Master Study: "The Spielberg Face"

Normally my master studies regard classic artists such as Michelangelo, Rembrandt, etc. Let's diversify! Revisiting my background in filmmaking, I recently learned that there's an industry nickname describing a particular expression on characters' faces in Spielberg films. It's called the "Spielberg Face". Captivating! He brings pivotal attention to those totally encapsulated in a moment of wonder and realization. It's usually a close up, focus on the eyes, a mouth wide open, an awestruck return to childlike moments of curiosity, a face totally oblivious to all else, and a complete submersion into something encapsulating and wondrous. My favorite array of Spielberg Faces can be found in E.T. and Close Encounters of the Third Kind.

The most recurring Spielberg Faces in reality are found on children. I watch how they discover things, how everything is new to them, and I ponder how totally mind blowing is the world of adults to them.

Marveling at mom's bridal gown as she prepares for her wedding

This post highlights some recent shots I've delightfully discovered have captured that particular "Spielberg Face" on children. I love finding these expressions! It's a little peak of excitement to be able to capture. I also owe the capturing to my discreetness in scenes with children, especially ones trained to say "cheese!" at cameras. It's difficult to capture raw moments of curiosity on the "cheeseburger" kids, so I often have to introduce wondrous distractions. Bubbles are surefire.

When I watch Close Encounters, in absolute humanness, it brings me to tears to fathom how we as adults could witness something just as new and yet undiscovered as a close encounter with beings from elsewhere. In such an event, we'd much become children again ourselves -- unknowing, discovering things new and wondrous for the very first time. I feel the same when I am able to capture these expressions and look at them later. It's a different world, so joyous and pure.

Location Crusade: The Ameristar Hotel

Are you bummed about dreary weather? Chilly breeze twisting your face? Are you stomping your foot saying "I want my photo session in winter!" Well, p'shaw to spring! Your fearless photographer is out and about scouting indoor locations for those who can't brave the weather but want to do sessions in winter.. or for those who need backup locale ideas in case of unsavory weather.

Today I scouted the interior hotel and lobby areas at the Ameristar Casino in St. Charles (hwy 70 and Fifth Street). Check out these sweet nooks. (Click images for larger views.)

Lounging lovers? Cozy up in the hotel lobby/lounge area.

Abstract carpets and marble fireplaces.

Intriguing stone paneled wall with slits of light!

Textured wall with lighted waterfall, oo!

Skylit cobblestone walkway... wait, this is indoors? Yes!

Skylight near casino entrance (insert foreground close up of lovers).

The daring red wall... for daring noir glances.

Chocolate brown curtains.

If you're looking for other unique options for shoot spots in the greater St. Louis area, check out my earlier blog on this related topic, and stay tuned for more location scouting as I discover the hidden gems of lovely places to be photographed.

Branching Out to Babies!

Okay gang, I've officially branched out to photographing the wee ones! ...especially catering to busy new mothers with week day sessions that can be done in-home. I've covered a few infants and children previously, but I'm currently researching trends in baby photography and seeking a new refreshing angle to the genre. I'd love your comments on this topic to see what styles are getting parents excited these days.

What do we all think of baby photography trends? If you're a grandmother, father-to-be, newlywed or bachelor dude, I'm curious to know your impressions of baby photography this day and age. Do you find certain poses awkward? Angelic? Creepy? Heartfelt? What do you think works best and what is just plain thumbs down? Here's some eye candy to spark some opinions:

strangely bound Holiday Inn gift?

floating baby on a cloud of hands?

naked parents? (I'm with this kid's expression)

squishy faced babies in crocheted hats?

babies a-dangle in hammocks?

pregnant belly with hand hearts?

All these are fairly formulaic styles in artistic baby portraiture. Some of the more refreshing ideas I've gathered have involved babies wrapped with intriguing things, or placed inside of naturally shaped objects. I've even seen a few shots (which scare me) of babies appearing to have been left in random places, like wrapped and set on the fireplace mantle! Huh? Oh, I found your baby in the bookshelf.

"dear, where did we leave the baby!"

