How Copyright Law Affects You

The digitization of photography is an extremely effective means of artistic communication for photographers. It also has begun a barrage of copyright concern not only for the creators of the artwork, but for the purchasers of digital imagery as well. That would be You.

I would venture to guess that unless you're a fairly pro photographer or a copyright lawyer, no one really knows how copyright law affects them and their photographic decisions with what they receive from photographers. This blog is here to clarify and to educate clients on the matter.

Please note that a photographer who seems to generate no limitations regarding watermarking, distribution or copyrighting is probably not a professional, as these matters are very serious both for the artist's integrity and also to safeguard clients in carrying out lawful actions regarding digital images. Photographers owe it to themselves to protect their work; they also have a professional responsibility to inform their clients and to protect them from engaging in illegal activity.

Federal Copyright Law states: 

The Copyright Act protects photographers by giving the creator of the photograph

the exclusive right to copy, edit and distribute the image by sale or transfer. These

exclusive rights make it illegal to copy, scan, edit or share photographic prints and 

digital media without the photographer's permission. 

Violators of this Federal Law will be subject to civil and criminal penalties.

Criminal penalties!? Well, what is that!? Mainly it's a range of infringement fees, court fees and/or attorney fees. Consider a range of $200-$150,000 for each work infringed. Yes, you better know your copyright allowances, or your hand made wedding album just greatly surpassed the cost of having your photographer create one for you.

You may immediately shrug this aside thinking, well if I utilize my images privately, no one will ever catch me doing whatever I may with my own images. Essentially true... until someone discovers it and is knowledgeable about Copyright Law, which thanks to the internet and honest people like me, more and more nobodies are becoming familiar with infringement. Also there's a thing called the Internet. As soon as something infringing gets published, it's more quickly subject to scrutiny.

Also, what the client owns is digital data, not the rights to copy, alter or distribute images without limitation. That right belongs to the creator of the image the second the image is shot.

All the aforementioned is federally enforced. I get my information and copyright infringement assistance from Professional Photographers of America, of which I'm a member. So they will come after you if you make an infringement. Now here's the good news for you. Photographers don't want to be demons, and (unless they are) they want you to enjoy your images, express yourself and create memories as best as they can allow given the rights they must maintain as creative professionals with integrity. Photogs can give you permissions as long as it is in writing and clearly communicated to you when you discuss employing them.

The following information [is going to make my blog really long, but] is also going to be included on my clients' flash drives going forward. This is helpful information, so please don't let textiness scare you off, because you're missing crucial stuffs. READ. 

This is how I grant permissions to my clients; other photogs may have different permissions and limitations. Always check.

What does my photographer ALLOW me to do with my images?

- YOU DO have written permission to make your own prints of images as long you do not alter
the images or remove the copyright watermark**. Check your consultation folder for a hard copy of
the Image Reproduction and Print Release. A soft copy will be included on your flash drive. (Prints, albums and artwork ordered from your photographer will not show a copyright watermark and will also include complimentary, more detailed retouching.)
- YOU MAY request image alterations from your photographer, free of charge. Purchase of prints
not necessary.
- YOU MUST show the Image Reproduction & Print Release document to your print producer
wherever you may take your flash drive to produce your own prints. It must be signed by you in order for your printer to make prints.
- YOU MAY share the Amkar Facebook sneak peek gallery of your images via social media sites.
- YOU MAY share your full online viewing gallery publicly. Any image shared digitally or online
must retain the green banner logo watermark.*
- YOU MAY display prints (either purchased from your photographer or printed yourself) in your
private space or for personal memory sharing, including insert style photo albums. If you print your own images, each image must retain the white text copyright watermark**.

What does my photographer PROHIBIT me to do with my images?

- YOU MAY NOT create digital photo books, albums or other pieces of art with your images IF design templates crop off the copyright watermarks.
- YOU MAY NOT crop, discolor, Photoshop or retouch images in any way. This is a violation of the photographer's original artwork, which is copyrighted by law at the moment the image was shot.
- YOU MAY NOT distribute or publish images for commercial purposes, including poster prints
displayed publicly and images used for online or print advertising.

If you have any questions about whether your plans for image use may infringe on copyright law, 
please discuss with your photographer. Reasonable requests may be accommodated.

* This is what the green banner watermark looks like. It appears on all images published online, including Facebook sneak peek galleries and full online viewing galleries hosted by amkarphoto.com. Anything clients choose to share digitally or online should have this watermark on it, including profile pictures for Facebook, LinkedIn, etc.

** This is what the white text copyright watermark looks like. This watermark appears on client flash drive images and must remain intact on each image should clients make their own prints or create their own artwork.

Authentic Personality: Know Thyself

Solidifying some notions following my Be You Movement, I'm realizing more and more a desire to portray people in portraits as authentically as possible. Perhaps it's the fact that I've seen so many weddings, so many people being posed and so many trendy strike-a-poses (teapot arm!) that I just keep wondering, is this You? Or are you hiding behind some selfie-faced Facebook ideal of portraiture?

Dislike. I want my photo subjects to relax, let loose and forget the camera is there entirely. Difficult, I know. Especially when most are not familiar with or comfortable with being photographed. However, relaxing and forgetting the camera is the only way people can show me who they really are. This is less difficult on a wedding day than it is for family or engagement portraits when I have people in front of me just waiting for direction.

Here's where You come in. Yes! You have some work to do for truly authentic portraits to happen!

Half of my ability to portray you authentically is your ability to know yourself and tell me about it. 

