One of the many difficulties of taking pictures is, you must set your focus of what you to portray and then take the photos. This has been a challenge for many years in consumer photography because getting things into focus isn’t as easy as it sounds. This is especially the case, when I request a photograph to be taken in a specific composition. Therefore trying to compose the photo AND get the right part in focus really puzzles everyone. Well, for those who are not taking professional photos and are simply interested in snapping what you see, there is a new innovation in town. It is the ability to take a photo regardless of the focus and just take the photo. You can fix the focus after it is taken and save the image as you see fit. Imagine that! I would love to see this is in professional cameras someday because it will make our lives easier as well. The technology is called Lytro (http://www.lytro.com/). If you want to see how this technology works, please visit the website.

Here’s an article from MASHABLE: http://mashable.com/2011/10/20/lytro-camera-hands-on-videos/:

We had so much fun at the launch of the Lytro, the groundbreaking light-field camera that takes pictures instantly and lets you focus anywhere within the frame, we wanted more hands-on time with the device. Even the media won’t be getting review units until 2012, so we did the next best thing: inviting Lytro founder Ren Ng to Mashable’s San Francisco offices for a personal demonstration.

Check out the videos above for the result. Some key takeaways:

The zoom button is almost impossible to find, but very natural to use once you know where it is.

The touch-sensitive LCD is tiny! It’s very responsive, but hardly the world’s best screen for viewing your photos.

Pointing and shooting feels amazing when there’s absolutely no delay.

There is a slot on the side that lets you add a carrying strap, which allays one of our concerns.

Lytro pictures get much more dramatic when you’re lining up something very close and very far away. You’ll have fun playing around with that.

Ever wondered how to take great photography of children? I came across this fantastic quick tip on taking photos of children that are memorable, funky and fun.

From Photo Tuts: http://photo.tutsplus.com/articles/shooting-articles/quick-tip-how-to-take-great-photos-of-your-children/

In the past few years, taking photos of children has become a highly politicised act and there is a lot of public fear surrounding the situation. But in appreciating the joy that a child brings to their new family, there should be no hesitation in taking delight in documenting their offspring’s childhood.

This is easier said than done, and there aren’t any rights and wrongs when it comes to photographing kids, but hopefully the tips below will help you get better results. In years to come you can all look back at those treasured memories!

Photo by Pam Link

Step 1. Keep It Natural

My favourite way to photograph children is in a completely natural environment, in a place where the child is happy with their surroundings and the people present. This will generate a far easier environment to take photographs in, as the child will be happy and playful.

In this scenario, keep equipment to a minimum, as you may need to more around a lot and work with the lighting you’ve got. It might be beneficial to have a nice quick lens to capture those split second facial expressions. Try to position yourself well and have quick reactions to capture that smile!

Photo by David_nt

Step 2. Grab Their Attention!

Kids aren’t the easiest subjects to work with, they can easily get distracted and may not really understand what’s going on, but try to give them a focal point to evoke a reaction from them.

You could try letting them play with a favourite toy, but if you want them to look your way, trying pulling a funny face or telling a joke, grab their attention in some way so their focus is on you.

Try to get down to their level so you’re pointing the camera at head height and to enhance the interaction between you and the child.

Photo by Swami Stream

Step 3. Be Patient

Children behave unpredictably, one minute they are smiling and jumping around, the next minute, they’re in tears and hiding away, so as a photographer you have to be very patient and just go with however the child is reacting.

Having mum and dad close at hand can be a real help – especially when the child needs comforting, but also as a point of interaction that you may even want to include in the photo. Kids will react to those around them, so if you’re not getting results you wanted with the child on their own, try getting someone else involved for those wonderful moments of interaction.

Photo by PhotograTree

Step 4. Formal or Informal?

The other option when taking photos of children is to set up a scene and take it more like a portrait shot. This can produce great results if you can avoid it looking too staged, and keep the child engaged with the shot.

Most children aren’t particularly good at following instructions, so it can be very difficult to get them to position themselves as you’d like. You’ve got to take your chances and be ready to catch that beaming smile!

Think carefully about the location of the shot – if you’re aiming for something more formal, don’t take them to the playground!

Photo by sara.musico

Step 5. Have Fun!

Most of the time, children are delightful to be around (if you’ve got the energy!) and you should be able to capture some great moments and expressions that you can share with family and friends and look back upon.

In the same way that you’d incorporate a person’s character or occupation into a portrait shot, you can try and do the same with a child. If they’re bright and bubbly, see if you can capture the essence of that energy in the photo. If they’re slightly younger or a bit shy, don’t worry – try and exemplify that quality!