As far as my own designs for posing infants, I do enjoy naturalistic colors, shapes reminiscent of birth, and themes relating to growth as found in nature, such as seed pods, bird nests, flower blooms and fabrics reminiscent of floral membranes. I was recently very much inspired by Anne Geddes' new work called Beginnings. Peruse her work here to glimpse a few images. She was inspired by nature and the concepts of birth and new life, and worked that still life photography into pregnancy and infant portraits. I love her attention to the details of these intricate floral buds, seeds, intertwining nesting materials, and her analysis of embryonic shapes for babies to fit into. Often the amorphous blob of a baby's limbs cannot unawkwardly fit into things like baskets or teacups, whereas the natural fetal position amidst soft cottons and nestlike comfort suits them perfectly.
Nature seems the most fitting backdrop for babies. They've just exited the most natural place they'll probably ever know, just entering a crazy world just waiting to get its iPhones and high fructose corn syrups into their hands. A newborn baby has not yet been touched by the world and its influences, and I think that so unfamiliar concept is what really sparks my curiosity about infants and capturing them. Everything is new, unknown and pure. That is what should be captured and remembered about this too brief moment in their lives. They'll never again know that sensation of untarnished newness and purity.

Do I Need A Second Wedding Photographer?

I encounter brides who either ask this question or state up front that they want a second photographer for wedding coverage. I think someone somewhere is telling them, "Make SURE you get a second photographer!" However, these days everyone is on a budget, and as that means cutting out the extras in most cases, in other cases having the addition is critical.

There is no Yes or No to this question; the real answer is based both on your preferences and your scenarios. This article will help you assess particular situations and help you decide if you need a second photog or if having one would be overkill.

Situations Absolutely Requiring Second Coverage

If any one of these situations is true of your wedding day, then you'll want to heavily consider a second photog:

• Two events are simultaneously happening in two separate places and there is not enough time for one photographer to cover both. Example: groomsmen and bridesmaids getting ready at totally separate venues.
• You want shots of different expressions from multiple angles simultaneously. Example: One photog captures your bridal party recessing from the altar at the same time the second photog captures you and your spouse exchanging just-off-the-altar excitements in the lobby.
• Your ceremony is 20 minutes long. There's only so much moving around and capturing as many angles as possible during such a short ceremony!
• You create your own photo booth and want it to be covered by your professional photographer. You must have one photog on the booth and the other on the dance floor.
• You want to choreograph an off-altar First Look. First Looks, like any short lasting moment, are best covered from two angles simultaneously.
• Your venue is in low light, either outdoors at night or a dimly lit space with a high ceiling. These dark situations sometimes require special spot lighting for best exposure. A second photog is required to manage lighting equipment. 

Situations Perfectly Well Covered with One Photographer 

• All events are happening in the same venue and you have 7 or more hours of coverage. Longer coverage means more time for your photog to mosey and cover pretty much everyone and everything.
• Your bridal party has 4 or less groomsmen/bridesmaids. Smaller groups take less time to manage and pose with just one photog.
• You have a Catholic wedding. The length of Catholic ceremonies offers more than enough time for just one photog to cover everything and everyone from many angles. Two photogs is overkill here.

It's a Toss Up

If after reading these scenarios, you're still undecided whether you need a second photog, consider that getting one will not necessarily allow you to shorten your coverage hours. Also consider that adding a second photog to an Amkar package which doesn't include one is the same cost as adding more hours of coverage for your primary single photographer ($150/hr/photog). Consider too that having a second photog shooting the same subject from two angles may result in your second photog showing up in the background of some of your shots. If this happens, expect longer image turnaround time so the second photog can be digitally removed from critical images.

Having two photographers is often a benefit to the photographers themselves; coordination, equipment management and travel can more easily be arranged. For instance, if I jump on the limo with you when you travel to multiple photo sites, things will go more smoothly if I can jump on and off with you and not need to find parking separately. My second photog can manage my car elsewhere. This indirectly affects the fluency of your schedule as well.

Hopefully this will aid you in your decision regarding one or two photographers! As I mentioned, it really is very situational, and not everyone needs to have two photographers, but you can clearly see the benefits in certain situations. 90% of weddings I cover tend to have one photographer and they can be shot sufficiently as such.

To learn if your specific coverage requires two, I recommend we meet up and chat about your particular venues, budget and wedding day schedule.

Prepare To Be Shot!

Most of us assume we know how to pose ourselves best for a portrait. The simple truth is that professional photography is not snapshot photography. Time, art and people management is involved. This article evaluates my experience shooting portraits and events and prepares you before the shoot on what to expect.



© Amkar Photography

Photography is probably the last thing on your mind as you get closer to the wedding day, but if you consider these tips carefully, you'll be a well informed photo subject, which means your photos will be that much more excellent!

Candid Means Candid - Don't Look At Me!

