©2010 Natalie Fobes

Flash vs. Reflectors
Advantages of using a reflector to fill vs flash fill
1. Don’t always have a lot of light to reflect or the angle isn’t right to reflect the light
2. Can create pools of light instead of filling the whole scene: handy when subject is framed by something like vegetation or a door
3. Often more natural with catchlights that are more subtle

Advantages of flash fill over reflector
1. Flash is on-camera (most of the time) where you need an assistant or special gear to hold a reflector
2. Not affected by the breeze
3. Can fill a subject that is further from the camera
4. Can automate with ttl flash units for fast changing situations
5. Can clean up the color of the light

Flash on camera

Flash on camera is a versatile tool. We often think of the bad examples of it…the deer in the headlights look. We all have some of those in our files.

But with a little thought and understanding you can:
1. enhance the light
2. clean up the color of the light
3. raise the value of your subject for emphasis or to balance with the background
4. erase wrinkles and dark circles
5. create depth
6. preserve detail
7. create nice light

I routinely use flash on camera in ttl mode when photographing people. I adjust the flash output depending on whether I’m using it as fill or as a main light. Adjusting the flash output does not affect the camera’s auto exposure setting. That is controlled by the AV button on the camera.

Getting consistent results with TTL is dependent on whether you are in an auto exposure mode or manual and accurate focus. Will Crocket, www.shootsmarter.com, suggests that you use manual exposure and the single frame focus setting for maximum consistency.

In fast changing situations, like weddings and photojournalism, I routinely use ttl settings with my shutter and aperture priority auto exposure modes. I don’t use Program mode as a general rule.

I choose my focus setting depending on the conditions. In controlled situations I work in single frame focus.

But, when you are following the action you need to use AI Servo.

A couple years ago I was one of the personal photographers for the Dalai Lama when he was here for a week. I photographed him walking onto the stage at Key Arena. It was very dark backstage. I saw a white wall that I used to bounce my strobe off to diffuse the light and so as not to blind His Holiness. My settings were AI Servo focus, low motor drive and shutter-priority auto exposure. The majority of the photographs were sharp and well lit.

Bouncing off the wall made all the difference between a pleasantly lit photo and a deer in the headlights photos.

So if you are in a controlled situation, for example group shots at a wedding, I suggest you set the camera to manual exposure and then use the ttl. It will make processing the images easier and faster.

Settings for on-camera TTL flash
For fill light I set the flash output for –2/3rd of a stop to –1 2/3rd of a stop. Most of the time my flash is set for –1 or –1 1/3. I don’t want people to look at the print and say “Hey, she used flash fill.” Subtle enhancement and improvement of the light is my goal with fill.

If I’m shooting group shots and I want to fill in wrinkles and minimize dark circles, I’ll set the flash to +2/3. This gives the ambient light just a little boost. It also cleans up the light.

For a main light I set the flash for +1 to +2 depending on how dramatic I want the light to be. I then use the ambient light as the fill by slowing the shutter to either allow more light to fill in or less light to fill in. If you go any more than that you should be on manual exposure.

As you’ve learned the bigger the light source the softer the light tends to be. So, I bounce my on-camera flash off walls, celings, doors, reflectors, anything that will make the light source bigger. The light appears much more natural than direct flash.

When I don’t have something to bounce off I use the Omnidome to soften and spread the light. This is a plastic piece that fits over your flash. The trick to using it is to not point it directly toward the subject or toward the ceiling but to have the flash angled up. This maximizes the area of light from the flash.

When combining flash with ambient light the determining factor is the ambient light. Whether you create a flash dominant image where the flash is the main light source or a fill flash image using the natural light as the main light source, all of your camera and TTL flash settings are adjusted for the ambient light.

So let’s say your available or ambient light at ISO 200 is f60 at f4. You manually set your camera for that exposure. You want to fill. Set your TTL to –1 to create a one stop difference between the value of the ambient light that is the main light and the fill from your flash.

Let’s say you want to make the flash the dominant light and a little brighter than the fill. You would set your flash for +2/3rds and bounce it off the wall or ceiling.

