When to hire a photographer.

'I'll just take the photo on my iPhone. I don't need to waste that sort of money to get someone to come and get the photo for me.'
'I can't afford a photographer. Plus, my son has a big camera with lens thingy, so I'll just use that.'
'I'll just grab some images off the net. They will do.'

A photograph I took recently for Adelaide Shores of their new pool area. On shoot, I interacted with 'mum and dad' plus the two children to get the look we were after. Three different families, none had ever met each other before. None with modeling experience. I think they did well. In retouching, I had to add blue sky, lighten bodies, remove distractions etc along with all the usual adjustments ensuring colour, contrast and horizon line are all correct.

I've heard all of these statements, plus more, in my life. These can be modified for different circumstances (i.e., weddings or portraits), but essentially, mean the same. It's a lack of knowledge and power on the consumer. Perhaps they are time poor and don't do the research. Or, if they do know how important photography is, it's a lack of commitment - of leaning into the 'fear' of spending money on a photographer. After all, you can't see the product you are buying before it's taken. It's risky - or at least, you think it is. You have to commit, and then wait to see the results.

So, are these statements incorrect? Some would scream and rant 'absolutely!' But I believe there is some truth in them. 

Yes, photographers can be expensive. And with anything worthwhile, you get what you pay for. 
Yes, it takes an effort to hire a photographer. The right photographer.
Yes, sometimes you can stuff up and hire the wrong photographer or get the wrong results.
Yes, you can take the photos for yourself - but do you know what you are doing? 
Yes, microstock is a damn lot cheaper than hiring a photographer. You could get 100 photos for the price you would pay a photographer to take a couple of you. 

BUT...

Photographers have studied the craft of design, light, composition and working with people in uncomfortable (not many of us actually like sitting in front of a lens) situations. This takes years of study, application and dedication. Photography for the photographer can be a lifestyle - all consuming. 

Photographers know how to get the best results. They know how to shoot into the sun and still get detail. They know how to compose for interest. They know how to look at the light. They know how to pose subjects. They know how to tell a story in a single frame. They know their camera settings and how to work their camera to its limits. 'P' on a camera doesn't stand for 'Professional'. 

If you hire through a recommendation or search an organisation like AIPP (Australian Institute of Professional Photography) to find a photographer, the risk is monumentally minimised. If you get organised with ideas, what you need out of the shoot, sample images, shot list - and communicate it all with the photographer - you will (I would expect) be on the same page and get the results you want and need.

Stock photography has its place. But in the world we live in, everything is becoming more personalised. Even (or especially) online. Your customer wants to know about you. When a picture tells a thousand words, and attention span is limited, a photograph is a perfect answer. 

Stock photography can't help with the 'About Us' page, events, specific items you sell or create, or tell a story of 'behind the scenes'. 

Commissioning a photographer will get you these things. Yes, you invest more money but it will make your marketing dollar go further. Photography is the investment in your marketing. It is the foundation. We all know what happens when a house is built on a sloppy foundation. You don't need an earthquake to see it quickly crumble, crack and fall. The same is true with your advertisements and promotion. 

Again, a bunch of people that had to act like friends for this shot for YHA Port Lincoln. I needed to know my camera limits for this shot so I could expose for outside, inside and movement. Retouching also included selective lightening and darkening of areas plus spot colour correction. 

So, when to hire a photographer...

ALWAYS!!! We love our job and want to help. I want to help show off the world to the world in as many ways as possible. So feel free to contact me whenever you need. 

But seriously. 

For social media updates or smaller in-house projects where there is no budget or time for a photographer, perhaps you could study a short course. That way, you know the basics to get yourself out of trouble and get the best possible photograph. There is no point in putting up a photograph on social media that doesn't tell a story, is blurry, or looks ugly - nobody will pay attention. 

My eCourse and mentoring program Better Pics for Business is starting in March. It's a great way of learning the basics of photography in a hands-on, personal way. Join us.

For website and print imagery, advertisements and campaigns - always speak with a photographer. They will get you the results you need to gain attention in the marketplace.

If in doubt, contact a photographer - you will soon work out what you can do. We are here to help you. 

Street portrait photography - my top tips.

A photo I took in Jimbaran Bay, Bali. Strolling the beach, my husband wanted to check out the boats. I had no interest in boats so found people to chat with. This man seemed very proud to have his photograph taken. 

Approaching people on the street is daunting enough. Asking said person, if you can take their photo is a whole new story. But it needn't cause you to break out in a sweat, itch, make your heart feel like it beats out of your chest, get scared and then walk away. And then feel disappointed you didn't get the photo you saw.

My top tips for taking street portraits.

A photograph I took at a school in Bali for Bali Kids. Obviously I had permission to be in there and wander about but would never dream of entering a house or school without prior permission.

1. Should you take the photo?
Of course, there are situations where walking away is the best option. If you feel unsafe, if the person is negative to the idea or if you would feel disrespectful for taking the photograph. Always put yourself in their shoes - how would you feel? We are all human, even though, especially when travelling, the people we meet look so interesting and different. 

