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What sort of makeup goes best with Spring/Summer’s bright silk dresses? Take a look at Versace’s creations. Gorgeous silk dresses in bright colors that flow beautifully over the female figure. The brainchild of Donatella Versace. You might expect that to go with the new nude look. It might. But Versace sent the models out with the unexpected. Dramatic eye makeup, the sort you might expect to see for winter, was the makeup for the models’ at Versace.

Instead of a totally gothic got-punched-in-a-fight-black-eye look, the new smoky eye makeup is spiced up with a gold or bronze. It is not just about the eyes alone. The entire face must be made up harmoniously. If you focus on the eyes, go light on the rest of your features.

1. Your Makeup Base

You need a flawless canvas for the look to work, so go for the works. Apply moisturizer on cleansed face, paint concealer with a brush to hide your blemishes, apply foundation with fingers and blend it so well it looks like your own skin.. except that it is perfect.

2. Your Cheeks

To blush or not to blush. If you prefer that pale, goth inspired look, then skip the blush. If not, you could go sunkissed with bronze blush or naturally pretty with peach or soft pink blush. In either case, apply blusher with a light hand. Dust off the excess from your blusher brush before applying any color on your face. Put blusher on the places that light would hit. The cheekbones, tip of nose, chin and forehead.

3. Your Lips

Go nude. You don’t want your lips to compete with your eyes, so a nude lipstick, applied with a lip brush would be perfect.

4. Your eyes.

The most important thing here is a black Kohl pencil. That and 3 shades of eyeshadow.
Mimicking Versace’s look, you’d need a medium brown main eyeshadow, a gold shadow for highlights and a coffee brown eyeshadow for the contours. You’ll also need mascara.

Start with the main eyeshadow. Apply that over the entire eyelid.

Next, use the coffee shadow to contour your eyes. Apply that shadow into the crease of your eyelid. Open your eyes and look into the mirror. Deepen the crease line with the dark shadow to make your eyes more dramatic.

Then highlight the center of the eyelid and the brow bone with gold.

To avoid having 3 discrete colors that can look jarring, take a large makeup brush to blend your shadow and soften the edges.

Now draw a line just above and close the the upper lash line with Kohl. Thicken the line as you move towards the outer edge and wing out. Then draw a line just below the lower lash line. Smudge the Kohl with fingers to soften the look.

Apply 3 coats of mascara for dramatic lashes as the finishing touch.

If you don’t already have makeup brushes, invest in a good set of makeup brushes because you need them for well applied makeup. The original article 5 Steps To Spring and Summer 2008’s Smoky Eye Makeup

This article was written by the author for http://www.cosmeticsonline.info

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Models are people, either male or female, who act as props for the display of items like dresses, jewelry, accessories and the like. Modeling is basically of two types fashion modeling and commercial modeling.

Fashion modeling is an intrinsic part of the clothing industry. Leading designers rely on fashion models to walk the ramp in fashion shows to display their collections. Fashion models are used for photo shoots also. Such assignments require them to show particular emotions and feelings on their faces. So fashion models need to have a certain amount of acting skills too. Also, it is not unusual for fashion models to use their modeling career as a stepping stone for an acting career.

Fashion models may be either high fashion models or commercial models. Both types churn out a regular crop of top models from time to time. Several top models specialize in high fashion modeling. Artistic themes are used as backdrops for such assignments. These kinds of assignments pay very well and add a lot of value to a model’s portfolio. In fact, a few high fashion assignments done with leading photographers is enough to turn a model into a top model.

Commercial models model for assignments like catalogues, cosmetics, various print magazines and the like. Several commercial models also go on to become famous top models with their names being recognized in every household. Top models are often sought after for product endorsements.

Naomi Campbell, Tyra Banks, Twiggy, Gisele Bundchen, Christie Brinkley, Kate Moss, Cindy Crawford, Petra Nemcova, Beverly Johnson, Elle Macpherson, and Janice Dickinson are a few popular top models who are recognized in all households all over America. Daria Werbowy, Gemma Ward, Lily Cole, Natalia Vodianova, and Karolina Kurkova are a few of the notable top models of today.

