This session wasn't something I scheduled, nor was it really something specific I wanted.  We were just hanging out, and there was some stellar natural light coming in from my window.  She had my awesome shades on and decided to bounce around like a lunatic on my bed.  I saw the fun in this, and immediately knew this would be a great photographic opportunity to show her personality.

[View with PicLens]

©2010 Ryan O. Hicks. All Rights Reserved.

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Here are the stock images that were used or partly used somewhere within the photo.

Below is the shot I used of Amanda from our recent shoot at the Fashion Show.
C.T. Pham and I both shot the same event.  This specific photo was from his camera, as all of my poses for Amanda just wasn't anything that sparked much interest for my vision.

Strobist:

Canon 5d2

85L f/1.2

1/160s - f/9.0 - ISO100 - 85mm

Boomed AB1600 gridded in Beauty Dish, camera left

Boomed AB1600 into 69" silver diffused PLM, camera right for key

My vision for this photo was rather simple, but I wanted her surroundings to seem vast and with a fantasy feel to it.  Right away the logical thing to do was to immerse her in a vast forest becuase of her grass dress.  After extracting her body and fixing some bare patches in her dress and other small things.  I began to work on compositing the background.  I already knew where I was going to place her in the photo so I began working around her body.  That is why you see a random spot in the middle of the photo that has not been worked on.  I started on a 16x20 print, so that if I needed to print this bigger down the road I could. I left a lot of space above her to emphasize the size of the trees. I want it to look like she was up against two big trees in this huge forest, that just reaches out over her in all directions. I am not sure about anyone else, but when I think of far off enchanted forest; it is over saturated with greens, yellows, and browns. It is warm, fun, vast, and everything is oversized. I wanted to try and convey all of that that with this piece.

Final image.

©2010 Ryan O. Hicks. All Rights Reserved.

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What is the EG-S screen?

(as Ken Rockwell explains)

These precision surfaces simulate ground glass and greatly increase brightness for f/2.8 and slower zoom lenses so popular today. They are designed to be bright and contrasty with these slow lenses.

Oddly, these modern screens get no brighter when you're using a lens faster than f/2.8. Try it: put on an f/1.8 or other fast fixed lens and flick the depth of field button. You'll see no change in anything until you stop down to about f/2.5!

Still think I'm making it up? Look through the front of your fast lens at the focus screen. It's black outside the area of the lens that corresponds to f/2.5!

Standard focus screens see nothing coming from the lens at annular angles faster than f/2.5.

If you're using a fast lens and want to see the real depth of field or want to focus well manually at large apertures, you need a different screen.

The standard screen with which the 5D ships is the EG-A. The same screen with a grid is the EG-D.

For optimum use for manual focusing or seeing depth of field with the 5D and fast lenses, use the EG-S screen. Sadly of course this screen is great for your fast glass, but dim with slow lenses. Digital hasn't fixed this yet, sorry - you might wind up having to swap screens.

Since they differ in brightness, the 5D's meter needs to know what screen you're using. You set this in Custom Function 00.

Now I haven’t had this screen for very long, but I can tell it really does do the job when used properly.  The real test will be when I get to use it for my portraiture work.  It was amazing using it the first time, and I wish I could just leave it on all the time, but realistically I can’t.

Removing and replacing the screen is quite easy; I’d say it is just as easy as taking a lens off or putting it back on.  They provide a tool that allows you to pop the little plastic release that holds the screen's frame in place.  Once that is popped the screen frame will fall down, and the screen will be inside that frame.  Pop out, put your other screen in, and push the frame up so it clicks back in place.  TADA!

Here is what the screen looks like inside the package when you receive it.

First Test

For all of these shots they had the same settings and is straight out of the camera.  There was some exposure compensation and white balance adjustments in post, but that is it.  No sharpness other than what my camera is set at.

These following images will go through the standard EG-A and manual focusing EG-S screens with and without the custom function enabled, to show you how much of a difference it makes.  I will also show you the difference between the auto focus and manual focusing with the screens.  You do need the custom function enabled to fully use this screen, as the camera needs to know it has to compensate for metering.

