The portrait industry has definitely realized that “senior portraits” are a perfect money-making opportunity. With prices ranging from anywhere from hundreds to tens of thousands of dollars for portrait packages, quality senior photographs can be so expensive as to be a financial strain or even an impossibility for many families. Whether you are a photographer looking to pad your wallet by getting in on this lucrative niche or a family wanting to take your own professional quality portraits to save valuable money, the following tips will set you on the path to yearbook success.

Get professional hair and makeup applied.

In many photography studios, these can be bought as part of a package. If this is not available, look for ‘makeover’ deals at local salons. Whether you are taking pictures at home or going to a professional, having a flawless, expert look to start with will have a definite effect on the quality of the finished product.

Think variety.

You will want not just a lot of poses, but a wide variety of settings, at least several outfits, and many, many pictures of every pose. These should include not just stereotypical outdoors shots (almost everyone has a photo of themselves leaning against a tree trunk), but pictures in uncommon areas such as an abandoned warehouse. Look for interesting backgrounds with unusual lines and interesting shapes. Be sure to include a few formal pictures against a plain black background. A word of advice: do not delete any pictures during the photo shoot itself; many that at first seem unusable can be combined into collages or airbrushed later to create a stunning finished product.

Choose outfits carefully.

The senior in question may need some guidance when it comes to this area, because what is fashionable that week may not coincide with what looks best in pictures. Generally, the outfits at hand should include one formal outfit, a few relaxed, everyday outfits, and any other outfits that uniquely express the teen’s personality and interests (such as a cheerleading uniform or sports jersey). It’s important that these be different colors and shapes so they can be used with a variety of backgrounds. Between five and ten different choices is usually just right. As a bonus, changing outfits provides a needed break from the actual session and helps the subject get into a whole new mood.

Edit carefully.

All teens have imperfections, but few want to record them for all posterity. Don’t let a perfect portrait be ruined by a little shine or a few pimples when there is Photoshop and a variety of other photo editing programs. As a bonus, teens and parents will both be happier with shots that show the subject with unnaturally perfect skin, smooth hair, and gleaming white teeth. If a particular shot seems hopeless, try changing it to sepia or black and white, or otherwise editing the color.

Put your subject at ease.

A yearbook picture can make or break a kid’s reputation, and they know it well. Most seniors will come into their portrait session nervous and stiff. Because adolescents tend to think that they always know best, invite them to be part of your ‘team’ and work together for the best possible end result. A other few ideas to put them at ease: talking about their interests, playing a few of their favorite CD’s from home, letting close friends come along for a supportive audience, and showing the teen a few of the best shots throughout the session to boost their confidence. Having a content and relaxed adolescent will make it infinitely easier to get professional quality, relaxed pictures.

Capture the subject’s personality.

There naturally should be some posed, traditional shots, but most of your pictures should be reflective of the teen’s interests. Let a budding flower child romp in a field and the born city girl find a comfortable spot in town. Keeping the teen in their natural element will result in better pictures and less frustration for everyone involved.

Assume natural poses as much as possible.

There are a handful of senior portrait standards that require rather unnatural poses, but these should be in the minority. It’s generally preferable for the teen to take positions that feel good to them, even if they are not the stereotypically preferred portrait poses. Tucking hands in pockets or leaning against a wall are both natural positions that will feel and look great. Feel free to let the teen move naturally while you snap away; these often look and feel more like the modeling photographs that every teen wants to emulate.

Try a variety of facial expressions.

In general, most teens will want to look serious and tough, much like the modeling pictures one sees in magazines. However, moms and other relatives will want smiles and happy faces. To keep everyone happy, a senior portrait shoot should include a balanced variety of facial expressions. If you are talking and interacting casually while taking the shots, you should get more than enough attractive and photogenic facial expressions to choose from.

Keep the parents at bay.

While it’s important to find out exactly what parents want from the senior photo session—they do sign the credit card slip, after all—they should not be allowed to overwhelm or distract throughout the photo session. Encourage the parent to watch from afar—if possible, from very far. Parents will make your subject less comfortable in front of the camera and undermine your choices in poses and backgrounds. Be polite, but firmly remind the parents that you are the professional and that you know how to get the portraits that they so badly desire.

