The Power of Visual Storytelling

Yesterday, I wrote about the first session at the Blographer event I attended.  The information provided by Amanda Bottoms and Eric Cobb on how to make your photos blogworthy had to many tips and tidbits in it.  It's going to take me some time to play with them all, but I'm looking forward to it.  This session on visual storytelling featured another Amanda - Amanda Padgett - along with Rachel Devine.

The only downside to this session?  I had to scoot about a half hour before the session ended, so there was more information that I wasn't able to capture.  What I did get down on "paper" though, was helpful to me, and I hope it will be to you, too.

The Power of Visual Storytelling

Rachel Devine - Sesame Ellis (@SesameEllis)
Amanda Padgett - Everyday Elements (@amandapadgett) 

Amanda - Erin and Amanda Bottoms really set us up for this. They kept saying, "You'd better talk about that" so now we have to. We want to relate visual storytelling and photography to the writing process. A writer comes up with the story and then they do drafts and they edit it. You should have the same process for your photos to have the same impact for your readers.

Joel had asked if I would like to speak with Rachel, and I was familiar with "Beyond Snapshots" and I was intimidated because Rachel is huge and gifted, but she lives in Australia, so we’ve been working together in the morning and at night. We found out quickly that we are very different, so the best way to describe that is that we’re dusk and dawn. We have a lot in common, but we are very different. You're going to hear some ways that Rachel does things and the way that I do things; take that back and chew on it and decide what works for you.

Rachel - We just talked a little about the storytelling process. I'm a photographer and an accidental blogger. I started my business in Los Angeles in 1995, so I photographed for companies like Target and the like. I had a child and started photographing her; that story will come a little later on.

The storytelling process isn't just throwing images up on the blog. I have a rhyme or reason to it, and we're going to teach you to have beautiful stories represented in your images as well as your writing. I'll talk a bit about photo theory that most people don't talk about. There is a lot on the mechanics of the camera, but not often about the multi-dimensional and broad photo theory. I want to talk about why it's important to bloggers. It's a visual medium.

We wanted to poll the room - who is a photographer by trade? Do you blog as well? Who's a blogger by trade? Who here is DSLR, point and shoot, camera phone? Basically, this applies to everything and everyone. It isn't just a fancy camera thing. If you do have one, we encourage you to learn how to use it. 

Great visuals will bring in your audience and up your numbers. That will bring in sponsors. RSS feeds - you can read an entire post in an RSS feed, but you’ll click on a photo to see it better. Pinterest - craft, food and mom bloggers. I'm talking to all of you. You're not going to pin an ugly picture. If your sauce isn't lit or photographed right, no one is going to make that meal.

It applies to every type of blogger. The images will increase your reader engagement and have them come back. They will want to read your story and wait for your posts, which goes into numbers again. We're talking stats, which gets you sponsored posts and reviews. If a company gives you a product, they want a good photo of you using it in your home.

Digital content creation creates a spoke content for blogs. The brands can push out to their social media, and it's more personalized than ads shot in studio. I did this, and for me, then the company wanted to buy the images - they're beautifully shot, but real, and using the product. I've been employed to shoot a big brand's bloggers' kids wearing their clothes. I'm working with a bunch of different agencies to bring more of this to market.  I'm a brand ambassador for a lens company. I love the brand, and that's another thing that comes out of it.

Building your brand - it's real and your life. People know what I tell them about me and what I show. They keep coming back, and I'll tell you a bit about my story next. My clients as a professional photographer come through my own blog. It started when I got postpartum depression when I had Gemma who is now 7 1/2. It wasn't talked about in the States, and I joined Flickr. I didn't want my clients seeing my digital photography because I was afraid they would see the real me going through postpartum depression.

I just last year split into two place with Rachel Devine Photography, which is the professional stuff in addition to the Sesame Ellis I've been forever. I clawed my way back from postpartum depression by using Flickr to show the images. The twins were IVF, so I was going through fertility problems and not telling anyone, so I decided to just start sharing images on Flickr of that journey. The response I got back was that it helped me and it helped them.

I want to help solve problems, which is the "Beyond Snapshots" book. Rarely will I post a client shoot on my blog, but when I do, my stats go down. I want to talk to real people, people who are going through the real things. I'm now an expat and have gotten a lot of great feedback on that.

If you are selling anything, people are going to buy from friends. If they see you as a friend or as someone they know - and I mean people coming back to your blog or crafts or food - they will follow those stories. It has to be your story, not dramatic.

All three of my kids have Instagram accounts. We try to accept that its' a digital world, and we do our best to keep them safe. I moderate comments because I get a lot of trolls. Knowing your story means knowing you to your readers. If they trust you, that's how you can monetize your blog or just have people keep coming back.

Sharing stories broadens your audience. Instead of showing me recipes, show me your kitchen. Expand to create your story. Show me the farmer's market. It can still be your brand and your topic. Don't tell me about it, show me. I really want to see things - I don't have a lot of time to read. The same holds true for fashion bloggers - show me a thrift shop, walk me through your shopping. Personal blogs are not faceless magazines. This is you. A personal blog is your story, so share it and expand on it. Crafters, show me your crafting room, or focus on different things. Every Wednesday, maybe do something else. It's still your story, and you can show people that they're not alone. There are other people like that out there.

I photographed the door (shown in the picture on the screen) and didn't think about the fact that the initials of my twins were on the door, because we didn't say the twins' names. Things like that can spur conversations with your audience unexpectedly and people were guessing the names like crazy. We announced that they were twins by Gemma holding a pink and a blue pacifier.

Gemma saved for over a year to save for an iTouch, so we created a savings jar and I did a craft post on how to do that. What is visual storytelling? It has purpose. That is the one word that sums it up. If you take away anything from this, it's purpose. When I started the infertility journey, you have to give yourself shows and can't do it on your belly button, so I shared details showing my shot marks. It's a way for me to heal and for other people to be healed. That's purposeful shooting. It does include time focusing on technical elements.

If you have a vision in your head and can't make that photograph look like what's in your head, it's frustrating, so know your camera. A DSLR has all these controls and so figure them out and use that tool to tell what you want the story to be. Think about other photographs and what they tell you. Knowing my settings and being ready for it with what story you want to tell, that's how you get the photos you want. Happy accidents happen, but being ready is more important.

Identify what works in a photo. As photographers, we have the frame, what we put in it, what we don't, where we put it is all key. Think within that box and try to get it in camera, but yes, you can crop later. I try to spend as little time editing as possible. I want to get the pictures right in camera.

My goal is no clutter in my photos; they are the repeating characters you don't need to know. Learn what to leave out by simplifying. What's outside the frame is not featured for a reason, and that makes a stronger image. This is the real important part: What does it say to you when you first look at it? What you see may not be what is meant to be told. Your viewers may have a different background, so you have to build up context for them. That's why you keep telling your story over and over again.

My mom is 85, and she's getting ready to move to Australia (photo shown on screen of an older woman in a bedroom folding clothing, shot from a distance through the doorway). I was visiting my mom and saw a reflection in a mirror or her in her bedroom, and I saw the aging and the passing of time, and if I keep telling that same story over and over, it will come through. But you can sometimes just have fun and practice to revise your own vision by breaking free from your normal process.

If you are telling someone else's story, you can't separate yourself from that story. I'm putting my views on it, but that's what we do, and it's fine. Tell a story when you're traveling from your point of view. When it's not a struggle is when you know you're getting it right. Occasionally people will see something like that and be surprised, but if I completely changed my style and everything looked like this, then it wouldn't be my style.

Camera therapy is my process. It's what I call my storytelling process, and it might not apply to you, but it works for me. Everyone can identify an image that is poorly shot where the story gets lost, but the real thing is teaching the eye. People say you can't teach the eye, but then dance classes would be steps and music classes would be scales and writing classes would be spelling and grammar. Most photography classes are just teaching you how to us your process. Enjoy the process and learn.

If you get a process, and mine is camera therapy, I think about what I want to say and I prepare. I know ahead of time what the lighting will be or bring the right lens. Then take a deep breath because it's just pictures. Push yourself to look at things from different angles and think about how you can take it better. Don’t just keep taking the same photo over and over again. You can do that with your own photography and get to know your subjects to create characters. Gemma thinks she's hot stuff, and you tell the story of the character's you've developed.