Though photographs of top models with their smiling faces may suggest a luxurious life, it is luxury that is hard earned after hundreds of shows, shoots and the like which would have taken a lot of time and effort.

Models provides detailed information on Models, Super Models, Plus Size Models, Male Models and more. Models is affiliated with Layered Hair Styles.

Studio Model

Whether you’re a photography newbie or you’ve been around the block a few times, it doesn’t take long to learn that properly lighting a portrait subject can make a huge difference in the quality of the finished portrait.

Thus begins the never ending torment.

First, we wonder what kind of lighting patterns there are.

We go to our local camera store and discover a book that discusses Rembrandt light. Then another guru says that narrow light is the way to go. But for each narrow light application, there’s another time when broad light will do the trick. They talk about split light, backlight, hair light, fill, ambient.

They use terms like main light, key light, fill, diffused, hot, continuous, strobe and so on…

It’s no wonder so many people throw up their hands in frustration. Then they light every subject the same tired old way.

So then, we start to question - why bother?

What difference does it make?

We soon learn that wide faces can be visually narrowed, narrow faces can be visually widened, noses can be shortened, cheekbones can be raised. Not to mention - blemishes can be minimized, wrinkles softened and weight reduced.

Then it finally hits. Lighting is important. We start to realize that being a photographer entails more than buying the latest digital gadget and spending countless hours in Photoshop.

By now we are in information overload. Which way to turn? How many hundreds of dollars do we need to spend - buying all the latest magazines and photo books?

There is an easier way.

It’s true that photo equipment is being improved all the time. Trying to keep up with all the most recent improvements in technology is impossibly difficult - but - peoples faces are pretty much the same now as they were 10 years ago, 50 years, 100.

The best lighting patterns haven’t changed. Rembrandt light is called that because Rembrandt used that lighting pattern! In the early 1600’s!

The point is, to learn the basic lighting patterns, old photo books work just as well as the new ones. You don’t have to spend a fortune at the local camera store, book store or on line. Go to the library. It’s free.

Find a book that shows a lighting pattern you want to learn, check it out and go home.

Now comes the expensive part.

You need some flashlights. I mean the kind you hold in your hand. The kind you keep in the kitchen junk drawer. (Yes, the one that always has dead batteries when you need it.) You will also need a notebook.

Now, for the fun part. Grab one of your kids, boyfriend, girlfriend, next door neighbor, next door neighbor’s kids…somebody! Bribe them. Tell them if they’ll help you learn about lighting, you’ll do a nice portrait of them!

Have them sit on a chair in a darkened room. (Leave your camera in the bag. We don’t need it.) Take out your flashlights and starting with one (add more as needed)- light up their face. Move it in and out, raise it, lower it, go to the sides and so on.

Watch what is happening! Learn how to exaggerate and minimize noses, bumps, acne, wrinkles. Learn where the light needs to be positioned to get the patterns in the book.

What happens when you put some tracing paper over the light? Bounce it off a nearby wall?

Then for each new discovery you make, write it down in your notebook. Use plenty of diagrams.

In a couple hours, you’ll know more about photographic lighting than 75% of all the photographers out there. Plus, you can have a great time!

Dan Eitreim has been a professional photographer in southern California for over 16 years. His data base exceeds 6000 past clients, and he says that selling YOUR photography is easy - if you only know a couple tried and true marketing strategies. He’s created a multimedia presentation that can teach ANYONE how to sell their own photography and generate freelance income in as little as two weeks. To learn more and enroll in a FREE photo marketing course, go to: http://www.PartTimePhotography.com

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Becoming a child model is a great way to start a college fund. And there’s plenty of demand for new faces here in the United States and around the world. One of the biggest myths is that you have to enter in pageants, contests, and pay huge sums of money to get a talent agent. This is simply NOT true. In fact, you should Never have to pay any money in advance to a licensed agent - EVER. If you do, then you’re being ripped off. Plain and simple.

Here are 3 Rules to Avoid Scams & Rip-Offs:

Rule #1: Never pay anyone advance fees ever. I repeat, NEVER! If you are asked by any Modeling Agent for money before they get you a job, you can be sure they are NOT legitimate and you’re being ripped off.