I'll reiterate, because it's important:

1. Know yourself. Who are you? What do you do (I don't mean career)? What do you like? What makes you smile?
2. Communicate with me. Forget about insecurities here, because I you need to tell me your concerns. I won't photograph you from above if you dislike your balding top, and I won't let him pick you up if you like to wear short skirts. Listen, I'm used to seeing peoples' flaws (it's my job to retouch many of them), I'm used to seeing ladies naked, and I'm used to seeing babies come out of mothers. You need to tell me both what you like and don't like about yourself so that I can focus on or avoid the correct things. 

Being photographed is an intimate experience! I can understand the concern of the Amish, but being photographed is less stealing your soul than it is sharing it. Since you're up for being photographed (otherwise you wouldn't have hired a photographer), you need to be up for sharing your soul, i.e. the Real You, as well.

Soul in a photograph is what makes it genuine, and therefore valuable. 

If you don't know who you are, there's no way I can invent you for you. I can only assume who you are, and that's likely not even a smidge of the real deal. In that scenario, you turn into a template. Templates are neither personal nor enriching, and we're shooting for both here when it comes to your experience with me as your photographer. There's nothing greater to you (and me!) than laughing and enjoying an experience that brings you back to who you are and reminds you of what fulfills you.

"Know thyself." - Socrates

That's deep! Yes. Deeper than just a portrait session.

I'm devising ways to discover people without prying too much, and to make portrait sessions an experience that stirs up life in people. I won't even say I want to "customize" your portraits or give you a "unique" experience because those words are over-saturating every photographer's profile these days, to a point where they mean nothing. Those words aren't even coming from the angle I'm coming from.

The angle I'm coming from is: This isn't just a portrait session. It's an exploration of Self, enjoyment, enrichment and happiness. Wouldn't it be great to capture that moment in a photo?

Let's stir up some life in you!

Amanda
www.amkarphoto.com

Cinematography Underway

Amkar Photography's first commercial cinematography shoot happened this month. This was a trial project for A Bride's Ally to test the waters for video production for small businesses. I'm in the process of developing techniques and creativities to make any business who comes to call for cinematography look amazing, and in a small-business affordable manner. Designing motion is challenging; a new way of working my mind. And fun! Having a company video, especially if you're in the wedding business, is essential to giving character to the face of your business and setting you apart from the totally saturated market out there.

Here are a few production photos shot by Jaimie Nicole Krause Photography. I designed some client interview segments as well as some bridal prep with Victoria Burrows for her wedding planning business. This was great. Operating for production is always a kick. We shot at Patty Long Catering and the Crystal Ballroom at the Renaissance Grand downtown.

Cinematography pricing will be coming soon on my website. My first few paying clients will get discounts!

Victoria thinks the bloopers remain bloopers, but it's just me getting her to smile naturally.

Swirling cream into coffee for a creative transition.

Advice for Buying a Fancy Camera

I am occasionally asked by non-professional photographers what kind of camera I recommend to them for their personal use. Firstly, this is a great question for the staff at Creve Coeur Camera. Secondly, as a Nikon girl and primarily wedding photographer, I know very little of anything other than Nikon. As well I know very little of models not great for wedding photography because those higher end professional grade cams are all I've ever really known since like 2009.

Wulp, I like helping people with their technological questions, despite the fact that I am neither a camera guru nor very technical by nature. Anyway, here's my contribution. It's very simple! Buying a new camera does not have to be difficult at all. This should make the decision very easy for you.

To start, ask yourself two very important questions:

1. Do I really need a "fancy" camera? If you call it a "fancy" camera and expect a [properly termed] DSLR to make you an instant great photographer, then you probably don't need to drop a couple thousand dollars on a DSLR. You need to drop a couple hundred dollars to take photography classes. Advice: Borrow or rent a DSLR and take some classes to see how you do. If you enjoy it enough to stick with hobbyist photography, consider purchasing one later. See where it goes from there. Sub-advice: A great camera doesn't make a great photographer; knowledge does.
2. What am I doing with this camera? Taking family photos? Dimly lit creative photos? Professional photos for web or commercial purpose? Professional portraits to which you may later add a lighting system (flash or radio system)? Fast moving subjects? Nature/travel photography? Making prints? Posting images to Facebook? Wearing a tech savvy necklace? All the answers to these questions direct you to the type of camera that's best for you. Advice: If you're sincere about investing in a DSLR, check out the chart below to see an honest comparison chart of DSLR features. This is from Nikon's website (< click to see this chart in full detail), but similar features will exist for Canon and other brands too:

Familiarize yourself with these terms: megapixels (big numbers mean great print and/or web resolution), ISO (high numbers and ability to reduce noise means great dim shots), autofocus (options exist to make following and freezing movement easier). You also need to invest some time playing with these expensive cameras to make sure you're not overspending on something a much much cheaper camera can still do for you. Gobs of enthusiasts make this mistake!

There's a load of extremely technical information here. If this chart intimidates you or these feature descriptions make you feel like you're reading ancient Hebrew, then considering a DSLR is probably not for you. Save your money.

If you plan to take snapshot images, family photos, just-for-fun stuff of family and friends socializing... if you don't intend to make prints larger than a 5x7... if everything you photograph will shoot straight to Facebook and probably remain there in storage, go no further than your smartphone. Seriously. This is what I would do if I was not a professional photographer. Having one with great megapixels and applause-worthy camera features is the way to go. Plus they fit in your pocket! I'd hate to lug around a very boxy DSLR if I didn't have to. If you've already got one of these amazing smartphones, you just saved yourself a few hundred dollars! Lucky!

