shot indoors with studio lights. It was too forced and I found myself drawn to working with natural light.

What drew you to photography?

Kate: In grade school I was “The Artist” – always drawing or painting. It is a part of me. I still consider myself an artist versus a photographer. Photography is my medium of choice because it is the most accessible. I am always creating art and using a camera as my tool. Since I’ve been shooting weddings, I have a greater appreciation of photography as an art forum because of the challenges and many variables. When you’re painting you create the composition entirely. When you are photographing a wedding, you create artwork with ever changing variables. You have to love the madness because it is madness.

How did you get started in photography?

Kate: I graduated with a Bachelor of Arts degree and studied it all. Later, I worked for the Maryland Film Office as a location scout. A few productions I worked on were “The Wire,” “Wedding Crashers,”The Invasion,” and “Live Free, Die Hard”. In 2004 I started a photography company with my sister-in-law, who has a Bachelor of Fine Art in photography and has photographed weddings for years. Then in 2008 I moved to Vegas and worked with Mindy at a studio. I decided to start my own photography business and moved back to Annapolis in 2009. I am based in Annapolis, which is a great area for weddings. There are almost 200,000 weddings a year in this area.

How have you built your business and attracted new clients?

Kate: I’m a firm believer in using word of mouth to spread news about what you do. I talk to anyone and share business cards. I built a web site, but finally decided to pay someone to design it for me, because that is the only money I am spending for advertising.

I also think referral by bride is huge. Once a bride loves you they will chatter about everything –  and post everywhere. It can be a double edged sword if you’re not keeping your brides happy. I’m a firm believer in doing everything to keep your clients happy.

Another way I’ve built my business is through social and professional networking. I go to bridal shows and pass my cards out. That is actually how I met Brian Ray, who I have worked with for over a year now.  Just have confidence and put your best work on the web.

What do you enjoy shooting the most?

Kate: It’s a tie between photographing weddings and national parks.  I loved the film industry and easily could have stayed there, but I fell in love with everything about a wedding. Nature is my biggest inspiration. I also enjoy capturing the love at a wedding. Family is very important to me, so it is nice to experience that on a daily basis. I can’t think of anything more enjoyable than spending eight hours on a job with those wonderful family feelings and love. Plus, the subject matter is always beautiful, from the gowns and flowers to the locations. It gives you a plethora of inspiring subject matter.

Who are your biggest influences?

Kate: My greatest photography influences are first, my sister-in-law Catherine Pelura. She was my first teacher for wedding and portrait photography. She taught me posing and using natural light. My second influence is Mindy (and I’m not saying that because this is her blog). Mindy influenced me technically – she taught me so much about cameras and lighting. My third influence is Brian Ray, I’ve been contracted to shoot weddings for him. He has taught me a lot about studio management and lighting.

As far as artistic style, my greatest influence is Georgia O’Keefe. Her simplicity and how she stays true to herself is very inspiring. Also, Joe Buissink, who is one of the most inspiring contemporary wedding photographers. I love his style.

Words of wisdom to aspiring photographers?

Kate:  Find out who you are and be true to that in your business philosophy and photography. Don’t try to mimic someone else. There are too many look alike s in the market.

And have a set of principles and stick to them. For example, be fair with your pricing. Be straightforward. There is no pitch. Just be open and provide info. Honesty and openness is what everyone wants in everything.

What software do you use for your image editing?

Kate:  Adobe Lightroom & Adobe Photoshop CS4 (for retouching).

What’s your favorite camera and lens?

Kate: I use the Canon camera body EOS 5D Mark II. That is my favorite because it has a full frame sensor. What you see through the viewfinder is what you get. It is compact and has a high image quality.

My favorite lens is the Canon 50 mm F1.2 lens. With that camera body and lens I could go anywhere and shoot anything. My arms get tired with big lens and camera bodies, but those are fast and light. Its all you need.

Thanks Kate! It was fun chatting with you. Visit Kate’s site to learn more about her work here.

What Makes a great portrait? on Concientious

Concientious is a fine art photography blog with lots of great photographer interviews and articles. In this specific article, the editor asks a variety of photographers what they think makes a great portraits and to send an example. There are some profound thoughts and portraits. An inspiring read.

The Power of Personal Projects on Photofocus

Photographer Stacy Pearsall discusses why it is important for photographers to work on personal projects, besides their everyday work. Stacy’s personal projects have explored the lives of military men, women’s rights, immigration, illness and teen pregnancy. Most recently, she has photographed veterans of South Carolina. Read the article to find out how this project has affected her and her work.

IPHONE App sun seeker review on Vincent LaForet’s blog

Review of a cool new iphone app that will tell you where and when the sun will set for any location and on any day – today or next year. Its seems pretty awesome – so jut read the full article for more details on what the app can do.

Meet Cecil and Suzie, a lovely couple who were married at a venue that doesn’t like outside photographers.

It’s fairly common in Vegas to be hired for a wedding where the venue uses an in-house photographer. The venue would prefer the wedding uses their photographer, of course. As a result, they will not allow an outside photographer to shoot the ceremony and be very particular about where you can photograph on their premise.

It’s like walking on eggshells. The venues are usually very restrictive and the in-house photographers will push the outside photographers around. “You’re blocking my shot,” “You can’t stand there,” “Wait over here until I’m done,” and the list continues.

