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The Power of a Picture – Photography & Photojournalism

They say a picture speaks a thousand words. Historical moments or events have been immortalised through powerful images – the Burning Monk in Southern Vietnam in 1963, the lunching workmen on the top of the Rockefeller Centre in 1932 or the startling green eyes of the Afghan Girl from 1984. In today’s news media, photographs play an important role because they help summarise for readers what has been written. The visual element to any story is crucial in drawing a reader in and portraying what it would have been like to be in any given situation.

Even though journalism is changing and the role and job description of the journalist is being renegotiated, pictures are still just as – or more – important than ever. Do you like taking photos and have a passion for news and capturing the moment? Then maybe a career in photojournalism is for you. Here’s a little more information on what being a photojournalist involves:

What is photojournalism? Photojournalism is a particular branch of journalism that tells the news story through images, depicting the event or news item. Photojournalism can also refer to the photographs that accompany and illustrate a news story.

How is photojournalism different to normal photography? Photojournalism is significantly different from other types of photography as the photos must be contextual. In this sense, the images of a photojournalist must be timely and have meaning in relation to the event being recorded or the story they are aiming to portray. Another important element of photojournalism is that the images must be objective – the same objectivity rules apply as they do to written journalism in that they must be a fair and accurate representation. Finally, a great photojournalism photo will offer some kind of narrative element that will support and help tell the news story.

Different kinds of photojournalists: Just as there are different types of journalists, photojournalists can also choose from a variety of different areas or stories to pursue. A photojournalist for a large newspaper might follow day to day stories and be sent out on assignment. Other photojournalists might cover war or foreign events and often be put in dangerous situations. Freelance photojournalists will choose stories or photo subjects that suit them, and then get them published in a variety of publications or media outlets. Whatever area or news type interests you, photojournalists have a choice in which stories and photographs they would like to pursue.

Essentially, photojournalists are visual reporters, and have a responsibility to capture news and events in a fair, objective and interesting way that visually portrays the story. The increasingly online and interactive media world has ushered in the ‘citizen journalist’, who, with the proliferation of personal digital cameras, is able to submit amateur photographs to a range of news forums or social media networks. There is still an important place, however, for well crafted, professional photographs from photojournalists. A range of available freelance photography courses cater to those wishing to pursue photo journalism as a career. Such courses cover the basics of photography (lighting, equipment, processing, etc.), as well as information on different media outlets, the importance of composition and how to build your career. Photography courses are a great way to kick-start your career as a successful photojournalist.

Written by Comments Off Posted in News

Photojournalism Photography

Did you every pick up a newspaper or a magazine where a single image is used to tell a story. This is known as photojournalism. Photojournalism can fall under all subjects of photography but the image needs to be news worthy to end up being published.

There are two types of photojournalism.

The first type is where an image is used to illustrate a story. Many feature journalists work closely with photographers and commission them to produce images that will be published with their articles. There is no limit to how many images can be used. This is usually the photo editors decision.

The second is where an image is used to tell a story without any words. One single image may be used or as many as ten images are often used in magazines. If you can write – do so; it will be an advantage when you submit some images.

One of the most important qualities of a photojournalist is his ability to react quickly when he comes along a scene that may be news worthy.

Other than the obvious, here is a list of items which may be news worthy.

Impact pictures.
Pictures of the Environment
People.
New buildings.

If you are serious about photojournalism build a collection of images from your area. Many of these pictures will not be immediately news worthy but may be down the road. Take pictures of all the factories and buildings in the area. Some day a factory may close and you may not be able to get to the scene. Also have plenty of pictures of local businessmen and politicians.

Some photojournalists are lucky enough to get assignments from newspapers or magazines, most have to follow or find the news to make a living.

The world of digital photography has made the work of the photojournalist a lot easier. Being able to view, scan and e-mail images to a publisher instantly is a massive advantage.

The work of a photojournalist can be extremely harsh – taking pictures in all kinds of extreme conditions and in very dangerous situations. Many photojournalists die each year in war zones and at different natural disasters around the world.

We live in a world, where today’s news is forgotten tomorrow and the need to get the images quickly to the publisher is so important. If you have images that are news worthy don’t delay sending them to a news agency or publisher. They won’t stay in the news very long.

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No and Low-Budget Photography Equipment

They say it takes money to make money, but sometimes it pays to wait before making a wallet-draining investment. If you’re a hobby photographer hoping to hone your skills, these photography tips might work for you. I’ll show you how to get buy without spending a fortune. In my opinion, you shouldn’t buy equipment before you’re ready to, and its much better to practice your craft for awhile first. Otherwise you might not have the knowledge to make an informed decision when you do buy something. Or worse, you might make a purchase and regret it later. These tricks are 100 percent regret-free.

