Better Photography

in 3 Steps
From : Amy T Schubert
Lemon and Raspberry
The Steps:
(really quickly for those of you who can't wait)
1. Turn of your fash
2. Move your feet
. Loo! at the "ho#e frame
Introduction
$ %ot my &rst camera as a %raduat'on %'ft "hen $ "as 'n the (
th
%rade. And $)ve been ta!'n%
p'ctures pretty much every day s'nce then.
*very day.
$ "on)t te## you ho" #on% that has been.
A#on% the "ay+ $ cou#dn)t he#p but not'ce #'tt#e "ays $ "as ab#e to ma!e my photos better+ more
aesthet'ca##y p#eas'n%+ and #ess 'n the trash. Lon% #on% before $ ever %ot a )fancy) dSLR camera.
*ven thou%h $ "as a#"ays shoot'n% "'th a po'nt,and,shoot camera -'n no "ay profess'ona#.+
some of my techn'/ues he#ped my 'ma%es come out better and better.
0ou don)t need to spend a #ot of money on an e1pens've camera to ta!e better photos.
0ou 2ust need to remember a fe" very s'mp#e techn'/ues and be a"are "hen you)re shoot'n%.
3omp#ete#y re%ard#ess of the e/u'pment you have at your d'sposa#.
$ hope th's #'tt#e eboo! "'## he#p you d'scover the easy "ays you can 'mprove your photo%raphy.
If you have a blog or a website that you have invested a lot of time and/or money into, I
encourage you to take the next step in creating eye-catching images to match the quality of
the rest of your amazing content.
Materials Needed
1. A camera -'t can be an SLR+ or po'nt,and,shoot+ &#m or d'%'ta#..
2. A sub2ect -person+ p#ace or th'n%.
That's it! That's all you NEED.
0ou may a#so "ant some ....
1. 4ood #'%ht
2. F#'c!r account+ b#o%+ or some other "ay to share the resu#ts
Turn off your fash
The eas'est "ay to %et profess'ona# photos 's to use natura# #'%ht as much as
poss'b#e. 5h'ch means no fash. 6ot on,the,camera,fash+ not of,the,
camera,fash+ not strobes.
Those can a## "or!+ and can %et you ama7'n% 'ma%es.
8ut 'f "e)re ta#!'n% about *AS0 steps you can ta!e right now9
:ust turn of your fash.
0our s!'n tones "'## be so much smoother
and more natura# #oo!'n%.
0our co#or ba#ance "'## be so much c#oser
to rea#'ty.
0our mood and amb'ence 'n the 'ma%e
"'## trans#ate so much better.
Turn off your fash
;ere)s an e1amp#e of the same 'ma%e ta!en "'th and "'thout a fash.
3an you see the d'ference9 The "ay the fash "ashes out your
sub2ect+ and ma!es the co#ors #ess,than true to #'fe9
5'th fash 5'thout fash
Turn off your fash
3ons'der your opt'ons.
negative: <f course+ 'f 't 's n'%htt'me or you)re 'n a very dar! room+ you "'## probab#y
have to use a fash. $ "on)t ar%ue "'th you there. Try not to as much as poss'b#e and 2ust
not'ce the d'ference.
As you)## see "hen you %et to the Extra Credit sect'on+ there are a##o"ances to ma!e
'nstead of turn'n% on the fash.
*ven thou%h there $S #'%ht 'n th's
"edd'n% 'ma%e+ 't 's not com'n%
from my camera. $nstead+ $ e1posed
for the ava'#ab#e #'%ht -com'n% from
the v'deo%rapher or =:)s art'&c'a#
#'%ht.
$ 3<>L= have used a fash+ but as "e
"ere outs'de+"'th no "a##s or ce'#'n%s
to bounce the #'%ht of of+ us'n% on#y
the ava'#ab#e #'%ht "as a far better
opt'on.
Turn off your fash
n added bene!t of turning o" the #ash:
0ou)re #ess d'sturb'n% 'n a /u'et or cand'd
moment. Th'n! about your ch'#d p#ay'n%+
and you don)t "ant to %et h's attent'on+ for
e1amp#e.
Add't'ona##y+ you)## be ab#e to ta!e a /u'c!
ser'es of photos "'thout the fash ener%y
hav'n% to recyc#e. L'!e dur'n% a %reat b'%
be##y #au%h+ or a sports %ame. Those are
'ma%es that need to be captured /u'c!#y+
and re#y'n% on the fash for each 'ma%e "'##
rea##y s#o" you do"n.
0ou can a#so ALL<5 the 'ma%e to be
b#urry+ and embrace "hat 't 's any"ay.
Turn off your fash
<f course+ there are some p#aces "here you aren)t actua##y a##o"ed to use your
camera+ and a fash "ou#d 2ust dra" attent'on to your ru#e,brea!'n%.