Photo by Jer Kunz

I generally love the National Geographic photos for their sensational work and dedication to great photography of the world we live in. I just spotted this blog (http://blog.pokkisam.com/content/brilliant-photography-natgeo-archives) that had this general list of outstanding pictures, where some of us can only dream of taking. I always imagine the ideal life as the National Geographic photographer where they would sponsor me to travel the world and take pictures and get paid for it. I can’t imagine a better life. Credit to National Geographic. I don’t expect any less from them.

A couple wants pictures for their wedding and they are excited and love the work you do. They request the best from you and you are going to deliver it. As part of the photography package, the couple expect you to provide the original pictures in RAW format as well. The Raw format is the original unprocessed image the camera produces (in the higher end cameras). It is essentially the raw ingredients giving photographers the creative license to produce the final images as they see the event through their eyes. The principle is, provide your best and the Raw images are not the best as it is not the final product. How can you approach this and provide a diplomatic answer to the prospective client who is expecting Raw images from you as well. Recently a prospective asked for the Raw images and this is the diplomatic answer my partner, Sasank, provided them:

The main reason we provide only edited JPEGs (very high quality, fully printable jpeg files) is because we have a vision of the wedding… forgive the marketing spiel, but what we want you to see is the edited, beautifully presented wedding album. I wish we could get you to buy the album, coz if I’d ideally want you guys to only see the final printed work of art. It is the usual practice among high quality wedding professionals (not that I’m calling us high quality pro’s, but it is what we aspire to) to not hand out the RAW images at all… a recent blog post by a wedding pro explained this very nicely: “Would you go to a restaurant and ask for all the ingredients of their signature dish?”. Its the same way with us – the editing process is a HUGE part of the wedding shoot (takes far more time than the actual shoot itself), and there is a massive difference between the RAW images and the final images that we’ve worked on.

What we’ll provide is all the pictures in colour and B&W (except for a few that just won’t work in B&W), so that you can mix and match to create the album as you see fit in the future (already that’s a compromise for me, I’d prefer being able to create your album so I can tell the story of your wedding). If you want to be more involved in the editing process, I’m more than happy to sit with you and go through various edited looks so that you guys can decide what you want the final pics to look like.

RAW images – its a compromised product, not the final product. You’re hiring us because you like the pictures we create, and that includes the editing of those pictures. For us to hand out the the negatives, the raw ingredients from which we create the album – it would just irk us no end. When people see our pictures, they must be the final product, not the halfway ingredient for that product.

I know what you’re thinking, “Yeah, its black&white (B&W), a picture with no colour”. Really? Is that it? When you delve into the so called, no colour photos, you will realize something quite amazing. The lack of colour actually brings out more than you see. In fact, for what you don’t see, you feel. Yup. You feel. A lot of people take pictures for its visual cues but not for what’s behind it. Afterall colour overwhelms the senses because your eyes get most of the input drowning out the other senses. So, by keeping the visual senses to a minimum, the rest of the senses have a chance to experience the images in an equal manner and thus the experience is complete. The photos that need to show emotion, show it best in B&W. Try it and see for yourself. The best way to begin is to take pictures in the monochrome way. Here’s a nice tutorial on creating B&W photos I came across from “Make the Photo” site (http://www.makethephoto.com/how-to-create-black-and-white-photos-with-a-dslr-camera/):

This might seem like a dumb question, right?  Obviously a black and white picture is a color picture… just without the color.  But it’s not that simple!

Look at this photo of a yellow butterfly in front of a red background ground:

In color, the natural contrast between red and yellow makes the butterfly stand out clearly from the background.  But in black and white, you don’t have contrasting colors.  If we turn this into a black and white print, what shade of gray should represent red and what shade of gray should represent yellow?  There are a lot more colors than shades of gray, so it is up to you to decide how to covert colors to grays.  And your choices have a huge impact on the final image.

If you convert red and yellow into very similar shades of gray, you will get a muddled mess:

In this image, there is no separation between the butterfly and the background.  Everything blends together.

By simply choosing different shades of gray to represent the original colors, we can get a very different result:

In this photo, the butterfly stands out from the background and is clearly the subject of the shot.

The point is that turning a color photograph into black and white is an art that takes practice.  It’s not something as simple as clicking “make black and white” in a program.  If that is what you are doing, then you are doing it wrong.  Read on to find out how to do it right

Step 1: Choose a photo

Not every color image is going to be interesting in black and white.  Typically, black and white images are interesting because of texture and contrast of light and dark.  Images that depend on color for their impact are not going to be good in black and white.  A perfect example of a poor subject for black and white is a sunset:

This image is interesting because of the color.  The yellows, reds, and purples look great.  The colored lights on the ship add a nice touch.  But let’s try this in black and white:

Wow, that’s a crappy shot!  Without the color, there is nothing much going on.