OR if you know your ambient/available light is f4 and you want your main light to be one stop brighter then you would set your exposure to 60th at f5.6 and your flash to even. Set your TTL to +1 while keeping your exposure the same and your highlight would be two stops brighter than the ambient light.

The best way to grasp this is to create a series of photographs where you make the changes in a logical progression and then look at the differences. Be sure to take notes on what you are doing and why before you start.

The steps to using flash are as follows:
1. Is the light okay as is? Is it pleasing on people’s faces? Is the room lit well enough to photograph? Is there depth or is it too flat? What is the color of the light? Are the shadows too harsh?
2. If you want to use flash then decide if you should bounce your light or use it direct.
3. Are you using your light as fill or main?
4. How are you going to balance your light with the ambient? Is your goal to create dramatic light, soft light or just light you can work in?
5. What shutter and aperture do you need to use? (dictacted by the ambient or available light.)
6. Do you want to set your ettl at plus, even or minus?
7. Shoot

The affect of light on mood: In general the greater the ratio between highlight and shadow the more dramatic and serious the photo is.

©2010 Natalie Fobes

Canon Copyright

Attach your camera to the computer with the cable that came with your camera. Open EOS Utility. Turn on the camera. In the EOS Utility window click on the button for Camera settings / Remote shooting.

When the window opens look for the small wrench/hammer icon on the lower right. Click on it.  Click on owner’s name. Input your name and copyright year. I use Natalie Fobes copyright 2010. I don’t use the symbol because it has caused problems with a custom web gallery action I created in Bridge. Click ok.

Next click on Date/Time. You have an option of synchronizing the date and time from the computer. Click that button. Click ok.

Always click ok or your changes will not be saved.

Turn off your camera. Unplug it. Close the program.

Nikon D200

Set this by going to MENU > Set Up Menu > Image Comment > Input Comment > (add your message like you did on 1970s video games) > Enter. You must hit ENTER or it will forget everything you just did!

To edit or remove a character, select it in the Input Comment screen by holding the checkerboard button and clicking the big thumb selector. Select a new character with the same selector and press the center of the selector to add it. Press the Trash button to delete a character.

When you get your text message spelled out, go to Attach Comment and hit SET so a small checkmark shows. Now go to and select DONE. If you forget to check Attach it won’t attach, and if you forget to hit DONE it will also forget everything you just did. Sorry, I don’t write the firmware.

It’s great having everything you shoot have your contact info embedded. It also allows you to prove ownership in a third-world country when catching a thief with your camera. Help the cop go through the menus and read your personal ID information.

©2010 Natalie Fobes

Great note-taking presentation by Dean Laflen this morning. I’m thinking the Cornell Method will work best for me. But the Mind-mapping might be good for those speakers who are disorganized. I loved how she lectured on sit-coms to help you practice.

In retail photography, portrait, fine art and wedding photography, you have the opportunity to increase your profit by selling prints and products. To maximize this you need to give your client a variety of poses to choose from. Make photos with different backgrounds, clothing, and expressions.

Use selective depth of field to bring the attention to your subject’s eyes and minimize a distracting background.

Do this by using a larger aperture, f2, f2.8, f4; using a telephoto lens; using the minimum distance for focusing that your lens allows.

Posing should start from the bottom up. After you’ve posed your subject and taken a few shots, experiment with having them tilt his/her head and walk around the subject to get different angles. After you’ve finished, go on to the next pose.

Check out my photography posing suggestions.

Embrace the natural light that surrounds you. Practice looking for light everywhere you go. Your assignment is to find amazing natural light and photograph someone in it using a selective focus and good posing techniques.

Assignments

All photo files must be unretouched or adjusted and in dng format with copyright, keywords, contact info and caption info included in metadata.

File must be titled: your last name_assignment title. For example, fobes_portrait

Files must be dropped in my dropbox before class starts at 9 a.m. or they will be counted as late. Late assignments are not graded and you will receive a 0.