If you want super pro looking family portraits, investing in a family photographer rather than buying a camera will actually save you money on:

• A thousand(s) dollar DSLR camera
• A few hundred dollars in lighting systems
• Technical knowledge which comes with the package
• Artistic knowledge which comes with the package

You can't put a price on those last two. Actually you can. It's something like a 4 year college tuition and/or years of in-the-field, hands on learning alongside technology changing over the years.

There you go! Easy! I hope you do well with your smartphone camera, photography lessons, new DSLR or favorite portrait photographer.

The BE YOU Movement

Who are you?

Without telling me what you do for a living, who are you?

Without social media or digital means of expression, who are you?

This is a difficult topic I've pondered for weeks. Abstract, I know. Difficult, though interesting to explore what really makes a person the fullest person they can be and recognize the full extent of their mostness, and also to be able to shine that forth. Socrates said it succinctly: "Know Thyself". This is a greater thing than most of us are able to comprehend in the age of social media, which I feel greatly impacts our ability to truly know ourselves, what with instantly gratifying distractions, trends, templates, stereotypes, categories of person types and personality molds being created and yearned for every day. Why? What is all that? Does it benefit us socially to all be the same, or would it do us more innovative good if we were each our own outstanding person to share with other self-made outstanding people?

If this sounds a little philosophical for a post on a photography blog, understand that this photographer 'knows' herself little, but just enough in order to make a specific connection here. I work with a lot of people regarding topics of things close and personal to them: Portraiture. I also constantly, constantly strive to personalize portraits for them. I'm always encouraging subjects to tell me what interests them and how we can tie that into a photograph. "What feels like YOU?", I'll ask. Usually, there is no clear answer. "I like movies," or "We love going out" doesn't really give me much. I think it's a great, great thing to really Know oneself, to the extent that the content of your character can be known and expressed in a photo. If I can achieve that for someone, I'd be able to give something no one else can. Perhaps the experience in itself is an excursion in finding oneself. I'd love to be a part of that in someone's life.

I suppose this is how I differ as a photographer. I don't want to template you. Templates are horrible and trapping. I want you to experience something great, maybe learn new things about yourself. It's not just about photography, it's about empowering yourself. Think of the possibilities. What can your photographer do for you?

It starts with my subject. You have to know yourself in order to tell me who you are, in order for me to capture who you really are. I know this sounds pretty deep, but if I could blunt it down a little I'm basically saying: BE YOU. Don't be a copycat. Find yourself. Know yourself. This concept completely applies to your journey if you're getting married too because you should share the experience with your partner.

So, who are you? ...without being a copycat? Who are you without a Pinterest board or a Facebook page or a sorority house or career presence or a [personality type] label? What gets you going in this world of all this stuff which affects people at large? What are you passionate about?

It's my profound observation that social media affects our preferences to the extent that we become a vessel who embodies trends created by others rather than truly being ourselves and making something our own. I'm sure advertising has benefited greatly from this phenomenon; we're not people, we're canvases for other people to profit from. As a photographer, all this static makes it hard for me to really Know you. Did you know that brides who show me images they want to emulate on their wedding day (Pinterest source, I assume) are often showing me the exact same images that keep cycling around Pinterest as what I call the "Pinterest recycles"? When you put it all together, I see brides wanting to be models showcasing things that others have done rather than things they do and things they make their own. If I see the same shot carried out by 3 subjects, it kind of diminishes its authenticity, don't you think? It kind of bores me. I know you're something special. I want to help you express what that is about you.

How do you make something your own? Get to know yourself. If you could shut off all these things or people that tell you what to be or what to do or who to be, dive in to who you really are and start making a lifestyle of that. You don't need to be categorized. You don't need to BE anything other than yourself. Be that person no one can categorize, and you're probably on the right path. Lose your WiFi for a day and see how that works for you. Sit with your own thoughts for 15 minutes at least.

As a first step towards the Be You Movement, I'm starting small with a series of questions to submit to portrait clients which may help them realize themselves, and which I can use as inspiration for completely personalizing something for them. Honestly, it's the worst when I feel like I don't know someone whose soul I'm trying to capture. It kind of feels like having a pop quiz put in front of me when I haven't studied. Half of this is You and half of it is me trying to encourage you. I feel I have to resort to templates with lack of information, and that's simply no good according to my mission for photographing people. I'm changing this.

Of note, I enjoy that I was able to bring these previously jumbled thoughts to fruition while having a loss of internet connection during a vacation in India.

Dreamy Inventions for Photography

Consistent busyness never prevented a creative mind from daydreaming about what wonderful inventions could really help out while on a shoot here and there, or better yet push my photography into the elusive and much desired "she's the only one who does that" realm. I try to give realistic thought to everything, so I attempted to do so with these fleeting wild ideas and decided that these four fictitious inventions would be really great if they were real. If any scientist out there decides to capitalize on any of these ideas, please know that these were brainstormed here first by Amanda M. Kar (and I'd like to be contacted for design input). Images in this article courtesy of Google image search.

Deceased Portraiture

Like many creative ideas, this one actually came to me in a dream. It would involve family portraiture summoning the paranormal and bringing forth deceased relatives so that they may be present for portraits. I always give myself the benefit of the doubt of science fiction and envision how this could entirely be possible. It would involve contacting some paranormal specialists, ghost whisperers, or psychics, probably shooting in a space close to the deceased individual, and maybe some special equipment which would enhance my camera's ability to capture ectoplasmic activity in a photograph. Some images may be captured less in the humanoid depiction of a person and more in light of "ghost orb" photography. But wouldn't it be great to have a seance, bring forth a deceased loved one and capture some interaction with them in a photo? It'd be great if you could guarantee it. I'd completely freak out on the first two or three sessions, but I'd definitely have something here if it could be predictable and I could ensure capturing something every time.