A family at McLaren Vale Harvest Festival. I moved them slightly and let them play about. 

2. Mind your manners. Ask before taking.
Even if you don't speak the language, asking to take a photograph is universal. Show your camera and nod your head while holding it up closer to your face and pointing at them. They will answer, nod or wildly shake their hands and cover their face. Whatever they do, you will get your answer. If they decline, put your camera straight down. Smile politely and say thank you. Move on. Don't try to take their photograph without permission - it's just not nice.

Walking along a beach in Fiji I chanced upon this family hanging out on their beach platform. The mum worked where I was staying and after a quick chat I asked if I could photograph them. 

3. Slow it down
If you can, spend some time with them before asking to take their photograph. It will not only make a better photograph and memory, but it will also add something extra to the personal experience for both of you. Give and take. Play with the children, share a drink or snack. Chat (either verbally or with your hands) about something. Care about them and their story. 

Girls at a pre-school in Bali. Shot for Bali Kids. 

4. Look at the light
Don't be afraid to move the person if it's convenient and going to get a much better photograph. If they are sitting right at the back of their shop, you could ask them to move to the front where the window light is gently falling. If they are in the bright midday sun with dark pits as eyes, ask them to move into the shade or turn their back to the sun. 

Ray was a volunteer at the Royal Adelaide Show for many years. He is also my best friends Poppa. When I saw him manning a door to a pavilion I couldn't resist a cheeky photo. 

5. Get in close
Don't be afraid to step in. By filling the frame with your subject, you can see everything about them. The way they hold themselves, their clothing, their skin, their eyes. The stories that can be told through the details. There will be no question as to what you want the viewer to look at in your photograph.

If I had not got the beach and shadow in the frame, this photo wouldn't have the same impact. 

6. Or step back (with caution)
First - always look where you are going. Don't do what I do and step back into holes or trip over things. By safely stepping back you can get the location into the photograph. If the location is part of the story you are telling it adds dimension and life to the photograph. Take the fisherman photograph - if I zoomed in to show his face only, I would see a weathered and handsome man but have no idea who he is. By showing the boats, we can see he is a fisherman. A very proud fisherman with his boat. 

At Uluwatu temple the monkeys run wild. This lady had fun feeding them, and obviously they knew her. I did ask for a photo but didn't want her looking at the camera - I wanted the interaction.

Go out and have fun. Breathe. And don't be afraid. If you treat people with kindness and respect, the worst thing that can happen is you get a 'no'. If that is the case, take a mental picture and move on. 

Slow shutter

Using a slow shutter for effect can dramatically change your photo.
A moving car with blurred wheels gives the feeling of movement.
A person moving through a room shows life and feeling. Coffee beans roasting, showing them turning - I can nearly smell the beans by just looking at the image. 

With the coffee bean image above I used a slow shutter, probably something like 1/30 or 1/15. How slow you go depends on the subject you are photographing. Playing around is the best way of learning. Experiment with the effects. 

1/125 = one twenty-fifth of a second
1/30 = one thirtieth of a second
1/5 = one fifth of a second
you get the idea...

If you are shooting with an iPhone, there is an App called Slow Shutter (and various others) or Manual which allows you complete freedom and control over settings when taking a pic. 

The faster the object you are photographing, the faster the shutter speed you can have. All depending on the effect you want. 
I have done photos in the studio with the shutter open for seconds and moved people around. 
I have photographed cars and movement on the street at 1/60. 
I have photographed details of dancers on stage at 1/30. 

There is no right or wrong shutter speed - it all depends on what you want. Experiment!

Food photography on the run

Dish by www.foodaccordingtobree.com for Fleruieu Living Magazine using only natural light with a white reflector.

1. Sit by a window
- Easiest and most flattering way to light your food. 
- Place your dish near the window, without direct light falling on it. 

2. Use your white napkin to bounce the light back into the food
- Hold your white napkin upright, as close as you can to your plate of food. The napkin should be on the opposite side of the plate to the window. The light coming in from the window will now bounce back onto the plate. 

3. Re-arrange the food to look even yummier
- Look at your dish. Is there an overcooked broccoli head or soggy chip? Get rid of the ingredients that don't do the dish justice. Spin the plate around also - it may look better from the other side. 

4. Photograph from different angles
- If it is a 'stacked' dish, perhaps get down to photograph the layers.
- If it is soup or casserole, you could shoot from above and show the crusty bread roll, etc.
- Lots of dishes look great from a 45-degree angle. 
- Experiment!

Better pics: memories worth keeping.

Ever got back from your holiday, excitedly looking through your holiday snaps, only to realise that they don't look like what you remember? Perhaps the beautiful shot of your child playing on a tropical beach is somewhat blurry, blue or missing the emotion. Or the food you ate, you remember how yummy it was, but can't describe the fruit that you discovered to your inquiring family and friends. Or the fancy room, where you sit and watch palm silhouetted sunsets every night while sipping a Mojito. Everyone wants to see where you stayed, but your photos only show a snippet of the room and the view out of the window is so bright there is nothing to see. Or, you can see the view outside, but the room is too dark. And the colours don't reproduce as bright and vivid. It's disappointing. 