Due Week 2: Collaborative Group Shot of entire Class. Only one shot is turned in. Faces must be clear and names listed in order must be entered into the caption area of metadata. Pass/fail

Due Week 3: Portrait using available light, selective focus and good posing technique.
Yourlastname_portrait. Pass/Fail

Due Week 5: Two assignments.
1. Portrait with on-camera flash bounced off a wall as a main light. Ambient light is used to fill the photograph. Hint: take a meter reading of your available light and then set you flash for one stop greater than the available light. File name is yourlastname_main
2. Portrait with on camera flash used as fill. Hint: place your subject in strong, directional available light. Take a meter reading and then set your flash for one stop lower than the available light. File name is yourlastname_fill. Both assignments together are 10 % of grade

Due Week 6: Location portrait session of someone who is not family or in the photo program. Use different poses, two locations and two different lighting approaches to create a variety of photos with a variety of feelings. No photos can be shot in the studio or with the studio strobes. You must use your small flashes or reflectors. Put 15 unretouched or adjusted dng files in a folder with your lastname_porttraitsession. 20% of grade.

Due Week 7: Slide show. Create a slide show in iPhoto of the portrait session. Include a title slide and ending slide. The title slide should both have your subject’s name and your company name and website. The ending slide should have your contact email, website and phone and music credit. The music must be licensed from either a commercial site like TripleScoopMusic.com or Brucetunz.com or directly from the artist. Include where you licensed the music in a word document in the slide show folder. Export the slide show as a Quicktime movie and include in a folder. The folder name is yourlastname_slideshow. 10% of grade

Due Week 9: Models posing as wedding couples. Two couple shots taken of the models. Yourlastname_models. 20% of grade

Due Week 10: Designed album portfolio using the Roma Album. Photographs must be taken for the class assignments. Photos should be adjusted and retouched as desired. At least three pages should have more than one photo on them. All pages should be designed. The album must include a title page with your contact info. The album will be graded on neatness, effectiveness of retouching , tone adjustment, creative techniques and design. In addition to handing in the album you must drop your jpg files into my dropbox. 30% of grade.

Instructor: Natalie Fobes

Office Hours: By appointment before or after class on Thursdays. Email me at Natalie@fobesphoto.com or call me at 206.937.9375.

Credits: Three (3) Time/Location: Thursdays, 9-1. Lab after lecture

Text/Supplies: No textbook. Material fee: album $38.33 Model fee: $15. Assignments are to be turned in as dng digital files with metadata and without adjustment or retouching.

File Naming Protocal: last name_assignment name (ie, Fobes-posing) in my dropbox. Make sure the metadata is filled out with your copyright, contact info and caption.

Course Objective: To develop an understanding of the two main areas of retail photography: portraits and weddings

Classroom standards
• My expectations will be based on real world business behavior, services and products
• Arrive before class starts
• Don’t schedule shoots or appointments until after class at 1 p.m.
•Late assignments are not accepted and are graded as zero unless you have extreme circumstances. Assignments are late if not in my drop box by 9 a.m.
• Absences not emailed or called in before class starts are unexcused
• Computers must be turned off unless you are taking notes with them.
• No side conversations please. If you have something to say please say it for all to hear
• First offense on talking or working your computer you will be warned. Second: excused.
• Poor grammar and misspelling in assignments will be considered (if applicable)
• Choose a partner to help you edit your images
• I suggest you “Dress for Success” when guest speakers visit
• Take notes in class and don’t rely on handouts
• All students are expected to read my blog and post questions or comments.
• I expect active involvement and participation and it will be part of your grade
• I expect respect for every person in class. Please pay attention to others who are talking
• Any questions or concerns please make an appointment to meet with me
• Please review the Student Code of Conduct and your Student Contract.

To get the most out of this course you must be:
• willing to work hard
• aware that each assignment is a potential portfolio piece
• motivated to learn more than required for class
• willing to get the safe shot and then try to expand your creativity with riskier ones

ADA Accommodation: If you need course accommodations based on a documented disability, have any emergency medical information I should know about, or need special arrangements in case of building evacuation, please let me know at beginning of the quarter or as soon as possible.
Schedule: While this schedule reflects my plans for the quarter, I reserve the right to adapt the curriculum as needed. I will let you know if and when any changes occur.