This situation is not unique to Vegas. Anytime a photographer covers an event at a venue, they need to be prepared to deal with in-house photographers and their rules. Here are a few tips to help you navigate the waters:

Kill them with Kindness

As soon as you arrive, talk with every on site employee that you can. Introduce yourself and ask where you are allowed to be. Emphasize that you will be respectful of their property. Showing respect to the venue is key to gaining ground.

Better to ask for forgiveness than permission

In my experience, it is better to move fast and take your shot. I use this on the strip a lot and I’ve never had anyone get really mad at me. It is easier to apologize than to loose the shot when your request is denied. Once again, continue to kill with kindness if someone does tell you that where you’re shooting isn’t allowed.

Be EXTREMELY polite, even when you’re irritated and treated rudely

Others may have had different experiences, but for me, I’m always surprised at how rude in-house photographers are to outside photographers. Half the time, I feel like they are purposefully pushing my buttons, trying to make me lose my cool and get kicked out. Never give in to that! Even though I want to wring people’s necks, I never stop being polite and kind. It is the best way to get my job done. Plus, clients will notice that.

Hope those tips help! I’d love to hear your experiences working as an outside photographer at a venue. Leave a comment below.

I love it when families invite you to special events (like this one). I was asked to photograph a family birthday party for a woman who was celebrating 90-years-young. Just look at those candles on her cake! How appropriate to wear a fire chief hat.

Any time you are photographing a family event, prepare for guests who are not always keen on having their picture taken.

As the photographer, you stick out like a sore thumb with your large camera and bag of equipment. Often, you might be the only one who no one – except your client – knows.

When you find yourself in these situations, I stand by a bit of advice I’ve given before – be yourself. If you are comfortable with yourself, it helps others around you feel less awkward.

Also, go ahead and introduce yourself to people before/during/after you take their picture. It helps break tension and gives you an excuse to come back and snap a few more of them later. They also might be interested in purchasing the photos after the event. If you introduce yourself, they will know who to come to later for that.

But most of all – have fun!!! How special it was to be invited to celebrate 90-years with this lovely lady and her family. How often does that happen? It truly is a privilege.

Photographers tend to fear sunny days – the sunlight is harsh and bright. It causes dark shadows and reflective surfaces are blown out. If you are photographing people, their eyes are usually squinted.

Mark and Destiny were married at the LDS Temple in Las Vegas on a very sunny day. One of their requests was to have a portrait with the temple’s steeple in the background. Usually, I avoid this shot during the afternoon, but since that was the time we had, I planned for ways to get the shot without squinty eyes from the afternoon sun.

My simple fix: If you are trying to avoid squinty eyes, have the couple looking at or kissing each other.

More tips for shooting portraits on sunny days:

Move into the shade. However, when shooting in the shade watch for uneven shadows caused by the sun shining through breaks in branches or whatever else is giving shade. Adjust your subjects so these uneven shadows fall in less distracting areas. For example, you wouldn’t want a patchy shadow on your brides face.

Use a flash. A flash will fill in shadows under eyebrows and noses, producing more even light on the face.

Use a reflector. Often  you’ll see photographers using a round reflector to bounce light onto the subject, filling in shadows. On a budget, you can do this with a poster board or white foam core. Pro: They work just as well reflecting light. Con: They can be more bulky and less portable.

Meet the Hanson family – my sample family for this post on family portrait tips. We had a great time taking the above picture of them jumping in front of the Las Vegas sign. (Random tip for jumping – I tried counting for them, but my lens was in the way so they couldn’t hear. When I counted, their jumping was off. It worked better when they counted for themselves. All feet were off the ground at the same time. So fun!)

Before the Family Portraits photos session:

Family Portrait sessions can be really fun or a little overwhelming, depending how you approach them. I would strongly suggest talking with the family before the day of the shoot. Don’t wait until then to meet them for the first time. Here are some questions I use to prepare ahead of time. Not all of them are for the client, some are for my own planning purposes.

• Is the family looking for something fun, like the Hanson’s? Or are they looking for traditional portraits?
• Do they want their outfits coordinated? If yes, what is their theme? How can I use that in my compositions?
• How many people will there be? What type of family dynamics do I need to be sensitive too?
• Are they willing to be spontaneous and try something new?
• What do they want to use the pictures for? For example, is this going to be sent out on family cards or printed large over a mantle or both?
• Is location important to them? For example, the Hanson’s knew they wanted a family portrait in front of the Las Vegas sign. Others might want to be in their home or near a favorite landmark.
• Does the family want group shots followed by individual poses?

During the Family Portrait Photo Session:

During the session, I usually plan for a couple different group shot poses and then individual poses. I prefer to start the shoot with group photos – it helps everyone loosen up. I also prefer to joke around and get to know the families. When they feel more comfortable with me, their pictures will be better. It is so important for them to feel relaxed by the time we get to individual poses. I want those natural smiles!

I also map out ahead of time what possible shot combinations we will use. For the Hanson family, I shot family group poses, couple poses with bothe the parents together and then the children together, and individual children portraits.

Different shot combinations may include:

• Couple poses: Parents posed together.
• Children grouped together: All the children together, or all the girls, then all the boys.
• Other combinations: Father and daughters, father and sons, mother and daughters, mother and sons, grandparents with grandchildren, grandparents with adult children
• Don’t forget the family pet – sometimes families want to include the family dog or cat posing with different family members.

I truly enjoy meeting so many families as a photographer. It is spiritually rewarding to see bond during a photo session. These are lasting memories  they will have preserved by your work. How great is that?