STOCK PHOTOGRAPHY

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If you are hoping to get represented by a stock photography agent, it is often wise to wait until you have at least 500 print-worthy photographs.

One type of photo that should be included in an initial submission to an agency are pictures that can work as metaphors. As with my image of the Rubik's Cube, there are many ways this photo could be published. The "pool" of potential clients is quite large concerning this photo, as it can illustrate so many varied written articles and advertisements.

For greater agency sales, look for photos that can appeal to the varied needs of art directors and media buyers around the world.

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 Mark's photographic prints for your wall can be purchased at www.markhemmings.com
Mark can be hired as a photographer or filmmaker via www.hemmingshouse.com

FLUORESCENT LIGHTING ISSUES

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There may be times when you are required to photograph a person in a room lit entirely with fluorescent lights. If you cannot turn off the fluorescent lights and use studio strobes, or natural light, then a green gelatin sheet may be the right thing for you.

This sample photo was such that the model needed fill light, as the fluorescent lights were shining solely from above. If you currently don't have softboxes or umbrellas, you can still get a decent look by using your on-camera flash.

The first step is to order a square sheet of light green plastic from your camera store. These plastic sheets are also called gelatin filters or films. The reason they are so important for every photographer is that they transform your own daylight-balanced flash into a fluorescent-balanced flash. Ask for a dedicated fluorescent-balanced green gelatin filter sheet.

If, for example, I photographed this model using overhead fluorescent lights, but used a normal flash for the fill light, her face and body would turn out to be a different color than the rest of the room. Why is this? Fluorescent light is greenish in color, and your camera flash is normal white (also called daylight balanced). For you to give the model the same color tone as the room, you need to make your camera flash emit greenish color light. Simply take the green plastic gel that you purchased, and tape it over your flash!

The next step is to set your camera's white balance to the Fluorescent Light setting. This is indicated by a long fluorescent bulb icon. Put your camera on a tripod, compose the photo including the model, and take the photograph. In full Program or Auto mode the camera flash should act as a fill light, with the background room evenly exposed. If you need a brighter room, adjust your exposure compensation. If you need a brighter subject, adjust your flash's exposure compensation (check your manual to see if your camera has this feature).

Balanced light is very important when photographing people in interior locations. The only time you would not want balanced color tones is for artistic effect, which can also add greatly to your finished product.

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OLD AND NEW EXPRESSIONS

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This is a still image from a new film I am working on, using a similar stop-motion animation technique as my film entitled GEIST.
This time I am experimenting with using an old mid-20th century twin lens reflex camera made by Yashica.

Today's blog entry is not a photography lesson, rather an encouragement to start photographing and thinking in very non-traditional ways. For photography as art, don't worry about sharpness and technical accuracy; soul is far more important.

Use materials that have appeared in the past, and mix them with present day materials. With experimentation you should be able to come up with some very intriguing results! With a mind-numbing mass of good photographers around the world, you need to really provide the world with a solid and unique look. This may be the hardest part in any photography career. If you are at this stage, my encouragement is to read old photography magazines, and current fashion, lifestyle, art, and design magazines. A mixture of past, present, and future influences can only help in molding your own individual style.

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UNEXPECTED RESULTS

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I feel very grateful that I thoroughly enjoy photographing almost all of the commercial assignments that I receive. This is no doubt due to the trust that my clients have in my abilities, which allows me to experiment and find new ways of presenting normal subjects.

I am asked to photograph wine and food fairly regularly, and I always enjoy the task because it forces me to out-do my last job. This delicious 2004 Argentinian Alfa Crux Malbec had me stumped, as nothing was working out. The lighting was uninspired, and I couldn't seem to go beyond the look of a normal documentary style product shot.

I unintentionally placed one of my umbrellas behind the bottle, rearranging the studio to try for a different light setup. I did a test shot just to make sure my wireless units were working, and to my surprise found out that the umbrella itself worked as a decent (and unexpected) background! I fine-tuned the shot adding an additional frontal fill light, and gave the image to the client, who was very happy with the results.

I will be honest and admit that a good percentage of my best images are serendipitous. I am thankful for this, as I am well aware of my own limited capacities, and enjoy when the "Invisible Hand" takes over for me. I would encourage young photographers who are struggling with finding your creativity to purchase and read the book entitled The Artists Way. It may be a catalyst to take you from cerebral problem solving to right brain (and possibly spiritual) aptitude.