Examples
$ere%s a funny example: My 'n,#a"s) do% ;a7e# 's scared to death of the fash. L'%htn'n%. <f,
camera fash. <r on,camera fash.
5h'ch ma!es her scared of the camera. ?etr'&ed. As 'n #'tera##y sha!'n% and h'd'n% under the
bed.
$n the 'ma%e here -be#o" on the #eft+ she 's 'ntent'ona##y #oo!'n% a"ay from me because $ have a
camera 'n my hand -'ron'c that she 's )h'd'n%) beh'nd a camera+ huh9.
6o" ;a7e# has reco%n'7ed "hat my camera #oo!s #'!e and has #earned that my camera "on)t
fash at her. 5h'ch means $)m ab#e to %et 'ma%es that other peop#e aren)t -#'!e the 'ma%e be#o"
on the r'%ht.. &ust because I turned o" the #ash.
Examples
5ho does th's rea##y "e##9
li 'dwards , scrapboo!er and storyte##er e1traord'na're
A#' -$ L<@* her. has a#"ays preached the bene&ts of turn'n% of your fash.
0ou)d be hard pressed to &nd an 'ma%e of hers that she uses a fash on.
And have you seen her photos9 They are a "onderfu#+ natura# #oo! at her rea#
#'fe. ;o" the #'%ht'n% actua##y #oo!s 'n her #'v'n% room "h'#e her dau%hter
p#ays+ or 'n her oAce as she "or!s.
A#' 's te##'n% her story true,to,#'fe. And us'n% true,to,#'fe #'%ht'n% 'n her 'ma%es
's such a v'v'd "ay to do that.

*for copyright reasons I can't use any of her actual images
!ut please follow the lin"s to #iew more of $li's wor".
Extra Credit
$f you "ant to ta!e 't to the ne1t step you can:
(heck out your camera%s I)* settings:
:ust #'!e "hen you used to buy &#m at
2BB$S< or CBB$S<+ your camera can
probab#y be set at a spec'&c $S< depend'n%
on your #'%ht'n% -$S< 'nd'cates ho"
sens't've to speed the &#m or camera 's.
Some dSLR cameras are %o'n% up to
2BB$S< or more.
$f your camera a##o"s you to chan%e the
$S< sett'n%s+ the h'%her the number+ the
better your 'ma%e 'n #o" #'%ht.
?#ay and e1per'ment "'th your $S<
sett'n%s. 0ou may &nd that the #'%ht 'n your
!'tchen needs (BB$S< to be c#ear+ "h'#e
your #'v'n% room on#y needs CBB$S<.
Extra Credit
+earn your ,blur tolerance-: Turn your fash of
and your camera "'## ad2ust other sett'n%s+
"h'ch may mean some b#urry 'ma%es.
$ have a very very #o" b#ur to#erance. $)d rather
an 'ma%e be s#'%ht#y undere1posed than b#urry.
8ut not everyone 's #'!e me.
Some photo%raphers have a much much h'%her
b#ur to#erance. They #ove the "ay an 'ma%e
#oo!s and fee#s even 'f the ed%es aren)t cr'sp.
$f th's 's the case "'th you+ you)## fee# perfect#y
comfortab#e ta!'n% 'ma%es 'n a much dar!er
room. The #ess #'%ht+ the b#urr'er the 'ma%e can
%et.
0ou can e1per'ment 'n d'ferent #'%ht s'tuat'ons+
p#ay and #earn "hat sett'n%s your camera needs
to be on for you to %et 'ma%es you #ove.
Moe your !eet
$f your photo #oo!s %ood from "here you)re stand'n%+ 't cou#d #oo! even
better from a d'ferent an%#e.
5hen you stop to ta!e a photo+ pause a moment and th'n! about 'f the
photo shou#d be c#oser up or farther a"ay or #'t from a d'ferent s'de.
Th'n! about 'f you cou#d see more of your sub2ect)s face+ or 'f you)re too c#ose
and cutt'n% someth'n% 'mportant out of the shot.
6ot *@*R0 photo can be bene&tted by chan%'n% your an%#e+ but 2ust paus'n%
a moment to th'n! about your an%#e can rea##y he#p 'mprove the 'ma%e.
Moe your feet
From "hen $ "a#!ed 'n the room From "hen $ #oo!ed for a better shot
There can be a ;>4* d'ference 'n the /ua#'ty of
your 'ma%e+ 2ust by paus'n% a moment to th'n! about
"hat 's the best an%#e for "hat you are try'n% to
capture.
Around the s'de of the bed+ and do"n #o"er to the
sub2ect)s eye #eve#.
Moe your feet
3ons'der your opt'ons.
negative: Th's doesn)t
a#"ays "or! 'f you)re
photo%raph'n% ch'#dren
on su%ar+ or a t'me,
sens't've moment. 0ou
may have to 2ust dea# "'th
"here you are. 8ut that)s
o! too.