Photo copyright Adam Geitgey

This photo works in black and white because it has light and dark textures and motion.  It wasn’t depending on color for impact.

Step 2: Convert to black and white

Now that you’ve picked a photo, let’s explore different ways of converting it!

Option 1: Very bad – Convert to Grayscale or Desaturate

The most obvious way to convert an image to black and white is also the worst.  Never ever load an image into Photoshop and select “Make Grayscale”.  Similarly, don’t use the “Desaturate” option in Photoshop.  Both do basically the same thing – they remove the color in the simplest way possible.  They give you absolutely no control and the results are often terrible.

This is a terrible idea.

Just don’t do it!

Option 2: Good, but harder – Photoshop’s Channel Mixer

Photoshop (and similar programs like The GIMP and Paintshop Pro) has a tool called the “Channel Mixer.”  This tool allows you to create a black and white image by mixing the “channels” of an image.

In a standard image (such as an RGB jpeg file), each pixel in the image is made up of red, green, and blue components mixed together.  All the colors you see are made by mixing those three primary colors.  By using the Channels window in Photoshop, you can see each of these color components separately:

Every color image can be viewed as separate channels.

Notice how the “Blue” channel is darker around the head of the butterfly while the “Red” channel has a little more separation there.  By using the Channel Mixer, we create our final image by mixing percentages of each of these original channels:

To use the channel mixer:

1. Click the “Monochrome” check box at the bottom.  This tells Photoshop that you want to make a black and white image.
2. Adjust the Red, Green, and Blue sliders to control how much of the each channel ends up in the final image.  Make sure the sum of all three percentages adds up to 100%.
3. Also, try using the “Preset” drop down to try different present mixes. Notice how each present makes your final image look different.
4. When you are happy with the mix, click Ok.

The advantage of the Channel Mixer is that it gives you great control over the output.  If you are an expert with the Channel Mixer, you can even play around with different image modes like LAB color for even more control.  But that is another article.

The disadvantage is that it is a pain to use and takes a lot of practice.  If you don’t make black and white images often, you are just as likely to make something bad with the Channel Mixer as you are to make something good.

Luckily, we now have even better options!  Read on.

Option 3: Very Good – Photoshop’s Black and White Adjustment Layer

More recent versions of Photoshop (CS3, CS4 and newer) have added the ability to put a Black and White “Adjustment Layer” over your image.  This gives you the control of the Channel Mixer tool but it doesn’t permanently alter your image.  Since it is a layer, you can always tweak the settings up until you make a final print.

Adding a Black and White Adjustment Layer works just like adding any other Photoshop Adjustment Layer.  Click on the Adjustment Layers icon on the Layer palette and choose Black and White:

Once you have added the Adjustment layer, you’ll see the Black and White options dialog:

It works almost exactly like the Channel Mixer, but with a few extra options.  Here is how to use it:

1. Adjust the Red, Green, and Blue sliders to control how much of the each channel ends up in the final image.  You can also control Cyans, Blues, and Magentas the same way.  Make sure the sum of all six percentages adds up to 100%.
2. Also, try using the “Preset” drop down to try different present mixes. Notice how each present makes your final image look different.
3. The “Tint” option lets you add a color tint to your final image for that “old-timey” sepia effect.
4. When you are happy with the mix, click Ok.

If you have CS3 or newer, there’s really no reason not to go ahead and use the Black and White Adjustment Layer instead of the Channel Mixer.  Unless you are doing something very unique (like mixing LAB channels), the Adjustment Layer gives you all that the Channel Mixer gives you with the ability to go back later and tweak the effect at any time.

Option 4: Very, Very Good – Lightroom’s Grayscale Mixer

Lightroom provides it’s own version of Photoshop’s Black and White Adjustment Layer.  In Lightroom, it’s called the Grayscale Mixer.  This gives you the ability to mix channels like Photoshop but it’s integrated into the Lightroom workflow saving you lots of time.

The tool is located in the Develop module towards the bottom:

This tool works exactly like the Channel Mixer and Black and White Adjustment Layer options in Photoshop except that it gives you 8 color channels to mix.  That gives you slightly more control.

However, it also lacks some of the convenience of Photoshop.  It doesn’t tell you the sum of the color percentages, so you don’t know when you’ve hit 100% without doing a little mental math.

On the positive side, it’s tied into the Lightroom preset system.  That means that you can store presets easily and apply them to any image.  Also, it is integrated into the Lightroom history system, so you can always go back and make tweaks until you make a final print.  Finally, it is really easy to apply a black and white effect to one photo and then cut and paste that effect to a large range of photos.

