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CAN'T LIVE WITHOUT: Family. Friends. Hounds. Books. The Beach. Autumn. Cameras. Computer. iPhone. The color orange. Caramel frappucino. The words "dude!" and "nice!". Oh...and world peace ;-)

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31 October 2013

:: P Family | Washington DC Family Lifestyle Photographer ::

Sometimes, the 'in-between' moments during a photo shoot are the most beautiful...this is just a preview of more to come!



30 October 2013

:: Little E | Washington DC Family Lifestyle Photographer ::

Remember this little guy? I met and photographed him just days after his dads brought him home.



We were reunited this past weekend during a holiday mini session. He wasn't so sure about the stranger lady with the big camera, but I managed to capture some beautiful shots of E and his dads. Here's a preview I just had to share:


Check back tomorrow for more sneak peeks from the Holiday Minis!

29 October 2013

:: Photography Tips + Tricks : getting down and dirty ::

Good Tuesday morning! Not only is this my favorite time of the year, I am still riding on the high from this past weekend's Holiday Minis. It is always sooo nice to catch up with my photography family and play with the Little Ones -- some of whom I photographed for a third year in a row.

While furiously editing the mini sessions, I thought I'd take a break and share a simple tip with you that could help you take better photos of your Little Ones at home.

The most common mistake I see parents make is shooting from the perspective of an adult. Most parents shoot from the standing position down towards the level of the child. The result is a photo that is slightly distorted and probably not very well composed. Instead, try shooting at the level of the child; bend those rickety old knees (I have them as well), and lower your body and the camera to the eye-level of the child you are shooting. You will see that a seemingly mundane background all of a sudden becomes something bigger and more magical -- more like how your child sees the world around her/him. The background is now the supporting element that helps you tell a story.

Lower the camera to the eye level of your child so that you could tell the story from the child's point of view. 

There is one exception however. When you are taking a close-up shot of your child's face, it is ok to shoot from way above the child's level -- i.e. have the child sitting on the ground, looking up straight into the camera as you stand over his/her shoulder. This technique will allow you to fill the frame with his/her beautiful face without a lot of distracting background.




I hope you find this week's Tips + Tricks helpful. Check back next week for more Photography Tips + Tricks!

23 October 2013

:: Photography Tips + Tricks: finding the light outdoors ::

I am a natural-light photographer. Meaning, I don't use artificial lighting (flash or external light source) when shooting. Instead, I rely on my low-aperture lenses and the ability to find light. Light is everywhere. Light is all around us. It just takes some patience and a lot of practice to harness its magic. It is entirely possible to shoot indoors using natural light as well, but for now we will concentrate on outdoor natural light and talk more in-depth about indoor natural light in the near future.

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MAGIC HOURS = WARM, DEWEY GLOW

Photo shot early in the morning, when the sun was very low in the cloudless sky. ISO 400, 50mm, f/2.8, 1/4000 sec. 

When possible, I try to schedule shoots early in the morning or late in the afternoon in order to shoot in the most flattering natural light possible. During these times, the sun is low in the sky, casting a warm, dewey glow on everything. Your subjects will appear flawless and almost other-worldly. There is a inherent quietness in portraits taken during these times that make them timeless and extraordinary.

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FULL SUN  = BACKLIGHTING

Photo shot around 10:30AM in full sun. ISO 200, 50mm, f/2.8, 1/2000 sec.


Before I picked up my first dSLR and learned the tricks of the trade, I loooved shooting in full sun in the middle of the day. I thought: "I'm getting beautifully saturated colors and everything looks happy and bright." Now I think: "Ugh, this sun is too bright, my subjects are going to look like Dracula, with intense, black shadows all over their faces." The truth is, shooting in full sun that is high in the sky does give your photos the best color vibrance and saturation. This is because in bright light, you can set your ISO very low (200 or even 100 on a crisp autumn day), which will give you the best possible color saturation. However, on the flip side, you now have an intense light that highlights every flaw, increases contrast, and casts horribly unflattering shadows.

Instead, try shooting INTO the sun, with the back of your subject to the sun -- hence the term backlighting. Backlighting can be tricky, but by keeping a few tricks in mind, you could achieve a beautifully colorful look without all the negatives. First, meter to the skin on your subject's cheek. Then adjust your settings for proper exposure. I'd recommend setting your ISO at 200 or 400, setting the f-stop at 2.8 or 4.0 for a creamy background bokeh, and a very fast shutter speed to compensate for the low ISO and f-stop values. Sometimes, when you shoot into the sun, you will get a dreamy, hazy look across the image. Most people love this look; but if you like a cleaner, sharper look, shoot into the sun, but make sure that the sun itself is actually not in the frame.


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CLOUDY / OPEN SHADE = EVEN LIGHTING W/O SHADOWS

Photo shot around 10:30 AM in full, open shade. ISO 400, 50mm, f/2.8, 1/200 sec.