Rule #2: Legitimate licensed modeling agents never charge money or require up front fees. They receive 10-20% commission on jobs they book for you after you get paid for the job.

Rule #3: Legitimate licensed model agents have relationships with casting directors, personal managers, photographers, producers and production companies. They can legally negotiate deals for you.

Also, watch out for people who “claim” to be an agent, but are actually a modeling school. You don’t need to spend tons of money and tons of time at a modeling school. All casting calls and commercial auditions are FREE. Just encourage your kids to be enthusiastic, confident, and most importantly - be themselves.

Good luck in finding the perfect licensed child model agent for your rising star!

How to Raise Your Millionaire Kids to Become Happy, Self-made, Generous Millionaires…Possibly By the Time They Graduate From High School!

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The Day of your romantic glamour session is finally here

OK, you’ve booked your glamour session and everything seems to be all set for this important day.

Now what?

After taking this first step your goal should be to make this intimate photo session the best it can be.

A glamour photographer can do much to help your look but these are must-dos in order for you to help the photographer.

#1 - When is your boudoir session?

If your photo session is in the morning, be sure and eat a good breakfast.

If you are having an afternoon session, eat a light lunch. It takes a lot of energy to do romantic portraits and you don’t want to run out of steam before the session is over.

#2 - Don’t let time stress you out - It will show in your photographs

Try to leave home early enough to be at the boudoir session on time, or better still, a little early.

When you are in a hurry, stress sets in. Although we don’t rush you into a session (some photographers do) the anxiety that you feel because of being rushed to get to your photo session will make it difficult to put yourself into the relaxed, romantic mood needed to have a successful boudoir photo session.

#3 - Don’t try to go it alone

Bring a friend with you to the photo studio. If a romantic photographer refuses this request, check a little closer before using him or her. This is a safety precaution that every woman should follow.

We have no problem with a friend or family member coming with you. All we ask is that they not be in the studio section during the session. Boudoir photography is not a spectator sport. d:-)

#4 - Wear clothing that is suitable to your romantic photo session

Come to your intimate photography session wearing clothing that fits loosely to insure the least amounts of marks on your body.

These marks take time to go away and may waste your limited amount of time allocated for the portrait session. (professional glamour models know this secret and are ready to go without a waiting period)

#5 - The hair!!!- The hair!!!

Instead of a pullover, wear a button up shirt so that you won’t disturb the makeup and hair when you begin to change for your boudoir session.

#6 - The Clothes!!! - The Clothes!!!

Wear a clear deoderant instead of the white, powdery kind so that your clothese will stay the color they should be.

#7 - But perfume is sooooo romantic

If you wear perfume to the photo shoot (not recommended), make sure it’s very light.

Boudoir photographers sometimes work in small studios and strong perfume will overwhelm your photographer and the others who have to work with you.

#8 - Do I need to wear makeup?

Many boudoir photo sessions will include a makeup and/or hair artist. If this is the case come to your session without any makeup or concealer and make sure your hair is good and clean.

If your boudoir photographer wants you to do your own makeup for the session, go here for glamour makeup tips to help you apply makeup for the camera and lights.

#9 - Have Fun!!!

Going to a professional female photographer for an intimate photo session does not mean that you can’t have fun.

Following the steps above will help insure that you will have fun during your boudoir session by getting off to a good start.

Romantic glamour photography is a collaboration bewteen the model and the photographer and the more you prepare for your boudoir portrait session the more you will enjoy your day of romance.

Bob Pardue is a professional boudoir photographer located in Carolina area. Get your free report: 7 Secrets to a successful romantic photo session at http://www.romantic-photos.com/newsletter/

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Originally when making my outline for the chapters I would include for this book, Ethics, Professionalism, Trust and Responsibility were to be separate chapters. In reality these topics are so intertwined that any discussion of one will require an examination of each of the others. I will now set down the parameters for these important qualities of Professional Portrait Photographers based on my over 30 years of experience.

When you think of a “Professional” in any arena, what comes to mind? For most of us the term “Professional” conjures up images of Doctors, Lawyers, Bankers, Corporate Managers and other “white collar” types. (I must admit when I used the word ‘arena’, it made me think of MMA professional fighters…) In any case the term “Professional” denotes one who is specially trained, knowledgeable, and imminently qualified to do a particular job.

