Some of you are probably thinking you can get a friend or relative to take your wedding photographs, yes you can, but I have heard so many stories from people who are disappointed by the end result, that when they come to the second marriage or the wedding vow renewal one of the first things they book is a professional wedding photographer. So why do we do it so much better than your friends or relatives?

well where do we start:

1/We have all the right equipment for the job, including spare camera, spare flash guns  (in case the main one stops working (things do happen)) and studio lights in the event that we have to take the photographs inside. What will uncle Fred use if his camera breaks or he drops it or he forgets to charge the battery. I also have a camera with a battery that will take over 2000 pictures before needing re-charging, does uncle Fred? How many will his take (with flash)?.

2/ We take most photographs with flash to ensure that all are beautifully lit with highlights in peoples eyes. Will Uncle Fred make sure you look that good?

3/ We are fully trained in how to take superb wedding photographs, we know how to arrange the people and how to deal with the awkward members of your family that never want to be photographed.

4/ We have often been to the venue before and so know the best places to use, will uncle Fred go and reconnoiter the venue? I doubt it.

5/ We make sure that all the images when printed are colour corrected, i.e. take the redness out of those indoor shots, make those awful grey days seem a little warmer than they really were.

6/ We have a vast array of poses that we can use to make for more interesting photographs, not just stand you all in a line like Uncle Fred will. I know how to use differential focus to make things more artistic and when to use a fast shutter speed to capture that moment in motion.

7/ We can supply the end result as a beautiful album or a CD/DVD with your picture printed on the front, to treasure for ever, that you will want to view time and time again, not just pass on a pile of 6×4 inch prints that end up curled up in a box for ever more, unloved and un-viewed.

8/ We are fully insured for public liability (in the event someone falls over me or the equipment I use) and I am fully covered for professional indemnity.

9/ And in the event that we cannot make the day due to unforseen circumstances,we have an array of excellent photographers that we can call on in order to make sure that you have someone there that can do the job for you just as well.  What will you do if uncle Fred doesn’t turn up?!!! End up like the couple I met last week who are performing a vow renewal and insisted on a professional photographer because the only picture they have from the original wedding is stuck to the glass of the picture frame it is in and so cannot be removed to be cleaned or put in a better frame.

Panning is a technique used to give the idea of movment and to capture a fast moving object. It works best when the object to be photographed moves across in front of you from left to right or right to left. You focus on the object and follow it movement and at the appropriate point press the shutter to capture the object as sharp as you can whilst at the same time keeping the background blurred to give the idea of movement. It is very important that you follow the motion even after pressing the shutter button as with all sports the follow through is important. Getting the speed right is the hard part particularly with fast moving objects like sports cars. (also if you have Image Stabalisation on the lend with 2 types remember to turn off the horizontal stabilisation).

Below is a picture where the speed was just right the carriage driver is just sharp and the background is completely blurred.

correct panning

Below is a photograph with the speed too fast so nothing is sharp.

photograph too blurred

Below is a photograph where the panning motion was too slow (probably due to too fast a shutter speed) so the image is too sharp.

The above photographs were all taken at Farliegh House near Basingstoke during the carriage driving trials, the driver is Karen Bassett who was warming up before the cones part of the competition.

Rule of thirds, make your photographs look more dynamic by placing the important or focal point of the image appear on a line that cuts either horizontally or vertically through the image at a point 1/3 the width or height of the image either from the left or the right, or top or bottom.

Diagram of the rule of thirds

Look at the next 2 photos and compare them for impact.

Photograph of Basingstoke Gate

The 1st photograph cuts the image into 2 so looks like it is 2 seperate pictures.

Photograph of Basingstoke Gate showing rule of 1/3

Here the image has been cropped so that the edge of the gate is closer to one edge of the picture, it looks less like 2 photographs stuck together and more like a shot of the gate with some of the background in view, a more pleasing shot to look at.

Of course not all images need to be taken in this way i.e. portraits and close ups can be taken such that the subject is in the middle of the photograph, but even here it is worth considering putting the eyes on the top horizontal 1/3 line or other parts of the body on other 1/3 lines, try it and see. I will add other composition improvements to this blog later this month.