1.  Auto focus with the standard EG-A screen.  Focus point is located on the bottom right corner of the screen, with the custom function set to EG-A mode.

100% crop

2.  Auto focus with the manual focusing EG-S screen. Focus point is located on the top left corner of the screen, with the custom function set to EG-A mode.

100% crop

Full Resolution (re-sized to 1000 X xxx)

3.  Manual focus with the standard EG-A screen.  Custom function set to EG-A mode.

100% crop

Full Resolution (re-sized to 1000 X xxx)

4. Manual focus with the manual focusing EG-S screen.  Custom function set to EG-A mode. (2ND SHARPEST IMAGE OVERALL)

100% crop

Full Resolution (re-sized to 1000 X xxx)

Second Test

1.  Auto focus with the standard EG-A screen.  Focus point is located directly on the highlight of the cup where the rim is, and with the custom function set to EG-A mode.

100% crop

Full Resolution (re-sized to 1000 X xxx)

2.  Auto focus with the manual focusing EG-S screen.  Focus point is located directly on the highlight of the cup where the rim is, and with the custom function set to EG-S mode.

100% crop

Full Resolution (re-sized to 1000 X xxx)

3.  Manual focus with the standard EG-A screen.  Custom function set to EG-A mode.

100% crop

Full Resolution (re-sized to 1000 X xxx)

4.  Manual focus with the manual focusing EG-S screen.  Custom function set to EG-S mode.  (THE SHARPEST IMAGE OVERALL)

100% crop

Full Resolution (re-sized to 1000 X xxx)

Final Thoughts

As you can see from the sample shots; the final image in the second test with manual focusing of EG-S screen set to the custom function mode of EG-S, is the sharpest of every image in both tests.  The second sharpest image is the image used with manual focusing of the EG-S screen set to the custom function of EG-A (which is the incorrect custom function, but still the second sharpest image).  I was surprised to see how awful the auto focusing performed on these shots.  The cup faired better than the screen shots, but still was terrible.  This would not suffice for my portraiture work.

This screen is great for me, as I have always had a problem manually focusing on subjects.  I also adjusted my diapter a couple turns to make sure the eyepiece was sharp with my eyes as well.  For the screen being a merely 40 dollars and free shipping (from BHP), I think this is some money well spent.  Especially having the piece of mind knowing my images will be more detailed than what I originally was shooting.  This will enable me to enjoy manual focusing more often, and allow me to maximize my camera’s ability.

©2010 Ryan O. Hicks. All Rights Reserved.

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It has a lot of features facebook has, but yet is catered to photographers.  It is not an exact copy of facebook, but contains some base features that has made facebook popular and unique.

Below is a screen shot of what shuttrr looks like after you log in on the homepage.

If you are a photographer, I suggest checking this site out.  It is fun and a great way to meet and network with fellow photographers!

SHUTTRR.com

©2010 Ryan O. Hicks. All Rights Reserved.

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This was shot for the Monticello (Indiana) Fire Department Calendar that I am currently finishing up.  It was originally scheduled as a 2010 calendar, but I think it might end up being their 2011 version.

Case Study

Final Image

Trevor Stinson: Monticello Fire Department

©2010 Ryan O. Hicks. All Rights Reserved.

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Client: Monticello Fire Department – 2010 Calendar
Photographer: Ryan O. Hicks (me)
Model: Matt Schroeder

Strobist Settings:
Canon 5d2
50mm f/1.4
1/200s - f/5.6 - ISO200 - 50mm
580ex2 shot into 28” Apollo Wescott softbox camera left

Click to enlarge images.

©2010 Ryan O. Hicks. All Rights Reserved.

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I would like to give some insight on how I devise my contracts. This will probably be more catered to the photography side, but you can take this and twist this to other areas of the design world. We will be putting together a basic contract for a photo shoot. Now I must use this time to make my disclaimer, as I am not a lawyer and I have limited legal knowledge when it comes to offering advice about contracts. I have read books, I have hundreds of copies of different kinds of contracts saved on CDs, and even took a law class last year, but that still does not make me an expert on the subject. Everyone should seek proper legal advice about his or her contracts if you plan to get serious about freelancing, and you cannot hold me liable if you plan to use anything in this article for a contract. I have pieced together my contracts from numerous sources of information and advice given to me from other individuals.

