Everybody enjoys taking photos of their children. They are great to look back on in years to come, and are a lasting memory of your child at different ages, passing through different phases of their lives.

While we would recommend you come to our studio to enjoy a professional photo shoot, we feel we should give you a few pointers so you can get better quality images yourselves.

Obviously the better your photography equipment, the better the quality of images you will be able to capture. A camera that allows you to manually set some of the camera controls is a big advantage, but with many parents relying on mobile phone cameras we will progress by helping you get the best with what you have.

Getting better indoor photos

Capturing great photographs is about using light to your advantage. If you’re photographing inside, try to utilise the natural sunlight coming in through a window. Turn the lights off in the room and sit your child close to a window, with the light falling onto their face. Net curtains may not be as fashionable these days as a window decoration but they are perfect for diffusing the light coming in from outside.

Getting better outdoor photos

If the weather permits, photographing outside can provide a variety of backgrounds. Try to avoid direct sunlight, it isn’t particularly flattering if falling onto the face, leaving high contrasting light and shadows under the nose and around the eyes. Try to photograph your child with their backs to the sun, this will give a nice hair light and provide much more flattering light on the face. If you can get your child to play in shadow areas where the sunshine is more diffused, such as under trees or in the shade of a building this will make things much easier for you.

Photographing on an overcast day provides the easiest shooting conditions, giving a nice soft diffused light all around with very little contrast. This will also stop  your camera being fooled by the variety of lighting brightness found on sunny days.

Getting down

A quick and easy improvement to your photographs comes from just getting down to your Childs level. Photographing on an equal level will give your photos a more professional look. Try lying down or sitting on the ground to see things from your child’s vantage point.

Zoom in close

Zoom your camera into your child, getting in close and getting intimate shots of your child at play can improve your photos no end. Framing can be more problematic, especially with the shooting delay experienced on phones and point and shoot camera, but practice will help improve this. Try to get a close up of your child’s face removing any distractions from the background. Great photos are about great expressions.

Blurry Backgrounds

If you get in close, you may find blurring backgrounds possible, although this won’t be as effective without the use of more expensive camera equipment. Blurry backgrounds are an effective way of drawing the viewer’s eye to the focused part of the image, which hopefully will by your child.

Photos at playtime

Children are at their most adorable while at play, with natural expressions of joy. Shooting them playing on a swing or in a sandpit, or on their favourite tricycle can provide endless opportunities to nail a playful action shot. With more expensive manually cameras, a fast shutter speed will help freeze the action.

Capture your child’s phases

Try to capture images that are typical of your child at that age. It may be a certain look that they use, a gesture, a particular toy that they play with. When you look back on your photos in years to come, you want to have images where you say, “Aww I remember him/her doing that at that age”.

Hope you find something useful from this article, we would love for you to send us some of your images, before and after implementing some of these tips, if you would like to get some one to one tuition, please check out my photography tutorial page for more information. If you think someone your know would like the tips contained in this article please share it with them, thanks for dropping by…

The first thing I tell students that come to my studio to undertake one of my photography tutorials is to take their camera off automatic and put it on manual.

This means that you can still use the cameras light metering system to tell you what exposure is needed, but instead of it choosing the shutter speed, aperture and ISO settings, you will have to manually dial these in. What this forces you to do is move the dials and take more notice of what each shots settings are.

Knowing about camera calibration

What is important to know, is how the cameras internal exposure metering system works. I am not going to go into too much depth about the technical side here, but instead I want to make this explanation as simple as possible to follow. The camera is calibrated by the manufacturers in such a way that it will give the correct exposure in most situations most of the time. To do this it is calibrated to midtone reflections of light. Which means that things that are midway been the extremes of light//white or dark/black, which make up most of the world we see. Grass, tree leaves and bark, pavement stones, bricks, stone, most of the things around us are somewhere on the midtone range. Snow is on the light/bright side and dark shadow is on the dark end. The camera meter looks out of the lens to whatever you have it pointed at in that moment, it evaluates all of the scenery (assuming you have it on matrix metering setting) gives each piece of that scenery a light value and works out what will be the correct exposure.

