The Full Cold Moon

The Full Cold Moon, originally uploaded by Sheba Wheeler.

Last week I posted about "The Full Cold Moon" which appears in December. Here is a shot that I took of it during a Denver Digital Photography Meetup featuring holiday lights in the city.

I have always marveled at others' successful moon shots. I could never seem to capture a decent one. Turns out my Canon 70-200 2.8 was the missing element. No other lens I had was bright enough or had enough range to get this much detail. I can't wait to get a teleconverter to bump up that range to at least 400 mm or more so I can get even more detail in the craters.

Instructor's Tip: Add People for Impact

Image by Russ Burden

Enjoy this week's "Instructor's Tip" by one of my favorite instructors, award winning nature photographer Russ Burden. To learn more about how Russ captured this image, join him on one of his photo tours. Visit Russ Burden Photography to get more information.


Add People for Impact
When it comes to photographing people, portraiture is often the first word that comes to mind. This brings thoughts of face shots, head and shoulder images, and even full length body photos. But people photography doesn’t need to be restricted to these criteria. Strong images can be made where a person is secondary in size to the overall composition. So much so, great images can be made where the person takes up less than five percent of the photo yet is an integral component.

I like to incorporate people into my landscape pictures as they tend to be better sellers. Before I decide whether or not I want to do this, I first determine if the composition is strong enough as a stand alone image. If the answer is yes, I study the composition to decide upon a strategic placement of the subject. This often turns out to be one of the power points or what is referred to as the rule of thirds. Power points fall at intersecting lines of an imaginary tic tac toe board drawn over the viewfinder. Placing the subject at one of these intersections adds strength to the image and prevents a bulls eyed center of interest.

Russ


To take a class with Russ or a fellow Digital Photo Academy instructor in your area, check out the Digital Photo Academy. I took Russ' intermediate and advanced courses last year, and he continues to be a strong source of knowledge and encouragement as I progress in my photography.

Don't forget to check Take Great Pictures for Russ' most recent tips. On the home page, click on the "Photo Tips And Techniques" button in the left hand column. Additionally, check out his "Digital Tip of the Month" found by clicking on the Digital Photography button.

Saturday Morning Cartoons

Enjoy today's installment of Aaron Johnson's photocentric comic strip "What the Duck." The popular comic is celebrating it's 2nd year anniversary. Congratulations Aaron! And thank you for encouraging me and others to seek comfort in our sense of humor when the ebbs and flows of the photography business threaten to overwhelm us. The comic is available now for syndication as "W.T. Duck," appearing in a local newspaper near you!

Get Out There: Shooting by the light of the Full Cold Moon

Today a full moon will grace the skies in Denver, making for a wonderful night photo opportunity. Hopefully it will light up your skies where ever you live too! Known as "The Full Cold Moon," December is the month "when the winter cold fastens its grip and the nights become long and dark," according to the Old Farmer's Almanac. The moon is also called, "The Moon before Yule," or "The Long Nights Moon" by some Native American tribes. The term is appropro because the midwinter night is indeed long and because the moon is above the horizon for a long time.

A bright moon should make for some great captures of the Denver City and County Building tonight when I join several other photographers during a digital photo meet up. Don't be intimidated by night photography. I let those baseless fears keep me away from it for far too long. Once I finally got up the nerve to attend a night photography workshop with Illuminate Photography Workshops, I LOVED it! Watch this video on the Digital Photography School forum to get some tips for shooting in the dark. There's a very different world out there when the sun goes down...learn how to capture it!

Get the Goods: Tips on Camera Shopping

Over the weekend, I got a great email from "Digi Pixels" with Ritz Pix featuring tips on camera shopping.

Here is Digi's Photo Tip No. 61:

The gift-giving season is upon us! Have you made your list and checked it twice? I have a great suggestion…a digital camera! You might say, "There are so many to choose from -- which one should I buy, Digi?" Well, I'm glad you asked! Read on for some tips for buying a digital camera this holiday season...