Believe it or not, a cloud-covered day is a natural-light photographer's friend. A cloudy day allows you to shoot outdoors in the middle of the day without harsh shadows. The light filters through the clouds and is distributed evenly across the environment. If you have to shoot outdoors in the middle of the day, a cloudy sky could be your friend. On the other hand, if you are shooting on an extremely sunny day, look for shady areas that are completely in shade (full open shade) -- meaning, no dappled spots of sunlight filtering through leaves that could cast strange shadows onto your subjects. Preferably, your shady spot is surrounded by light-colored walls or cover that will act as reflectors that will bounce even, natural light onto your subjects. If your shady spot is under a tree, make sure you meter to the skin on your subject's cheek and expose accordingly; also, make sure you compensate during processing/editing for any green tint that may be casted onto your subject's skin from the trees/grass. Another issue to be aware of is: there may not be as much contrast as you'd like between your subject and the background, something easily fixable during processing/editing.

All of the above images were taken on-location, during a scouting trip to this year's mini session venue. We have a jam-packed day waiting for us this Saturday. I can't wait!!! If you cannot make it this Saturday and would like to take advantage of the Holiday Minis, please email me so that I could put you on a list for a possible second Holiday Mini date.

22 October 2013

:: Project Life 10.22.13 | {natural} ::

I must've caught the bug that my kids have had for the last two weeks. Signing out to get some rest. Please check back tomorrow for my latest Photography Tips + Tricks: finding the light. Be well...


20 October 2013

:: Project Life 10.20.13 | {wish i could} ::

Scouting out next weekend's mini sessions shoot location with my troop...wishing I had the carefree innocence to walk on air...


15 October 2013

:: Photography Tips + Tricks: how to take great holiday card photos ::

Greetings! As we draw closer to the Holiday Season, it is time to start thinking about personalizing holiday greetings with beautiful photos. Taking holiday photos of your family can be a lot of fun. Here are some Tips + Tricks that I use that will hopefully help the process go more smoothly.


Tip #1: Be Organized

Plan ahead by writing a list of what you will need to bring to the shoot -- camera, extra batteries, extra memory cards, props (e.g. cute knitted hats, beautiful holiday togs, special holiday decorations, lovely woolen blankets), healthy snacks and drinks for you and the little ones. After the shoot, you could use the same list to make sure everything you brought is also going home with you.

Tip #2: Know Your Kids

No one knows your kids better than you. Pick a time of the day that is best for everyone -- a time when everyone is well-fed and rested. Also, put your children at ease by engaging them in conversations and activities in which they will be interested. Play with them! Have fun! Genuinely happy kids = genuinely happy photos.

Tip #3: Un-Pose Your Family

Have you noticed that the most genuine and most emotive images are usually those that look unplanned/unposed? Hugging, kissing, tickling, jumping, running, playing...let your kids do the work. Just make sure your shutter speed is set on sonic speed (or at least 1/250 sec) to keep up with all the action.

Tip #4: Compose Your Shots

Remember my Tips + Tricks on composition? The Rule of ThirdsThe Camera TiltForeground, Middleground, Background? Apply these tools for visually interesting and compositionally strong group and individual images. In addition, make sure everyone in a group photo is "squished in" as tightly as possible -- try to leave as little spaces as possible between the subjects. When possible, arrange everyone in a triangular composition, with the highest point of the triangle in the middle of the composition. For individual images, try to get in close and Fill the Frame (another handy compositional tool) with the gorgeous faces of your little ones. Lastly, if you plan on inserting your images into a pre-designed card from vendors such as Tiny Prints or Minted, make sure you take photos in both the portrait/vertical orientation as well as the landscape/horizontal orientation, and/or compose your shots such that they could be inserted into vertical or horizontal or square slots in the card design.

Tip #5: Include Yourself in the Photos

Generally when I'm shooting a family, I try to get at least one really good group photo, one really good individual photo of each child, one really good photo of the parents together and one really good photo of each parent with each child. Use the camera self-timer to include yourself in the photos. Or hand the camera over to your spouse so that he/she could capture some photos of you with each of your children.   Your children will appreciate these images immensely later.



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On the other hand, if you'd rather enlist the help of a professional photographer, please email or call me for more info on our Mini Photo Session. The response this year has been wonderful, so I am hoping to add a second day of Mini Photo Sessions for those who are not able to book a slot for Saturday, October 26th. Please contact me ASAP if you'd like to be added to the list.

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My apologies for not posting any Tip or Trick last week. With a household full of school-aged children, I always have to be at the ready to deal with any ailment that may come our way this time of the year :-)

02 October 2013

:: Project Life 10.02.13 | {sunset} ::

Obviously, this photo was taken over the summer...but I just had to share the unbridled joy on her face...



01 October 2013

:: Photography Tips + Tricks: choosing a dSLR lens | part two ::

Happy Tuesday! I am sooo enjoying this glorious autumn weather. Perfect weather for the Holiday Mini Photo Sessions! Please email me for more information and to book a spot. Limited spots available.  Reserve your session now!