Sun Balloon

The dimly lit high-ceiling church wedding ceremony is, I think, the bane of all wedding photogs' existence. The sun balloon would be a marvelous way to add daylight where there is none. This would be so great if designed to be inflated and deflated quickly, and to whatever size is needed (larger would emit more light). It would be made of a material which could both withstand the heat of output and diffuse the light just as overcast real daylight would... I guess it'd be more like a sun-behind-cloud balloon (we don't like direct daylight because it causes squints). The balloon would be tethered to be pulled back down for deflation or re-positioning. It could be solar powered! Just imagine, great light everywhere with no flash and green power to boot. *swoon*

Stilt Shoes

Yes like that.

Okay I'm short. Even if you're not, it'd still be great to wear a portable ladder to jack you up 5 or 10 feet to get really great overhead shots of locations and groups. I'm taking a cue from Inspector Gadget here, but the invention would rather be an extension built into the sole of any shoe or it could be a device to attach externally to the soles, also allowing the shoe to remain comfortable while the stilts are retracted. It would have to have some mode of immobilization as a safety factor while extended to prevent walking and falling, and would need to extend and retract fairly quickly to avoid making re-positioning a pain. 

Invisibility Cloak

Don't mind me!

I do like when subjects give me full attention when I need it to pose them, but when I want a true candid moment, or to sneak somewhere without being detected in order to capture a really Real moment, I wish I could be invisible. I initially envision the Harry Potter invisibility cloak here, but for a photographer it'd have to be streamlined. It would really need to be a type of fabric which can reflect surroundings so as to give the illusion of invisibility, but which can also be toggled to be "invisible" or not. Somehow I think this is fairly possible. Update: I just looked it up and found this article about scientists actually working the real physics behind this. The military also has some good research going down too, for camouflage. Image below is from that site.


I also believe in spirit activity and ghost sighting, so I think that's fairly possible too. Extra-curricular activities for when I have more time to research these things :).

Take Better Smartphone Photos & Videos

I'm so in love with photography I'm jumping to teach smartphone users how to take better photos on devices which notoriously capture poor quality media. If pixel noise, blur, and dim orange shots with demon glowing eyes bothers you too, or if you're a selfie-matic, read on for some tips that may improve your approach to smartphone photography. These tips attempt to take the whole gamut of smartphone brands into consideration. Images posted here were taken on my iPhone 5.

BETTER SMARTPHONE PHOTOS

Left side lit by a second phone's flashlight.

• In dim scenes, try side lighting with a friend's phone's flashlight feature. Direct flash is never pretty, even from a pro DSLR. Get creative with angles of the light.
• Dodge the darkness altogether and look for bright light or choose outdoor daylight, if available.
• Stand with your phone to a window, not your back to it.
• Don't plan to print a serious image from a smart phone, especially for a large print. You'll see a load of pixelization and noise. If you're serious about quality and printing, get a real camera... or a pro photographer.
• Turn on the snapshot sound indicator so someone you're photographing knows you have taken the photo.
• Get close, take time to compose the shot.
• Smartphones can't handle blur well. Stabilize your subjects.
• Don't even try capturing motion (especially fast children) with a smartphone camera - take video instead.

BETTER SELFIES

• Download a self timer app so you can compose shots without arms holding your own camera. Sometimes face shots get boring, and we want to see what else you can do.
• You don't always have to be looking into a mirror. The last point probably solves this thing.
• Never shoot yourself from the angle at which you normally read your phone (see below). Utilize the live viewer to compose your shot in a way that actually looks like you.
• Don't look at the live image of yourself when you shoot, look at the camera's eye.

The most attractive angle is usually from your phone looking slightly down on you.

A self timer app actually allows for an honest pose.
Hands are expressive! I knew they could do more than hold a phone :).

Don't shoot with your back to a window!

BETTER VIDEOS (same above lighting tactics apply)

• Always take horizontal video. (Notice this is bold, italicized and underlined.) This is how the medium was designed. Actually it's because our eyes are aligned horizontally. Vertical video feels unnatural and disorienting because that's not how we biologically view the world.
• Never switch from vertical to horizontal orientation while you're shooting... it won't correct itself later, and your watcher will have to finish viewing with a tilted head.
• Practice hand steadiness. Try holding your breath to achieve, or use a tripod. Don't give your viewers motion sickness.
• Move around when you shoot long, continous shots. Unmoving shots are boring, especially if we're waiting for a baby to do something. Move in, move out, get a new angle... all in one shot.
• Trim your video. If you haven't shot it succinctly, trim it short to show just the moment that matters. Internet users have extremely short attention spans (like, shorter than a toddler's), and they want the meat of the movie pretty much right when they press play.
• Keep it quiet. Narration distracts too much unless this is a documentary. Let babies silently explore their world (below).

Move in, out and around to show hands and expressions.

Motion jazzes up a pensive video.

Fun times! As everyone else does, I love capturing media. Although I'm used to professional equipment, I still enjoy the challenge of trying to fudge professionality with something completely stifling to it. Anyway, have fun trying these tactics and improving your photography!