Point and Shoot vs. DSLR
Before going to the camera store, ask yourself, "what kind of pictures will so-and-so be taking?" If they are more likely to take party shots and candids, then a point and shoot camera is probably the best bet. If they will be taking more advanced photos and are serious (or at least, mildly interested) about the craft of photography, then you should look into getting them a DSLR (Digital Single Lens Reflex) camera. Here are the differences between the two:



Point and Shoot – These are smaller cameras with a fixed lens and built in flash, and typically are pocket-size cameras.
DSLR – These cameras allow you to look through a lens and shoot. You can change lenses, use an external flash, and have more control over advanced features and settings. Typically, DSLR cameras are larger and more expensive.
Additional Questions to Ask
Once you decide between the two basic camera types, ask yourself the following additional questions. Go to the store prepared to tell the clerk exactly what features you must have and what you can live without:

Will the person you are buying for use mostly automatic settings, manual settings, or a mix? Most Point and Shoot and DSLR cameras provide options for both auto and manual settings, but DSLR cameras provide more control and are more advanced in general.




How much zooming will you need? Do you need telephoto lenses?DSLR cameras allow you to use various lenses, while Point and Shoot cameras come with a built in lens that usually cannot be changed. Keep in mind that some extreme zooms produce a lower quality image.

Is a built in flash enough or do you need to be able to use an external flash? Point and Shoot cameras usually have a built in flash and probably cannot be connected to an external flash, while DSLR cameras allow you to use an external flash (as well as other hardware accessories). An external flash is always better than a built in flash because it provides better lighting and more control.

Does the camera fit the person's hands? If the person you are buying for has large hands then a small camera may be hard for them to operate and adjust. Point and Shoot cameras are typically smaller, while the DSLR cameras are larger and require you to carry them by hand or in a case.




Is the viewing screen big enough? Larger viewing screens allow for easier viewing and shooting but may not always be necessary depending on the situation. Viewing screen sizes vary on both camera types.

Don't forget about accessories: memory card, tripod, protective case, batteries, etc.



Don't get caught up in "Megapixel Mania!"
Most cameras nowadays come with at least 5 megapixels, which is more than enough for an 11x14 print. If you think the person you are buying for will be ordering large prints frequently, then you may want to look into a camera with a higher megapixel range. But if the person will be printing mostly 4x6 prints, do not spend more money to get more megapixels. Higher megapixel images take up more room on a memory card, so more megapixels may in fact be disadvantageous in some situations. The bottom line is to look at the lifestyle of the person you are buying for and decide based on that.

I hope this helps you decide which camera to buy this holiday season! Next time we'll look at how to take beautiful photos of Holiday light displays. Until then, have fun shopping, and Happy Holidays!

Get the Goods: Should I Outsource My Printing Services or Change to an Inside Job?

I've been making plans in my budget to purchase a professional Canon printer in hope of boosting impulse sales during presentations, but an email I got today from the Professional Photographer Magazine gave me some pause. In his article Andrew Darlow made the case that it might save me more time and money if I print my images myself, but it's also a good idea to consider other costs involved in in-house printer before I spend $1,000 or so on printing. Actual costs must also be calculated in the time and effort it takes to prepare files, hand-feed sheets, load rolls of canvas, trimming and mounting prints and the cost of ink.

I use Wolf Camera for all of my printing needs because they haven't failed me yet. Darlow suggests finding a fine-art inkjet studio dedicated to printing online, or using the Digital-FineArt Yahoo Group that he moderates to find vendors and sponsors.

He adds that many studios are owned by photographers who print for themselves


Try using this tips excerpted from Darlow's book, "301 Inkjet Tips and Techniques: An Essential Printing Resource for Photographers:"

TIP 13
Ask for a sample print.
Many companies are happy to send you a sample print at no charge, or they will sometimes charge a nominal fee to send a sample. Some will even print your full image (or a portion of an image) on a few different papers at a discounted rate if you are interested in possibly using their services.