The loosest definition I’ve ever heard is, “A professional is someone who gets paid to do a job”. While that is most generally true, I believe that criteria is really just the opposite of the definition of ‘amateur’ rather than an accurate definition of professional.

Think of when you have heard someone say, “He/she is a ‘true’ professional”. What does that mean? Certainly it means that the person is trained, knowledgeable, well qualified to do a particular job, and no doubt is paid for doing it, but it also refers to certain qualities exhibited by the person. It implies that the way he does the job, or provides the service is exemplary.

Many professions have a written code of ethics, which must be adhered to in order to remain in the profession. For example, doctors may have their license to practice medicine revoked for violating the medical code of ethics. A lawyer may be disbarred and have their license to practice law revoked for violating the Barr’s code of ethics. There are many other examples, but the point is that a Professional is held to a higher standard.

We trust that a person who is a “Professional” actually has the training, knowledge and qualifications to do a professional job of whatever it is they are professional at. Most people also expect that a “Professional” will conduct themselves in a “professional manner” when engaged in their profession. It’s very disappointing when they don’t…isn’t it!

Have you ever hired a professional to do a job for you, and they didn’t seem to really know what they were doing? Or when the job was done you found that it was done

poorly? You come away thinking that they really aren’t professional after all! And that’s disappointing, isn’t it? Doesn’t that make you feel that your trust was violated or taken advantage of? That’s NOT the impression you as a Professional Portrait Photographer want to make!

It is our responsibility as Professional Portrait Photographers to first of all to have the training in our field to really know what we’re doing, and how to do what we want to do to get the image we desire to make! That’s basic. We need to know our equipment and how to use it to get the results we are after. That’s also basic.

We must be honest with ourselves and our clients. When you take on an assignment, you better know how to execute it! How you perform on the job will be a big part of the reputation you develop. And reputation is very important!

For some reason, negative word of mouth travels much farther and faster than positive word of mouth! When your name comes up in conversation and a potential client is talking with a past client, which reputation would you rather have spread…”Oh, we hired him once, and he was fumbling with his equipment the whole time, and didn’t really seem to know what he was doing.” Or…”Oh yes! She made our portraits and we had a wonderful time with her, and our portraits are beautiful!”

Obvious, isn’t it? For family portraits the average interval is 5 to 10 years. That is, a family will have a fine portrait made every 5 to 10 years. They may go to Sears or Kmart every year for a snapshot, but they will hire a Professional Portrait Artist once every 5 years or so. That means that if you do it right the first time, and leave a good impression on your client, and keep in touch with them, they will most likely hire you again rather than go looking for a new photographer. And they will speak highly of you when the topic of portraits comes up, and likely refer their family and friends to you.

If you fumble around and don’t engage your client and develop your rapport with them during the session, even if the portraits come out well, what kind of impression does that leave your client with? Likely they’ll think of you as a grumpy bumbler! If that’s their impression of you do you think they’ll be likely to refer you to friends and family? Do you think they’ll hire you again? Probably not.

Do you charge a Creation Fee, or Session Fee in advance of the portrait session? (If not, you should!) When you accept the Creation Fee from your client, and reserve their session date, you are entering into a contract. Even if you don’t have any written contract, you are telling your client that they can trust you to be there on the date and time reserved, that they can count on you to do a professional job, and they can trust that you will deliver portraits that they will be happy with.

That’s a lot of trust on the part of the client, and a lot of responsibility on your part! Now,

artist’s are sometimes expected to be a bit “eccentric”, but that doesn’t give us license to be jerks, or to be totally void of personality! Most people aren’t all that comfortable in front of a camera. If we desire to make beautiful, sensitive portraits, it behooves us to put
our clients at ease. Make them comfortable with us. That way we can draw out their personalities, and have their cooperation during the time we are working with them to make their portraits. I think it’s obvious that when the client enjoys the experience, enjoys being with you, you will have a much more successful session.