It’s no wonder many parents are willing to spend so much of their hard earned money on senior portraits. In many cases, this is a last chance to capture a child on film before he or she steps off on the road to adulthood. There is no time when the personality is less jaded or one’s natural beauty easier to capture. By taking good senior portraits, you are marking the end of an especially memorable era and the very beginning of adult life.

There are few times as precious and sentimental as the days and weeks after birth. Whether you are a parent wanting to document these moments or a professional looking to increase your income with newborn photography skills, it helps to learn how to handle these smallest customers. Here are a few simple tools for getting the best newborn portraits possible.

Handle with care.

A newborn is as delicate and breakable as it looks. They must be gently moved and positioned, with the head supported and any potential for falls kept at bay. Handling an infant roughly will result in an unhappy baby and an even unhappier mother who reports your missteps in detail to all of her friends, many of whom could otherwise be potential customers.

Choose timing carefully.

Ask parents to bring baby at a time of day when they are fed, happy, and alert. There is little you can do about it if parents choose to ignore this request, but it will certainly affect the quality of the photos and the amount of time that the baby will tolerate being photographed. Luckily, most parents are happy to comply.

Take a variety of shots.

Although a newborn seems like a pretty straightforward animal—they eat, cry, and/or sleep for most of their day—there are a variety of different styles and moods that can be captured. Documentary shots, which focus on capturing the baby going through normal daily activities, show the moments that every parent wants to remember. Portraits are good for remembering facial characteristics and for gifts. Because both have many advantages, try to get several of each.

Use baby-friendly angles.

You will only get so far positioning the baby according to your needs—before long, they will become annoyed or frustrated and the session will be effectively over. Many photographers find that the best answer is to let the newborn rest in a comfortable position, such as lying on their stomach, and then take pictures from a variety of angles before attempting to reposition. This way, you can get a variety of different pictures without needlessly aggravating your little customer. In general, getting down on the baby’s level is a good plan because it creates a sense of stepping into the baby’s world.

Photograph more than just the face.

While their tiny faces are certainly adorable, newborns are a combination of many adorable body parts, most of which can be captured on film. While traditional photos are important, don’t forget tiny hands, feet, and ears. A macro lens is usually the best choice for these shots, but any telephoto lens should work. Nontraditional shots make excellent photo collections that are sure to please new parents.

Set a mood with color and light.

There are many options for newborn photos, each of which lends a different feeling to the photograph. The obvious choice is natural color, which can be good for documentary style shots and other more realistic pictures. Black and white is also popular because it gives a classic, heirloom feeling to portrait style pictures. Pictures with filters, desaturated pastel coloring, and softened light are all popular in newborn photography for their very different effects on the photo’s overall mood. Don’t be afraid to try a few new ideas; you never know which will catch the parents’ fancy.

Focus on the family.

That is, the whole family. Birth is an event not just for the baby, but for all of his relatives and loved ones. Taking intimate shots with parents, siblings, and other family members captures the emotions involved in this special time while also opening up new possibilities for poses and angling.

Don’t be afraid to airbrush.

No one wants to admit it, but even newborns are in need of a little Photoshop from time to time. The trial of birth leaves most newborns with misshapen heads and a fair amount of swelling in the face. Later, baby acne and scratches may mar otherwise perfect pictures. While these are natural parts of infancy, they are very distracting in portraits and are usually easy to remove completely. Washing baby’s face before taking photographs will remove much of the need for this, but it still comes up at times.

Light indirectly where possible.

Doctors have not made up their minds whether bright flash damages a baby’s sight, but it is easy to see that sudden bright lights startle them, at times ruining an otherwise perfect picture. If natural, indirect lighting is not possible (for instance, on a cloudy day), then aim the flash at the ceiling or at another surface from which it can reflect onto the baby. This not only prevents scaring the infant, it also gives the light a more diffused feeling that flatters the baby’s soft skin. If your flash cannot be bounced, try putting a thin tissue over it to soften the harshness a bit.

Use continuous shooting mode.

A newborn’s expression changes from second to second, and there is no disappointment greater than missing that perfect shot. Continuous shooting mode offers the answer to this problem. Taking sequences of shots allows you to capture all of the expressions that make up a moment in time. You can then choose the most perfect ones. As a bonus, this usually results in shot sequences that make attractive framed collections.