So, without further ado, I present to you a list of materials you can use to make your photography hobby more interesting for less money.

Sheets

I think I could write an article about the many uses for sheets, but that’s for another day. Sheets make excellent cheap backdrops for your photos. This can be true for photographing people or objects. Find a creative way to hang a sheet, and then you have a backdrop. Study the set ups of professional photographers, and try to mimic it with your sheet. You can also find a way to hang a sheet in front of the light source if you’d like to diffuse (soften) harsh light. At all times, never have the sheet touch the light source, and be aware of any potential fire hazards as you set up your photography area.

Posterboard

Posterboard can serve as a backdrop for small objects or to give your photographs more fill light. To use the posterboard as a reflector, you will want the board to be white. You’ll want to practice positioning it at different angles in order to get the best lighting. The board will act as an addition light source, bouncing light onto the area. This is great if you are photographing a person and one side of their face is darkened; you can use the board to reflect light on the other side.

Clamps and Clips

You can buy professional-grad clamps for use with your backdrops and other photography equipment, but why do that if you don’t need to yet? You can always be on the lookout in your home and in stores for things you can use to attach parts of your photography setup. Clamps or clips can help when setting up your sheet backdrop. If you are using the clamps to hold anything valuable, make sure to test them for strength first.

Lamps

Instead of buying expensive lighting, why not experiment with the lights you have? One simple way to change the quality of light coming from your desk lamp (or other light you’re using) is to replace the tungsten bulbs with daylight bulbs or blue-tinted bulbs. Experiment with bulbs and lamps to find what works for your photography.

Event Photography – If You Enjoy Parties and Photography, Here’s a Free Guide to Earning From It!

If you are considering becoming an Event Photographer this guide may be useful. I spent a long time researching all the kit needed to be a successful Event photographer, testing and costing carefully. It’s all current gear available now so it’s up to date unlike some of the guides I read.

I’ve been on training courses and I’ve done quite a few different Events now, so this is to help others avoid some of the common mistakes. This guide to Event photography is based on my personal experience and you are welcome to reproduce it as long as you credit this article with the website address

I do recommend anyone interested in Event photography going on the excellent training course supplied by Systems Insight, speak to Mike Orr, Stuart or Darren at systems insight. I’ve also found the Event Photographers Society really useful.

It is divided into sections as follows:

1, Camera Equipment needed for Event Photographers;
2. Lighting equipment for Event Photography;
3. Printers for Instant Event Photos;
4. Mitsubishi Click system for Event Photography;
5. Green Screen Event Photography;
6. Starting an Event Photography Business.

1. Camera Equipment for Event Photographers.

You don’t NEED the latest high-end professional DSLR with pro glass lenses to shoot an event! It’s nice to have good kit but that should be a given for any Pro Photographer. In reality the customer at a football tournament, school prom or black tie event doesn’t care what kit you have as long as the results are good, and you don’t want to be carrying a heavy camera with fragile glass in an environment that is often boisterous and busy!

You don’t need to shoot huge resolution RAW files and won’t have time to post process or mess about with hundreds of settings.You are aiming to get a sharp, vibrant and well lit photograph of enough resolution to print at your final output size. Concentrate on making the people look great!

I do recommend a wireless work flow which I cover later, and again you need the files to be small enough to send quickly. I use a Nikon D700 but that’s only because I have one for Property photography as I need the full frame and low light capabilities.

I shoot jpg at just medium resolution for most events, and use a Sigma 24-70mm HSM lens so I can quickly zoom between individuals and groups. A Nikon D40 with a kit lens will do just as well. and I always carry one as a backup. It also takes my Nikon flashguns and is much lighter than a D700.

It is important to have a backup camera, I’ve even made do with a Nikon Coolpix P6000 when my D700 was being used pitch side at a Cricket Event. With proper lighting (see lighting section) I got almost identical results shooting people in front of a green screen. You must have at least one fully charged spare battery for each camera at an event, a couple of spare and preformatted memory cards, and spare batteries for your flashguns. I use the new Duracell rechargeables for the flashguns as they stay

So don’t go mad on the camera kit, it will get bashed around at an event! As for settings, indoors I shoot at around f7.1 to f8 for groups so I get good depth of field, I use shutter speeds of around 125 to get sharp shots as I don’t like a tripod, too restrictive, and I use ISO 400 to get enough sensitivity. White balance is easy on a Nikon, see lighting but the flash setting will do. For individuals and couples I open up to around f5 and shoot full length, head and shoulders and a close-up. Outdoors events are more dependent on the available light and the lens.