But here's the thing, you don't need to be a professional photographer to get photos that tell the story of your holiday and create the memories you want to treasure forever. 

Food
Sit next to a window. During the day, light will filter in and give nice side or backlight to your plate of food. 
Try and keep it out of direct sunlight. 
Use a white napkin to direct light back into the shadow side of the plate.

Accommodation
Turn the flash off. 
Steady the camera on a tripod or lean camera on something as the shutter speed will be slow. If you hand-hold, the photo may be blurry from handshake.
Take a photo of the room and the view at the same time at night or sunrise/sunset when the light outside is not as bright.
Keep your camera straight - don't point up or down. 

People
Get in close to see the emotion. 
Don't pose them. Let them keep doing what they are doing. That way, you tell a story instead of getting a 'cheese'.
Turn them side on to the sun for some fun light. If they face the sun, they will squint, if they have the sun behind them, the camera will expose for the sun and make them dark.

Street
Talk to people and get to know them before taking a picture. It will have more meaning.
Respect cultures. Don't take a photo if they don't want one taken.
Take wide shots and close-up shots. 

Landscape
Sunrise and sunset are the 'sweet spots' for special light.
Use the 'rule of thirds' and compose the photograph with something of interest on one of the 'thirds' lines. 
Keep looking behind. It always looks different from another angle.

Story-telling
Don't forget to get the little details. Flowers on your bed, produce in the market, tuk-tuk interiors, worn pavers on the cobbled streets. Doors, windows, food, tickets. These all add to your holiday story and are easy to forget when returning home.
Detail photographs add interest to your slideshow or coffee table book. They turn a 'look at me' presentation into a story of adventure. It's more interesting for others to look at than 200 smiling pics of you in various locations.

And the biggest tip of all. Take your time. Think about what you want to say in your photo. Should the camera be horizontal or vertical? Should you get in close to the person or show what is around them? Is there a pole or tree growing out of someone's head? Look at your photo before pressing the shutter button and double check. Have fun - that's where the magic lies.

*This blog post is part of my entry to the Virgin Australia Top Travel Tips competition. #pbevent @virginaustralia *

Photo tip: blurry pics

We normally concentrate on getting photos that are crisp, clear and in focus. But sometimes, blur and 'fuzz' can work for us. The water lapping up on the beach looks better when it is blurred (softer). You can see how fast something is going when there is some blur. And sometimes, blur just makes the photo more interesting. Just because. It adds emotion and context. 

I do remember being told that some Asian countries don't like it though - believe it's something to do with spirits. When I'm on a paid shoot now, I always ask the client first. I must find out more about that belief...

Anyway - how to get purposefully blurry photos.

In Manual mode

Lower the shutter as slow as you can hand hold. For me, this is normally about 1/60 or 1/30 depending on what lens I'm using. A tripod comes in very handy, especially if you are photographing slow-moving objects. After all, you do want some elements of the image to be sharp - the non-moving walls, houses, cliffs and so on.

A beach shot I took recently involved keeping the shutter open for 5 seconds. A remote shutter release or even self-timer is helpful in stopping camera movement here. 

The pics shown here were both handheld, probably at 1/60 or something like that. People moving close to the camera, and across the frame, are going to have more blur than people further away or walking to/from the camera.

Tip: When you ask people to walk quickly, make sure they don't look like they are running or walking like a robot. Many times I have asked people to walk quickly, and they raise their arms like in a power walk. Looks weird. As can feet. Take lots of pics to get exactly the right moment when legs and feet look right. May sound weird, but try it - you will see how weird feet and legs can look.

In Auto mode 

Night Scenery or Night Portrait are options that hold the shutter open for longer. 

However, if you have it, use Shutter Priority. Shutter Priority means you set the shutter speed, and the camera works out the rest. Trial and error here. Work out what setting suits you, and remember to keep steady. 

Look at your pics on the back of your camera, and try out different shutter speeds. If you are using an iPhone, get the 'Manual' app and have some fun with this.

Tips to keep steady while using a slow shutter speed

brace your arms into your stomach

lean against something

breathe out and take the pic

Photo Tip: Leading lines

Cradle Mountain, Tasmania

There are many 'rules' to taking a beautiful and interesting photograph. One of these is the use of leading lines. Leading lines draw the eye into the photograph and are especially good if you have something of interest and want to focus on, at the end. Draw the eye through your photograph with something graphic. Pull the viewers eye through where you want it to go.

Farm driveway near Strathalbyn, South Australia

Some leading line objects could be...

fences

roads

rows of objects (ie trees/houses/bottles)

the break of water on a beach

power lines

objects dotted in a line (ie kids toys leading to a messy child looking guilty)

stalls/shops at an event

getting in close to a window or sign and photogrpahing along it, with the 'scene' at the end or 'up the back' of the picture

all things photography

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