I'm going to suggest two books. The first is "Bird by Bird" that is an amazing book on process. Think of ABCD. A is action - What is going to happen in the photo? It's your purpose and your message. That's what's most important. B - Background - This is your background. What are you bringing to the story? C - Content - It's your focus - what are you putting in the picture, what are you leaving out of the frame? D- Development - What's happening with the story and develop those characters? This is your story and your protagonists. Develop them, and tell people about your characters. Show them your characters, and that's how you create a visual story.

Amanda - I wanted to tell me story. I started blogging in 2008 when my dad was diagnosed with cancer. This whole blogging thing seemed like a good way to keep my family members in the loop with what's going on with my dad. I would share pictures of my dad and update them on his progress. Not long after that, I saw other people's blogs, and their pictures looked a whole lot better than my camera's photos. My husband didn't want to buy me a big camera because he was convinced I'd never use it.

When I started, I had everything dead center with the head in the middle. When my dad died in 2009, about 6 weeks later, I went out and bought a camera because life is short. This is something I had wanted to do and didn't want to lose a moment. If you shoot on auto, you have an expensive point and shoot. I put my camera in manual and figured it out. I started teaching workshops on Photoshop Elements, and that's how I'm here today.

People have the story on paper. With a writer, they want to write the best they can, they want to get it out as best they can to start with because the editing process is hard. Do the same. Get the best image possible out of the camera.

The things you need to focus on are exposure - you need a well exposed image - focus, light, composition, proper equipment, setting image limits. Cheat sheet: http://bit.ly/helpsheet that has tips for every one of these items and how to correct every one of those things.

Exposure really really matters. If you put a photo on your blog that is dark, people are going to want to see it better. There is an exposure triangle: the ISO, aperture and shutter speed. If you aren't controlling those things, your camera is going to try to make a best guess. It won't be right. There is a big difference between too slow of a shutter speed and too fast. Set your ISO, set your aperture, and then use the wheel at the back to set your shutter speed when you're shooting in manual.

Backlighting is beautiful, and people really love it. You have got to know how to shoot and set the exposure for the person though, or the person is going to be really dark. You have to control the shutter speed to capture the movement. You need to have a fast shutter speed to capture action.

What about focus? Focus seems like a really simple topic. I'll just get it in focus! I am surprised by how people don't know that you can move the focal point of a subject in your camera. There is a menu of closest subject, matrix, and single point. I recommend having it on single point and you can choose where you focus. Pay attention to that. That's how you can do the aperture changes with the background blurry.

What if your photos are out of focus? I always say, "Can I see the EXIF data?" There is a lot of information and your shutter speed, and I find that it's almost always too slow for the moment. Your shutter speed needs to be roughly double the length of the lens you're using if you're hand holding and not using a tripod.

Rachel - Make the light for you. Don't just move around, and be sure to use the natural light. My favorite thing in the world is the big foam core boards. I love to cut holes using an X-acto knife so I can have the light come through it and then bend it down over your item. It looks like it's lit with a giant, very expensive soft box. I have examples on my Facebook page. Check Beyond Snapshots with all sorts of tips on various topics.

Aperture and bokeh
Aperture affects the exposure in terms of how small/wide the opening is to allow in light. With f3.2, the focus will be just on the horse's head and the tail is already out of focus (photo of a toy horse sitting on a counter). At f8, you can see everything that's in the background because it's in focus. It impacts the depth of field. This goes to storytelling. Is what's in the background important? If not, you can use depth of field to get rid of what's not important. I'll often shoot at f3.2 or f4.

A big difference is in the distance from me to my subject and my subject to my background. I'm further away from my subject, and the background is somewhat in focus. I move in closer, and the background is more creamy and out of focus. The distance is key. Pull your subject from the background and you get in closer. If you zoom in, it works even better. I love it.

When you're composing and crafting your picture, the composition can be so off that you can't save the photo. Compose it correctly in camera; it does matter. Alter your positions; don't just take the same photo over and over again. Don't just shoot down at children, but get to their perspective. Think of the rule of thirds, which I'll show in just one second. Look for leading lines that draw you into your focus of the photo. 

Negative space
Get your subject in one part of the photo with nothing else going on in the photo, which will really draw the viewer to your subject. Sometimes, fill the frame with your subject. Use a natural frame for the photo.

What not to do?
Tilts gone wild. You don't want to make it so severe that your subject that looks like they're falling off the world. Tilt a little can be fun to give a little different perspective. Tilt with reason and purpose. Be careful with it.

Have the right tools
Lenses do matter. I don't want to tell you to go into debt for a camera or lenses, but they do matter. The new cameras all do what you need them to do. The Nikon and Canons are great. You need to get a different app for your smart phone, though. I use Camera Plus.

Don't buy the kit lens for your camera. You want a 50mm f1.8 or a 35mm f1.8 are great lenses. When you have a macro, you can get in super close, not that you should all the time. A 60mm f2.8 is an affordable macro to do that. Other brands are good, but the most help can be found for Nikon or Canon.

Rachel - I come from a film background, so I tend to be precise. I would shoot an entire session on two rolls of film, which is 72 frames. Who here shoots hundreds of frames in a session now? You don't need to take hundreds. Get a small memory card and dedicate it to this - take 72 frames, and take pictures like your lens in back is broken and you can't see what you've shot.

Do it with no in camera deletion. Record the lighting and what you were doing at the time. Figure out your f stop and shutter speed. Don't even look at the back of your camera. You'll get to 72 so fast, but this will force you to be careful. You have to slow down and force yourself to think of what you're doing. Explore your city or take your kids on a scavenger hunt.

Amanda - I go out once a year to shoot with other photographers in Savannah where I could come back with 150 images and another photographer would come back with 1,000. She had to go through editing for 1,000 photos. That time matters. When someone writes a story, the editing is where you get to the right story.

You hate to see typos in a book. There has always been an editor going through books to kill off the run on sentences. They add elements, too, to make it more interesting. They make more exciting verbs or adverbs to liven up your story. Editing will do that for us. It takes a so so image and brings it to life.

The basic workflow is to import, tag and select. How are you managing your files so you can find them? If you use editing software, you can tag your images so you can find them easily later. I can find just about any photo I've taken in the last three years because of this.

Go through and select the pictures you want to use right away, the ones that are going to tell your story the best. Then you correct the problems. Almost all photos have some problem that needs to be fixed, white balance, composition, exposure. We'll possibly add some creative effects. Then well crop or recompose the photo. We'll sharpen the photo before resizing and possibly watermarking. Tip sheet: http://bit.lyhelpsheet

And yes, there was more... but this is where I had to leave.  My favorite tip?  Tagging the photos.  You have no idea how often I am searching for a photo I know I took but can't find easily.  If you have the rest of this session, please let me know!

Ten Ways To Make Your Photos Blogworthy

Before BlogHer in New York, I attended Blographer, a first time event put on by Adorama.  It was a full day session focused on photography, specifically blog photography.  And you all know I can use all the help I can get in that area!

The first session was on ten ways to make your photos blogworthy, featuring Amanda Bottoms and Erin Cobb.  I learned so much that my head is still spinning.  And the almost two hours of this session?  It wasn't nearly enough.

Erin - You might know that in the south we say "Bless your heart," but here's the more authentic Huntsville. It is "God love her," so you can use those two things. "Bless her heart, but she doesn't know what she's doing up on stage, bless her heart."

I'm going to tell you a little about my blog and my journey to where I am now. I started to blog when my daughter was born in 2006 - for my mother, and that was it. I was in Colorado and had a baby. I never had any aspirations beyond that. I had a little point and shoot and that was great. I wanted something better, and it went from there.

About 10 months after I started blogging, a picture I took of my daughter won the BabyGap contest. Then all of a sudden, people cared about my blog, so it started getting hits and my friends and friends of friends started saying, "Can you take pictures of my child?" I decided I will, but you have to pay me. I started a photography business and moved to Alabama. I have a blog for my life and a blog for my business. 

Huntsville is the land of engineers - the largest per capita in the country. How do you know an outgoing engineer? He looks at other people's shoes. How do you know an outgoing blogger? She looks at other people's phones....

 Amanda - I am a full time blogger. I also live in Huntsville with my husband and two dogs. My photography and blog are both food and travel oriented. My blog focuses a lot on food, travel, and landscape, with a lot of desserts. That's what I take pictures of.

Erin - Empower your images to tell your story. I'm going to tell you a little about each of my blogs. The Pig Bear is my personal blog. I feel like whatever you're blogging about, food, shoes, engineers, work, kids, you have a story to tell. You have to have something you want to say to the world. The Pig Bear is the story of my family's life. There is a constant theme that runs through the blog, that life is fun and quirky and real and colorful. That's the story of my personal blog.