This contract contains everything in a single form from the description of the assignment with an estimate of the photographer’s fees, terms and conditions, and defined terms. Below each section contains a sample in .pdf form that you can click on and download.

Assignment Estimate Worksheet –

I always include this as the first part of my contracts. This is where you break down your fees, expenses, assignment description, and have areas for the client’s information (name, address, number, etc). Being the easy part of devising the contract I have included a very basic break down of what this could look like below. You can create the layouts in Microsoft word, Photoshop, or Illustrator and export them as .pdf files.

Terms and Conditions –

This is the most difficult part of the contract. When it comes down to what saves your ass in the long run, this is the section where you need to be particular about what is typed out and how it is typed out. I am going to list some of the more general terms and conditions (T&Cs). There are numerous T&Cs that need to be applied to different assignments. For instance, there is a big difference when you are putting together a portrait contract and when you are putting together a contract license for merchandising some of your images. I am not going to go through every situation. That is where you can sit down and do some research on your own; so lets begin with some T&Cs that will apply generally to all shoots. These are listed in no particular order and I have italicized and underlined the areas that need to be customized by you.

1. Retainer and Payment.

A non-refundable Retainer of half of the Agreement price shall be paid to the Photographer by the Client to perform the services specified herein 30 calendar days before the Assignment’s scheduled date. The Retainer shall only be refunded as specified in paragraph 2 and 3. At such time the Photographer has completed the Assignment, the Photographer shall send proof copies of the media as an appropriate medium for the Client to choose quantities and sizes of reproduction in print or other media specified herein. Client shall make choices and notify the Photographer within fourteen (14) calendar days upon receiving proof copies. Photographer shall notify the Client within 30 calendar days of Client having made the choices for delivery of the media. Client shall pay the Photographer the balance due by the reduction of the retainer from the total cost within 21 calendar days. If Client refuses to pay balance in full within 21 calendar days, the Client shall be in default hereunder and shall pay (ENTER PERCENT # HERE) percent interest on the unpaid balance until balance is paid in full. Media produced from the course of this assignment shall not be passed to the Client until payment of the Agreement balance has been paid in full, any interest accrued, and/or late fees.

2. Cancellation.

The Client may cancel this Agreement without penalty, thirty (30) or more calendar days before the scheduled Assignment date and the Photographer will refund the retainer fee in full. If Client cancels this agreement within thirty (30) calendar days of scheduled Assignment date and if the Photographer does not obtain another Assignment for that date, liquidated damages shall be charged in a reasonable amount not to exceed the Retainer.

3. Force Majeure.

Neither party shall be liable for any breach of its obligations resulting from causes beyond its reasonable control. Each of the parties agrees to give notice immediately to the other upon becoming aware of an event of Force Majeure; such notice to contain details of the circumstances giving rise to it. In such event of Force Majeure the Photographer will refund Client’s Retainer in full. Causes deemed to be beyond control shall include:

.1 Death or serious injury of illness of a close family member.
.2 Injury to or illness of the Photographer personally.
.3 Acts of God (including fire, flood, earthquake, storm, hurricane, or other natural disasters).

4. Photographer’s Obligations.

Photographer agrees to devote his full time, attention, and abilities for the duration of the Assignment. Photographer may substitute another photographer in the event of Photographer’s illness or of scheduling conflicts. With the event of a substitution, the Photographer warrants the substituted photographer is a professional.

5. Client’s Obligations.

Client is obtaining media from Photographer for personal use only and shall not reproduce, sell, or authorize other parties to reproduce the media. Written permission shall be required by Client from Photographer to reproduce any of Client’s media that is not directly reproduced from Photographer. In such event Photographer gives permission, Client is required to give credit on or near reproduced media to Photographer. Client shall pay Photographer balance due for services requested herein as specified in paragraph 1. Client may not use or have access to any media in any medium in respect of which payment has not been made to Photographer.