One tip, using a wireless transmitter to send the images straight to your PC, Mac or Click system avoids the pitfall of people (the ladies mainly) wanting to see each shot on the back of the camera as you take it! That gets them through quicker and lets your team at the workstation show the images properly at full size. I do actually keep the images stored in the camera as a backup though in case the wireless system stops working.

Another tip, if you are shooting groups at a School Prom or Corporate event, take a stepladder! If you get above them and shoot down it changes the angles and stops the people at the front looking much larger than those at the back! This lets you squeeze bigger groups in as well, especially useful if you are shooting in front of a green screen at an event.

Also, if you ever get a large group of girls at a School Prom or Sweet Sixteen event, take LOTS of shots! It is very hard to get a single photo where every girl is happy with how she looks, guys really are not as fussy. The girls will buy the photo that they look best in.

We tend to charge the standard rate £10 per shoot including a 6×9 mounted photograph, but do offer incentives for groups such as discounting copies of the same photograph, or offering 3 for the price of 2 if they are different shots that need processing.

2. Lighting Equipment for Event Photography

I don’t use studio lighting for indoor events! Initially I used the standard large softbox above the camera and shot in front of a grey, back or white backdrop. But that’s boring and old hat nowadays, the lighting is very flat and there is always the risk of people tripping over cables and the hassle of finding a nearby power socket.

At School proms, Bar-Mitzvahs and especially Sweet Sixteen parties it gets very busy and although we carry full insurance I don’t want a heavy studio light falling on a guest. It’s the same at Corporate events and Black Tie dinners, there’s usually a huge rush after dinner for photos and even a taped down light can get pulled over by an inebriated partygoer!

So now I use a Nikon SB-900 on the camera with the wide-angle flap down and the soft diffuser fitted. This controls two other Nikon SB-600′s also with the wide-angle flaps down using Nikon’s excellent CLS lighting system. The two SB-600′s are mounted on sturdy but portable stands and shoot through white umbrellas for lovely soft lighting.

At an Event you don’t want to be messing around changing lighting when you have queues, but this setup is flexible and light enough to be safe to move quickly if you need to. The Nikon system lets me control the brightness of each flash directly from the camera without having to touch the lights.

As we use Green Screen backdrops at most events to add effects and digital backgrounds, I have to ensure the backdrop is evenly lit to avoid problems when chromakeying out the green. By mounting the umbrellas high up at either side and shooting through them, the green (or blue) backdrop gets evenly lit where it matters. The guests get a nice flattering lighting setup which I can easily adjust for large groups or closeups. I

I shoot on full manual with the on camera flash at about 1/32 power to give a little fill light, but mainly to trigger the two mounted lights. These are usually on about 1/8th power which is plenty! Recyling is very fast and I’ve never had to change batteries yet at an event, although I have charged spares on hand.

If I get a large group like a football or cricket team at a sporting event I can quickly move the two sidelights back and up the power.If it quietens down and we get a guest who wants some special shots, the lights can be moved so one acts as a keylight and one as a fill for classic Rembrandt lighting. We have professional makeover software running on the workstations so can enhance pictures quickly if someone wants portfolio shots.

The SB-900 on the camera can also be removed and used as a slave for hair lighting or other effects, triggered by the on canera flash. So we can do a three light setup easily! White balance is crucial, on Nikon cameras just stand where the subjects will be, set the white balance to “pre” then hold down the wb button for three seconds. When the display flashes, point the camera back between the lights and shoot. If it says “good” in the display, you are set to go. If not, try shooting again straight at one of the sb600, it will work!

The real beauty of this system is that it all fits in one calumet rolling case and is easily portable! It is very flexible for other types of photography. These flashguns are just as powerful as studio lights, and we even carry Fong diffusers and softboxes just in case we get a chance to do some glamour photography. (and yes, you can book us for private shoots!)

3. Printers for Instant Event Photos.

I used to to run a large independent company selling calibrated colour printers, scanners and displays into the corporate design market and previously worked with Canon, Xerox, Mitsubishi and Tektronix as a colour consultant. So choosing the best Event printers was an interesting exercise!

Inkjets and colour lasers were instantly dismissed as I needed portability, reliability and photographic quality. Plus I needed to know exactly what each print would cost. An inkjet will produce the quality with a bit of tweaking but will never match the quality, speed or durability of a dedicated dye-sublimation printer.

I don’t believe in compatible inks as I’ve seen first hand the amount of R&D that goes into a manufacturers own ink. So ink-jet prints are going to be too expensive for event printing. Lasers are fast but lacking in colour quality, and extremely tricky to transport. After testing all the current offerings I decided on the Mitsubishi 9550 DW linked to the Mitsubishi Click system as our basic workhorse for producing large 9 x 6 inch photographs.