When I say it's real, we know everyone's' life has crappy stuff in it. I try to document that a little, but that's not what I want to remember about my life. I do blog positively knowing that my children will read it someday, and I want them to know that I treasure them. This is the story I want to remember.

My other blog is my business blog. My clients can go to my personal blog and my friends and readers can go to my business blog, but I keep them separate. I don't want my client's grandmother to have to read about my four year old's fit. The story I want to tell here is about a fun, exciting client experience.

I'm conscious with both these blogs who my audience it. On my personal blog, it's still my mom and my sister, and my friends and the guy who googled pig bear. On the business blog, it's my clients, my potential clients, other photographers, and the most important audience for me is the potential clients. I want to blog about this fun and engaging client experience to make people want to call me. If you know the overarching message you want to get across, you already know the images you need to capture and how you need to reinforce the story.

I always want to keep the things that I share in line with my overarching story. We want to remember that we're happy, that my house is warm, that we're quirky. And that we're real. The picture of my child crying is real, and we have to remember that, too. I try to feel the realness, too. On my business blog, I want to keep it engaging and fun. What mother of a teenage boy doesn't want to see her son mugging up with her to the camera? That's what I want to show on my business blog.

You know the story you want to tell, and now you have all these tools in your toolbox to tell that story. The trick is how to tell that story to your advantage. You've got perspective, the way you approach the scene in front of you - high or wide, close up or not, you've got shutter speed and aperture, you've got composition and storyboards - the series of images you use to reinforce your story.

A little about perspective. 
When you approach whatever you are photographing, before I take that shot, I am thinking, "What do I want to tell? What is the story here? What do I want to tell?" If I were sitting right here, there is the story that the girl in front is scared and everyone is staring at her, so I'd want to take a picture of me up front with some of us in the audience. I'm not just shooting everything. I'm thinking about what story I want to tell and then finding the images for this.

This picture (on the screen during the presentation - showing a baby in focus with the top of a little boy's head who is holding the baby) is about Baby Jude and being loved and adored. It's focused on him with my son there but not showing the child loving on him. About five minutes later, this is Ephraim loving on Baby Jude (focused on the boy's face, with the sleeping baby in the picture but not the focus), so it's focused on him and his face with Jude there just to show what he's loving.

You can use objects in your view to show your perspective. Having a door in the background really gives that perspective of peeking around a door. Closer in really gives that perspective of being a part of the scene. Really focusing on the eyes with a big aperture will give you a lot of attitude from the subject of what she can do.

Find the Best Light 
Amanda - One of the best tools you have in your toolbox is the light. Finding where the light is coming from, how it hits your subject, honestly it's not something I thought about at first. I didn’t see where it showcases the highlights and the shadows. It took a long time for me to learn to take the best photos to evoke emotion.  I have to find the best light in my house and move things to that area. It can take things from dull and flat with flash lighting to dramatic if you have shadows and highlights.

This is my kitchen (another photo onscreen), where I take most of the photos in my house. That's good since I take a lot of photos of food. I get a lot of natural light from the big window. I get the sun in the morning. Right after the sunspot goes away, it's completely flooded in the room. I turn off all other lights in the house because you don't want any competing light because that's going to mess up your white balance. I like to have the light just flooding the picture.  If I don't have enough light, I will move the table by the window to get as much light as I can possibly have.

Here's an example of a picture I took in that lighting. The light hits the food directly from the side and highlights the chocolate. What's also great about the table is I love being able to just walk around the table and look to see where the light is hitting. The first picture shows the light hitting it from the side. The next photo has it hitting from the back where it has shadows in the front where it then highlights the frosting on the macaroons.

Every picture you ever drew of an apple has the shiny spot on it. We drew it in because our brains know. Find the shiny spot - the interesting highlights - to take the photo. Light coming from the top just isn't as interesting as light coming from the side or backlight. If you don't have a good shiny spot, look for the shadows. You can see them up front on the won ton wrappers, because if you have front lighting, you can't see the dimension as well.

That's indoor lighting. Now if you're outside, look for some shade to take pictures, but you want to treat it like that big window. Look for a lot of sun and then move just out of it into shade. You don't want to see a bright patch of sun in your background because that will be way too bright. It's the same type of light as indoors with full natural light. Then walk around and see before you even take your picture to see where the best light is. That way you can take 8 instead of 50 photos to get a winner.  Look to see where the highlights are hitting the subject. Have the person look at you to see where the catch lights hit their eyes, and that's where you want to take that photo.

If you're ever outside and want to get that beautiful landscape shot with a bright blue sky, shoot with the sun behind you, hitting whatever you want to photograph. Shooting towards the sun will give you a white blown out sky. Turn a 180, and you'll have a bright blue sky that's illuminated with gorgeous shadows and reflections. For outdoor shooting if you do want to have the sun behind someone, use the popup flash on your camera. The bright light coming in will make the person completely silhouetted. 

Expose for the light. Take your camera to where you can just see the sky and hold down the shutter to focus, then move down so items are silhouetted as you want. It depends on what you want to see. Move your subjects to the light.

This photo was taken in a pitch black restaurant where we could barely see the food (gorgeous picture of a dinner that looks fully lit). We want to go out to eat during normal times, but we want to take pictures of our food anyway. You could always use your flash, but I like light coming in from other directions. I have the candle that I moved closer to the food. There is a bright light to the side, where I had a friend turn on her phone to illuminate the food, and it looks like daylight. Most phones have a flashlight app, but that would be too harsh. Hold it at a high angle, to a blank browser page so it's a white screen.

Be Consistent in Style & Skill 
Erin - I feel like when I am about to click on Amanda’s blog, I know exactly what I'm going to see. You have an expectation of a brand and what you'll get from it. Use GAP, Diet Coke, and Google as examples. You know how it will make you feel.

Every person is a brand; every baby has a blog. Did you know that two years ago, 92% of two year olds and under had an online footprint from a picture or a name on the internet? When someone sees you coming, they have a thought about how they're going to feel about you, what you're going to say, or how you're going to say it. It's the same thing with your blog and the pictures you put on your blog.

It could not be more important for you to be consistent with your style and skill. There's nothing more frustrating than not knowing how many pictures they're going to put up or if they're going to be good or not. Really establish who they are and what they do. You have an expectation. When my clients come to my business bog, they know they'll see cute families and girls, adorable babies, and happy images.

First, set the expectation through your images what their experience is going to be, then live up to it every time. On my personal blog, I’ve established that story. It's going to be warm and fun and engaging. It's going to be a story in the photos. You're working with this in every post to live up to the expectation to reaffirm the brand. You may not think you have one, but you do.

Don't forget about that little bit of fun and spark every now and then. Even Coke has Vanilla Coke or Coke with Lime. Don't forget about that element of surprise. You know the product is reliable, but there's an extra little fun sometimes. You can do that on your blog, too, and it will help keep them coming back.

Use Aperture to Focus on Important Elements 

Amanda - One of the tools you have is aperture. There are things you want a lot in focus and others that you want just a little in focus. Let me tell you a little about aperture; it controls whether you have a lot or a little in focus, if it's a blurry background or whether you have it all in there. If you have a small number (f2.8) it's open wide and the background will be blurry. If it's a larger number, then it will be all in focus. It's AV in Canon and A in Nikon (and Sony) then turn the dial down as far down as you can go. One of my favorites is the Canon 50mm 1.8 lens that's about $100. It's how I get the backgrounds to beautifully blurry.

When you're doing a blurry background, make sure it's an interesting background. If it's just a white or solid background, it won't have bokeh or be interesting. A picture of perfume sitting in front of a ton of jewelry is reflecting light off the beads. Look for repetitive objects, trees and bushes are fabulous and Christmas lights are great, too. Set it up before you take your shot. That's what makes great bokeh.

If you want everything in focus, you can go up to 22. Turn the dial all the way up to do that. It's a narrow aperture with just a little light coming through, so you need a lot of light to come through. That will bring everything into focus. This is something that I use a lot for landscapes. I want the story to include everything. One of my favorite things about using a high F number like 22 is that if you're taking a picture of the sun or any kind of light, it will create that awesome sun flare. It works all the time whether it's coming through trees or shooting straight at the sun. It works at night with streetlights, too.