6. Copyright.

Photographer shall own the copyright to the media in any medium produced from this Assignment and shall have the exclusive rights to all media unless specified herein. Photographer reserves the right to reproduce the media for Photographer’s portfolio, marketing, samples, entry into photographic contests, art exhibitions, editorial use, or for display in and outside of Photographer’s studio.

7. Inherent Qualities.

Photographer assumes no liability and is released from any color dyes and/or inks in Client’s media that may fade or discolor over time.

8. Governing Law.

This Agreement shall be construed in accordance with the laws of (ENTER STATE HERE) of the United States of America. Client consents to the jurisdiction of the courts of (ENTER LOCAL COURTS HERE).

9. Addresses.

All notices, demands, payments, and statements shall be sent to the Photographer at the following address (FILL IN ADDRESS HERE).
and to the Client at (FILL IN ADDRESS HERE).

10. Modifications in Writing.

This Agreement constitutes the entire Agreement between the parties hereto and shall not be modified, amended, or changed except by a written Agreement signed by both parties hereto.
IN WITNESS WHEREOF, the parties have signed this Agreement as of the date first set forth above.

________________________               _______________________
PHOTOGRAPHER                                               CLIENT

Defined Terms –

Usually a contract or an agreement will contain terms that some clients might find hard to read and/or understand. Your contract should contain what is called a form of defined terms to maintain consistency throughout the contract, and allow the drafter (you?) to use shorter defined terms instead of the longer definitions. Defined terms are usually typed with “Initial Capital Letters” to help distinguish terms from words that are not defined. As you read through some of the T&Cs above you might of noticed me capitalizing a few random words in the middle of sentences. That is because I was setting those words up to be defined later on below. I have read that a lot of times you will see the defined terms within the body of the contract and sometimes at the end of a contract. For me I like to keep it simple and put all the terms on a blank paper for referencing.

Agreement – Oral or written exchange of promises.

Assignment – An undertaking that an individual has been assigned to.

Client – Someone who pays for goods or services.

Copyright – United States governed law legally enforcing creative and artistic work(s) for the creator of the original work(s) who have exclusive rights for a certain time period in relation to the work and publication of the work.

Exclusive Rights – Permits other parties from having any rights to perform the same action with the work or to acquire any benefit from the work.

Force Majeure – A natural and unavoidable catastrophe that interrupts the expected course of events.

Nonexclusive Rights – Leaves the rights to the creator permitting him/her to gain profit from their work by other means.

Photographer – A professional person who takes pictures with a camera and intends to make a living off of his/her work.

Retainer – A fee charged in advance to retain the services of someone.

I hope this helps a few individuals in getting started or even improving some of their contracts.  Feedback is welcome.

©2010 Ryan O. Hicks. All Rights Reserved.

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Photography is an art and another way to express the way the world reflects upon an individual.  It is simply capturing a moment in time that reflects what you can hear, smell, taste, feel, and see.  As some say, “You are writing a story with light”. Everyone has a great photograph in them, but not everyone can be a great photographer.  Creating a visual narrative, consistently, is the gift that photographers have.

In this article I will be sharing with you some basic tips to help you improve and advanced your photography skills.  This article is geared toward the amateur photographer or the beginner that is just starting out and looking for a path to help guide them.

1.  Rule of Thirds

The rule of thirds is a visual rule of thumb that states the image should be divided into nine equal parts.  This is a very well known rule and is not only applied to photography, but also can be applied to different kinds of art and design work.  There are two equally spaced horizontal and vertical lines that you place over an image (visually in your head) to help better compose your scene.  By aligning your subject on the intersected guidelines (any of the 4 points), and by aligning a horizon or other elements in the photograph with the horizontal lines at the top or bottom this will help create a more visual/natural experience for the eye.  Today’s software editing tools allow you to fix your photographs with ease by following the rule of thirds.  So do not be discouraged if you miss applying the rules to a certain photograph because it can always be fixed in post-production.  Below are a few examples from my own photographs to help explain what I mean.