How important is newborn photography? Regardless of your perspective, it can be a lucrative skill to have in your repertoire. Parents are usually willing to spend more than they usually would for high quality newborn portraits because of the unique nature and short life span of this time. If you are a photography professional, learning to handle newborns can be a lucrative addition to your business. If you are a parent, following these guidelines can help you get professional quality photographs without professional prices. Either way, there is inherent joy in capturing these precious moments and turning them into memories that will last a lifetime.

Traditional family portraits are at best a stiff and unrealistic representation of a family, artfully arranged to arbitrary standards of artistic balance without regard for the individuality and personality of the people involved. At worst they are enough to make you cringe. Most of us have sat for mediocre family portraits and many of us have been the victims of incredibly bad ones. Traditional portraits are enough to make you want to swear off family altogether, which is why the ability to take modern, attractive, expressive family portraits can make any photographer an overnight success. Here are nine tips for capturing a family without making them look like taxidermy gone wrong.

Get to know the people involved ahead of time.

You don’t have to be best friends, but it’s important to know the basic tone of the family and the different personalities that create this mood. The best way to do this is to ask them about themselves and their favorite activities. A great modern family portrait will capture that unique tone while allowing each individual to shine. The goal is a cohesive picture where no one is over-emphasized and no one is lost in the crowd.

Capture the moment.

This is really the heart of photography and yet it is too often forgotten when it comes to family portraits. Has the family recently had a new addition or experienced another milestone? These moments should be an important part of the portrait. This is an opportunity to look back and remember the way they were at that moment in time.

Focus on the eyes.

If any part of your photo must be in focus, it is the eyes. There is a reason that so many adages focus on the eyes as windows or messengers. They truly communicate more about a person than any other part of the body. Few portraits can be successful if they draw the observers’ attention away from the subjects’ eyes.

Make children feel comfortable.

Children, especially toddlers and teenagers, are wary of strangers, particularly strangers that come with a camera and a list of orders. Your best bet is to befriend these youngest family members as quickly as possible and gain their allegiance before you take a single shot. You’d be amazed at how quickly kids are won over by simple silliness and fun. Keep in mind that a little time spent gaining trust will pay off in more authentic smiles, increased cooperation, and a longer attention span.

Talk to your subjects about wardrobe choices.

Few families have any idea what will look good on camera, which has led to some true portrait disasters. For best results, encourage them to avoid matchy-matchy outfits. Every mother is dying to see their little herd of darlings in matching plaid, but this rarely creates a good picture. Advise your subjects to wear bright or light colors that neither match nor clash. Long sleeves and simply crew neck or v-necks photograph well and allow the emphasis to remain on the subjects and the portrait itself. Although black is a preferred choice for fashion, it can be too severe in a family portrait and make it difficult to balance the light. If the family in question is not well represented by true colors, neutrals are an excellent compromise and can allow a wider variety of backgrounds to be used.

Choose backgrounds carefully.

Gone are the days when an obviously fake forest scene or a mottled blue curtain could be considered an appropriate backdrop for a family portrait. Today, people want portrait backgrounds to either be appropriate and natural, or to disappear altogether. Consider taking portraits in a variety of settings, even if this requires having several different sittings. Try capturing the family in their native environment, such as on their family room sofa or in their own back yard. Even plain black or white is preferable to faux nature scenes. There is nothing fake about the family, so keep their portraits as real as possible.

Don’t be afraid of movement.

One of the most common complaints about the traditional family portrait is that it is so stiff. No one naturally sits in that arrangement, and this discomfort is unfortunately captured by the camera. The good news is that a stiff, triangular arrangement is not necessary for a great photograph that is pleasing to the eye. In fact, while many photographers are convinced that the only way to capture so many people in single picture is to pose them like a floral arrangement, some of the best portraits are taken while the subjects are moving. Try having everyone walk toward you while you snap away, or capture them piled on each other haphazardly.

Work quickly.