I think this is funny. 100% of my clients say they prefer the candid photo style, but on their wedding days they're always waiting for me to pose them, asking me "Should I look at the camera?" True candidity is synonymous with photojournalism, which in it's richest and most authentic sense means the photographer is invisible and events are unfolding emotionally and authentically. If you want truly candid photography, you need to learn to forget about me. Sounds rude, but it's true. I won't take offense. We will converse on the sidelines, but when you see the lens up to my face, try to pretend it's not even there.

Not All That Glitters Is Candid

About 85% of a wedding is generally shot candidly. The other 15% is carefully posed (5% family formals, 10% couple/bridal party portraits). You don't want to have everything candid because when you look at your image pile later you'll be scraping to find any shot where your two faces are looking straight at the camera (shots your family will also seek). Thus why posing is desired. Some don't like to be told what to do, but trust me, for a mere 10% of your wedding day, let me lead. You'll be more pleased with my elegant posing results than your standard bar room shoulder-to-shoulder shot.

Novel Idea - Pose Yourself

Nothing would make bridal posing go more smoothly than working with a super model. I'm not saying you have to be one or even look like one, but you can totally pose like one! Watch a red carpet awards show sometime before your shoot. Do you notice how many poses they have prepared to display to the cameras? They are constantly moving. Actresses have been trained how to show their best angles on cue. Nab some tips from them, remember to strike those poses, and you too will look absolutely awesome in every single shot. Guaranteed.

Some Simple Pose-Yourself-Awesome Tactics
Try them in front of your mirror when wearing your bridal gown, and I guarantee not only will you look radiant, you will feel 100% confident too. These work for all body types: 

1. Straighten the back, no slouching!
2. Suck in the stomach (doing so regularly can tone your abs!)
3. Hand on the hip slims the upper arm
4. Weight on the back foot slims thighs and flatters curves
5. Turn a slight shoulder toward the camera to slim the shoulders and minimize chest
6. A chin to the shoulder creates a sleek, elegant neckline and playful flirtatiousness (see photo above)

I know you all are checking out those bridal fashion magazines... follow their lead!

Family Formals - Hold Your Fire!

I will announce reminders on the spot, but please inform your family that they should not be taking their own photos of family formals while I am shooting them as well. Their camera flashes will add unwanted light to my images and will overexpose my shots. Redoing these shots will lengthen the family portraits session and result in more bogus shots that will have to be deleted. If time permits, I will invite those happy snappers to take the very same shots once mine are complete.

The Shy Guys

Guys are often less gung ho about photo taking than ladies, but I have ways peaking their interest. In these cases the goal is to make them forget about portraits and focus on their ladies. Candid styles are more challenging for engagement shoots because moments often need to be created rather than being truly candid. The "created candid" still looks authentic. Creating interaction is my method to get guys involved and captivated with their gals. It can involve jumping, running, dancing or interacting with a gadget or prop.

What Is She Doing??

Photography is the creation of artistic media, and artists will often go to the nth degree to capture something they find impactful. If you see me hiding behind things, swiping items to put in shots, lying on the floor, lying on my back, seemingly spying on people or climbing on top of something, it's all pretty normal behavior.

As always, I will adhere to your preferences as far as shooting and minding surroundings. Put your best foot forward and be shot with confidence!

Shooting RAW vs JPEG Images

My fantasy-minded brain tackles this topic thus... Beneath the abstract binary of the digital image, secret untold glories reside inside a magic file which you can access and manipulate to make your photos POP! with wowness, giving you the power to unmake photographic mistakes!

Yes! It is as exciting as that. But the reality is that you must approach RAW image photography with knowledge in order to get the results you want. If you're reading this and going "huh? raw?", stay tuned for basics.

Firstly, RAW image processing applies to DSLR camera users. Point and shoot cameras (and cell phone cameras) can only record image files as JPEGs. A DSLR camera gives you the option to shoot in many other file formats, RAW (.NEF file extension) being the most creatively versatile one. The RAW image file takes up much more space on your camera's memory card because it holds so much more information than a JPEG can. That information is the untold glory I spoke of earlier.

If you are shooting in RAW, you cannot edit those files in your normal image editing software. You need an application such as Adobe Camera Raw in order to view RAW files (this should come with your camera's software disk). Camera Raw is not only a viewer but also a tweaker which works in tandem with Adobe Bridge and Photoshop. Everything from white balance to color correction, to sharpening and exposure correction is available in this software, and the process is much smarter in affecting your image than attempting a similar edit with a JPEG in Photoshop. Compare the following images:

The cup at left was shot in JPEG and edited normally in Photoshop CS5 for contrast and color.