2.  Break the Rules

You need to understand how to utilize the Rule of Thirds before you can concentrate on when to break them.  I know I just explained to you that there is a set visual rule that you need to follow to make your photos more visually compelling.  More often than not this is true, however, it is also true that not everything needs to conform to the standards in this world.  Breaking the rules can be just as effective as following the rules.  In select situations moving your subject dead center of your frame can and will produce powerful and confronting images.  You see this a lot in portrait style photographs or when there is intriguing symmetry in the scene.  Deciding whether to follow the rules or break them is where the photographer in you comes out and recognizes the scene’s composition before the shot is finalized.  Practicing these two techniques will not only better your skills as a photographer, but also help your workflow to reduce time spent in post-production.  Below are some of my photographs that help explain what I mean.

3.  Shooting in direct sunlight is bad

A lot of people often believe shooting in direct sunlight (overhead, mid day) is the best time to take a photo.  You have a lot of available light and the sun is shining on everything … so what’s the problem?  The problem is direct sunlight will cause blown out highlights, high contrast, sometimes lens flares, possible over saturation of colors, squinting from your subjects, and what is referred to as raccoon eyes on people.  Raccoon eyes are caused by direct sunlight that produces harsh shadows underneath or around the eye areas.  If you must shoot in direct sunlight then try to use fill flash, get the subject under some shade, use reflectors to fill in the harsh shadows (most reflective materials can work; even car sunlight deflectors for windows work), and using a transparent fabric/reflector that is hung above your subject will help soften the light.  The best time to shoot is when the sky is overcast because it eliminates virtually all shadows by the clouds acting as a huge softbox. A plus to shooting in overcast is that it will render accurate colors to your subjects, but the draw back is the quality of light is shapless. This means there is no direction with the light to emphasize your subjects. Other than shooting in overcast, shooting during or a few hours before sunset and after or during sunrise are the better times. Below are a couple pictures where i placed my subject under some trees (the first picture) and my mom and uncle underneath a roof extending out (second picture).

4.  Get on their level

Get down on your knees or even lay down and get dirty to get on your subject’s level.  If you are shooting animals or kids, get way down and shot from their perspective to create a more inviting image.  Eye level will create a more inviting feeling from the reflections in their eyes and beautiful smiles that your subject offers.  It creates a more personal feeling to the image as if you were in their shoes seeing everything from their perspective.

5.  Shoot candid / Observe

Nothing is more fun then seeing a candid moment in a photograph and is often what creates such a wonderful photo.  Often times I will carry my camera with me to most places I go (even every day travel) and in public places I will just sit and observe.  I will observe mannerisms, the way light hits subjects, and anticipate a reaction or scene to photograph based on my observations.  Getting your subjects in their comfortable environment is a big plus.  Try shooting your subject with a long zoom lens so you can stay out of the way and not make the subject nervous as if he/she is being watched.  Getting individuals in their natural habitat, while interacting normally, creates a special feeling to an image.

6.  Reduce camera shake

Camera shake is the blurring of images without the intent to blur them.  It will almost always ruin a photograph you so badly wanted.  Camera shake can be caused by many factors.  Too heavy of a lens, not a fast enough shutter, not shooting wide open enough in low light situations (bigger aperture to let in more light), bad shooting form, and without the use of a tripod.  To improve some of these just by using a faster shutter can often minimize camera shake.  If that fails then open up your aperture by reducing the number, say from f/4.5 to f/2.8 (if your lens allows it).  Also increasing your ISO number while increasing your shutter can also reduce camera shake.  Try using a tripod to hold the camera still while you are shooting the photograph.  If you do not have a tripod, then try propping the camera on a fixed object (like a trash can or a ledge).  While the camera is on the tripod, use a wireless or wired shutter release so you are not physically touching the camera to click the shutter.  If you do not have a remote for triggering the shutter try using your camera’s timed settings.  Some cameras have a ten-second timer or a two-second timer you can use so you are not clicking the shutter.  When shooting without a tripod and with the camera in your hands; pull your elbows inward towards your body by your chest to better your stability, kneel on the ground and use your body parts as a tripod (set it on your knee) or lay on the ground, and hold it like a gun with one hand on the end of the lens and the other on the top of the camera for the shutter to stabilize the lens.