In other words: remember that you are working with people and not a still life. Don’t plan shots that involve naturally squirmy small children sitting in any given position for a long time or assuming awkward poses. Keep everyone in the photo engaged and constantly moving. Similarly, there will be no natural smiles the umpteenth time you shout ‘Say Cheese!’ You must be fast and constantly changing or your subjects will lose interest and look as bored as they feel.

Look around.

If you are new to the field of modern family portraits (or an experienced professional looking for new ideas) check out the many portfolios on the internet. Luckily, many professional photography businesses use their website as a place to advertise and showcase their best work, so it should be easy to find more examples than you could possibly need. This will allow you to check out your competition and stay up with the latest photography trends. It also gives you an idea of what new ideas don’t work at all, removing the unpleasant process of trial and error from your professional life.

Family photos don’t have to be stiff or formal. In fact, modern portraits are beautiful, artistic, and uniquely representative of the people that they are capturing. By following these nine suggestions, you should be able to improve your skills and make some of your customers very happy.

Black and white was the first type of photograph to be taken and remains a favorite to this day. Removing color tends to reduce distraction, allowing the subject and artistry to stand out even more. Photographers and photography clients alike love this simple, classic type of picture.

However, many otherwise capable photographers find that while some black and white photographs pop, others fall short. Here are a few rules for making sure that all of your black and white pictures are as stunning as can be.

Tell a story.

There is a reason black and white photography is often used in photojournalism and other storytelling media. With color removed, people can see the emotion and untold story more clearly. If you are trying to communicate, leaving out the color can actually add something to your narrative, removing elements that detract from the storyline.

Concentrate on shape, pattern, and lines.

This is the most important rule of black and white photography: without color to distract the eye, the ‘bones’ of the photograph must be as perfect as possible. This can be a good or bad thing depending on your eye and your level of skill. You have become not just the portrayer of a moment, but the architect of one. In fact, many aspiring photographers use black and white to hone their ability to evaluate lines, shapes, and other basic elements of a photograph.

Work with light.

No form of photograph will respond to subtle changes in light and shadowing so much as a black and white one. It is the perfect way to capture a beam of light coming through a narrow knot-hole in a fence or the dense shadows in an alley. Light creates mood, and this mood becomes exponentially more powerful when color is no longer there to distract your eye from the contrast.

Avoid subjects that are dependent on color.

There are certain subjects that need color in order to seem complete, such as sunsets, birds, and rainbows. Taking these photos effectively without the color that defines them can be disastrous and is best left to the very bold and highly experienced.

Emphasize seriousness and refinement.

This is the reason that black and white remains a favorite for both art photography and wedding photography: it gives a classic, timeless feeling that color simply cannot match. Even the most garish or lighthearted subject becomes a little serious when the color is removed. Play around with some of your favorite photos and see how they are transformed when the color is removed.

Mitigate poor color or light.

Sometimes an overcast day seems to ruin a gorgeous outdoor picture until it is colored in black and white. The lack of color makes the background disappear, while the lines of the subject are subtly emphasized. The same effect applies to human subjects; blemishes and other imperfections stand out in color but seem to disappear without it. If you have a photograph that was ruined by poor light, try it without color to see if the bare bones hold up.

Create negative space.

Negative space is rarely completely negative when you are photographing color. There is always a gradient or distraction, however subtle it may be. Black and white, on the other hand, makes dark backgrounds and sometimes even very light ones simply disappear. Backlighting suddenly can create interesting and unusual negative space. Negative space in the absence of color can add a whole new dimension to any photograph.

Get abstract.

Color adds a three dimensional feeling to a very two dimensional art. Using black and white allows photographers to reduce depth and give an abstract, otherworldly mood to their end product. If you are interested in creating more modern photography, experiment with black and white to see how removing a dimension can add whole new worlds.

Emphasize select elements with pops of color.

Black and white photography doesn’t have to be completely free of colorful flourish. A lack of color in the background can help you emphasize key parts of a photo with the help of photo paints. To bring out a particular feature, shoot it in black and white and then selectively color just one element. This can be especially beautiful in portraits and in photographs of children.

Break the rules.