Use your Shutter Speed to Dramatically Freeze or Blur Motion 
Amanda - You can use shutter speed to tell your story to either dramatically freeze or blur and slow down motion. When I go outside and I want to take photos of action, the first thing I do it put my camera in Shutter Priority Mode - TV in Cannon and S in Nikon (P for Sony). If you see inch marks on your screen, that's actually seconds for your shutter speed. You need a lot of light because the shutter doesn't open as wide. I turn it to 500 and, you'll capture the action. A high number is a fast shutter speed and it will freeze. The camera will handle everything else but the shutter speed.

On the flip side of that, you can use an extremely slow shutter speed to create a dramatic motion effect, but you need a tripod or something to keep it steady. It's recording the whole time the shutter is open for a quarter of a second or five seconds or thirty seconds. Nothing else in the background (of a photograph shown on the screen) moves but the water, so the background is in focus but the water is blurry. If you move at all, then it won't work. This is great for places that are action central where you don't want to have people or cars in the photo but instead shows the image you want to see.

If you're going to use a tripod, use a quick self-timer mode like 2 seconds or something. Any shake or movement on the camera will shake or blur it. Even pressing the shutter button will shake the camera. I press the shutter then get away from the camera while it's taking so the camera has time to steady itself.

The next time you're taking a photo, think about what images might benefit from a slow shutter speed. If I'm going to do photos of water, I love a slow shutter speed because it gives a slow dreamy effect. The water is choppy and looks flat with no interest to it. There are always railings in places I seem to go, where I can turn on the self-timer and set the shutter speed and let it record. It makes a more interesting picture. If you shoot in manual mode, you can up the aperture to get sunburst, too.

Select Images That Support Your Style/Brand 
Erin - You've taken all these pictures and now need to choose which ones to share that support your brand. I feel like I can see a picture on the Internet and know Amanda took that photo. There is a very signature look. I know that feels daunting if you aren't super familiar with your camera. If you’re consistent over time and figure out what you like, you'll find what's consistent with your brand.  Once you have defined your style and brand, work with each post to enhance and strengthen it. Whatever your style is, make it your goal that your images be instantly recognizable even without your name attached.

With a blog, you don't really know exactly who is reading your blog. You can look at Google stats, but it doesn't tell everything. When it comes to blogging, think about the story first - and mine typically are of children, family and people. I just don't take photos, or care to take photos, without people. I typically know the story I want to tell.

Do you ever see interactions where you want to freeze them and they're so poignant or special or funny? That's the story I want to grab. I don't necessarily know the tone that my blog post will take. I don't know when I take that picture of my kids snuggled in the bed on a Saturday if I’m going to go funny or poignant with it. It's when I'm editing the photos that I really start to form the tone and post in my mind. I take the images and know the story then craft the post around it.

The tone influences the number of images I share and the order in which I share them. If I'm doing a story about my day in New York or Blographer, then I'll share a lot of pictures and punctuate it with information. Storytelling posts do really well with lots of images. The sweet or poignant stories tend to not need as many images.

Some of the blogs I really like frustrate me because I feel like a quarter of the way through the blog post, it has already told the story and it just goes on and on. It feels like I already know this story and it's just too sweet. If it's sweet, keep it short. It gets too heavy when it's serious. Keep it short. With storytelling, you can use more images to tell the story. This is my husband and daughter playing soccer. My daughter has learned to do the "What's that?" to my husband who plays the fool for her.

Oftentimes, leaving an image out can do more for your blog than putting it in? Does this image support my story without being redundant? It may just be so cute and a different angle, but no one cares if it's a different angle. Be sure that each image you choose supports without retelling. Does it bring something new to the story?

Is it safe or anonymous enough to be respectful of friends and family? Everyone has a different line, and you have to know that. Most people I'm photographing know that I'm going to put things on the blog, and if they don't want up, they'll tell me. Nothing will make your images less blogworthy than friends and family not wanting to be up there.

Shoot with Skill and Edit for Impact 
Erin - I’m going to tell you something embarrassing about me. In 2005, my daughter was born. I learned everything my point and shoot, including shooting in manual mode. I knew all it could do. Then I decided it was time for a new camera and got a Canon Rebel. I had no aspirations to be a photographer, so I started researching online. I had no idea that Photoshop existed. I didn't know about image editing at all. I saw these pictures, in a time where oversaturation was big, and I spent a good six months working my camera to look like these photos that I know now had been edited.

I'm really glad I did this though because it taught me to shoot with skill. When I discovered Photoshop and I can edit, that's great, but I still know how to take that photograph. My editing philosophy is that Photoshop is like makeup. It works best when it looks like you're not using any. You don't want people to walk into a room and say, "Wow, did you see her eyeliner?" You want them to notice your eyes.

If you really like to go for it in Photoshop, then go for it. I sell a Photoshop product that teaches people to use it like I do, so I'm not bashing Photoshop. I want images to point back to your story and not to the editing that you did. You want them to notice your image.

Lighten to emphasize Detail 
Amanda - The first thing is the light. I personally think that most photos need a little bit of lightening. You can do this in editing photo tool you have from Picasa or just uploading it somewhere. Everyone is going to have a tool to lighten. It's when it's a little bit brighter that lets you emphasize your detail and enhance it. You don't want to do it too bright because I look at blogs and look at things where it's just too bright all the time.  It's always ok to shoot just a little darker than you think because you can fix that. You can't really do too much when it's too bright and light.

Train your eye to recognize proper white balance 
Amanda - There's nothing worse than seeing a picture that is great but just a little too blue or just a little too yellow. All I do when it's a little too blue is add a little warmth. It looks like I also lightened it or saturated it, but I didn't. It instantly adds so much to just add a little warmth. If a plate has anything white in your photo, use that as your guide. If you aren't sure, start playing around with a photo to see what makes it look better or worse. If it's too yellow, you can cool it down a bit, which will help you see the colors a little better. The items just pop out a little bit more just from adjusting the white balance.

Finally - Prepare properly for the Web 
Erin - Back when I discovered about editing, I learned about RAW. Photographers have a huge debate about this. I started shooting in RAW. I kept dumping all these RAW files with no in camera processing with all the original data in there, which gives you more freedom to change them, but then all I was doing was to go into a RAW processor without touching any of the sliders and turning them into .jpgs. That wasted so much time for me. And now I shoot for the last 5 years shooting in jpg.  I say this because RAW is a superior file type. It is. But if you find yourself pulling your RAW files into your converter and not doing anything with them, save yourself time and heartache by shooting in .jpg.

The last thing is preparing for the web. Karen Russell lives in Oregon and teaches online and in person. I went out to see her about two years ago about my editing processes. We spent time together, and it was great. "There was something else," she kept saying that I was doing to make my photos better. After days, we decided to do a post about me being out there. I started to prepare mine for the web. And that's where she figured out what I'm doing differently.

I think that there are bloggers who don't know that you have the option to prepare your file for proper display on the web. It resizes to a smaller file size so it uploads faster, and when you put them up there that way, it looks just a little softer and smoother. The web does something different from when you print it.

If you sharpen it properly for the web, suddenly you'll figure out how much better it looks. I have a web sharpen action that I will give to anyone who emails me. Do some research into this if you aren't already properly preparing your images for the web. There are benefits and drawbacks to this. One of the benefits is that you can upload them faster because they're smaller. If people were to download your images to your computer and print them, then they can't print a 16x20 from your web file because it will look terrible. Another benefit is that your images will look sharper and display better for your audience.

A drawback is to think about the purpose of your blog. If your purpose is to document your blog and then slurp it and put it into a blog book that you can save as your family history. If you have resized all your photos for the web, every single one of your files will have to be replaced manually because you will get messages that they won't print well. If your purpose is to present your images in the best way possible or you don't mind putting in the extra time, then go ahead and do this. As far as the optimal pixel size, it depends on your blog and whatever site you're putting them up on. Amanda will discuss this.

Question and Answer
Audience: Do you watermark your photos? 
Erin - On my personal blog, I have given up the fight on my personal blog because it takes a lot of time. I do not watermark my images. I try to make them inaccessible by disabling right click. There is a great picture of mine with a couple horrible quotes that is floating around the web. Those sorts of annoying thing happen. On my business blog, I have my logo on every picture that is resized for the web and has a border around them. I don't know if this is the right answer, but it's what I do.
Amanda - I depends on what image you want to present. If that's what you want to do, go for it. A lot of cameras now will include your copyright information on every picture you take.

Audience: As a photographer and a blogger, are you calibrating your pictures for print?
Erin - I am calibrating my pictures for print. Unless you're a photographer, no one else notices it or cares.
Amanda - My philosophy in life is to get it to 95%, and that's good enough. I get it there and then just don't care about that last 5%.
Erin - I am a professional photography making my money from selling pictures, Amanda is a professional blogger.