$ "a#!ed r'%ht past th's
'ma%e before $ sa" the
pretty fa## co#ors.
$ had to %o bac! to a spot
$ had "a#!ed throu%h to %et th's 'ma%e of the trees a#most #'ned up.
Moe your feet
n added bene!t of moving your feet. $t
e1erc'ses your body. <!+ not rea##y. >n#ess
you)re photo%raph'n% your ch'#d)s soccer
%ame and runn'n% from one end of the &e#d to
the other.
5hat th's rea##y does 's e1erc'ses your
creat'v'ty. $t ma!es you th'n! of someth'n%
apart from the typ'ca# or easy.
<ften you)## &nd yourse#f phys'ca##y #'m'ted by
"here you can ta!e the shot from+ but
"or!'n% "'th these !'nd of #'m'tat'ons 's "hat
rea##y e1erc'ses our creat've musc#es.
Examples
gain with the dogs.
<f a## the best pet -or ch'#d+ actua##y.
'ma%es $)ve ever seen+ DDE of them
are ta!en "hen the photo 's do"n
#o"+ #eve# "'th the sub2ect -c#ose to
the %round..
Rather than captur'n% th's t'ny puppy
from above "here $ "as stand'n%+ $
%ot do"n -d'rty+ 'n the %rass+ pretty
#o" do"n. to capture h'm much
c#oser to h's natura# env'ronment.
5hen you %et do"n to the'r #eve#+ a##
of a sudden the perspect've 's
correct.
0es+ that do% toy rea##y 's b'%%er than
h'm. :.
Examples
5ho does th's rea##y "e##9
Rache# =enbo" F art'st+ thr'fter and super cute mama
$ #ove ho" she photo%raphs her !'ds and ho" she
photo%raphs her ama7'n% home decor.
Rache# "'## %et r'%ht do"n near her dau%hter to capture her
p#ay'n% on a ne" b#an!et. <r stepp'n% bac! far enou%h to
rea##y capture a sense of the chaos.
Love 't.
*for copyright reasons I can't use any of her actual
images !ut please follow the lin"s to #iew more of
%achel's wor".
Extra Credit
$f you "ant to ta!e the ne1t step you can.
(hoose one ob/ect and take as many images of it as you can without moving it. 0his can
mean from the side, from above, creative cropping, etc.
$)ve done th's and created a F#'c!r photo set as an e1amp#e.
There)s about 12 'ma%es a#ready 'n the set.
$ used a &1ed #ens -GBmm. so $ #'tera##y had
to move my feet F as $ cou#dn)t 7oom
'n or out. $f $ had chosen to chan%e
the #ens F to a macro+ for e1amp#e F
$ cou#d have eas'#y ta!en another 1B
or more 'ma%es. <f the same 'tem.
5'thout mov'n% 't.
4've 't a shotH
"oo# at the $hole !rame
%not just your subject&
5hen you #oo! throu%h the v'e"&nder of your camera+ #oo! for not on#y the sub2ect of your
photo+ but a#so anyth'n% e#se that m'%ht be 'n the "ay+ out of p#ace or d'stract'n% 'n the frame.
:ust by ta!'n% an e1tra second to doub#e chec! that everyth'n% 'n the frame shou#d be there+ you
can 'mprove the /ua#'ty of your 'ma%es so much.
At &rst %#ance: cropp'n% out the s'detab#e "'th the
#amp+ d'%'ta# c#oc!+ etc.
For e1amp#e+ 'f your ch'#d -or husband 'f yours 's #'!e m'ne. 's bu'#d'n% a sandcast#e on the beach+
"a't for the o#d man 'n a speedo to "a#! out of the frame before ta!'n% a shot. Save that %uy for
h's o"n photo :.
"oo# at the 'hole frame
Th'n%s to #oo! for 'nc#ude:
='stract'n% peop#e or ob2ects that can be
moved -#'!e a %#ass of "ater out of p#ace.
='stract'n% peop#e ob2ects that can be
cropped out -don)t for%et to move your feet.
5here the ed%e of the frame 's cropp'n% your
sub2ect -try not to crop r'%ht on a 2o'nt+ #'!e an
e#bo".
1ith this image:
6o fash
Moved my feet to %et do"n at her eye,#eve#
$ cropped someone e#se out of the shot to
focus on her
$ made sure to crop m'd,ca#f -rather than at
her an!#e or !nee.
"oo# at the 'hole frame
3ons'der your opt'ons.
negative: =on)t for%et to #oo! AT your sub2ect.
$)m comp#ete#y %u'#ty of th'sH $ once shot a "ho#e ser'es of photos of my fr'end
M'randa that #oo! 4R*AT 'n the frame F "'th the e1cept'on of a p'ece of
%rass 'n her ha'r very p#a'n#y 'n the front.