All photographers can tell you that the best natural light occurs either early or late in the day, when the sun is low and filtered to a soft glow. However, this rule does not always apply when it comes to black and white photographs. Because light and dark are so thoroughly emphasized in this media, using high, harsh sunlight or very little light at all can bring out facets of your subject that would never be noticeable in natural settings. This isn’t the only rule that can be tossed when color is no longer an issue; play around with the medium and see how effective of a rule-breaker you can be.

Practice.

As with all forms of art, learning to photograph in black and white requires patience. You must train your eye to recognize the elements of a great color-free picture and learn to evaluate situations in a way that ignores their natural hues. The only way to develop these skills is to take many, many black and white pictures, patiently sorting through the duds for the few stars. We all learn best from our mistakes, so get out there and make a few.

You’ll notice that few of these rules focus on camera techniques, angles, and settings. This is because a black and white photograph is inherently more unique, more forgiving, and more demanding at the same time than any other type of photography. There are few rules here, and the ones that do exist can be effectively broken with great results. Black and white photography offers an invaluable chance to develop and evaluate your own personal photography style, so don’t be afraid to see the world in black and white every once in a while.

Most photographers try their hand at landscape photography at some time in their career, but the results often are, well, forgettable. In many cases, this is due to a lack of knowledge about the unique considerations involved in taking photographs of nature. Whether you are a seasoned professional or an amateur, the following twelve tips should help you get the unforgettable landscape photographs that you are seeking.

1. Research your setting. If you come upon the perfect photograph, take advantage of it. However, in most cases you will have to research the area in which you plan to shoot and know ahead of time where the best opportunities lie. It is also a good idea to plan exactly what time of day is best for the area and what materials you will need to get the best possible shot. Checking the weather ahead of time is another must, because it can save you some discomfort and prevent damaging expensive equipment.
2. Choose a focal point. One of the most common mistakes in landscape photography is neglecting the usual rules of photography. As with all pictures, you will need to have a focal point, with a background, a midground, and a foreground. In landscape photography, a focal point can be almost anything, as long as it is present. Without it, there will be nothing to look at in your finished product.
3. Focus on lines. These are truly the bones of your photograph, and just like a human bone structure, they can create beauty or completely eliminate it. There are often patterns in nature that can be captured in way that emphasizes the photo. Lines don’t just balance the picture; they add depth and character to it.
4. Shoot from several different points of view. This is usually the only way to get that rare, breathtaking shot. Landscapes don’t generally change substantially over time, so there is a good chance that the most obvious photographs have already been taken—repeatedly, in fact. Finding a new way to take the same picture can mean lying in the mud, climbing a tree, or wandering down forbidding paths, but it is the only way to get the original viewpoint that good photography demands. This dedication to artistry separates the artists from the point-and-shoot guys and can not be done in close up photos.
5. Get support from a tripod. Like all other photos, landscape pictures must be built, with special attention given to lighting, line, and color. This means that you may need to make multiple adjustments on a single shot before you get it just perfect. A tripod allows you to hold your position while changing other elements. In some lighting situations, you may also need to use a low shutter speed, which can emphasize blurring and camera shake when held in tired human hands.
6. Bring high quality filters. If you are an amateur, you may not have a variety of filters yet. However, these are a worthy investment if you plan to make landscape photography part of your repertoire. Polarizing filters are a must if you plan to photograph near water or other reflective materials. They reduce glare and create a more balanced light effect. Neutral density filters are another must-have for nature photographers, because they block out light when there is simply too much of it.
7. Use a variety of lenses. Most photographers think to bring a wide angle lens, as this is essential for many landscape shots. However, it doesn’t hurt to think outside the box. A telephoto lens can be an especially helpful tool in capturing the interesting details around you.
8. Work with the sky. If the sky is interesting in color, texture, or another aspect, it can create a great deal of interest. However, a ‘boring’ sky with nothing to look at will only make your photograph boring as well. If the sky is less than thrilling, angle your shots so that it occupies as little of the frame as possible. Keep the horizon high in your picture and choose a shot with an interesting foreground instead.
9. Choose unconventional weather situations. One common beginner mistake is to go for the classic ‘blue sky’ shot. These amateurs forget that most people are more than aware of what a clear, cloudless sky looks like, as they differ very little from locale to locale. However, clouds and other seemingly unwanted weather can transform a shot by adding a different mood, creating new shapes, and changing the lighting. Mist, rainbows, and other weather phenomena can in fact be the focal point of a photograph, giving a whole new point of view to an otherwise overdone shot.
10. Find movement. A landscape photograph isn’t meant to be a still life. There is rarely a time in nature when nothing is moving; in fact, most outdoor scenes are in constant flux, however slight. Capturing and emphasizing this subtle movement, such as a breeze through grasses, a ripple across a pond, rolling clouds, or other slight changes in the scenery, can add interest to an otherwise boring shot.
11. Stay focused. In many cases, a landscape photo is most interesting when the majority of the scene is in focus. An easy way to accomplish this is to choose a small aperture setting, which will give your photo the maximum depth of field. One important thing to remember about this technique is that you will need to compensate for the lack of light by lengthening shutter speed or increasing ISO.
12. Choose the right time of day. In most cases, this will be the time just after dawn and just before dusk. During these hours, the lighting is soft, horizontal, and golden, making a landscape come alive. Many successful shots have been taken at other times of day, but the light usually needs intensive management.