Audience: With both a personal and a business blog, how do much time do you spend?
Erin - I've toyed with putting them together. I do a sneak peek for every session, and I do three sessions a week. I also do some filler things. I try to blog on my personal blog every other day or so, but that falls to the side when I get busy. I spend 5 to 6 hours a week blogging. My business has been in my house until last month, so now I'm trying to really recommit my evenings to things I want to do, so I blog on my personal blog more often.

Audience: Do you ever put personal stories on your business site?
Erin - I may put some there.  For example I may tell them that I came to New York. I do have a link saying that this is my personal blog if you want to click on it. I want them to have a choice. A lot of my clients do read my personal blog, but I don't want to confuse the grandmothers. When they come to see the sneak peek of their child, I don't want them to have to read it (my personal blog).

Audience: When did you start to figure out how to blog the personal stuff after you just started the blog for your mom? 
Erin - For me, it has changed. My voice isn't the same, and it's constantly changing. I am growing as a person, so I find myself influenced by other blogs I read, but I think I've found my confidence in myself after the GAP casting call, maybe about a year later.
Amanda - I have always been a blogger. I was a blogger when I was like 14 years old. We didn’t have Facebook back then. I was your typical 14 year old who wanted to plaster photos all over the internet. I used Geocities back then. I traveled a lot back then, too. I had family and friends all over that I wanted to keep in touch with, and I found the internet. I honestly did exactly what I'm still doing now. I put photos up and write about it. I met my husband when I was 20, and I was still keeping it up. For our one year anniversary, he bought me the domain name kevinandamanda. Even then, I had readers that I didn't know - not friends and family. I think two things to remember are that you have to talk about what you want. It's not real if it's not you. You won't enjoy it. Say it how you want to say it, how you would tell a friend. Sometimes I get stuck with the writing part. The photos are the voice of my blog. I pretend like I’m calling a friend on the phone. Also, your readers will let you know what they expect from you, so it's a balance. If I post 50,000 travel photos in a row, I know they want more food.
Erin - When Ephraim turned 2, we bought EphraimCobb.com. Someday someone will google him, and he can do what he wants with it someday.

Audience: How do you manage your SEO when you have a work blog and a photography blog, assuming you put your real name on both blogs? 
Erin - I'm not an SEO expert, but I want people to come to find my business blog when they google "Huntsville children's blog." I don't care if they google my name and find my personal blog because there is a link to my photography blog.
Audience:  Do you use other social media to promote your business blog?
Amanda - Yes, I use them all. I use a Facebook fan page. I use Twitter, but I resist Pinterest. I tried to resist Instagram. I'm addicted to that. If I could only use one social media, it would be Instagram. I do like Facebook, but the voice of my blog is photos, so I like the places I can share photos. I don’t do a lot of updates, but I'll share photos or a link back to my blog with what I'm sharing that day. Twitter does not come naturally to me. If I weren't a blogger, I don’t think I'd be on Twitter. It's not my thing, but I use it because it's where I can talk to other bloggers. I have found a lot of bloggers may not answer your email or Facebook, but they're good at answering on Twitter. I will promote my posts every time I write a new one, but I use Twitter to talk to other bloggers to build a relationship and network with them.

Audience: What do you use to publish?
Amanda - I use WordPress now.

Audience:  When you take pictures of other kids or when you travel, do you worry about that?
Erin - For my business, they’ve all signed a model release. I don't always ask friends and family, but they know that's what I do, so I figure they'll tell me. I'm cautious about what I share. Six years old is too old to show in underwear.
Amanda - We have someone talking about street photography later. That would be the person to ask.

Blissdom 2012 Recap - Mastering Your Angles and Compositions

Yes, this is the last of my Blissdom 2012 conference recap posts (unless you want to see some photos of Rascal Flatts and Joe Jonas). I attended all six informational sessions, and I feel like I got so much out of them. I'm glad I attended and will definitely be there again next year. Here's hoping you've learned something useful, too.

This is another photography session, Mastering Your Angles and Compositions, provided by Kristin Luna of Camels and Chocolates: Tales from a Travel Addict.

Did you miss the earlier recaps?
Capturing the Moment: No Matter What Subjects You Like to Shoot
Shoot Like a Woman
Three Things You Can Do Right Now to Grow Your Facebook Fan Page
Blogging With Legal Confidence
Why Less Is More When It Comes to Your Writing

What you can do to make your photos more visually appealing to your readers:

Some things not to do
Some of the most common mistakes are overexposure. This means your shots are blown out, the shutter speed is letting in too much light, or the ISO is too high. You'll lose a lot of color quality and focus. It becomes drab. A basic rule of thumb for ISO - generally she keeps hers at 400. If you're outside and it’s really light, put your ISO at 200 and maybe 100. Inside, you can bring it to 800. Over that, your photos will start to get grainy. If you look through the viewfinder and see the little red dot, you can fix the exposure. If you're shooting with auto ISO, you can point at a lighter area, hold the shutter down halfway and then move to the subject to take the photo.

The opposite of underexposure is also a problem, which is too low of ISO. Sometimes, you're too far away. The photos end up too dark and you can't really see the subject.

Blur is also a big problem. If you stabilize your camera, you can fix it. This is something you can do with just a little effort. First, move into an area with natural light. The more light you have, the less likely you are to have shake and blur. You can also bump up the exposure and increase the shutter speed. You can also balance your camera on a stable service or use the auto-timer. This can also happen when the subject is moving too fast.

Over editing is also a problem . You don't have to edit your photos. It's great if you know how to use Light Room or Photoshop or the like. It's tempting to take the saturation meter and move it all the way to the right. Don't make it something that doesn't occur in nature. A lot of times, it's better just to leave the photo alone.

Basic rules of composition
The rule of thirds will soon be second nature to always shoot your photos like this. Take a scene and visually break it up into three horizontal and three vertical blocks so there are four intersection points. Those points are where you want to have your subject. It makes it more visually interesting and doesn't break the photo in half. She wants to discourage you from always centering your subject in the scene. Get your subject in the center, then move your camera to one side. You can always crop this later if you forget. You also don't want the horizon in the center breaking the photo in half, put it either in the top or bottom third instead. When shooting vertically, you also want to keep the rule of thirds in mind. This isn't just for shooting horizontally.

Bokeh is the aesthetic quality of the out of focus area of the photograph. This requires nice glass and lenses to achieve. It requires more knowledge of aperture and depth of field - and nicer lenses. You can use the portrait mode in your camera, and that will start to get the Bokeh effect. Focus on the subject rather than the noisy background. Having the noisy background out of focus puts the focus on the subject instead.

Finding patterns - the human eye is naturally drawn to symmetry and patterns. Finding these will add to the aesthetics of a photo. You can find them in boats, houses, markets, natural landscapes, shadows, kids' crayons, a bag of M&Ms. You can then find pictures with multiple patterns - bottom line has the arch pattern, then the V of the arches and then the people.

Visually, using reflections is pleasing to the eye. You can find them in storefronts or store windows, not just puddles. Her favorite is the polarized sunglasses of her husband in really bright light. It makes it more interesting than shooting straight on.

Framing makes it more interesting. You can shoot through windows or doorways or other objects. Or you can use other objects like a camel to frame a donkey. Think outside the box a bit when you're thinking about doing these things.

Angles
Angles sometimes require having different and expensive cameras. A lot of people have DSLRs but don't know how to use them or just have factory lenses. If you invest in the DSLR, you should invest in the lens, too. Amy Giese talked about renting lenses to see what you like. Her favorite is the wide angle lens. Using angles lets you take the standard picture from a different perspective. Get down low on the ground, prop on the lens cap, put on long exposure which conveys the motion of the people. It's a way of showing a really old common monument in a different light.

What she loves about wide angles is that it gives you a lot of room to play with. You can take the whole city, you can take interior shots - it does cause distortion though, so if you're taking a photo of a person make sure they're in the center of the photo so they aren't stretched like taffy. Generally she uses it for landscapes and cities, not for people. Wide angles also let you get in really close into a tight space. Where there isn't much room to get in the whole scene, the wide angle lens allows you to get a lot of people and buildings in the same frame. It's also really good for interiors, giving you the full feeling of a lobby, for example. It also allows you to get a lot of a city. It lets you have multiple layers of the detail around the subject.

The opposite of wide angles is getting up close and personal with your subject. She likes to get in as tight as possible with the subject. You get more of the emotion and detail. You don't have so much of the background distraction and noise.