As long as you can find an effect that you like using the Grayscale Mixer, you should get great results.  The ability to quickly apply the same effect to a range of photos while still being able to make tweaks to individual photos really makes this a great option for processing a large photo shoot.

Option 5: Great – Nik Software’s Silver Efx Pro

The best solution I have ever seen for creating great black and white images is a software package from Nik Software called Silver Efx Pro.  Silver Efx Pro is a plug-in for Photoshop, Lightroom or Aperture that allows you to convert an image to black and white quickly and with amazing results.

Please note that I have no business relationship with Nik Software and get no benefit from recommending it.  Silver Efx Pro is just so good that I can’t ignore it.

Silver Efx Pro is very easy to use.  Once you open it, your image will be in the center and all of the different presents will be in a strip along the left:

Just click on each preset to see your image in that style.  If you find a style you like, you can use the controls on the right to fine-tune your image.

Creating a black and white image in Silver Efx Pro could not be easier:

1. Click on each preset until you find the look that you want.  There are many presents to choose from.
2. Use the “Color Filter” to control which colors in your original image stand out in the final black and white image.  Just click on each color filter until you find the result that you like the most.  This is especially important in images where there are large areas of single colors.
3. If one part of your image is too dark or too light, use the “Control Point” tool to add a new control point.  Each control point can brighten or darken one specific area of your image.  This is great for brightening up a face to give it emphasis or darkening a bright and distracting background element.
4. That’s it!  Click Ok and you are done.

I used a control point to make sure the playing card in the foreground was brighter than the white sign behind it. Photo copyright Adam Geitgey.

Extra Credit

If you come from the film world or are a fan of old grainy photos, you might be looking for a way to get a true “film look” with digital black and white photos.  If that’s the case, you may want to explore a little further.

Silver Efex Pro has some basic film settings, but another plug-in called the DxO FilmPack is specifically designed to mimic different types of film.  It allows you to choose from a wide range of film simulations to get anything from a gritty 1970s look to a modern art look.

Three other similar film simulation programs worth trying are Alien Skin Exposure, AndyPRO, and ImageNomic RealGrain.  All of these applications have free or time-limited demo versions, so try them all until you find something that lets you get exactly the film grain look that you want.

It’s a black and white panorama!

I always wondered about the value of photography and I’ve always been shy at expressing the cost of doing this kind of work to prospective customers. Here’s an interesting write-up from a professional (Edmond Terakopian with 21 years of experience) from http://photothisandthat.co.uk/ has to say about the matter:

I’ve been a professional photographer for almost 21 years; it’s a job which I love and an industry which I fell in love with instantly. Photojournalism has always been my passion; never well paid but satisfying morally with an income that would help one get by.

In all this time, I have never seen a photograph be as devalued as it is now. Most companies believe it is a right for them to steal pictures and use them for free. They even set up dodgy ‘rights grab’ competitions which thousands enter into, signing away their copyright or at best giving away rights of usage to the organisers. Young freelance photographers straight out of college easily sign away their copyrights to the papers, being made to believe that is the norm.

The companies who do want to pay, make up fictitious small budgets as a way to say that they cannot afford to pay more than a certain amount and try to bully the photographer into submission. The same people would never dream of trying that on in a shop, but for some reason, photographers are fair game.

My thoughts are that we need to stick to our principles; pictures have a value; our copyright and the rights to our images need to be cherished. Have your rate card and stick to it. Turn away a client who is trying to take advantage. If we don’t do this, our work will continue to loose value and the equipment which now days cost twice what it did a few weeks ago will be well and truly out of our reach. Even worst and most importantly, the power and respect that a photograph has will be lost.

This short video makes the point very nicely; thanks to Keith Meatheringham for bringing to my attention. Definitely worth watching:

I finally had an excuse to travel to India and see it again after such a long time. The last time I went it was 20 years ago, so it was long overdue. I travelled specifically to Kerala for my friend’s wedding and took the opportunity to enjoy a different culture. It certainly brought back memories even though it has been so long. I visted Cochin, Munnar, Vagamon, Kumarakom and Thrissur. Here’s a few snaps of my trip there.

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Vimage Media joined forces with Shemei Productions to do modelling photos together. The owner of Shemei is Shaney Maharaj who was also the contestant on Miss India Gauteng 2009. She won the “Miss Personality” title in that competition. Just to kick things off, I went to visit them and hang out a bit and take a few photos. Shaney came with her Mom and brought her very cute 4 year old cousin, Jaiden. He stole the show quite a few times from Shaney. Posing is in the family no doubt.

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Here’s a special just for Jaiden

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