Taking an unforgettable landscape photo may seem complicated at first. After all, there is more thought involved than in most situations. However, as with all photography techniques, this skill can be learned with practice. Before long, you too will be capturing nature in all of its glory.

The first time I saw a “noise reduction feature” on a camera it confused the heck out of me. I get reducing background noise while shooting a video, but what does noise reduction mean when all I am doing is taking a picture? Noise is tiny spots of discoloration made by the sensor of a digital camera. The best way to explain this is to remember that grainy look of old films. That is very similar to the noise digital cameras produce. So why might so situation create a lot of noise and others so little that you would never even notice?

Remember back in the days before digital cameras and we had to choose the “speed” of the film. The less light you have in the environment, the higher speed of film will be required. Digital cameras also have different speeds; again you use higher speeds for lower light pictures. Unfortunately, these higher speeds also lead to more noise. Many digital cameras have sensors that adjust the speed setting based on the ambient light and you may or may not be able to change these settings manually. Additionally, lower speeds can lead to blurry of your images.

Another major cause of increase noise in photographs is the size of the image sensor. This is a particular problem for very small cameras that have high quality pictures. The sensor size is also small and yet a high quality photo must be produced. This increases the likelihood for errors, or misinterpretation of data.
There are three main ways to reduce noise in photographs. The simplest method is to reduce the size of your pictures. While the noise is still there it is not nearly as visible.

The second method is post-production. Most photo editing software is able to effectively remove the noise from photographs. Sometimes this results in a blurred look in the photograph, while high quality software is able to create a crisply clear finished photo. The final option is an in-camera noise reduction mode. The drawback to this method is if the camera misinterprets important signals for noise your pictures will be negatively altered. Once the picture is taken you cannot add the noise back in, while if your photo editing software makes a mistake you can just start over.

So we now know what noise is and how to remove it, the question remains, should we remove the noise on every photograph? In short, no, there are times when noise reduction is either not needed or will actually diminish the quality of your photograph. For example, in well-lit situations cameras take very quick exposures and the noise level is very low; so, noise reduction should not be necessary. If you are taking a photograph where the tiniest detail is critical a camera’s inboard software may confuse some of those details with noise. In these cases you can try photo editing software but you may still get a better result by leaving the photo untouched.

Some photographers actually use noise in very long exposure time photography to get a specific look for their photographs. As with all photography experimentation and practice will give you the best sense of what noise is and when to use software to fix it.

Some photographers desire to create the most realist visions of our world. Other photographers want to have their pictures escape this reality and look as otherworldly as possible. One of the easiest and coolest way to do this is through experimenting with infrared (IR) and near infrared (NIR) photography. With IR technology you can combine absolute realism of the natural world and make it look like something never before seen.

In infrared photography, the film or image sensor used is sensitive to infrared light. The part of the spectrum used is referred to as near-infrared to distinguish it from far-infrared, which is the domain of thermal imaging. Traditionally an infrared filter is used; this lets infrared light to pass through to the camera, but blocks all or most of the visible light spectrum. Digital cameras do not always require a filter to capture IR light.