Try to take photos from a different point of view. Everyone sees the Taj Mahal taken from eye level. You want to see it taken from the ground or from above - show the image in a different light. Take a shot from hip level when you are out and about when you want to take a photo that is a bit more candid. If it's flung around your neck casually and taking shots discreetly, you get a lot less of the staged pose or people trying to get out of your shot.

Have fun with it! Every other photography speaker has told you this. It isn't a serious business - if you're working as a portrait or bridal photographer, maybe - most of you are using it to better your blog or for personal use. She really thinks having a fun, lighthearted edge to your photography makes people see you as a more interesting person and it adds a level of fun to your blog.

Questions
How do you incorporate kids into photos. Do you want pictures of kids or your kids with the scenes in the background?
You don't want kids in a wide angle at the edge, but you could do them in the center - it won't be exactly as you see it. She likes it more for travel or landscape photography. For kids, she uses a 25-104mm a lot. She also uses a 17-85mm. The wide angle lens is a 10-20. there are lenses that go superwide, but this offers enough versatility for her.

Metering v focusing
Do metering when you're doing it on autofocus. Take a sample then move to the photograph you want to take. It will take your subject into account (I don't get this – more proof I need to take some classes!)

Assignment
A photo demonstrating the rule of thirds
A photo featuring patterns and/or reflections
A photo taken from a different perspective/POV

Blissdom 2012 Recap: Capturing The Moment: No Matter What Subjects You Like To Shoot

I've been down and out with migraines, but there are more Blissdom recaps to come. I have a photography session today, and one last one tomorrow. Today's focuses (ha! I'm punny!) on capturing the moment in photography to help you capture and save the moments that mean something to you. Aimee Giese presented a ton of tips, and I need to go back and read this again myself!

Did you miss the earlier recaps?
Shoot Like a Woman
Three Things You Can Do Right Now to Grow Your Facebook Fan Page
Blogging With Legal Confidence
Why Less Is More When It Comes to Your Writing

Aimee Giese, otherwise known as GreebleMonkey:

As a photographer, think about how you are. Are you a mom? A professional photographer? A combination of the above? Think about who or what you shoot. Is it people, your kids, landscapes, light? What do you shoot with? Do you need to get a better lens, upgrade your camera, get better apps for your phone? It's your eye and creativity that makes you a photographer, so work with the tools you have. That's what's important.

The first thing that anyone needs to do is to practice. Make time outside your busy lives to practice. Take 20 minutes to play around with something to see how you can make it work. If you're shooting with a DSLR, she's a big proponent of getting into manual mode. You have a better opportunity to carve out what you're trying to create. This is what you need to practice so you can capture the moments later.

Play with your camera. Think about different ways you can shoot things. You may not always want to shoot playful photographs, but push yourself to try different things within your photography.

Find your style. Figure out what you love to do and that you do well. Also, you want to redefine your style when you're ready to change. It's ok to move across styles.

You need to anticipate what will happen in the photo. And that means you need to figure out where you're going to be in the room and move there. Think: ”Where would I get interesting angles? What would I do to get the most benefit?” Then, turn around and shoot photos and you can catch accidents. Just keep shooting because your favorite photograph may end up being something you catch accidentally. If you get one good photo out of 30 pictures, you're doing well. Congratulate yourself when you do that. Don't be afraid. It's digital - it's just space, so delete it later.

Think about what you do. What are your activities? Do you travel, do you play sports? What do you do? Really think about what the things in your day to day life that you'd like to photograph. If you like to be in nature, would you like to photograph nature a lot. If you live downtown, are you interested in taking pictures of the amazing architecture around you. There are people who are turning the mundane into beautiful. That's the first place to start. Where you are and what you do may turn into what you like to photograph.

Once you start thinking about what's going to happen next, you can start to capture the moment. Anticipation is key. Once you start to think about what's going to happen, where do I need to be, what do I need to do with my camera - that's when you start to get the photographs you want. Once you start thinking about it, these things get easy. Once you figure out where the pinnacle of the moment that's happening, you can catch them.

Follow the action. Kids or whoever you're with are doing things. Capture the moment of what they're doing rather than when they're sitting and smiling at you. Those are when you can get the good moments. It's in the details when you can get away with some of the depth of field changes. You can also do this with your point and shoot with the portrait setting. You can force it later with editing, too. When you start to anticipate, you will take better photos.

How do you get cooperation?
People look a million times better when they want to have their pictures taken. You will all develop your own style of how to do this. Aimee will have conversations with her subjects to get them relaxed. Explain what you're going to do. She'll get down on a kids' level. She’ll explain: This is what we're going to do, this is what to expect from me, this is what you need to do. The other big thing she does is that she's a total goofball and she's willing to do is have them do their silly faces or mad faces and get whole series of them laughing or otherwise capturing natural emotions more than telling them to simply smile. Find out what they like to do and get pictures that capture what they're doing rather than just capturing a smile in a pose.

You can also make your own luck. If you want a snowy photo - have someone throw snow if it isn't snowing. Talk to your subject and let them know what you're doing so that it isn't a surprise. This can create some truly fun photos. Tell kids to reach out at you because it creates an interesting photo when they interact with you. It will show exactly what's going on with you - have them hold leaves towards you, show how the superhero eats with chopsticks, etc.

You can also sneak around. Shoot from far away with a long lens. You can stand far away and capture moments from people when they have no idea that you're photographing them. You can get the best pictures of people when they don't know that you're taking them. Go into stealth mode. Catch moments through windows. Capture times when people are way into something and focused there.

What else makes your photography interesting?
Find the details. She'll take lots of pictures of macro nature. Whenever you're covering anything, you want some close photos, some middle, and some pulled back. You want a variety of those photos. When Aimee is taking those photos somewhere, she's constantly stepping forward and back to capture details and other portions of the scene. This is how you'll remember places you've been and things you've done.

Turn the camera and move it around up and down and around. Shoot at crazy angles. Get down on the floor - that will capture something different. Do what you need to do to capture the angle that makes the photo. Lay on your back if you need to. Sometimes you don't even have to look through the camera; you're just trying to get interesting angles. When you create these angles, it makes for more action in the photo because it throws people off kilter.

It's important to look for light. You want to try to capture during the golden hour. It will move throughout the year, as it's best during the hour before sunset. In the morning and in the afternoon, the sun is more diagonal - when it's more above us, it creates long shadows. If you shoot mid-day try to reflect the light. Have a building blocking you, but watch how light will hit on people's faces. Looking for light doesn't necessarily mean sunshine. You'll look for the light that's available and look for interesting ways to use the light that's available. You can use a piece of foam core to reflect light back on people.

So many people say don't shoot into the light, but put people in front of the light and let it come through their hair. Think about moving yourself through the scene to figure out where it's reflecting best and where you can see the colors and the details and more. One of the most important things you can learn in photography is learning how you can use the light. Use to your advantage whatever light you have. Windows are awesome for this because they frequently aren't harsh light.

People often don't think about where they can position themselves for where they can get a photo where something in front is in focus and everything else is blurry. You can still see the background, but it's creating a sort of lost feeling sometimes. When things are blurred in your depth of field and they create a pattern that is interesting, it's called bokeh. Generally this happens with the bokeh in the background but it can be used in the foreground instead. Use depth of field and get into the mode of the subject you're photographing.

Edit.
People think that in the olden days, photographers didn't edit photos, but they did. They would change things during the processing. This is something you can bring out the emotion or change it to black and white. If color isn't adding to the feeling of the photo, change it to black and white. If you have emotion and the color is detracting from it, change it to black and white. How your editing is going to enhance the photo is key. Good editing can't necessarily save a photo, but it can enhance it. Because you edit your photos doesn't mean you aren't photographers.

Other Tips
What are your pitfalls? Are you frazzled, are you hungry, are your kids hungry? Figure out what didn't work in your photo and then remember it for next time and do something different. Recognize that something may not be good and then move on from that.

Focus on their eyes, but that's not the only thing. It's also in their toes and in the surprises. That's part of what is magical in photography. Sometimes it's all just luck, and other times it takes your skill. Remember your frame - you can go big. A photo of someone riding across the mountains would never work if you zoom in on the rider. You need to see the whole scene. Sometimes it's the small details where you really need to get in close and capture just part of a subject because the details are key. Sometimes you need to have patience. You know something is going to happen, and you just need to sit and wait for it because it may not come for awhile.