The cup at right was shot in RAW and edited using Camera Raw, compensating for vibrance (the orange), sharpness and exposure (the white and wall areas in rear).

The untrained eye may not be able to see the real difference in image quality between the two, but you might get a better idea if you click each image to view them larger. In the RAW image (right), you can see more detail in the cup's reflection and in other black areas of the tabletop, even some dust and crumbs show up there. The cup detail and more true color of the orange comes out as well.

After tweaking, RAW images can be saved as JPEGs for web upload or other purposes. Shooting in RAW (in tandem with Photoshop or Lightroom post-processing) is a great means of experimenting with really making your images pop. It's also a great tool for learning more about your photography on a bit depth level. In the long run it will teach you more about the creation of an image from the inside out, to allow you the most creative control of your imagery!



Do I Need A Rights Released Disc of Images?

The short answer: NEED? No. WANT? Yes!

The long answer requires a more intricate look into what photographers actually produce for their clients, what you really get when they say it’s a rights released disc, and how that value can serve your personal purposes. The following applies to all photography clients.

Artistic Copyright

Before we delve, let’s first understand the mass media implication of releasing rights. Of course everyone wants rights to the images they purchase. Everyone wants the freedom to use an image without the photo studio’s name plastered onto it. However, let’s also understand that artists have integrity, and not only is their work a consumer product, it is also art work. Professionals are creating artwork, and it’s not an oil painting which only exists on the wall of a gallery. Photography these days is mostly a digital art form, which means anyone’s image anywhere at any time could be utilized, slandered, copied, pasted and posted to social media or any random place on the internet which may potentially harm the artist’s integrity and artistic merit. You can well understand why photographers are so sensitive about whether to release image rights to their clients. Despite these concerns, I understand my clients needs. I offer my clients quality rights released images with the mutual trust that they respect my artwork and will not alter or misuse my images in any way. I therefore include clauses in agreement documents stating that since I have chosen to release rights to them, as a trade off they must also agree not to alter or reuse my images for their own creative purposes. My rights release allows clients to view images digitally or to make their own prints of unaltered images only. They agree to this in writing when they make a booking and are subject to legal implications if they act otherwise.

The Product

Before you book any photographer, you need to know two things regarding your images. First, how will you receive your images? Second, how you will utilize those images later? Do you only want images for digital viewing? Will you also want to make your own prints? What size prints? Please be aware and ask proper questions when you consult with photographers. Lots of them are prone to duping! Some of them will say that sure! they give rights released discs. But what they don’t tell you is that the images are very low resolution and basically meant for digital viewing only. You’d be pretty disappointed when you try to make an 8x10 print of an image that is not optimum print resolution even for a 4x6. If you’ll want to make prints, ensure that the images on your disc are print worthy, meaning they have a dpi/ppi (dots/pixels per inch) value of at least 200. Image pixel dimensions should be larger than 800x600 (depending how large a print size you’re expecting to make). If a photographer won't disclose that information, be skeptic.

The Product Value

Are you someone who wants to print off a thousand 4x6’s to put into your own album? Then getting a rights released disc is a huge value for you, considering otherwise that you might be paying the photographer’s print price for all those prints, and that is going to be pricey compared to Walgreens’ cently price per print. Are you someone who’d like a nice 11x14 print or a lustrous 20x30 landscape for your wall? Then doing your own printing may not be such a good idea. Formatting high quality photos for such large prints, and especially for panoramic prints with odd and non standard sizing, is best left to the professionals. Even if you have rights released images, I highly recommend getting anything larger than an 8x10 printed professionally by your photographer for highest quality results.

DVD? CD? What’s the Diff!?

Here’s a keen little clue for you. Consider how many images a photographer shoots on a wedding day. Seven hundred? A thousand? Now consider that a CD has about eight times less space than a DVD. If your photographer is giving you hundreds of images on a CD, you can place your bets those images are not high quality because they’ve been downsized in order to simply fit on the disc! If this is a photographer’s scheme to “give” you rights released images on cheaper storage media only for you to realize later that you have to order high quality prints from them anyway, then forget them. Rip off! A DVD stores images the same way as a CD (files in file folders when viewed on a computer). Plus, you can watch a slide show of your images if you put the disc in a DVD player!

Please ask questions of your photographer and be an informed client! You’ll be happy you did.