Disclaimer time: Every smartphone claims different specs when it comes to its camera's abilities. Some claim better low light abilities, some claim greater image resolution. Some even have the ability to fit DSLR-like lenses and other equipment to improve the phone's ability to capture. I'm just going to say right here that if you're that serious on getting good quality images from a phone, might want to buck up and get a big boy camera rather than hunkering a phone around with top-heavy equipment which negates the slimness of toting the phone in the first place. Just sayin'!

What They Don't Tell You About Print Sizing!

I'll spare you on more complex offshoot topics such as camera sensor size, image aspect ratios and the nitty gritty of frame sizing, so I'm designing this blog to be a simple-as-possible depiction of what your image looks like versus how it crops down if you choose standard print sizing versus other sizing more adequate to keeping all the image's details intact. Most images do end up cropping fine to popular print sizes, but some may not. It depends on composition. In cases where an awkward crop may result, alternate sizing should be considered for best quality on the final product.

Here's something interesting, and who knows why, but some of the most popular print and frame sizes (especially 8x10 and 11x14) may not best suit some compositions, particularly landscapes and close ups where information can be lost on the short sides after cropping. The main reason these crops can be a little whack is because what comes out of the camera is slightly more rectangular than the popular dimensions. Capturing more information (horizontally, especially) is more artistic, cinematic. I suppose that's why the camera is designed to shoot images wider.

This one is pretty dramatic; she made a point of loving that little heart in the window. In order to include everything in an 8x10 or 11x14, their feet need to get cropped, and that doesn't look professional.

As you can see, these crop sizes tend to be too square a proportion for the full ensemble of the original image.

More horizontal just feels more dynamic.

Crop their feet or her back? I don't like this debate!

Take note of the following sizes, which will not crop anything at all from the original dimension of an image. These sizes keep everything intact:

4x6, 8x12, 12x18, 16x24

Some may be skeptic of the middle two sizes and figure that frames cannot easily be found for them. On the contrary, frames of any size can be found at good frame shops. Michael's has a fairly good variety, and a simple Amazon search for the size you need is bound to turn up even more variety on any size.

OR, if you want to wipe away all sorts of frame availability worry, you can consider a canvas gallery wrap. No frame needed! Ready to hang right out of the box, and it looks great on the wall. No glass reflections even. I also offer panoramic options on gallery wraps, and those are super cool if you've got a great landscape begging for a sprawling panorama. Panoramic prints are notoriously difficult to handle and to frame, so I don't even recommend them. Gallery wraps are the way to go.

If you're unsure how an image will crop when ordering prints or gallery wraps from viewing galleries, please inquire! I can even send you a proof of the crop before ordering.

Happy wall decorating!

Choose Your Own Adventure: Being Directed

This blog is carefully designed as a definitive reference for those who care to know or who wish to define precisely how they may be directed for portraits. I preface this content by clarifying that the majority of modern wedding photography is predominantly photojournalistic (candid); therefore, it is redundant to request a photojournalistic style as it is already the default. However, there is one segment of a wedding day (other than family portraits) to which I apply the focus of this blog. It's the in-between "creative" segment.

I have coined these direction terms with visual reference thanks to my fabulous volunteer model, Rachel. Please keep in mind that these styles are intended for the segment of a wedding day from which you'd typically expect direction. The rest of the day is entirely up to atmosphere, circumstances and YOU... I'm just the journalist. 

Completely Candid: 0% Direction

Experience the atmosphere

If you're a couple with a lot of spunk, personality and flamboyant chemistry, and also not fond at all of being told what to do, this style is for you. The direction is that there is none. The photographer follows wherever and whatever you choose to do with each other. Anything goes. This can't really be illustrated in a few shots because everyone and every atmosphere is different.

To note: Probably no shots looking directly at the camera unless you're a camera-seeker. Breaking the 4th wall breaks realism though, so if you admire true realism, this is for you. I recommend involving an activity which elicits emotion and excitement, such as going out for ice cream or heading to a play ground. 

Unposed Direction: 50% Direction

Direction is usually "start here, end here, do this in between". How you carry that out is up to you.

Most couples feel awkward being expected to suddenly express the nature of their relationship non-verbally for a camera (we're not actors, after all), but this style helps break the ice by giving subjects a general direction in motion while allowing them a freedom to determine what exactly they will do with that cue. This is really one of the more popular styles I've devised which 'pretends' to be candid, but which has actually been directed.

To note: Go with the direction, but make it your own. Don't be afraid to show who you are.

Traditional Posing: 100% Direction

There is a forever classic formula to posing for traditional portraiture, and no one ever complains about it. This can be taken up a notch by selecting intriguing locations. I mix these up with at-camera or at-each-other gazes. 

Vogue Posing: 110% Direction

High Fashion Vogue

Here's where it gets interesting and offbeat, but I recommend it only if it's truly in your personality to do something like this. In which case, it's completely worth the extra time and the minute tweaking of arms, legs and expressions to achieve. 

     1. Whimsical Vogue in my mind means "fantasy", choreography or jumpography. 

Severely fun. Yup! Sometimes jumping is great just for the post-jump laughter.

     2. High Fashion "Magazine" Vogue, just like what you saw when shopping for bridal gowns.

Shoulder focus: fun for non-strapless gowns.

     3. Imitation Vogue mocks pop culture photography in really fun ways. Also check the Bride of Frankenstein shot I did for Halloween. I got a kick out of imitating the original. 