The scale at the bottom of your viewfinder tells you where on the exposure scale you are with your current cameras shutter, aperture and ISO settings (check out exposure triangle for more about these). -2 on the scale means you are at least 2 stops underexposed, and +2 means you are 2 stops overexposed. By manually moving the shutter or aperture dial one way or the other you will see the marker on the scale move towards the center. When the marker is in the middle of the scale it is at the correct exposure.

so for illustration purposes we compose the shot we want to take and see that the display indicates two stops overexposed. which means there is too much light using the current camera settings, so we move the aperture from f2.8, to f4 (which is one stop different see aperture for more about stops)

At f4 we are still one stop overexposed, so we move it to f5.6 (below) Now the marker is in the middle, indicating that we have the correct exposure.

Taking the shot would provide a perfectly good exposure at this point (providing there is no back lighting,the sky in the shot could provide a slight misreading of the exposure, zooming into the flower only and cutting out the sky, then taking the meter reading may help this, before re-composing the shot and taking.

If we then move the aperture to f8, we see that the marker has moved to the left my one stop, meaning that the shot is now underexposed and needs more light for the correct exposure.

Finally moving onto f11 shows us we are now 2 stops underexposed.

If you take the photography at f5.6 (using the illustrations above) you will get a well exposed image. If you then shift the camera and point the lens to something else, check the scale to see if the marker is still in the middle, if it isn’t then dial the shutter or aperture in one direction or the other until the marker moves to the center, take the shot and you should have a perfectly good exposure.

Photographing in extreme lighting conditions

Now you are using the meter on your camera to give you an exposure reading, based on the average scene, and as we said before this will work in most cases. However if you are photographing a particularly bright/light scenes, such as a snowy scene than you will have to make a slight adjustment. Taking the photography of a snowy scene may fool your camera meter, which thinks the scene should be mid tone, not as white as it is.

Taking the photograph with the marker in the middle will provide an off-white greyish look to the scene, which is because the camera has been fooled into underexposing the shot. If you dial the marker so that it is showing +1 on the scale this will over-ride the incorrect underexposed reading of the  built in camera meter. The opposite is necessary when pointing to a particularly black or dark scene.

Back lighting

Back-lit scenes provide a similar problem for the camera meter. Imagine If you are photographing someone on a sunny beach with blue sea and sky in the background and the person you are photographing is facing towards you and away from the sun, so that they are stood in their own shadow. When you set your exposure and move the marker to the middle of the scale, you will have a perfectly exposed image for the sky and the scene as a whole but the persons face will be very dark, because their face will be in shadow.

Again your camera has taken all the data from the scene and worked out the best exposure for the scene as a whole, it doesn’t know that you want a particular part of that scene (ie the person), who is not in the same illumination as the rest of the scene exposed correctly. So you have two choices, either turn the subject so that the sun is shining on their face and retake, or zoom into the subject with your camera so that they fill the viewfinder, excluding any background illumination. Get the marker into the center of the scale. Zoom back out and retake the shot (don’t readjust the exposure again though). This will mean you have metered on the person and the light level that is on them only. This will result in them being perfectly exposed but the rest of the scene will be overexposed. It is your choice as the photographer what you want from the shot and which way is best for your purposes. Actually there is a third option, which is use your cameras built in flash. Meter for the scene as a whole and use your flash to fill in the subject. This is the best option, providing the subject is not too far away from the camera when you take the shot, otherwise the flash will not have the power to illuminate the subject over a larger distance.

• White scene = +1 or even +2 overexpose
• Black or dark scene = -1 or even -2 underexpose

Further considerations

Something to bear in mind when you are dialing in the shutter or aperture to get the marker into the middle of the scale on your camera is to think about the speed of your shutter, if it is under 1/60 you will need to use a tripod to steady the shot. Otherwise you will get some camera shake. Alternatively you can open the aperture more so that you can speed up the shutter, allowing you to hand hold. Faster than 1/60th second will allow you to handhold the camera without camera shake.

So you want to be a better photographer, and don’t know where to start. Well you’re on the right page. This is the first page to giving you a better understanding of photography and getting the most from your camera. All the articles I’ve included in this blog are based on you having a SLR camera.

What is a SLR camera and why do I need it?

