The weekly newsletter on the art of photography from
 
Monday, August 24, 2009
IN THIS ISSUE
Featured Gallery
Welcome Note
This Week's Tip
Updates From BetterPhoto
Q&A 1: Displying Picture...
Q&A 2: Yellow in Studio...
Q&A 3: Shooting Through ...
Q&A 4: Printing with CMY...


TESTIMONIAL OF THE WEEK
"Richard Lynch made this class enjoyable and easy to follow (even for someone like me with no Photoshop experience)... I now have the confidence to quickly improve my pictures and understand many of the basic tools. I'm looking forward to the next course - it has opened up a new side of photography for me!" -Jacquelyn Meisenheimer, student in Photoshop 101: The Photoshop Essentials Primer



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WHAT'S NEW AT BETTERPHOTO?
Check out our What's New page for links to photos, announcements, etc.

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THIS WEEK'S TIP
Look for Different Angles by Rob Sheppard
One way to immediately make your photos stand out from everyone else’s is to try shooting from different angles that are lower and higher than that “eye-level”. This goes for all sorts of subjects. Go to any photographer’s field event where people are shooting landscapes and notice how nearly all to all of the photographers have their cameras on a tripod at eye-level or close to it. Look at photos of children and notice how so many are shot from the photographer’s eye-level rather than the child’s. And this can go on and on for all sorts of subjects.
I love doing low-angle shots in nature. It gives a totally different perspective than expected.
Editor's Note: Learn more about Rob Sheppard and his BetterPhoto courses


   
Featured Gallery

Welcome to the 435th issue of SnapShot!
Hello,

With August winding down, BetterPhoto is gearing up for another awesome online session. Our courses are fun and affordable, and fit right into your busy schedule. See our listing of 4-week classes, which kick off on Sept. 2nd. ... Have you been hitting a wall lately? Then we have some great ways to get inspired. If you aren't already a subscriber to BetterPhoto's daily dose of visual inspiration, you should be. Sign up for a free subscription here... . In addition, view the inspiring contest winners of our monthly contest. ... You can now follow me on Twitter at BetterPhotoJim. ... That's it for this week. Enjoy your photography!

Jim Miotke
Where Is Jim?

Updates From BetterPhoto

At BetterPhoto, we are very proud of our online photography and Photoshop classes. Read our Top Ten list... "Everyone was friendly, fun, accessible and willing to share... and share... and share", says BP member and Summit participant Susan Patton. The next BetterPhoto Summit takes place Oct. 31st in one of the world's most visually exciting cities. There's also the optional post-Summit Workshop (Nov. 1st) - a unique event in which you'll spend a memorable day shooting alongside BP's pros. Learn more... Check out our What's New page for links to photos, announcements, etc.

Photo Q&A

1: Displying Pictures for Sale
I would like to sell my work at my parents' jewelry shop. The area is fairly well-to-do, and I believe there could be a market for my work. I would like to know how best to display my images. I could frame them and hang them on the wall with my father's paintings. Someone also suggested I sell them unframed. There's not any room for easels, and I'm trying to do this on the cheap. So what do you suggest?
- Dylan Straub
ANSWER 1:
Since it is a jewelry shop and is an upmarket area, I would hang framed works, being careful of frame selection. You could make price tags the size of business cards which note that the print is also available matted and unframed, and has your contact info on it. That way you are showing high end work, but also giving your customers an option to select their own frames. The unframed images could possibly be stored on site, eliminating the possibility of someone rethinking their purchase.
I have been using black frames and white mats for all of my work, but I am thinking that keeping it simple doesn't always translate well to the customer. There are so many different theories regarding frame and mat types it is hard to know what will work best for you.
Jeff
- Jeffrey R. Whitmoyer
Read this Q&A at BetterPhoto.com

Answer this question:



2: Yellow in Studio
Yikes! All the photos I shot last night have a yellowish tint to them on the white background. I didn't change anything in my studio set-up or camera that I know of, so why would this be? Sometimes, I get a slightly bluish tint, but never so much yellow.
- Tara R. SwartzendruberSee Sample Photo - model


ANSWER 1:
I don’t think the background comes across as very yellow in the sample, but uploads aren’t the same as real files. I would set the lighting and then take a shot with a gray card in the set. Then I do the white balance after the shoot in Adobe Raw or the proprietary program from the camera manufacturer. This is easy and quick. The reason you have a problem is that your camera is on auto color. Unfortunately, this is not always right, no auto system is always right. So the skin tones of the subject may have caused the shift in color. This is a good reason to always shoot in raw, as you could fix this easier and quicker when you convert from raw file to whatever file type you need. On many occasions, I shoot with my camera at a specific setting, as Carlton suggests. Then I use the computer to create pleasing color, which works well. If I need accurate color, as with coping artwork, I will always use a gray card.
- John H. Siskin

See John Siskin's Basic BetterPholio™:
http://www.betterphoto.com/mg.asp?id=158091

Take an Online PhotoCourse™ with John Siskin:
4-Week Short Course: An Introduction to Photographic Lighting
4-Week Short Course: Business to Business: Commercial Photography
4-Week Short Course: Portrait Photography Lighting on Location and in the Studio
Read this Q&A at BetterPhoto.com

Answer this question:



3: Shooting Through Glass
Is there anything I should do to eleiminate reflections when shooting a subject through glass (i.e., art work)? Thanks.
- Joel P. McAfee
ANSWER 1:
The lights need to be at an angle from the subject so the light doesn't reflect back into the lens. Check out this article: www.betterphoto.com/article.asp?id=170
Hope this helps!
- John H. Siskin

See John Siskin's Basic BetterPholio™:
http://www.betterphoto.com/mg.asp?id=158091

Take an Online PhotoCourse™ with John Siskin:
4-Week Short Course: An Introduction to Photographic Lighting
4-Week Short Course: Business to Business: Commercial Photography
4-Week Short Course: Portrait Photography Lighting on Location and in the Studio
ANSWER 2:
(a) Don't use direct flash. You need diffused light to avoid reflections from a strobe.
(b) To avoid reflections from room or window lighting, try a polarizer - though be prepared to boost the ISO or use a tripod to cope with the longer shutter speed.
- Jon Close
Read this Q&A at BetterPhoto.com

Answer this question:



4: Printing with CMYK
I have been asked to work on a project with a graphic designer. I have taken images that will be sent for printing to a company that prints in CMYK. I work on images in Photoshop in Adobe RGB. Should I now convert these saved RGB images to CMYK prior to sending them on disc to the designer? Or do I have to start from the beginning working on them in PS as CMYK images? Help appreciated!!
- Beverly Burke
ANSWER 1:
Ask the designer what they want. Generally, you will correct in RGB...and sometimes make small CMYK adjustments but only if you really know what you are doing. With workflows and processes as they are now, you can likely just submit RGB files ... but check with the designer.
- Richard Lynch

See Richard Lynch's Basic BetterPholio™:
http://www.betterphoto.com/mg.asp?id=121428

Take an Online PhotoCourse™ with Richard Lynch:
4-Week Short Course: Correct and Enhance Your Images
4-Week Short Course: From Monitor to Print: Photoshop Color Workflow
4-Week Short Course: Photoshop 101: The Photoshop Essentials Primer
Leveraging Layers: Photoshop's Most Powerful Tool
Read this Q&A at BetterPhoto.com

Answer this question:

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