TIP 14
Visit in person if possible.
The best way to get a feel for a printing company is to see their facilities in person. The most valuable part of this type of visit is to see sample prints that they’ve done for other artists. Working on-site also allows you to proof images under the lighting that your printmaker uses, which will generally be very consistent (such as a 5,000 Kelvin light box). Some printmakers have more than one lighting setup, which is even better because it allows you to see how your work will look in different situations. For example, at Fine Print Imaging in Fort Collins, Colo., you can review your prints under typical gallery lighting (using 3,500–4,000K halogen spotlights), or in lighting that simulates the walls of a typical home with daylight streaming in through windows (about 5,000K), or even under typical office lighting (overhead warm white fluorescent lights).

TIP 15 Match your lighting.
If you can’t work on-site with your fine art printmaker, it is important that you view your prints in a similar quality of light. For example, you can view your images in a darkened room in your home or studio, with the same quantity and type of bulbs focused on your prints, and from the same distance and angle as your printmaker does in his studio. This may require you to invest in a color-corrected light box, or you and your printmaker can both use a high quality set of halogen lamps. One well regarded manufacturer is SoLux. Their bulbs come in a range of color temperatures and beam spreads, from narrow spot to flood, and they also make fixtures and lamps that are well-suited to their bulbs. See Chapter 14, “Packing, Lighting, and Framing,” for more on this topic.

TIP 16
Buy a smaller version of a similar printer.
To reduce the cost and time spent proofing projects, consider buying a printer that is similar to the one your printmaker is using. An example would be for you to purchase an Epson Stylus Photo R2880 (13-inch) if your printmaker has an Epson Stylus Pro 9880 (44-inch) because both use the exact same inks. Other examples of two-printer models that use the same inks are the Canon imagePROGRAF iPF5000 (17-inch) and the Canon imagePROGRAF iPF9000 (60-inch) and the HP Photosmart Pro B9180 (13-inch) and the HP Designjet Z2100 (24- or 44-inch).

It’s also important that each set of printers be calibrated and profiled. Even though the paper and ink used are the same with each set of printers, some differences in color and density are to be expected. However, there are some techniques that can help you make your prints more closely match those of your printmaker. See Chapter 4, “Color Management & Driver Tips,” for techniques related to this topic.

TIP 17
Ask your printmaker to keep a sample of each approved image.
If you plan to print a specific image again as part of an edition, ask your printmaker to keep a sample print of the final approved image and keep one on file yourself. If you’d like to have very tight control over your images (in other words, if you would like to only have a specific number of final prints in circulation), you can write with an ink-based pen or marker, in one or more areas of the sample, print the words “Test Print—not for sale.” Even a year or more after the first prints are made, the sample can be taken out of storage and used as a reference without having to send your printmaker a print. See Chapter 13, “Exhibitions, Editioning, and Image Tracking,” for more about creating editions of prints.

Get the Job Done: The Testimonial That Made Me Cry

Speaking of thanks, I think the heartfelt email I received from my last client, Christine, was one of the best I have ever received. It made me tear up and reiterated exactly why I am a portrait photographer. In her letter, Christine wrote, "Some day, I would love to be someone's Sheba," meaning she wants to be the photographer helping someone else realize their inner and outer beauty. It's what I want for myself you know...to be loved and treasured for who I am inside and out. I think I just project that universal desire to my clients, and they respond to it.

Thank you Christine for choosing to work with me. And as far as being my assistant..well, are you busy on Monday? I've got an assignment at Auraria campus and could sure use your help! ;)

"Sheba,

So I have to begin by saying, "thank you." The pictures look amazing
and I couldn't be happier. You went above and beyond to accommodate my
unique situation and I appreciate it from the bottom of my heart (I'm
sure the Hubby will too).

Ever since our photo session I have been driven to take my photography
hobby to the next level. Jumping into this industry is quite
frightening and it sometimes feels like people are looking at you like
you don't have any business being there. You gave me advice and even
shared some tips about where to start, all of which I truly
appreciate. Becoming a photographer has always been in the back of my
mind and after working with you, I feel like its more attainable then
ever.

Please let me know if there is a shoot that I can help out with and
I'll be there.

Some day I would love to be someone's Sheba :) In the mean time I will
be reffering all my friends to you. I even hope you can take our
family portrait when hubby gets back from Iraq.

You really are the best and I can't wait to hang out to learn more."

Christine