She doesn't use a tripod when doing nature photography. She considers it a breathing exercise and holds her breath. She will wait and capture it. It may take 50 shots before you catch it, but keep at it. At the same time, breathe. You'll then think about all the things you're doing. And then all the things you're doing and all the practice will come to you.

Most important, emotion trumps everything. If you're in a terrible light situation and just have whatever camera, shoot it anyway. Get it. Even if it's grainy and you can hardly see anything. If you see the expression on your child's face or something that will remind you of the moment, you will have a photo and you got it. You may not put it in your portfolio, but they are the memories. Even if they're terrible, you have that moment. It isn't just sad emotions, but happiness, too. Whatever emotion is there, it's what you want to capture. Get what's happening in their emotional state. Life isn't always happy. She wants to capture everything. At the same time, you won't capture everything. Sometimes you'll miss the moment and you'll be sad that you didn't get the photograph, but that's ok. You can get the next one.

Photography is fun. Don't get bogged down in what you don't know. Stick with what you know and what you have fun with until you're ready to move on. Photography needs to be about having fun.

Questions:
What lens do you use when you shoot far away?
Aimee has a 70-200mm. She uses a 15-70mm close up. She does buy the ones with the lower f-stop though. She recommends renting a lens to try out before buying. There are a lot of places that will do that. If you don't like it, you aren't stuck with something you don't like or that is really hard to focus.

If someone is in the market and new to photography, where do you start?
Go back to thinking about who you are and what you want to shoot. Aimee does portraits, so her close up lens is the most important. If you want to do sports, the far away lens is more important. There are great websites for camera reviews - dpreview.com which has exhaustive information about cameras. Having said that, the other site that is really great for lessons is digitalphotographyschool.com that has amazing tutorials about just about every topic.

When people are thinking about getting a new camera, the kit lenses are garbage. If you can, try to buy the body only. Buy the lowest acceptable body you can afford and then spend your money on the lens. Aimee had a Rebel for years and probably would be fine still using it today. When you spend your money on the lenses, that's where you get the bang for your buck. Anything you can buy now is fine. Anything over 5mp you can make into an 8x10 photo with no problem.

When is golden hour?
It depends on where you live. It's the hour before sunset. It will vary based on daylight saving, etc. It's longer in the summer - closer to an hour and a half. it also may be a bit greyer, too, depending on where you live. Watch it every day to see how it looks.

When you follow the action, do you pan or hold it steady?
Aimee doesn't pan, but you can. In cameras, there is a setting that when someone is coming at you, it will continually focus when you have them coming towards you. When you have someone going side to side, you have to wait for them to come back into the frame. She will focus by pressing halfway down, then wait for him to come back into the frame and shoot.

For someone who is an amateur, you get lost in the picture and not living the experience at the moment. How do you enjoy what you're doing and still photograph it?
There are certain places where you won't get photographs that satisfy you and that the experience is worth more than taking the perfect picture. You need to find the balance with this and decide when you take the photograph and when you enjoy the experience. Learn to also trust yourself and know you've gotten that photograph, and it's time to put the camera away. That's part of the evolution as a photographer.

Do you have any tips on low light photography?
The lens - the lens she uses goes down to 2.8. The camera opens up at a lower f-stop and lets in the most light possible. Some of them are also one good photo and 50 bad ones. She also shoots at a high ISO - start at the lowest ISO and keep bumping it up during the day as you need it. At night, you're at 1600 or 3200. The ISO changes with the light you're dealing with, and adjust everything else to accommodate that. That said, you will start to get grain in the photograph when it's low light. Anything 1600 or above will start to show grain. She sometimes also will edit afterwards to hide some of that and add the color saturation.

What do you use to edit?
Aimee uses Photoshop because she's a graphic designer. She spends a lot of time editing them. She's quick, but she edits every photo, too. If you're just stepping up away from the free tools, she suggests using Light Room to edit photos. You will also shoot in RAW and need a RAW processor. Photoshop Elements is a great add on. When you put an image into Light Room, images will go grey. You can put in settings from your camera into Light Room so they don't have that happen.

Blissdom 2012 Recap: Shoot Like A Woman

We're back to Blissdom recaps! I talked already about how to grow your Facebook fan page, how to edit your writing, and blogging with legal confidence. The next few days will be a focus on photography sessions.

The first photography session I attended was "Shoot Like A Woman" with Me Ra Koh. This is part 2 of the sessions, as I somehow missed that there was a difference between session 1 and session 2 since the descriptions were identical. Oops! Fortunately, the content stands on its own, and there were so many great tips Me Ra (and her husband Brian) shared.

Filling the frame
For some of us, composition comes really naturally and easy and some of us, it's not so straightforward and easy.

Brian and Me Ra both take eclectic photos, but they're very different. When they started doing photography, Brian would take his pictures they would flip right through them. They would stop and look at Me Ra's. He knew how to get the exposure right, but she knew how to make them interesting. He would look at the photos he took that brides like and then find photos that he liked from wedding magazines that were similar to what he took already. He chose to be good at what he was good at already rather than trying to be good at everything.

He would first take the photo - the people would be in the center of the photo with white space around it. It's more interesting when they're off center. It's more interesting to capture something when it's happening, even if it's a minimal part of it - not capturing all the faces or the bodies or the "traditional" image but something that still captures the passion and emotion in the moment.

He has great photos of his kids playing in the sand and beach but you can't tell what beach it is - in California or in the backyard, etc. When in Thailand, he needed to take photos that show somehow that they were taken in Thailand. You can learn to be creative, which is something he figured out. He tries to do scene setting shots when things are being set up (before the people are there - he's a wedding photographer).

When he first started taking photos, he would be driving home and looking at photos they both like and finding settings they liked so they could take the same photograph. Then there was a shift - especially late at night - when he was looking at websites of other people's photos and shifted to “I want to take that photo.” He found a couple photographers whose work he liked and wanted to figure out what that photographer was feeling when he took the photo. How did they know it was going to be one that when people were flipping through photos, they'd stop on that one? He would remember those photos and try to capture that same kind of stuff until it was a muscle memory. He eventually started growing into it.

When he was in Thailand, he would back up and take a photo that would show that they were in Thailand. He would take the photos he was good at, then he'd practice with the things he wasn't so good at. He wanted to capture their experience in Thailand, but it didn't come naturally. They had to force themselves to see the wider picture. He noticed that as he started copying the work of photographers he admired and doing what they did, he would start to feel that this would make for a good photograph (or not).

It's not just talent; it's skill that goes with photography. Every year they choose something to work on. One year, it was color, and they focused on taking photos that showed color well because there is just so much color out there that we see. He did wide angle one year. To encourage you that you naturally shoot one way, don't limit yourself.

Rule of Thirds
One thing that she's thinking of a lot of times is the rule of thirds. Basically, it’s splitting your frame into thirds. Every third has to accentuate the story you're trying to tell. If it doesn't, frame it out and get tighter. There is a photo showing thirds going vertically - everything in the frame points to the woman in the upper left corner. Having kids off centered to the low right, everything else in the photo leads to those children and draws your eyes there. In that, what is the setting that is around people and how does this add to the story and the wonder and the curiosity that is created by the setting.

Me Ra really wants to see the emotions that children were thinking and feeling at the time to show that they got through things once - that they were scared and nervous and worried, and they made it. Sometimes, she'll have a big wide setting around the kids that helps show how small they are in the world. How can you fill the frame to show how small and innocent you were at this time in your life. When you're taking photos, think about how your eye travels when you're looking at photos. We read left to right. When looking at photos, we sort of swirl around and bring ourselves to a central point. Take that obvious shot of your photo with the subject in the center. Once you take that shot, you can take a look at what else you can do.

When thinking about shooting like a woman, thinking about the story is so key. Never say cheese. Photos capture the story, and it's crazy that we don't tell a story by making them pose. As women, we intuitively know the story even when we don't consciously focus on it. When you take the natural shot that tells the story, it's much more powerful. It's something that you'll look back on more than the posed photos. What is the story that your subject wants you to have them tell you? The camera is so stinking powerful.

Universally, every time you hold that camera and point it at them. People always believe that you are going to capture the worst of them. Look at where your weight is in photos - it's on the back foot. When your weight is on your front foot, it slenderizes you and makes your neck look good. When they think you're only going to show the worst and your photos show them that their spirit is the best and that you want to capture it, it's powerful.

For example, think about the time when babies' legs are chunkiest and cutest. They aren't standing, so you have someone hold them up - mom wears a black dress on a black backdrop. Baby is held under the armpits on a random table. Frame the photo when you take it so you don't have to frame it and crop it later - take the baby feet and up to his waist. That’s a story.