As I use a full frame camera this is exactly the size the camera shoots at, so no cropping needed! The photographs are fast and very accurate thanks to the dedicated colour profiling we use supplied by Systems Insight and fine-tuned by me!

The dye-sub process basically involves heating the ink on a ribbon until it turns into a gas and sublimates into the special paper. This is a true continuous tone process so the colour gamut is much wider than other processes, giving smooth and accurate skin tones with no dot patterns.

You can actually roll a photograph up and stand it in a pint of coke, leave it for hours and then wipe dry without any signs of running or fading, as demonstrated on the training course by Stuart! These photographs really won’t fade and are fingerprint proof thanks to the special coating. They will last longer than any other photograph!

The fixed cost per photograph allows us to offer discounted pricing for pre-paid events like weddings or school proms as we know exactly what our costs will be per photo regardless of how much of each colour is used.

But we also offer a unique digital make-over service for events using a very special PC with professional retouching software so needed a printer we could connect directly. And we wanted to be able to offer instant 12″ x 10″ photos and other large sizes for Sporting Events like football and cricket events where team shots are popular.

So we decided on the larger format Mitsubishi as well as we have now found out it also works on the Click! Consumables for the Mitsubishi Event printers are readily available and therefore discounted prices help bring the costs down. Some of the more obscure brands like Shinko and Olmec are often tricky to source.

We are happy with the speed, quality and reliability of our printers, but more importantly, our customers love the results.

4. Mitsubishi Click System for Event Photographers.

My background is in colour technology as mentioned, but prior to that I was a DEC system manager, I have a HND in Computer Science and am a qualified programmer. Yes, I’m old enough to have done all that and spent 7 years in the Army controlling Artlillery fire by computers and by slide rules and log books when those systems were taken out.

So I’m probably more of a technical geek than most photographers. So why did I choose a dedicated turnkey solution for producing event photographs rather than use my expertise in PC and Mac solutions?

Laziness really, why re-invent the wheel! I quickly realised that to make any money at all in Event Photography you have to produce very good photographs to a very high standard very quickly! Work flow is very important. Initially I was either going to use a big 27″ Mac with a studio display for quality to handle all the incoming pictures, or go down the Windows 7 route with a couple of fast Sony Vaio AW notebooks with their gorgeous Adobe RGB 18″ monitors, with either system linked to a dye-sub or two.

But once I started looking at the workflow and software required I realised the Mitsubishi Click would cover all the bases. Yes, I could run either system quickly and use dedicated green screen software and professional retouching software to produce stunning results. But then who would take the photos? I needed a system that was streamlined and simple to use so I could train others to use it.

My first event was a corporate Xmas dinner and the only person available to do the green screen effects, printing, mounting and sales was my wife! The Click system is very straightforward, you set up a new event and pictures are sent wirelessly from the photographer. Selecting them by just touching the screen allows for full screen previews, once the customers have decided which photographs they want it is quite easy to drop in a green screen background and print, all by touch!

Camera cards and CD’s can be easily read or burnt, multiple printers are supported and the whole system runs smoothly and look very professional. We’ve even had customers connect their own cameras or mobile phones by bluetooth and print their own photos! My wife managed well on our first event, and we had over thirty satisfied customers that evening, in a very short period of about 2 hours from when the meal ended to going home.

Many purchased multiple photos, with different backdrops and effects, but she handled it all while I took the shots. Now we have more trained assistants as it did wear her out a bit:) But I still wanted the flexibility and power to use more specialised green screen software to drop in overlays and fine tune some of the more tricky effects.

So with a bit of help from the techies at System Insight I worked out how to access the system directly, and underneath the smooth software front end is a powerful windows PC. So now if we get a really special request (like “put me in the Oval Office with President Obama”) I can jump in and alt tab to Photokey or Portrait pro running in the background! And yes, you can print directy to the dedicated 9550DW by dropping jobs straight into the queue, email for details:)

You can also boost the processor speed, add more RAM, put in a HDMI graphics card to support external displays, even change out the motherboard if you are brave enough and don’t mind voiding your warranty!

I’d recommend this system to anyone starting out, and would also recommend you buy it from Stuart or Darren at Systems Insight as they know the system well!

5. Green Screen Event Photography

To be successful in Event Photography as in any business you need a key differentiator, something to make you unique. We all provide basically the same service, photographing people having a good time and offering prints or downloads. Some specialise in niche markets like weddings or school photographs, or certain types of events like Equestrian or Motorcycling. I chose Green Screen Event Photography for a variety of reasons.