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Mark's photographic prints for your wall can be purchased at www.markhemmings.com

Mark can be hired as a photographer or filmmaker via www.hemmingshouse.com

ELIMINATING EMPTY SPACE

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If empty space in a photograph is not needed for printed text, why not get rid of it? I find that horizontal photos can be given more power simply by cropping the relatively useless strips of space above and below the main action.

I just took this interior for a client, and I knew ahead of time that the ceiling was a distraction because of the fans, and the extra empty floor made the tables and chairs less visually potent.

Greater authority is often possible when photographs in standard aspect ratio are given a slight panoramic crop treatment. I always admire dedicated Panoramic cameras, and how the thin, long slice of image holds one's attention slightly longer than our normal print sizes. I have seen it done very successfully with Nature photographers, and in my experience slight panoramics work equally well with horizontal Interior/Architecture photos.

Exceptions: While I am sure that many photographers have been successful at creating vertical panoramic crops, it has never worked out quite right for me. As for art directors, it may be wise to give them the un-cropped AND cropped version of the photo. If they need to add text to the image, they will have the space to do so at the top or bottom of the image.

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Mark can be hired as a photographer or filmmaker via www.hemmingshouse.com

PHOTOGRAPHING THE SUN

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I took this photo last week while walking through the woods. In this day of digital manipulation, I have witnesses to attest that this is exactly what we saw in the sky! It was a magnificent "sundog", a ring around the sun that happens on rare occasions.

When photographing the sun, for any reason, here are a few tips:

1. Manually focus your lens to infinity. The brightness of the sun may confuse your autofocus sensors.

2. Set your exposure to Aperture Priority, and underexpose the photo by using your Exposure Compensation +/- dial. The camera's exposure computer will automatically underexpose the photo anyway, as a result of the incredibly bright sun. However, for more dramatic effect, you can use your exposure compensation to varying degrees.

3. Do not look at the sun through your camera viewfinder, as this can cause eye damage. Wear sunglasses, compose and shoot quickly.

4. You can experiment with different white balance settings (for digital) or colored filters (for film). Each change in color temperature offers a different emotion for the viewer.

5. Caution: I have experienced first-hand certain digital SLR's that have a very difficult time handling the extreme brightness of direct sunlight. If the resulting photo looks extremely off, without smooth tonal gradations, it may be best not to submit your camera's sensor to such abuse.

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Mark can be hired as a photographer or filmmaker via www.hemmingshouse.com

EASY INTERIOR LIGHTING

Dear reader, if this entry or my other blog entries don't answer your specific photography questions, you can call me on the phone anytime for advice by clicking here.

It is my desire that these weekly lessons be profitable for photographers who want to make the leap from amateur to professional, but do not as of yet have the funds to buy all the necessary equipment. In this lesson I will show a very simple way to get decent interior photography results with minimal equipment.

Two weeks ago I was asked by a client to help create an ad campaign that involved teenagers doing unwanted housework. While I used studio strobes for this shoot, I could have just as easily used the following inexpensive set-up:

(The first step is to make sure you have a removable camera flash, also called a speedlight. You will also need a very long extension PC Synch cord from your local camera store. Purchase the longest one possible. If your camera doesn't have a PC terminal, ask your camera store clerk for a hot shoe PC terminal adaptor)

1. Using a tripod, compose the photo so window light is acting as the main light source hitting the subject matter. Take a test photo and make sure the subject is well exposed.
2. On a piece of paper, write down the exposure of the photo that you just took (f-stop and shutter speed).
3. Change your camera exposure mode to manual, and use the same shutter and aperture numbers that are written down on your piece of paper.
4. Connect your external camera flash to the PC extension cord, and have a friend place it behind the subject at a fair distance. Do a test shot to make sure the flash fires when the picture is taken.
5. At this point, there is only one variable for exposure, and that is the power of the flash unit. Since your camera is in Manual mode, the majority of the exposure will remain the same from picture to picture. The flash exposure however, may be either too bright, or not bright enough. Ask your friend to increase or decrease the power of the flash unit until the back of the subject is evenly exposed.
6. As you can see in my example photo, the uni-directional back light of the flash unit is balanced well with the frontal window light. Because the flash unit from behind is usually harsh and direct, you will get shadows similar to the one created by the roll of paper towels. I like this look, as it creates a "sharp" and contrasty look to the photo, which is usually required for commercial jobs.

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Mark's photographic prints for your wall can be purchased at www.markhemmings.com

Mark can be hired as a photographer or filmmaker via www.hemmingshouse.com