Lots of times, male colleagues come in with shot lists, but we are so good as women at pulling out the bits and pieces that are about the people. Me Ra looks at how the woman looks at her husband and how she covers her mouth when she laughs and more. Those are the photos to take. Ask what the mom loves to do most with the baby - this is the story of their life right now, and for her they loved being in the bath and she started singing to the baby, and that's the story that she captured. The husband was crying because this is his family – and it wasn’t in his shot list.

How do we piece together the story that we're capturing, not just an object that we're trying to capture. Don't need people looking at the camera - it's about the connection between the people.

Posing
Ask a three year old where they should sit for the photo. Their parents will never like it. And that's going to make a photo telling the story of the family. Tell the parents to just go with it because this is hilarious and tells the story of where they are. As the children grow up, they will become more socially aware and part of the family lives, but this is where they are as a family right now. Capturing real life is what makes the story.

This camera gives me the opportunity to give a child a voice. In this digital age, we're taking so many photos of our kids, and they feel somewhat invisible in that process. How can we give the children a voice and a platform to tell them that we see that they have a story and a voice and that we don't want to be anywhere else right now but there with them?

When we're done shooting, we want to hold them and love them and show them that we aren't just trying to take from them. We want them to feel like we're serving them and giving them a space in this world where people see them and they aren't invisible.

Choosing Our Shots
As women, we get to play and be random. We don't compartmentalize really well. If we've had a bad day, we'll bring that into a shoot. We can get ideas that we wouldn't necessarily otherwise. It's ok to go through that process with people. Showing scale of kids to their parents or their life is a great way to shoot. Again, using the thirds principle helps - there isn't excess background, just what tells the story.

There is an obvious photo - the father and daughter cheek to cheek smiling at the camera. Take that photo, then see how they interact with their children afterwards. Use that interaction to figure out how to tell that story. The obvious one is cute, but there's no story. The one where the dad is serious and looking into the distance and she's leaning on him and comfortable with him looking into the camera, that's what tells the story about their relationship and how he's the rock for her. That's the picture that she'll take to college.

The closer you are to a subject, the less of the subject will be in focus - it brings the background fuzzed and changes the photo. It can be a really powerful use of focus to tell a story.

Tips On Shooting Photos of Kids
When you're taking photos, kids won't always give you the photo you want right away. Always start pairing them with the person they're most comfortable with - usually Mom - and take those photos. After that, play with them to get them. If your face is behind the camera, you lose the child. Get your shot set, then move your face to the side and keep that engagement with them.

As a tip when you're taking photos with your children, use a timer. Tell them that in 30 minutes they'll be done. They know that there is an endpoint. You can't break the promise to them, but it helps free them and builds some trust.

When doing the blurry backgrounds, still ensure you use the rule of thirds. Focus on the subject in the center, hold the button down halfway, then move the camera off center to get the rule of thirds and take the photo.

Improving Your Photography
She isn't for herself personally, she isn't shooting for the print judges; she isn't shooting for the online forums. She's shooting for the kids and the babies who feel like they don't have anyone listening to or focusing on their stories.

Can the camera become an extension of you instead of an awkward piece of technology. The camera is a vehicle. It brought healing to her life and healing to others and it's amazing how that multiplies. It's an incredible vehicle to women who are on their way there. Photography is not about how much you can learn. The camera wants you to use it as a vehicle, and she isn't sure where it's going to take her, but what a powerful vehicle that can do it.

Questions
Professional portrait photographer who had a intense mom and dad who screamed at their kids the entire shoot. When she managed to push them to the side, she got great joyful moments. By the end of the shoot, she was traumatized. How do you manage parents like that?
If there is a high strung mom, have her bring multiple changes of clothes. When they get out of the car, send dad with the kids to go breathe. Go through the clothes with the mom. It gives her a chance to give to the mom and compliment her without the camera there that's just taking from her because the camera is so intimidating. Then say to her, I've done this a lot and I need your help. She wants Mom to be the helper and will tell her when she needs her help so the kids know to only look at the photographer for directions and that she's the safe one to follow. It also helps put Mom at ease.

Do you shoot in RAW or .jpg?
She shoots in RAW. To keep it simple, the RAW is much larger than .jpg, but in post process, she can click brighter or darker 6 times one way or the other with RAW without doing anything destructive to the photo. For .jpg photos, you can only click one time one way or the other before the photo starts disintegrating.

How do you do successful self-portraits?
They are so important. Everyone always asks how she gets her subjects to relax in front of the camera, and it's because she puts herself in front of the camera so she can stay in touch with how awkward this feels. If you don't know if you should smile with teeth or without teeth or whether you need to move your angle a little more, it's key to help others feel relaxed because you know how much direction the subject needs.

She rarely does a self-portrait where it sits on a tripod but does it with someone else. Collaborate with a friend. Don't look at the first 20 photos they take. Let your friend get into a groove. After that, you get into a groove and it gets better.

What is your favorite F-stop to shoot with? What's your favorite shots? Favorite f-stop for landscape?
With a 70 lens, the 2.4. If she uses a fixed lens, she shoots at a 1.6 or 1.8. It's about the depth of field and not about getting everything in focus or take a few steps back and get them in focus. With landscapes she still shoots low like that because she forgets to move the f-stop.

How can you improve without a DSLR?
Point and shoots have come so far. Put it in the shooting mode with the head because it helps make the background blurrier. Or use the tulip (macro setting) - what it really does is make the background blurrier and close up items more in focus.

What are some tips for florescent lighting?
Keep camera in auto white balance and correct it afterwards. You can either get caught up in trying to finesse the lighting the whole time or stay dialed into the story. You'll never get the lighting right in florescent lights, but it's so easy to fix in post processing. The first thing she does is open up curtains to let as much natural light in as possible. Bring the subjects as close to that light as possible, but you can still fix it. Have your back at the window and shoot at them facing the window. As much as you can, don't get hung up on "photographer" label because she doesn't even know what that is. It's really not so much about "is it ok to call myself a photographer" - and there's also a big difference between being a photographer and being paid to take photos as a pro. There's a lot of room to play around those labels, so don't get hung up.

What do you do with all the great photos you take? How do you pick and choose what goes in the house?
She looks at photos that really tell the story - detail shots, shots that tell the story of what they're doing, and a shot that shows the setting of what they were. Details and action or conflict and setting are the keys. That's how she puts together the stories of the photos on the wall. She also loves mixing up the media - canvas and metals. She also likes to go really big like 4'x5' with accent pieces around them. She'll have to change it up as you grow as a family.

What is your tip about external flash and the corners of the walls?
Point the external flash anywhere but at the people. We aren't trying to emulate natural light, but we want to have enough light to illuminate the person. You want to think about where you could throw a super ball against a wall and have it hit her in the face. That's where you aim the flash. Point up at corners or behind you because she loves the light bouncing off the wall and how it illuminates with no shadow. You can't bounce off a window because the light there keeps going. The problem with pointing it straight up is that it bounces straight down, which isn't good light.

Any good tips for photographing whole rooms in a home?
Unless you want to set up lighting, you have to work around the time of day when that room has the best light. The more you have to set up lights, the more overwhelming it gets unless you're doing that kind of photography all the time. Even when the kids were little, she knew that 10:30am, the light was best through the sliding glass doors, and she would set out special toys for them to play with at that time. Photographers do that all the time. They constantly set themselves up for success. Wait for the best light or set up external lights.

What is your process to curate the memories to pass them to your children so the photos don't just live on your computer?
She has tried first to be on top of how you organize the photos when they come in. It doesn't matter what your organization is, but whatever you do, stick with it. In that, she'll have a photo of the favorites. Towards the end of the year, she'll create some kind of a book from all those photos. She's sort of sad that we don't touch photos anymore. It's just a different way of interacting with them today. Even if it's just throwing images together in a book, kids love flipping through the books - copies for the memory boxes for when they're adults and a copy to keep around the house to flip through regularly.

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Note: the photos in this post are some of the well over 300 photos I took at Blissdom (286 of which I haven't yet deleted). They are ones that I felt - hoped? - demonstrated some of the principles Me Ra and Brian were discussing.

I loved these tips. Some of them I knew already, but I need the reminder. My camera actually has a grid that shows the thirds, and I try to use it. It does make a huge difference. And some of my favorite photos are the goofy ones of the wee ones - never the posed ones! Which of these tips is most relevant to your photography?