SLR is an acronym for Single Lens Reflex,  Which is a camera that typically uses a mirror and prism system (hence “reflex”, from the mirror’s reflection) that permits the photographer to view through the lens and see exactly what will be captured, contrary to viewfinder cameras where the image could be significantly different from what will be captured. I am not going to get into viewfinder cameras in this article as this is not our focus at this time. Professionals prefer to use SLR cameras for this very reason, they know exactly what they are going to capture, when they take the photograph (some cameras only show 90% of the final image captured), but in terms of proportion and lens distortion what you see is what you get. Check out this cross section of how an SLR looks

Capture the light

Think of your camera as a light box. different values of brightness of light enters through the lens and when you press the shutter, the sensor (in the case of a digital camera) is exposed to the light and captures an image. The exact amount of light can be controlled by you the photographer, depending on the settings you choose on your camera. Your SLR camera has a built in light meter, that will help you decide what settings you need to use to get the right amount of light so that your photo is not too light or too dark (correct exposure). This meter is calibrated to capture midtone images which have been deemed by the manufacturers to make up the vast majority of scenes that are likely to be taken in a photograph. Most often this will give the correct exposure reading, but there are some situations that will fool your camera into giving you an incorrect reading and will result in incorrectly exposed photographs. By knowing what your camera is trying to do, you will be able to override your camera settings to make the correct setting and get a well exposed photograph. The use of a separate light meter can also help if you are at a more advanced level

Flash

Using flash whether that be on-camera flash or off-camera flash can help you get good quality photographers in situations where there is very little light to work with, such as poorly lit rooms.

Getting creative

There are three controls (shutter speed, Aperture and Sensor sensitivity) that you can adjust which will affect:

• Exposure – how much light you allow onto the sensor, hopefully avoiding underexposure (not enough light) and overexposure (too much light)
• Sharpness and freezing of action – controlled by the speed of the shutter, slow shutter provides movement in shot, fast shutter provides frozen action or no movement
• Blurring background or foreground – often referred to as shallow depth of field, the opposite of this is everything being in focus from front to back of the image.
• Quality of photograph – whether the image you capture has some graininess to it or is of a higher quality (no grain)

Check out exposure triangle for more information about achieving these

 White balance

White balance boils down to the concept of color temperature. . Color temperature is a way of measuring the quality of a light source. In laypersons terms it is how different light sources and colours are recorded by your camera and how you can adjust your settings to record these light sources to look cleaner and less of a colour cast of yellow or green or blue.

 Composition

Composition relates to how your frame your images, so that they look more interesting and provide the viewer with a more interesting experience when looking at that photograph

If you find it easier to learn in a more hands-on way and would like to know more about my one to one photography tuition please check out my tutorial page

Would you like to be able to go out on a sunny day and know what would be an appropriate exposure without having to use a light meter or your cameras built-in meter to calculate the correct exposure? Well there is a little rule which will help you do just that. One of the best and easiest to memorise and as simple as it is, it can really help you out if you find yourself without a light meter. It’s a great learning aid too. Here is what the rule says

if it is a bright sunny day (mid day is usually the brightest part of the day with the sun at its highest point, noticeable by the shadows having well defined edges) match your shutter speed (1/125 of a second with your ISO setting (or as close as you can get it ISO 100) and your aperture should be F16.

• shutter = 1/125, ISO = 100, aperture = F16
• shutter = 1/250, ISO = 200, aperture = F16

I have never come across a situation here in the UK where you will overexpose your photograph when you stick to this rule. This is only when you’re shooting subjects in the full exposure of the sun of course, you will have to adjust settings if shooting in darker shadow areas. Sometimes it can be difficult to see your camera display settings clearly in bright sunshine and having a rule like this helps a lot I have found, repetition through practice will help you lock this into your memory.

A slight adjustment on this rule I use when I am wanting a shallow depth of field (to blur the background more) is to set my aperture at F5.6 and set my shutter to either 1/1000 if shooting at ISO 100 or
1/2000 if shooting at ISO 200 or
1/4000 if shooting at ISO 400

this is effectively the same settings as the sunny 16 rule as you move through the various setting

• 1/125 f16 ISO 100 is the same exposure as
• 1/250 f11 ISO 100 is the same exposure as
• 1/500 f8 ISO 100 is the same exposure as
• 1/1000 f5.6 ISO 100

This setting is a little bit more advanced, so if you’re just starting out forget the last bit of this article and practice using the earlier example. Once you have this technique memorised and well practiced move on to the later example. Hopefully you have a better understanding of the sunny 16 rule and it will help as a guide if you are without a light meter or your camera meter is playing up.

If you would like a one to one tutorial with me check out my photography tutorial service

Once you have mastered exposure, the next focus (forgive the pun) will be composition. Composition is defined as the “act of combining parts or elements to form a whole”. Do you look at photographs and find them interesting or pleasing, even beautiful, but don’t really know why? On the other hand do you look at photographs and think that they don’t look right for some reason? Again you may not be able to put you’re finger on the reason why you don’t like a particular photograph, but hopefully the following article will help you understand what makes a good photograph and a bad one.