Last week, I outlined some basics of dSLR lenses. This week, let's get down to the specifics! Again, your aesthetic and shooting style will help you determine which lens(s) is best suited for your needs. Of course, these are MY suggestions; they are in no way the gospel ;-)

First, perhaps it'd be helpful to tell you what I have in my camera bag:
  • Canon 5D Mark ii camera body
  • Canon 50mm f/1.2L prime lens (normal focal length)
  • Canon 24-70mm f/2.8L zoom lens (wide to telephoto FL)
  • Canon 24-105mm f/4.0L IS zoom lens (wide to telephoto FL; IS = image stability)
  • Canon 70-200mm f/2.8L zoom lens (telephoto FL)
Mind you, I rarely carry all of this equipment to my on-location shoots. As I became more comfortable with my shooting style and workflow, I figured out which lenses will give me the best results. Since I shoot mostly portraits and lifestyle images, I chose lenses that could give me beautifully blurred backgrounds as well as responsiveness in low-light situations -- lenses that have f/stop values (wideness/openness of the aperture) of at least f/2.8.

My favorite lens of ALL TIME is the 50mm.  The "Nifty-Fifty", as the 50mm is lovingly called, is a must-have. It allows me to shoot in low-light and/or indoors without a tripod or flash, while giving me the dreamy, creamy blurred background that I love. HOWEVER, remember that if your camera has a crop-sensor (beginner/semi-pro models) rather than a full-frame sensor (pro models), the 50mm will in fact act more like a 85mm in terms of angle of view and magnification.  Some photographers also like the 85mm prime lens for portraits. The 85mm is great for capturing details (close-ups of eyelashes, ears, little hands and feet), as it could work a lot like a macro lens.

All shot indoors, in low light, on the Canon 5D Mark ii with the Cannon 50mm f/1.2L lens: ISO 1600, f/1.2, 1/125sec
Canon offers three versions of the 50mm: the f/1.8, f/1.4 and f/1.2L. If you currently do not own a 50mm, start off with the f/1.8, which costs less than $150.00. If you fall in love with the f/1.8 but feel like you may want to upgrade to the f/1.4 or f/1.2, you always have the option of selling the old lens on sites such as eBay or craigslist.org. Try not to do a trade-in at your local camera shop if you could help it -- you will not get a very good trade-in value, as compared to selling the lens online. Likewise, be on the lookout for good deals on used/refurbished equipment on eBay and craigslist.org. Be sure to ask the seller why they are selling it though. Sometimes the item may not be in great working condition; make sure you check out the mechanisms and auto focus by mounting it onto your camera body to make sure it takes sharp photos in different conditions.

The other lens that I carry with me to all of my shoots is the 24-70mm f/2.8 zoom lens. This is the lens that stays on my camera most of the time for both business and pleasure. I love the range of focal lengths and the aperture is wide enough that I could shoot in low-light in a pinch, provided I bump up the ISO or lower the shutter speed. If you prefer to own just ONE versatile, all-around lens, instead of an arsenal of different lenses, a zoom lens with a low f-stop value is the way to go.

Canon 5D Mark ii with the Canon 24-70mm f/2.8L lens: 45mm, f/2.8, 1/4000sec

There isn't really another Canon lens that is equivalent to the f/2.8L, but Sigma makes a Canon-compatible lens that has received great reviews. The Sigma 17-50mm f/2.8 on a crop-sensor camera, will effectively match the magnifications of the 24-70mm on a full-frame camera. At less than $570.00, it is a great investment that will allow you a lot of flexibility and make your shooting easier and more enjoyable.

For those who do not mind a higher f/stop value, a zoom lens with f/stop value of f/4 would work almost as well if it has an Image Stabilizing mechanism of some sort. Remember, in low-light conditions, a higher f/stop value requires slower shutter speeds to allow the same amount the light to hit the sensor, as compared to a lower f/stop value. The IS feature will allow you to slow down your shutter speed to more than 1/60 (1/40, for example), while minimizing blurring due to camera shake. While the 24-105 f/4L IS does not have a low f/stop value, I still use it occasionally because it gives me very sharp images with nice, clean colors, even in low light conditions.

For the aspiring paparazzi, or mamarazzi for that matter, the 70-200mm f/2.8 might be exactly what you need. However, to be honest, I use the lens only occasionally for weddings and engagement sessions. Without a tripod or IS mechanism, the 70-200mm lens's hefty weight causes more camera/hand shake blurriness because it is HEAVY. Also, the Canon version is relatively expensive, although a similar lens by Tamron costs about 1/3 less. If I had to make a choice, I'd choose the Sigma 17-50mm over the 70-200mm any day.

If you're a careful shopper and would like to try out the lenses before you make the investment, services such as Borrow Lenses lets you do just that. You could even rent lenses for special occasions -- such as births, birthdays or weddings -- and benefit from the pro quality equipment at a fraction of the cost.

As always, if you'd rather have some one-on-one time with me, you are always welcome to contact me to schedule a private lesson.

Have a wonderful day!