Audrey Hepburn: Sabrina

Marilyn Monroe: the tutu pose

Marlene Dietrich

So now you know my mind when it comes to posing. One disclaimer is that photography, as well as posing, is very situational. Certain poses can't be accomplished well by everyone; body types and shapes are all different. I like to assist clients in knowing precisely what to expect, so this classification of direction is about as fine-tuned as I can get considering that everything is so situational. Analyze your personality and choose a style that works for you. If you have no preference, I tend to mix these all together.

Light Brigade: A Shot in the Dark

Once upon a decision to shoot an engagement at Botanical Gardens' first annual Garden Glow (and not quite knowing what to expect), I was stoked to face the outdoor nighttime glow and apply some creative spot lighting. Outdoor low lit scenes are extremely challenging. With practically no light, no ceiling for soft bounce, and the desire to capture the beauty of holiday lights, my weapon impervious to darkness is bankably the off-camera flash and/or spotlight, requiring use of one or two tripods. I was gung-ho for this shoot.

Enter Botanical Gardens security: NO TRIPODS. Curses... Foiled by a public event! After a stupid attempt to hide a tripod in my coat, I discussed with my clients a new plan with hopes not to miss out on capturing some potentially great scenes in here. I'm glad they were open minded and had some faith in my backup plan which, though limiting, still produced some magical results.

However, these low light points need to be considered in any situation not allowing flash or tripod use:

• Capturing extremely dim ambient light requires slow shutter speeds and practically no movement from subjects or camera, otherwise motion blur happens. This limits subjects to stationary poses for clarity (unless movement blur is desired). I often pose couples in motion, so this is a limitation for me!
• Ambient color lighting effects will produce unnatural skin tone coloration. Magical within context, or it can be disruptive depending on the intent for the portrait.
• Tripodless spotlight can be achieved with use of a lighting assistant (an expense not often preferred for engagements), or from light being positioned from the ground if no ledges are nearby... however, low angled light communicates a mood of horror rather than romance. For example, my Halloween portraits.

Limitations considered, I'm fairly pleased with the lovely Christmas-lit imagery here. (See more on Facebook.) Holiday lighting is so ethereal and romantic! What wasn't romantic, however, in this location at the time of the Garden Glow event, was that so many people were around! (Some were 'shopped out of these hedge maze portraits.) Regardless, these two pulled off some great intimate moments, but feeling free to emote in the middle of a crowd isn't something everyone can pull off!

Birth Photography

What draws me consistently to this subject matter is simply that it's such a human experience, genuinely photojournalistic, undirected, raw and real emotions -- as real as anything my accessible subject matter can get. No expectations, no copycatting, no Pinterest board requests. Just a pure and honest desire to capture what really happens. I'll share my photographer's perspective here following my first "birth story", and give some artistic insights should The Reader be someone considering coverage for such a beautiful occasion.

I am very, very blessed to have been available to photograph my first live birth in 2013. Any time someone requests birth coverage from me, I feel blessed. It's such a huge thing. My main takeaway from the experience is that if you are a nostalgic-minded individual who just adores remembering those first short-lived moments of the very first joy you encountered seeing your child for the first time ever, you just can't afford not to have these moments captured. You'd be missing such sweet, genuine, poignant, emotional photographs the hospital photographer simply cannot give you. Every time I remember the day my son was born, I wish and wish I would have had someone there to capture real emotions, not snapshot images by family. Sorry, family -- they just aren't the same! The emotion is not there.

Watching through the overhead mirror.

Firstly, I must thank Mrs. Jessica Flores-Washington (a previous client) for giving me the opportunity to photograph she and her husband, Ben, on the day their son, Benjamin, was born. As soon as she invested her confidence in me to be there on birth day (around my other bookings, God willing), I had my bag packed, backup batteries charged and family members notified that I was on call for the job. I was prepared to shoot at weird hours and be there for however long I was needed. I hoped to be available during birth Prime Time: active labor, delivery and emotions shared first meeting baby.

I don't think I'd be comfortable with this subject matter if I hadn't already given birth myself. I think many mothers-to-be feel it's an odd time for professional photography (also feeling their least photogenic), or that they simply don't want items of graphic or personal nature photographed. To each her own. But in my design, the most graphic image covered is a slimy baby fresh out of the womb.

Birth photography is not about the anatomy of birth, it's about life happening, that brief moment in which a parent first sees his and her offspring, a moment which very rarely is captured, and can never again be reenacted.

I always had in mind to design birth photography not graphiccalle but emotionally. My focus is never the specifics of how the baby enters the world, it's the emotions which parents and families share surrounding the occasion. Those are priceless, priceless captures. Seriously, I cried when I saw this happening in front of me. I cried when editing these images. And also while proofreading this blog post! Faces, reactions, expressions, hands clasping, fingers touching, brand new family connections made. Fathers looking at babies wondering who this baby will become as he grows. It's so new. It's so raw and so real. The best part is that I'm purely an observer, and these emotions are authentic and tear-jerking without me having to direct someone to turn and face each other and "give me this feeling!" That's what the birth story is all about. That's what I love about it!

Dad's first look and son's first look at dad.

As a photographer mainly versed in weddings, birth photography is a breath of fresh air. I love the opportunity to be more personal with clients, to hang with their families and to photograph events with unsure outcome. Wedding photography has a lot of expectation (particularly those I term "Pinterest weddings", if you know what I mean). Being such a commercialized business nowadays, the wedding expectation can be creatively demanding. Birth photography is the exact opposite so far as I've been exposed, and I do hope [Pinterest doesn't screw it up!] it remains a wonderfully discreet, private niche and doesn't get over-commercialized. 