My SCCC blog: www.fobesphoto.com/blog password: phobiz

Week 1 April 8
Class expectations and goals
Syllabus and assignment review
Metadata and assignment protocol
Image back up protocol
Introduction of my work
Introduction to retail photography
Assignment due Week 2: Collaborative Group shot of entire class with names listed in order. You all will collaborate on creating one shot. Pass/fail

Week 2 April 15
Note-taking with Dean Jody Laflen
Posing basics for portrait photography
Using selective focus to emphasize your subject
Light, mood and using available light
Assignment due Week 3: Portrait using available light, selective focus and posing. Pass/fail

Week 3 April 22
Critique available light, posing and selective focus
Enhancing available light
Adding light sources: fill with reflector, light bouncing off walls, etc.
Introduce basic on-camera flash and ttl
Straight and bounced, fill and key
Two Assignments due Week 5: 1. Portrait with on-camera flash bounced off a wall as a main light. 2 Portrait with on camera flash used as a fill.

Week 4 April 29 Pt. Townsend

Week 5 May 6
Critique assignments
Steps in portrait session
Presentations of images in studio, on the web
Discuss business of retail portraiture
Simple slide shows including title slide and ending slide, music that determines sequencing
Licensing music.
Assignment due Week 6: Location portrait session with different poses, pleasing available light enhanced with flash as needed. No studio setups. 15 photos of different poses and approaches. You must not photograph a family member or student in the photo program.

Week 6 May 13
Introduction of wedding photography
Business models and contracts
Wedding day schedule and lighting techniques handout
Posing basics for couple shots
Working with group shots: posing, organizing and being efficient
Assignment due week 7: Create slide show of portrait session using iPhoto and exporting as a Quicktime movie. You must use royalty free or licensed music and include the source in your folder. One source: http://triplescoopmusic.com discount code SCCC10

Week 7 May 20
Elements of the wedding photo story
Relationships of photographs in wedding story (or any photostory)
Album design with Photoshop
Basic retouching techniques
Wedding workflow and post production
Editing and presenting
Creating web galleries.
Assignment due Week 10: Album design of 10-sided album

Week 8 May 27
Models posing as wedding couples
Assignment due week 9: Two couple shots of the models

Week 9 June 3
Guest lecturer
The business of retail photography
CODB and COGS to determine pricing
Creating packages for weddings and portraits: downloadable calculator on my blog

Week 10 June 10
The best of slide shows
The best of Models
Album review
Quarter review

See the assignment sheet for the full description of what is required for the assignments.

The Roma Album is available through B&C Photographic Supply, 245-B SW 152nd St., Burien, WA. 98166. 206.433-4488. Ann or Ryan.

Assignments equal 90% of your final grade. The remaining 10% is based on class participation, quizzes and extraordinary work on the pass/fall assignments.

Grading Standard:

The following grading standard is from Seattle Central. The final grade will be based on assignments (90%) and class participation (10%).

A 3.9 – 4.0 Excellent
A- 3.5 – 3.8
B+ 3.2 – 3.4
B 2.9 – 3.1 High
B- 2.5 – 2.8
C+ 2.2 – 2.4
C 1.9 – 2.2 Average
C- 1.5 – 1.8
D+ 1.2 – 1.4
D 0.9 – 1.1 Minimum
D- 0.7 – 0.8
E 0.0 – 0.6 No Pass

Grading criteria:
1. Week 2 and Week 3 will be graded pass/fail. Week 2’s assignment is a collaborative one for the entire class. Week 3 is an individual assignment. Everyone will turn in their own photo.
2. Week 5 will be graded on how well you complete the technical aspect of the assignment as well as the composition, lighting, poses and expressions.
3. The Location Portrait Session will be graded on the overall technical excellence, lighting, variety, composition and the expressions and poses.
4. The Portrait slide show will be graded on how well the photographs work together with the music and each other. The music must be licensed.
5.The Album will be graded on image selection neatness, effectiveness of retouching , tone adjustment, creative techniques and design.
6. Ten percent of your grade includes class participation, quizzes and extraordinary work on pass/fail assignments.

All assignment photos must be delivered in a dng format with no adjustments made in processing except the album prints and files may be optimized and retouched.

All files must have the metadata filled out including your copyright and contact information, keywords and captions.

Interesting, and depressing, article on the future of photography in the NYT. If you are an amateur, and don’t have to make a living, you’ll do okay. If you are a pro, good luck.

Too many clients are willing to settle for “good enough.”