I like the portability of our lighting system and didn’t want to spoil that by having to carry around various huge coloured backdrops for different occasions. I find it boring having dozens of people shot the same way, and I’m sure most people who go to events are getting fed up of the same bluey grey backdrop, or the “ultra modern” white or black high or low key shoot.

I want to have fun at an event and want the guests to experience something new. So we shoot everyone in front of a blue or more usually a green screen and then our special software can replace that colour with any of our 2500 digital backgrounds! This gives us the flexibility to add classy studio backdrops to Black Tie and Corporate Events, and lets us choose appropriate colours to enhance what the guests are wearing.

For School proms and Sweet Sixteens we can get the guests flying through space, on stage with their favourite rock bands or in the latest movies. Bar and Bat-Mitzvahs are great fun as we can transport the guests anywhere in the world, and for all events we offer free personalised overlays and designs so the event is memorable and unique.

The secret to Chromakey Event Photography is keeping the workflow fast! If you offer a guest 2500 choices, expect a huge queue or a lot of disapointed people. We tend to design 10 choices for each event and will print an example of each so they can decide before we shoot. That way if they are going to be posing alongside a Twilight Vampire or on the dance floor with John Travolta, they can strike an appropriate pose! It does slow things down having to add backdrops but we prefer the interaction and the guests enjoy the experience.

It’s not all about getting them shot and printed to us, some event companies work like a slaughterhouse concentrating on quantity rather than quality, that’s what the auto cameras at theme parks are for, we would rather spend a little time earning our money!

We prefer green screens to blue screens as less people wear the actual shade of green we use. Blue clothing, eyes and jewellery are more common and can cause probems unless you know how to mask out those areas. We use very special green screen material now, direct from the film studios. This is a special white backed material that absorbs light and glows evenly. Ordinary green muslin will reflect light and cause problems especially with very blonde hair. Contact me for details, it’s twice the price but worth it!

Don’t worry about evenly lighting the backdrop as many claim, that will just cause more spill and you need more lights power and cabling! You can’t get your guests the recommended 10-12 feet away at an event, which you need to if you light the backdrop! Imagine if you were shooting a group and they all had to be 12 feet in front of the cloth!, how big would it need to be! Using pro software lets you quickly adjust for spill and reflected green light.

The trick is to light the people not the backdrop, that should only appear in the gaps anyway and if you have a light enough green it will work. Less is more, light from the sides and above so any shadows are still green and they will disappear.We use overlays and backgrounds to get realistic Magazine covers and special effects.

People don’t notice that usually the models on magazines go in front of the title heading but behind the informative text! And watch out for copyrights, design your own magazine covers that are similar but not identical, you can buy these from the USA as overlays..PNG files are best but won’t work on the Click, you need to do what we do and switch.

The President Obama shot is a good example, He is in the background, the guests are dropped in on top, then the desk is added as an overlay in front.

6. Starting an Event Photography Business.

Don’t believe some of the salesmen out there who claim it’s a licence to print money! That is their job and they do it well, but like any business you need to really work at it. Most pro photographers woudn’t dream of doing a photoshoot AND supplying a framed large photograph for a tenner! And don’t think just because you get a booking at a black tie event for example with 100 people that you are going to sell 100 photos!

30% of those people won’t even want a photo taken! That’s just the way it is. There won’t be many single people wanting a photo on their own, and there’s always a large group who want just one shot of all of them, but will buy additional copies at a discounted rate. That leaves the couples, so that brings you down to around five singles, a large group and twenty couples.

You will earn about £300 at an event of this size. Ok, that’s a small event but just about possible for two people to cover so that’s only one assistant to pay. Then there is the cost of the prints, mounts and bags, travelling costs, insurance costs not to mention an hour to setup and an hour to pack down plus sometimes many hours of waiting for a dinner speech to end.

Don’t forget the website you need, the adverts to get bookings, the expense of all the gear, marketing your website, the admin and post production work to get the images online. The usual business costs of stationery, phone bills, promotional gear and all the insurance.

Also remember there are a lot of excellent photographers out there, and anyone can buy a good camera, lens, and a fast printer and go out and do this. The big companies will already have the big events sewn up, So you need to use your contacts, ask around, advertise and promote. Offer to do some small events free for the practice, but still charge the going rate. Even if you only sell 10 shoots in a night, the experience is invaluable before you tackle a busy event.

Once you get a booking, splash out on some pop up banners showing what you do, flyers and business cards. When you get there and setup, take a few test shots of the bar staff, waitresses and event organisers to test everything. Frame these up and give them out as gifts, asking them to show the guests! Great advertising! Get the DJ to tell guests where you are and what you are doing. Work the tables if it’s quiet. Above all enjoy it and be polite and professional as you are representing us all!