Some things I learned in the labor and delivery room. Many hospitals have restrictions for photographers, such as no admittance in c-section rooms, or only one person in the room with mom during epidural or drug administration. Many hospitals nowadays are trying to commercialize newborn in-hospital portraiture, but these services do not cover labor and delivery, nor are they as personalized. There are lots of nurses present during delivery, and I found it challenging to peek through their activities without getting in their way. If mom goes for an epidural, she may enjoy the experience much more and therefore give me plenty of big grins!

Mom's first kiss. Gosh, how can you miss a moment like that!

Artistic considerations. My telephoto lens worked great: I was distant enough from the action, but so close for emotions. Black and white: this may just be me, but reflecting on black and white feels so nostalgic. Hospital rooms aren't blooming with color, nor is fluorescent lighting particularly wonderful or dramatic. Other than a red little newborn with his pink tongue lashing, sometimes removing color draws due attention to emotion. It's a preference I'd leave up to the client in the end. Lighting: this is up to the mom-to-be obviously, but if she chooses to have room lights off at nighttime, lighting from doctor's workspace casts a wonderfully dramatic glow on faces rather than the fully lit fluorescent room. This is up to preference. I would never use flash during these moments; I would hide my presence completely.

I have extremely high respect for birth clients. I've designed a policy to keep all images completely private for them. Any images I publish (such as these), I ask individual consent per image. There are no Facebook sneak peeks unless the family decides they'd like one. 

I'd love to do more birth stories! Reaching this stage in my career has certainly matured me as a photographer. I love being a pure observer, a true photojournalist. I love being the one who can record these private emotions for families. I love that they can look back on birth day and revisit in-the-moment emotions no snapshot can convey. I love the atmosphere of love and concern which surrounds the bringing of a child into this world. I love the way new parents look at their newborn in the delivery room, an expression which truly only happens at that moment, the moment they look at their baby for the first time and say "Look what we did, we made this! He's here!"

Benjamin Caleb Washington III - born October 5th, 2013.

The "What Will I Wear!?" Guide for Portraits

"Where should we do portraits?" has a little sister called "How do we coordinate attire?". Since I've been asked this question so often, it's time to create an easy access answer you can take with you to your closet. This info applies to any type of photo shoot, although for babies I recommend no bold colors for parents (stick to whites, grays and pastels), because bold and bright tends to draw attention away from babies.

Before we get to my fun color concoctions, let's review the Don'ts of portrait attire planning:

Do Not wear super narrow stripes or thin plaids - they often register weird in digital photography, sometimes creating the illusion of contours where you don't want them.

Do Not wear super short skirts/shorts - IF you want picking-up, twirling around or sitting-on-interesting-things shots without posing limitation. Rule: If he can pick you up in a cradle hold and you don't have to grab at your skirt to try to cover your butt, you're good.

The major DO is: DO wear what feels like YOU. Go casual or formal, it's up to you.

Now for color scheme ideas! These arrangements were created by me, but please get inspired to incorporate colors and textures which speak to you.

Gem Tones

With the exception of Christmas colors (don't), bold, bright tones found in gemstones are rich and beautiful. Class it up with these, especially for an urban backdrop.

Monotone Multi-Shade 

Multiple shades of the same color. How fun would all greens in a forest be if you're a nature lovin' sort? Or all blues in a forest if you want to pop out from nature? Cuz you're awesome like that.

Nautical

Classic. Just don't do plaid with stripes, it's an either/or scenario. Light grey goes with pretty much anything.

Trendy Melon

Thank you, Target, for creating this eye-pleasing pair of colors which reminiscent of cantaloupe and honeydew. Also in the category is mint. I threw ice cream in there because it'd be cool to don these colors and go out for a towering mint chocolate chip ice cream cone.

As a designer, I'm a color-holic too. Checking out paint chip swatches is like going to a candy store for me.

Color + Location + Personality = Great Photos

If you pull any one of those factors out, it's a one-third weaker photo. The colors you choose need to coordinate and say "YOU" at the same time they compliment or add meaning to your location. If we can coordinate that and also throw in a coordinating prop to enhance the fun, you'll have some pretty stunning, color-popping portraits.

If you need further fashion cues, seek inspiration from ensembles found in Gap, Express, Forever21 or Urban Outfitters ads. Or whatever store floats your boat.

Brainstorms for Baby Cinematography

Nikhil crawls at 7 months

If the above video doesn't work for you on mobile, please see it here.

Being a new mom, I clearly succumb to the "everything my baby does is photogenic" mindset. Well, everything babies do is photogenic - everyone knows babies grow like weeds and their milestones are short lived, fast upcoming, and quickly passing. Plus, they're just so dang CUTE, how can you bypass such eye candy? As a capturer of moments, I greatly value the joy of making these moments special with multimedia keepsakes. Cinematography adds so much dynamism to photography. Space. Music. Movement. So special. PS - I term my style "cinematography" versus "videography" because anyone can make a video, but it takes artistry to make a storytelling cinematic motion picture.

As mentioned in recent newsletters, I've lately revisited my roots in cinematography and have been dabbling in hobbyist cinematography a little more now that I've got a little one (a crawler!). I haven't the space in my schedule to consider wedding cinematography, but I am certainly considering it for baby moments.

I'd like some feedback! Many previous clients are now having babies, and I'm curious on input regarding keepsake cinematography. I haven't yet considered how I'd package such a service, but I'd like to know what clients think of having these moving moments captured creatively. I'd also involve some still portraits as well (to be used in the movie or otherwise). Some angles to consider:

• Would you purchase a baby milestone cinematography service?
• How much would you invest in capturing those moments?
• What milestones would you definitely want covered? Birth? Crawling? Walking? First birthday?
• How would you like such media stored for keepsake purposes? Weblinks? Digital only? DVD in keepsake packaging?