Curiosity about the world beyond natural perception is as natural as being human. Think of the telescope and microscope; these inventions have not only revolutionized science but influenced philosophy and even religion we have always had strong desire to see things that are beyond our natural ability to visualize. Just like telescopes gave us our first visions of planets beyond of eye’s reach; cameras and films sensitive to infrared and ultraviolet light gave us our first glimpses of a world filled with invisible light.

Until the early 1900s, infrared photography was not possible because the solutions used to develop film were not sensitized to infrared light. The first infrared photographs appeared in the October 1910 edition of the Royal Photographic Society Journal in a paper by Robert W. Wood, who discovered the unusual effects. Wood’s photographs were taken on experimental film that required very long exposures; because of these limitations his photos were of landscapes. Infrared-sensitive photographic plates were first developed in the United States during World War I for military uses including spectroscopic analysis of enemy targets.

It was quickly discovered that a great advantage to NIR technology is the ability to maintain astounding clarity over long distances, despite a range of weather conditions. Initially, infrared sensitizing dyes were developed to improve haze penetration in aerial photography. Beginning in the 1930’s, specific emulsions were developed for uses in infrared astronomy. Even some telescopes use this ability to pass through the atmosphere, space gas and dust to see beyond into impossibly far away locations.

Infrared photography became popular with photography enthusiasts in the 1930s when suitable film was introduced commercially. Unfortunately, in the past, the expensive of IR technology placed it firmly out of the range of the average photographer. Now, quality digital cameras have the ability to see just beyond the visible red spectrum in what is termed near infrared, without the use of special filters. For those that are scientifically minded that is at 700-1200nm on the EM spectrum. NIR pictures allow us to take a fresh look at everyday objects.

Try taking a camera with this ability through your house or in your yard and simply look through the LCD screen. Everyone has seen hundreds of pictures of sunsets, but how many NIR photographs of sunsets have you viewed?

The debate over color versus black and white photography has existed as long as color photography has existed. While black and white photography has been around since the early 1800 the first color photograph did not appear until 1860. It took over fifty more years before the quality of color photography began to catch up with black and white.

Since that time the trend has leaned strongly towards color photography. There are strong proponents of both general types of photography. Color advocates argue that their photographs show the true vibrancy of life. Conversely, black and white photographers argue that their pictures look more formal and can be more striking to the viewer. Unfortunately for those that prefer black and white photographs, throughout the last half of the 1900’s, black and white photography had been considerably more expensive to produce as the film and processing equipment was less common.

With digital photography most cameras now have a simple switch to choose color or black and white. Because the camera is really taking a color photograph and then converting it to black and white most experts recommend always starting with a color picture. Photo editing software will do a better job of converting the photo than the internal software in your camera.

There are several circumstances when black and white photography really shines. If you are taking a picture of something with very stark color or lighting contrasts, those contrasts can be even further emphasized through black and white. In addition, when photographing textures, black and white pictures can draw out the different grains in the object. Many photographers use black and when making a professional presentation, for example, for advertising and wedding photos. Finally, there are some subjects like war and death that may be made less visually offensive through black and white techniques.

There are also times when color is far superior to black and white. An example would be the vibrant yellow bird in your yard. In general, most objects in nature tend to be better visualized through color photography. Because our eyes are so attuned to colors, we are able to focus on the subject of the photograph rather than the contrast of colors.

Another fun technique is to use color filters. While physical filters can be used in some cameras, photo editing software can create this effect with the click of a button. You can create otherworldly photographs like having a black sky outlining pure white clouds, or red clouds in a green sky. Photo editing software allows us to play around with our products in a way that we never could before. All types of photography take practice to perfect.

Experience is essential, whether you are attempting to capture the most vibrant of color photographs, or creating the starkest impact possible with black and white photography. The easiest way to learn how to take powerful photography is to take thousands of pictures. Analyze and try out different techniques in color and lighting. Then take the photographs you have produced and run some of them through a photo editing software and see how they look in black and white, you may be surprised that you like them better than ever.

Some of the most visually impactful pictures are close-up of everyday objects. While almost anyone can take a beautiful picture of a sunset, taking an amazing picture of an insect on a leaf is not so easy. Close ups require special attention to focus, lighting, and exposure.