That’s enough secrets revealed for now, if anyone wants to ask any questions feel free. This is just my opinions and experience so far, I’ll add more as I get time. If you find this at all useful, please tell others, I’m not charging to write all this, nor am I selling anything, but links to my site will really be appreciated, or a mention in any blogs etc. Cheers, Paul Harrison

I’ve been a keen photographer for many years, but at the age of 50 decided to go pro. Great excuse to buy the best gear! After a lot of research I brought a new Nikon D700, a Sigma 24-70 HSM lens, a Nikon SB-900 main flashgun with two SB-600 flashguns to use as slaves.

Then I went for the Mitsubishi Click system with 9550 dedicated photo printer churning out nine inch by six inch photographs really fast! I’ve since handled quite a few events, especially over Xmas, and have earned well from them. More importantly to me, the event organisers have loved what we do, and the guests have been amazed by our green screen effects and very happy to buy what we’ve produced.

Photography Equipment – Five Key Pieces You Can’t Do Without!

In case you’re thinking of taking your interest in photography from being a leisurely activity to a more serious venture, you may be speculating whether you have the correct photography equipment to make it as a full fledged professional photographer, without splashing a great deal of money on unnecessary equipment that you would never put to use. Therefore, before you take off to the nearest store or begin bidding on eBay, mull over the below information we’ve assembled for you.

Getting a Camera is basic!

Having a decent camera is mandatory. Lugging along your ancient Polaroid or 35mm camera with film possibly will not turn out the desired pictures, considering the latest models available. When looking for cameras at the photography equipment shop, you’ll observe how everything is presented in megapixels. A pixel refers to a minute spot of color, and a thousand of such dots make a megapixel. The number of megapixels informs you how many minute dots are present horizontally and vertically; 6 megapixels indicates 6000 dots, 7 megapixels indicate 7000 dots, and so on. Although the majority of professional photographers tend to use a camera of about 6 – 7 megapixels, bear in mind that the human eye can just distinguish that many colors. Assuming that you should pick up the camera having the most megapixels currently available may turn out to be a sheer waste of money; instead save a little of that money for buying the other required pieces of photography equipment!

Lights

Considering you possess the top camera available in stores, your photography equipment must include some decent tri-lights or umbrella lights. You need to ensure your subjects are well illuminated in the studio. Normally a couple of these will do, and you can generally pick up used ones to cut back on costs. Go through eBay and bargain photography equipment supply shops in order that you get an excellent deal.

Reflectors

A reflector simply is a large sheet of what appears like a fine tin foil and occurs in many different shades. It most likely will be an essential photography equipment piece if you’re operating in a studio. Now a reflector can direct your light more precisely, and if you employ them in various shades you’ll observe various tints or hues in your photos.

People who don’t wish to spend money on costly reflectors have discovered that big pieces of white poster board paper at times serve the purpose, but if you’re keen on doing studio or portrait photography, take this to be an essential investment in photography gear.

Lenses

Even an extremely sophisticated camera, which focuses for you, may not be up to focusing well, particularly if you’re thinking of some creative shots. You may wish to give a hazy impression of the backdrop or focus on something specific. In the absence of proper lenses, you may find it impossible to achieve that. Therefore, irrespective of the kind of camera you select, ensure you can pick up lenses as a part of photography equipment and understand how to operate them.

Computer Programs

You may not regard computer programs to be a part of photography equipment, but top photographers tend to invest in a fine program and learn everything about it. This will help you to rectify imperfections or faults in pictures, to soften flaws of your subject, obscure the backdrop, and do a lot more with your snapshots.

If you’re extremely interested in becoming a professional photographer, keep in mind that customers will come back for further services to a photographer who produces the best images. This denotes being capable of correcting pictures after they’ve been clicked and being imaginative and innovative with them. People nowadays have extremely lofty expectations and demands for snapshots since they are aware that others who possess excellent computer programs as a part of their photography gear will be capable of producing those ingenious and artistic pictures.

Naturally, you may require some other photography equipment based on your specific area, but these are what any professional photographer possesses.

Photography Schools Pave The Way To Picture-Perfect Careers

Picture this: You’re fresh out of school, and you already have a packed portfolio and plenty of freelance opportunities. Sound too good to be true? That can be your real-life career image with training from top-notch photography schools like Brooks Institute of Photography. Peruse these picture-perfect photography careers.