My question, what are you going to do to convince them that excellent photography is the way to go?

Photo District News had this general article on insurance.

I’ve compiled a Cheat Sheet of information you’ve learned over the last two quarters of the business of photography classes.

Start with your professional organizations. ASMP, PPA, NPPA all have insurance plans.

For medical insurance talk to your insurance agent for a recommendation. My homeowners insurance is through Skyway Insurance. Virginia Hale is the agent for medical insurance. Her number is 206.232.7355.

My business insurance is through Hoffberger Insurance Group, Baltimore, Maryland. 1.800.547.5501. It is a Travelers policy. Expect to pay between $700 and $1200 depending on the amount of equipment you are covering.

Sally Nichols in Castro Valley, CA (sally@nicholsins.com; 510-889-0300) has been recommended by some photographers. She also has Travelers policies.

If you make money with your photography or photography services you are a professional. You need insurance.

Why is this important? Because if you are sued you can loose everything. Your house, your personal assets. If you aren’t insured you could lose your equipment. Last year one of the students had all his gear stolen, a week before he planned to get a policy covering it. A former assistant of mine let her auto insurance lapse because she was going to Hawaii and wouldn’t be driving. She came back, forgot to renew it and ran into a motorcyclist. She will be paying him $10,000 a year for the next 10 years.

Talk to your insurance agent right now. He/she will be able to suggest insurance to fit your needs. Ask about a MasterPac policy.  It is designed for small business owners. I have one from Travelers.

In all likelihood, since you are making money with your photography and have business licenses, your camera equipment will no longer be covered under your homeowners or renters insurance policy.  Your general liability insurance in that policy may not apply to you when you are working. Read your policy and talk to your agent to make sure you are covered.

The very basic insurance that you need includes:

•General Liability coverage: This covers you against legal claims for bodily injury to someone else or damage to someone else’s property. It does not cover what you own. That’s why you need other insurance like Inland Marine or Valuable Papers. You must have this to get permits or to have a booth at a show.  Sometimes clients want to see a proof of insurance and some even want you to include them on the insurance. Ask your agent the cost of issuing a rider on your insurance.

•Camera and equipment insurance: Also known as inland marine. Make sure that you are insured 24 hours a day, domestically and internationally. Some policies restrict this to the US.  Also check to make sure you are covered for rented and loaned equipment.

•Valuable papers covers you for the reshoot if your images have been lost by fire, theft or water damage. It excludes camera malfunctions, lab errors and bad film.  My policy is in place to cover my stock library.

Other insurance you may want:

•Errors and Omissions:  This protects you if you make a mistake on a model or property release, invasion of privacy accusations or allegations of copyright infringement. This is quite costly. A great alternative is to join the PPA. Every member pays $50 to be part of the PPA •Indemnification Trust. Lawyers are retained to defend photographers in lawsuits.

•Portfolio: this covers your portfolio. In my coverage it is included in my office equipment coverage.

•Disability: this can be very expensive to get. I don’t have it. My insurance agent advised that I should put the premiums that I would have paid for the insurance into a savings account instead.

Home, auto, health and life

•Home or Renters insurance: This covers your physical property and should include general liability coverage.

•Health Insurance: You should have some kind of health insurance even if it is just major medical with a high deductible. Another option are the relatively new Health Savings Accounts.  You can have take pre-tax income and set it aside in a savings account that you would use to cover your basic check-ups, eye exams, doctor’s visits. You pay a lower premium for the insurance because the deductible is higher and routine visits are covered by your HAS. .

•Life Insurance: This is intended to help your heirs weather the financial burden that might occur after your death.  Both my husband and I have life insurance policies. The amount we have is estimated to cover our mortgage and monthly costs for a period of about 15 years. It is very important if you have children. It is relatively cheap. For a $250,000 policy I pay $42 per month. This is called Term Life. There is no payout unless I die.  Stay away from Whole Life Insurance.  This has been billed as a way for you to have an income after you retire. It is a big money maker for the insurance companies. If someone suggests you get a whole life policy be sure to get a second opinion from a financial planner before you sign up.

As strapped as you are right now for money, it is critical that you get insurance. The cost of insurance is small compared to what you would be out if you didn’t have it.