Other things to consider: 

Obviously you can't plan a shoot around baby's actual first steps because you never know when they may occur. The design of the video would lead into the appearance that the milestone is first taking place that very moment. In the above video of my son, he was on his hands and knees with some movement a couple days before this was shot. In two days' time, he was crawling in the real sense of the term, but I highlighted some of his slow-to-start moments (hand and feet closeups) to show his journey from trial to execution.

Music. For me it's a huge sentimentality factor, and it can really make or break a motion picture. Creating videos has long since given slideshow-creating photographers headaches because the cool music (anything popular and created in the past 90 years) is all copyrighted and simply cannot [lawfully] be used for commercial purposes. I'd have to explore some royalty free options and collect some cool ones for clients to choose from. It's not the same as that really special-to-you piece you have in mind, I know. I'd have to research what's doable here. I'm clearly not selling the video I posted here, but I've used a piece from the Amelie soundtrack which just jolts me with childhood nostalgia every time I hear it, so I had to use it.. but I wouldn't be able to if this was something I'm selling to a client. Mainly Facebook and YouTube (and probably other sites - but not Blogger!) won't allow copyrighted music to be posted, so you wouldn't be able to share your video there if you didn't use the not-as-cool royalty free music.

Anyway, some thoughts! I'd love your feedback on this brainstorm. Please comment!

"Unplugging" Your Wedding: Are Guests Going to Ruin Your Photos?

Great shot! If that guest's flash wasn't hogging the limelight. Thanks, guest!

This is a very modern and heavily debatable topic I've seen posed by other photogs a lot lately, so I thought it of note to discuss here even if it hasn't much affected my work (yet). There are two parts to the matter: Guest flash interference and guest phone-face showing up in backgrounds. Truly, what are the odds that guest interference will happen to land on the very same critical shot I'm taking? If that potential is critical to you, then this topic is worth discussing.

Although guest flash- or phone-face bombs haven't happend to me in excess, I have anyway (comically) started a Pinterest board highlighting occasions when this actually has happened to me. It's a unique wedding concern born from the fact that everyone partaking in a wedding these days is overly connected to multimedia and also thinks they have the right of way in capturing events, even if that means stepping in front of a pro to do so. These media crashers are beginning to fill wedding backgrounds not with beaming smiles or tearing eyes, but instead with phones or cameras in front of their faces. I've seen it in excess even from parents of the couple, and that does bother me. "Screen face" versus "emotional face" is what I see here when I review the images. It kinda gets to me.

Particularly, I'm borrowing this topic from this Huffington Post article written by Corey Ann, an award winning Ohio wedding photographer, which I thought was very well written to the degree that brides must now consider this factor when it comes to photography. All images in this blog are borrowed from Corey Ann Photography, who collected this amalgamation of guest mishaps during her 6 years of shooting weddings.

Nice. There's no way you can 'shop out that guest.

I never have personal issues with guests at weddings I cover. I more so just figure that people jumping in the way is part of the territory and up to the photographer to clamber around them or position herself so that the camera-faced guest does not appear in the background of a poignant shot. That, OR it's just photojournalism; if that's how your family is, then that's how your photos will portray them. To a degree, certain mishaps are avoidable. But some (above) are not avoidable, and for the paranoia of a guest screwing up shots like this, I'm lead to urge clients to consider this modern topic. Dear Client: How much leeway should your guests have? It really is up to you (not me)!

Here's what your average congregation guest now looks like.

I wish I could say this was taken by a second photog and that guy is the prime photog, but.. you know. Guests gotta get their shots.

As a professional, it is not on my tact-ometer to fend off my clients' guests as would be required in those scenarios. In truth, it is up to the bride and groom to announce an "unplugged" wedding and to take initiative to focus their guests on their moment of marriage rather than capturing everything and posting it to social media before the couple even knows about it. According to Corey Ann, many a first look has been thwarted by the update-happy guest who posts the moment to Facebook before the bride and groom even step off the altar!

Hey, Grandpa! I actually do see this a lot.

For real, many of these reception guest mishaps can be avoided by the photographer, or Photoshopped out, but [to save editing time] it takes your photog extra effort to position herself on the dance floor, or to jump to the other side of it within the duration of a 3-4 minute song and try to fit in the best moments while on time constraint plus guest constraint! I can also say the same challenge is true of having two photographers and/or a videographer (one always gets in some shots). Just sayin'. But I'm a photographer and I like emotional, magazine-type moments and "gear" in shots really bugs me. It kills me when I see my own tripod darkening a doorway somewhere.

This made me cry a little inside. Even a second photog would have a botched shot (from the other side!).

Red light on her shoulder is a digital camera's low light focus beam.

Some couples probably don't mind too much with guest interference, and as a client-driven service provider I say that if the couple doesn't mind, I don't mind. But couples who have issue with the visual "litter" of people jumping into professional shots to get their own non-professional shots should honestly consider instigating an "unplugged" wedding. Sometimes recording something with your eyes and with your heart is really the best way to remember a moment. Here's a quote from Corey Ann's article, a minister preceded one ceremony by saying (at the request of the couple): 

"Please, turn off your cell phones and put down your cameras. The photographer will capture how this moment looks -- I encourage you all to capture how it feels with your hearts, without the distraction of technology."

Hear hear!