Do you have a keen imagination and your own original style? Consider a career as a commercial, industrial, or scientific photographer. These on-location photography careers allow you to take pictures of subjects such as buildings, models, merchandise, artifacts, and landscapes. The photographs are then used in media such as books, reports, ads, and catalogs. Industrial photographers take pictures of equipment, machinery, products, workers, and company officials for the purpose of project analysis, publicity, or equipment records. Using knowledge of scientific procedures, scientific photographers take pictures to illustrate or record scientific or medical data or phenomena. When you major in commercial, advertising, or industrial/scientific photography at photography schools like Brooks, you’ll be fully prepared for this in-demand career. According to the Bureau of Labor Statistics (BLS), growth of Internet versions of magazines, journals, and newspapers will require increasing numbers of commercial photographers to provide digital images.

If you prefer to photograph moving subjects in a fast-paced atmosphere, you could be cut out for news photography careers. Photojournalists take pictures of newsworthy people and places as well as sporting, political, and community events for newspapers, journals, magazines, and TV. Beyond camera expertise, news photographers need a solid understanding of current events so that their pictures match the story. With the proper training from photography schools, such as Brooks Institute’s visual journalism program, you’ll acquire an eye for quality photo opportunities along with the ability to capture them all with artistic precision.

Photographers who especially enjoy working with people may opt to work in the largest employment field in photography — portrait photography. These photography careers include wedding, baby, religious, and school photography. In the portrait photography business, you may work on location, or you may work from your own studio. That means you may also be processing your own images, designing albums, and mounting and framing your finished photographs. The portraiture major at Brooks Institute provides instruction in traditional, documentary, and fine art approaches, using film-based and digital workflow processes. With this kind of training from photography schools, you’ll develop the technical and artistic competence to consistently make saleable photographs. According to the BLS, demand for portrait photographers should increase as the population grows.

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Event Photography – A Rapidly Growing Phenomenon

Whether it is a school prom, fashion show, rock show, dog show, sporting event or any other kind of occasion, event photography preserves all the memories and allows you to enjoy the moment whilst the professionals capture it. As a moderately new field within photography it is not that well-known, but it is certainly a rapidly growing phenomenon.

The recent growth in the popularity of event photography is mostly due to the introduction of digital cameras since they allow professionals to display, organise, edit and print off pictures instantly. In previous years customers would usually have to wait over a week for their wedding pictures to be developed and delivered to them. Now they can watch a slideshow of the pictures that have been taken whilst at the wedding and purchase them on the spot. It also means that instead of purchasing all the pictures that have been taken, each of the attendees can choose which pictures they wish to buy and even have the pictures edited in front of them as they see fit. Most event photographers will additionally offer extras such as putting the pictures in a frame, or on a t-shirt.

To be an event photographer requires skills unique to this type of photography. Amongst other things, professionals must be able to use their experience and preparation to adapt to each event. Good event photography usually involves simplistic backgrounds; the photographer will accommodate this by getting to know their surroundings, taking practice shots of the venue/area. They will also find out what their customers are expecting and make lists of shots that they wish to capture throughout the course of the event. They will then plan these shots as well as making sure that they are in a position to capture the unexpected shots so that they do not miss a special moment. On top of all this, event photographers must also know how to sell their photographs and have a good understanding of the appropriate health and safety procedures required for each event.

Having a professional photographer on site can improve an event; acting as an attraction, encouraging people to look at all the pictures that have been taken and inspiring conversation. The pictures themselves will be of a higher quality than if they were taken by an average camera and they will be environmentally friendly as the photographer will bring all their own top of the range equipment. The sheer number of pictures will be substantially higher if there is a professional on site, as instead of the multi-tasking mum juggling photographer on top of her vast list of jobs, there will be someone dedicating their time to taking as many pictures as possible, and their experienced eye will mean that each picture is more likely to be a worth keeping. Above all, event photography provides mementos that allow people look back and remember a great experience.

Career Information about Photography

Career information about photography is important to access and focus on initially because it is a competitive market where the work is often attractive to many people. The photographer must have “a good eye”, imagination, and some creativity to do well in this field. That’s not all. Photographers love going into their own business. Accordingly, they must be able to maintain a business and to take advantage of opportunities provided by rapidly changing technologies. While seeking career information about photography you should first speak to one of your local photographers for information. You can ask questions about the job market in your area and how much training was involved before he/she considered themselves ready. You’ll find your local photographer will offer you insight that will be helpful in most cases.

What as a photographer do you plan on achieving? Most would agree, the photographer is an artist, historian, and news event person. Perhaps you had already planned on your career and how you wish to achieve it. Career information about photography will prepare you for specific jobs but you should be aware of other elements related to the work. A photographer produces and preserves images that paint a picture, tell a story, or record an event. The successful photographer is required to have the ability to present a subject to achieve a particular effect while also selecting the appropriate equipment. A good photographer may enhance the subject’s appearance with natural or artificial light, shoot the subject from an interesting angle, draw attention to a particular aspect of the subject by blurring the background, or perhaps using different lenses to produce desired levels of detail at various distances.