$f you)re ta!'n% portra'ts+ #oo! for hand p#acement+ )"ardrobe ma#funct'ons)
or ha'rs out of p#ace. She may be sm'#'n% and #oo! %or%eous+ but 'f the
p#acement of her hand ma!es her #oo! #'!e she)s m'ss'n% a coup#e &n%ers+ 't
can ru'n the "ho#e 'ma%e.
n added bene!t of looking at the whole frame: 0ou may not'ce stor'es or
moments you "ou#d have other"'se m'ssed. L'!e the coup#e canood#'n% of
'n the corner+ or your dau%hter ma!'n% faces at herse#f 'n the m'rror.
Examples
Somet'mes F #'!e "hen you)re photo%raph'n%
at an event F you don)t rea##y have contro#
over 't. Somet'mes+ you "'sh the person 'n the
bac!%round "ou#d 2ust move C feet to the'r
#eft. <r that you cou#d move someone)s
furn'ture around.
L'!e th's 'ma%e.
$f $ cou#d have+ $ "ou#d have moved those
trash cans. <r moved around to a d'ferent
an%#e to crop them out of the 'ma%e.
8ut+ those aren)t my trash cans.
And "e "ere on a "a#!. There)s no "ay ;a7e#
"ou#d have "a'ted around for me to &nd a
d'ferent an%#e.
Somet'mes F you 2ust have to dea# "'th 't.
Examples
5ho does th's rea##y "e##9
'lsie 2lannigan F art'st+ teacher+ scrapboo!er and 'ndependent
bus'ness o"ner.
*#s'e has a #ot of pract'ce do'n% th's as she 's often ta!'n%
product photos for her on#'ne store. She a#"ays needs to be
th'n!'n% about "hat be#on%s 'n the frame and "hat doesn)t.
Another th'n% "e can a## #earn from *#s'e 's ho" to creat've#y
crop the 'ma%e.
$ #ove the "ay she doesn)t ever hes'tate to %et r'%ht 'n c#ose+ or
on#y sho" ha#f of "hat someone e#se m'%ht sho" a## of.
*for copyright reasons I can't use any of her actual images !ut please follow the lin"s to #iew more
of Elsie's wor".
Extra Credit
$f you "ant to ta!e the ne1t step you can:
+earn about the ,rule of thirds-: Th'n!
about the "ho#e compos't'on of your
'ma%e. The ru#e of th'rds -very very
bas'ca##y. says that the sub2ect of your
'ma%e shou#d be 'n one of the )th'rds) of
your 'ma%e -assum'n% the frame 's
bro!en 'nto D sect'ons #'!e a t'c,tac,toe
board.
5hen you start #oo!'n% at the ent're
frame+ you)re %'v'n% yourse#f a chance to
rea##y cons'der the compos't'on of the
'ma%e as a "ho#e.
And that a#one can 'mprove your
photo%raphy 'ncred'b#y.
$n th's 'ma%e+ the sub2ect)s eyes are the
focus and 'n the top th'rd of the frame.
Extra Credit
'xperiment with ,white space-: A#so
!no"n as )ne%at've space.) $t)s the part
of the 'ma%e that does 6<T conta'n
the sub2ect.
$ #ove the v'sua# 'nterest added "hen
the )sub2ect) 's on#y 'n one sma##
sect'on of the 'ma%e.
*fect've#y us'n% "h'te space 'n your
'ma%e can rea##y add to the aesthet'c
/ua#'ty
(dditional )esources
?#ease fee# free to fo##o" the b#o% Lemon and Raspberry for more
photo%raphy resources+ t'ps+ and #essons $ #earn from my m'sta!esH $ ta!e
photos pretty much every day+ and the s'te "'## soon be a home to a## the
photo%raphy t'ps $ have #earned.
$Ive created a +emon and 3aspberry 2lickr group as an added support
center for those of us "ho "ant to "or! on our 'ma%e,ta!'n%. $n add't'on to
add'n% your 'ma%es to the %roup for others to see+ there 's a#so a chat forum
ava'#ab#e to as! spec'&c /uest'ons or share other tr'c!s you)ve d'scovered.
?#ease 2o'n me thereH
And F as a#"ays F you are welcome to email me with any further questions
or #eave comments on the b#o% for fo##o",up.
Copyright*ETC
A## te1t and 'ma%es 'n th's eboo! are copyr'%ht
Amy T Schubert of Lemon and Raspberry
A## r'%hts reserved. 6o part of th's boo! may be reproduced+ or transm'tted 'n
any form or by any means+ "'thout the pr'or "r'tten perm'ss'on of the
pub#'sher+ e1cept 'n the case of br'ef /uotat'ons embod'ed 'n cr't'ca# art'c#es
or rev'e"s.