Below is informative video tutorial regarding composition of photographs that I thought might be of interest. The remainder of the article covers laws such as the law of thirds to isolating a subject, we have tried to detail as many of the rules that help achieve a better photograph.  Feel free to add any in the comments that are not covered in this article.

The traditional laws of composition

1. The law of thirds

The rule of thirds is in fact a simplification of the golden mean. The golden mean is a ratio that has been used by visual artists for centuries as an aid to composition. When two things are in the proportion of 1:1.618, or 3/8 to 5/8, they are said to be in the golden mean. Dividing the parts of an image up according to this proportion helps to create a pleasing, balanced composition. The intersection points on a golden mean grid appear at 3/8 in and 3/8 down/up, rather than at 1/3 in and 1/3 down/up on the grid of thirds.

2. Positive and negative shapes

When we look at photographs and our attention is occupied by the subject (positive space), we often don’t consider how we can use the negative space (not our subject). In the photograph below the negative space is all the space between the subject and the edge of the photograph. Generally speaking the composition works if there is a balance between the positive and negative space within the overall photo. In the example below the negative space is used to lead the viewers eyes to the subject (positive space). When taking a photograph think about the composition as a whole and how the positive and negative space is being used for the overall benefit of the photograph.

3. The golden triangle – equilateral

4. The golden mean

Subject near and far

5. Rule of odds

The “rule of odds” states that by framing the object of interest in an artwork with an even number of surrounding objects, it becomes more comforting to the eye, thus creates a feeling of ease and pleasure It is based on the assumption that humans tend to find visual images that reflect their own preferences/wishes in life more pleasing and attractive. An image of a person surrounded/framed by two other persons, for instance, where the person in the center is the object of interest in that image/artwork, is more likely to be perceived as friendly and comforting by the viewer, than an image of a single person with no significant surroundings.

6. Rule of space

The rule of space applies to artwork (photography, advertising, illustration) picturing object(s) to which the artist wants to apply the illusion of movement, or which is supposed to create a contextual bubble in the viewer’s mind. This can be achieved, for instance, by leaving white space in the direction the eyes of a portrayed person are looking, or, when picturing a runner, adding white space in front of him rather than behind him to indicate movement.

Space management in the viewfinder

1. Leaving space

See Henri Cartier Bresson for good examples

2. Checking out patterns.

3. Using symmetry

Is calming but not very dynamic

4. Using asymmetry

Have subject looking into or across frame rather than out of it.

5. Sweeping curve

Leading viewer on a diagonal journey form top of frame to its bottom (from one corner to opposite corner (coast line)).

6. shape or form

7. simplicity

Less is more

8. reflections and shadows

The shadow adds to the drama of this image

9. Frame within a frame

The car window frame acts as a frame within the larger frame of the actual photograph

10. Using scale

The image gives the viewer a sense of scale, showing how impressive the church is and how small the people are in comparison

11. Repetition of shapes

12. Eliminating space for a reason

Tight cropping

13. Space and movement

The couple are positioned in such a way as to allow them to move into the space in front of them (left). incorrect framing can leave the viewing feeling the photograph looks badly framed and poorly conceived (right). It is a subtle difference but one that makes all the difference.

14. Focal point

There is a clear focal point to this photograph

15. Lead – in lines

see how the lines of the path lead in towards the kissing couple leading into the focal point of the image

16. the Dutch angle, using diagonals

To make dynamic and fill frame when photographing strong vertical shapes

17. move in closer

Don’t be scared to get in and personal. The close in feel of this photograph makes the view feel part of the story.

18. impact or interest

19. pyramid shapes

Look to have your subjects form a triangle shape, this is pleasing to the eye. having an inverted triangle (imagine the central subject lower than the two either side) would look odd to the viewer.

20. tell a story with as few objects as possible

21. use your imagination

22. simplification

Images with clutter can distract from the main elements within the picture and make it difficult to identify the subject. By decreasing the extraneous content, the viewer is more likely to focus on the primary objects. Clutter can also be reduced through the use of lighting, as the brighter areas of the image tend to draw the eye, as do lines, squares and colour. In painting, the artist may use less detailed and defined brushwork towards the edges of the picture.

23. isolation of subject