The most critical aspect of creating an amazing close up photograph is practice. Slight changes in the camera become huge alterations in the final product. Sometimes the key to a great photograph, especially as a beginner, is to take dozens of pictures and see which ones turn out the way you were hoping. While specialized equipment can play a critical role in these photos I am going to focus on advice anyone can utilize.

Composition/Background

The background is important in any photograph, but it a close-up that is critical and depends on how the scene is set. Here are two tips that can help create a stunning close up photograph. The first is to keep the subject brighter than the background. Additionally, for the majority of close up you want the background to be just one or two colors to avoid distractions form your subject.

One option to obtain the perfect background is to make your own. First take a picture of a leaf or grass, print out that picture and place it behind your subject. So maybe this seems a little like cheating, after all you don’t have the fully natural environment around your subject. But if it is well done, no one will ever be able to tell the difference.

Lens selection

If all you have is a basic digital camera with a zoom feature you can take good close up pictures. If you fall in love with this type of photography you will probably want to change the lens. 50mm, 60mm, and 100mm lens allow you to get closer to your subject. Another option is to purchase a set of screw on close up lens.

Tripod

Close up photography tends to exaggerate camera motion. Many amateur photographers are surprised to see a blurry close up photo. Of course, some photographers naturally have amazingly steady hands. For the rest of us a tripod will greatly increase the quality of our photos.

Focus

Focus is probably the second most important element to great close-up photography. There are two basic elements to great focus. The first is focusing on the most critical element in the picture. For example, focus on the eye of the bird or on the center of the flower. The second element is to set your lens at a small aperture, (f/11 to f/22) for good depth-of-field.

Practice

Finally, the most important element in exceptional close up photography is practice. Practice on everyday objects hundreds of times before setting up the perfect outdoor wildlife photograph. If you are planning a special trip perfect your technique before leaving. If you feel that your close up photography still leaves something to be desired ask for advice from an expert. As with all photography have fun! It may take months of practice to perfect the techniques required to have your close up look the way you want but enjoy the process of learning.

In my opinion Windows photo gallery is a good program for a beginning photographer to use to touch up their photos. It may not have the widest range of the photo editing options, however, it is easier to navigate than many of the high-end programs.

First, choose the photo you would like to edit and open it in the Windows Photo Gallery Program.

By going to the black bar at the top of the screen and selecting the Fix option, I open up the editing pane on the right side of the window.

Because I want to do something specific to this image, I don’t really want to choose the Auto Adjust option. This option is meant to be a quick fix, although I find it really doesn’t fix most problems.

Adjust Exposure

This option allows you to decide how dark or light you want to make your photo. Clicking on this option opens a drop-down type menu in which you have a sliding controller for brightness and one for contrast.

Sliding the brightness controller to the right lightens my picture a bit.

Then sliding the contrast controller to the right a bit brings back some of the color.

Adjust Color

In this menu there are three sliding bars for; Color Temperature, Tint and Saturation. If you slide the color temperature bar to the left it brings out more of the blue hues in the photo, sliding it to the right brings out the reds. This makes the picture feel warmer or colder, hence the name. Because my picture already feels fairly cold I adjust the slider to the right.

The next bar adjusts the tint of the picture. Moving the slider to the left brings out more green hues and to the right is a pinkish color, neither of these particularly appeal to me so I leave this bar alone.

Last in this menu is Saturation. This bar adjusts how much color there is over all in your picture. Sliding it all the way to the left produces a black and white effect and all the way to the right gives you a color saturation right out of a cartoon. I like the overall natural variation in this photo so I am leaving this one alone for now as well.

Crop Picture

Under this menu is another drop down menu allowing you to choose a sized frame for easier framing of your photo or Custom frame where you are allowed to stretch the cropped area to meet your taste. I choose the 5 x7 frame because I want to set it up on my desk at some point. However, this does not meet my preference when it comes to the content of the picture. Luckily there is a Rotate Frame option. Using this I can perfectly frame in the area of the picture I want saved. 

Fix Red Eye

This option does not really apply to my photo either, however it is a handy tool to have in your arsenal. To use this feature you simply click the title Fix Red Eye then click and drag over the eye or eyes that need fixed.