Almost since the discovery of photography and certainly since the early 20th century filters have been used to make changes to the look of photographs. There are hundreds of filters you can use. Some are for use with black and white only some for use with colour only and some can be used with both. Each filter has a number and in the case of warmup filters they range from 81a, 81b, 81c, 81d, to 81EF. These are generally used with colour photography when the sky is very grey and overcast and gives everything that dull grey look. Things look cold and uninviting. In the days of film a warmup filter was essential, this was put on the front of the lens, either screwed onto the front or a generic system can be used where a ring is screwed to the front of the lens and an adapter put on the ring and the filter fits in the adapter. With the adapter method several filters can be used together. In these days of digital photography it can all be done with photoshop, simply click on image->adjustments->photo filter (in CS3). This brings up a window which asks you to name the layer and choose your filter colour. You can vary the strength of the filter by adjusting the density, changing the filter itself or even picking your own colour, it’s all so versatile and done in the comfort of your own home. Below are 2 photographs one without any filters and the other has a warmup filter added to show the effect. In the second image you could almost imagine the sun had come out (it hadn’t).

photograph taken in grey overcast conditions

same photograph with warmup filter added (in photoshop)

When taking portraits make sure that the person you are photographing has their head tilted very slightly to one side so that the eyes are not level. This helps to make them look more friendly and less austere. So below:

corporate portrait showing eye not level.

Something that people don’t often notice when they take photographs is how objects pick up the colours of things close to them. In the example below the 1st photograph is of a jug which is lit from the right hand side so the left side is in shadow with nothing close to it. The shadow is grey.

photograph of a jug with lights to one side showing grey shadows

The next photographs are of the same jug with same lighting except that a piece of card has been placed to the left of the jug. This results in the jug picking up the reflected light fromthe card and colouring the jug with the colour of the card.

photograph of jug with blue card showing red shadows

photograph of jug with blue card showing blue shadows

There is a little known phenomena about red and blue colours that effect the way we see things. Things that are close to us generally have stronger colours than things that are further away, in fact in landscapes things in the far distance often look very blue. So when we see two things together and one is coloured red and the other blue we tend to think that the blue item it further away than the red item. So you can give a feeling of distance or depth by putting red things closer to you and blue things further away. Take a look at the next 2 photographs. In the 1st one the 2 people are side by side, but it looks like the girl in red is closer. In the 2nd photograph the girl is actually about 3 paces behind but looks like she is level with the man. The further you are away from the photographs the more pronounced is the effect.

photograph of 2 people girl in red behind the man in blue

photograph of 2 people standing side by side

When it comes to landscapes generally the best light to take such photographs in is either during the one to 1.5 hours before sunset or during the one to 1.5 hours after sun rise. At this time of day the light turns from being very bright and white to a softer light with a hint of orange or pink and it is not so contrasty. Compare the 2 shots taken below, one was at 3.00pm in July the other was about 8.00am in October. In the midday(ish) photo St Paul’s is very bright and white and the contrast between that and the shadows under the bridge is great. In the photograph taken early in the morning St Paul’s is much less bright and the sun is still low enough to almost be under the bridge so the shadows are not so dark, so the contrast is much less and therefore easier on the eye. The early morning shot is much warmer, the midday shot looks a little cold even though the sun was out.

photograph of the Millennium Bridge about 2 hours after midday

photograph of the Millennium Bridge about 1 hour after sun rise

One of the major problems with taking photographs inside is that you usually need a flash to illuminate the subject and if that subject is a person wearing glasses and you use an on board (the camera) flash then you often end up with reflections of the flash in the glasses which can obliterate the eyes of the subject. There are a couple of things you can do to reduce the affect:

1/ get the person to lift the arms of their glasses so that the lens are no longer parrallel to the camera, so reflected light goes in another direction rather than directly back to the camera.

2/ take the picture from a slightly different angle so that you are not firing the flash directly at the lens.

3/ tweak it in photoshop afterwards (last resort)

Number 3 really is the last resort but if you are careful and have a little bit of eye that you can clone from you can clone out the flash and then smooth it over with the healing brush. The 2 pictures below show the sort of nasty reflection you can get and how some of it can be removed in photoshop afterwards.

photograph of 2 people with flash reflections in their glasses

Then after a little work in photoshop they look like this:

photograph of people with glare on glasses reduced.

One of the main rules of photography (as always rules are meant to be broken) is that things (and people) should come in odd numbers. 1,3,5 etc. This is particularly true of objects and items but does apply to people as well. Groups of odd numbers of people always look better than even numbers, the only possible exception here is 2 people as they are so close to each other they become 1 item. Take a look at the following images and see what you think about the odd number rule.

2 people in a photograph breaks the rule of odd numbers but works here because they become 1

3 people here looks better than the next image where there are 4 people

4 people here not as good as with an odd number