This is just an example of some of the requirements that a good photographer should possess. Career information about photography will vary according to what type of photography interests you. Underwater photography is becoming an exciting field of unexplored areas. Other photographers specialize in areas such as portrait, commercial and industrial, scientific, news, or fine arts photography.

Portrait Photographers: The one’s we see most often who usually come with those special family events. They normally take individual pictures, group pictures and often work in their own studios. A lot of photographers specialize in taking wedding pictures, religious ceremonies, or school pictures.

Commercial and Industrial: Career information about photography includes professionals who specialize in commercial and industrial photography. These photographers take pictures of various subjects, such as buildings, models, merchandise, artifacts, and landscapes. Why would a photographer go around taking these pictures? This is a specialized field wherein a lot of money can be made. The pictures are used in a variety of media, including books, reports, advertisements, and catalogs. The industrial photographer is usually hired in advance and knows what his assignment will be. He does not take pictures and try to find a buyer. The industrial photographer takes pictures of machinery, products, workers, and company officials. The pictures taken are usually for a specific purpose. In the future these pictures help engineer’s analysis projects, publicity, or records of equipment development or deployment, such as placement of an offshore oil rig.

Field of Science: Career information about photography is common in the field of science. The recording of scientific data and procedures is often done by a photographer. The field of unusual phenomena or sometimes called ghost hunting uses special type of equipment and is necessary to help prove the existence of perhaps a haunting. Many things evolve when you work in the scientific field that is why a photographer must have knowledge in one or more areas of engineering, medicine, biology, or chemistry.

Photojournalism: Photojournalists are people who take pictures of newsworthy people, places, and sporting events. They are news photographers who often cover political and community events for newspapers, journals, magazines, or television.

Career information about photography would not be complete unless I reminded you of working conditions. The working conditions vary considerably from one type of a job to another. For instance, photographers who work for the government and advertising studios usually work a 5-day, 40 hour week. News photographers often work long, irregular hours and must be available on short notice. Some photographers work part time or on variable schedules.

One last thing – Career information about photography should include the fact that a lot of photographers spend a small amount of time actually taking pictures because they spend a lot of time editing photographs on a computer and trying to find new business especially when they are self-employed.

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Photography Is Not Always Convenient

Even though the total number of jobs in the field is gradually diminishing, there are still plenty of opportunities in photojournalism. Being a “PJ” as they’re called in the business, can be very rewarding, but there are times it can be incredibly difficult.

It’s good to keep in mind that every time you show up at an accident scene, a house fire, a war, or other natural disaster that impacts large numbers of people, someone is having the worst day of their life. The last thing they want right at that moment is someone sticking a camera in their face. Yet it is at those very moments, the times people feel least like being photographed, that frequently provide the most compelling and moving images.

Being in that situation is much harder than you might imagine. Sometimes families are numbed by loss and grief and you showing up with your camera almost feels ghoulish. Anyone who has been in the field any length of time have experienced people lashing out in anger at their presence, sometimes violently. Police and emergency personnel may understand you need to be there and have a job to do, but that doesn’t mean they like it or will be particularly accommodating of your presence. In times of loss, it’s probably not a good idea to give the police any reason to haul in the photographer.

Dealing with your conscience is going to be harder than you imagine sometimes. If you’re being paid to get the shot, that’s what you do, regardless of the obstacles. Besides being your job, sometimes those gripping images taken at times of pain and loss can be the ones that motivate other people to pitch in with money or volunteer in efforts to help out. In some cases compelling images can lead to changes in the law or a heightened awareness of misjustice.

While it can sometimes abrade your soul to be taking pictures of horrific moments, it can also be those same images which bring relief in the form of aid or assistance.

There are also ways to make getting the shot less painful for everyone involved. Make sure you have the right lens and camera settings for the situation. If you shoot fast and move away from the area as quickly as possible, you can minimize both your discomfort and the trepidation of your subjects.

The more chaotic the situation, the more important it is for you as the photographer to remain calm, reasonable and reassuring. If police order you to stay out of a scene, stay out. It’s better to argue to be admitted from the other side of the tape. If you’re calm and reasonable, eventually cooler heads will prevail and you’ll get your shots. Being able to talk down stressed out people and make your case calmly in tense situations are life and death skills for a PJ.

Having a long lens in your bag is not optional. Many times you can get good shots from across the street or other vantage point that’s out of the way. The farther away you are, the more naturally people are going to interact with one another. The downside is that long lenses tend to compress the shot and flatten out the image visually. It’s hard to beat a good 50mm lens working in close, but a flat perspective is better than a night in jail.

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