7.  Be the director

Coordinate your photo sessions.  Add props to the scene and place everything how you want it.  Tell individuals to stand certain ways or perform certain moves to create your vision.  Take shots in successions during photo shoots to show the candid moments.  Often times the first photograph of group photos are not on par with how you wanted it.  So tell everyone to smile and start popping off two or three images in a row to yield better results then just taking one photo.  This can be really important when shooting impatient subjects like animals or children.  They do not sit still for very long or at all, and taking a bunch of random shots can often create an image that you had not thought would come about.  Make individuals get out of their comfort zone.  Have them do things they are not comfortable with or often seen in photos.  Sometimes people will let go and open up to the ideas creating a more fascinating and inviting image than originally planned.  The ordinary works, but is not often desired.

8.  Recognize the light

Light makes everything in a photograph.  It is the single most important factor in any image.  Using ambient light or your own light (strobes, moonlights, etc) you can come with an infinite amount of ideas to light your subjects.  From using side lighting, rim lighting, backlighting, silhouetting, or using “cookies” to create cool light patterns.  Metering for specific lighting in a photograph and then re-composing the scene with the locked exposure can create awesome effects on your subject.  Study how the light falls on subjects and where it might affect your highlights or shadows in the image before you finalize the image.  Also think before you shoot and always look behind what you are shooting to see what your sensor might capture if you render the highlights, midtones, or shadows as the priority.  Check your histogram in the camera after the shot to verify where your tones fall for verifying if you exposed the scene to how you wanted it.

9.  Framing

Framing is a very important part of the composition for your image.  Framing is using borders to compose a subject or shooting the scene at different angles and perspectives to create an effective image.  Usually you want to use framing as a way to draw specific attention to your subject(s) leading your eyes to the focal point.  There are many ways to frame a shot.  You can use windows, people, shrubs, buildings, doorways, tunnels, and etc.  When composing with certain framing techniques it is important you ask yourself ... Will this enhance the scene or take away from it?  Clutter becomes a problem when trying to frame subjects and can be distracting to the image rather than enhance the subject.  Using a shallow depth of field (smaller aperture number/wider open lens) helps create the frame outside the focal point (your subject) blurry so it draws even more focus to the subject.  Below are a few examples I have taken over the years to help illustrate this idea.

10.  Learn the controls on your camera / practice

Know what aperture and shutter control on your camera and how they affect your exposure.  Explore what ISO will do if it is increased or decreased.  I will not go into detail on the subject matter because this would take me another page to explain.  Read your manual and experiment with your camera as much as possible.  Know that your aperture controls the depth of field, and the shutter controls the way motion appears in your image.  Shoot, shoot, shoot, shoot, and shoot! Practicing shooting everywhere and anywhere you can.  You can never take enough photos.  You always have the option of deleting what does not look good later on, but sometimes you cannot re-shoot a scene or situation.  I am not sure why, but some people are afraid of taking lots of photos.  It does not mean you are a bad photographer if you take 20 photos of a specific scene.  Practicing with different shutter speeds and aperture settings is the only way to learn how the camera renders a scene.  I remember the first time I picked my camera up to actually learn about the controls.  I sat down, turned the knob on top, and wondered what all those little settings stood for.  So I picked up the manual and read all about them. After I understood the technical terms I decided to apply the knowledge by taking photos of my sink faucet for 2 hours.  I was using my shutter speed to control the motion of the water coming out by freezing it with a fast shutter, or blurring it with a slower shutter speed. I was so fascinated by the results of that technique that I began to do more research on photography and practice as much as I could.

If you have any general questions regarding photography or comments/feedback, feel free to leave them below.

©2010 Ryan O. Hicks. All Rights Reserved.

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