What is your “ethic”? How do you view your responsibility to your client? How important is it to you that you give your client a good experience in working with you, and that you deliver excellent portraits? Do you always “give your all” when working with your clients? How important is it to you that you be on time, and are prepared to do the best job you can for them? Do you deliver your client’s portraits on or before the date promised, or is that just not all that important to you…after all you have their money already…?

How you answered those questions defines your ethic as it relates to your business. Again, as Professionals, we are held to a higher standard, or ethic. Ours is a business that really relies heavily on word of mouth and referrals, so it’s very important that we conduct ourselves in a professional manner.

We should always treat our clients with the utmost respect. Use proper English and grammar when talking with clients. Always speak of and act toward what it is you do, (make portraits), with respect. If you desire your clients to respect what you do, treat what you do respectfully. Speak of portraiture and the craft of making portraits with respect.

There’s another area of ethics I nearly skipped…Personal ethics. This has to combine with your professional ethic. Remember, your reputation is at stake. How do you feel about the senator who sneaks around at night having an affair, hoping he won’t be discovered while his wife is waiting at home for him?

How about the doctor or psychiatrist who seduces or molests his patients? What about the home security professional who steals from his clients as he’s installing their home security system? Or worse. I’m referring here to moral ethics, and this is very important. A couple of these examples here are down right criminal!

You may feel this is redundant as I already said that you must treat your clients with the utmost respect. And certainly respect would prevent you from making lewd remarks to your client. However photographers are often in very close contact with a client, and at times there can be a strong attraction. Your client may even give you signs that she would be receptive to your advances. My advice: STOP! Do not entertain any kind of personal

relationship other than Professional and client! At least until after you have fulfilled all of your responsibilities including delivery of the finished portraits.

I can easily imagine that there could be situations where after the session, after the delivery of portraits, a more personal relationship might appropriately be pursued. Be very careful about this. Do not take undue advantage of the contact data you have on your client! That would be unethical! And you could find yourself at the receiving end of a restraining order for stalking! This would not be good for the reputation! Not good at all!

Believe me, I’m a man and a portrait artist. I got started in the profession of photography doing glamour and fashion work. I have had many boudoir sessions with extremely beautiful and sexy women. Fortunately for me I have a well developed moral ethic that actually prevents me from even thinking about how sexy and gorgeous the model is, who is right here in front of me completely naked! At least until after the session, and we’re previewing the images.

It’s very important that the comments you make to a client, be they boudoir or family portrait clients, are positive and complimentary without ever being overtly sexual or even double meaninged. We want to give confidence to and reassure our client, not make them uncomfortable!

Stick to business and do the best job you can do. That’s what a Professional does. Be personable and engage your client, but don’t become overly familiar and step over the bounds of professionalism. Give your client a good, positive experience. Make them love you! Our profession, as are all others that include sales, is relationship based, but there is no sexuality in professional relationships with clients in our profession.

To summarize, photographic portrait artistry is a noble and high profession. To be a Professional Portrait Photographer one must have special education in and knowledge of the craft. We should be creative and truly love the work. We must have expertise in the use of our equipment. We want to give our clients a good experience all the way through the client-photographer relationship. This requires that we be friendly, helpful, engaging and complimentary while being very respectful of our clients and of our profession.

We need to be honest and “up front” with our clients. If it’s going to take 3 or 4 weeks for you to be able to complete an order, don’t tell your client you’ll have it done in a week or two. Put yourself in your client’s position and earn the trust they are putting in you. Be on time, do the best job you know how, do a little extra in the way of service, and earn the privilege of being hired to serve your client again in the future.

About the author: Stan P. Cox II runs a Portrait and Commercial photography studio in Honolulu, Hawaii, and has been a professional Hawaii photographer specializing in portraiture for over 30 years. His web address is: http://www.paramountphotography.com and http://hawaii-fineart-portrait-photographer.com/ This article may be freely distributed if this resource box stays attached.

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San Francisco- Cheri’ Clark aka Frenchi, has hit Northern California by storm as the area’s most popular teen model in the industry thus far this year. The sixteen year old green-eyed platinum beauty has become the hottest commodity in the local commercial market. Late last summer her modeling career was launched, quickly breaking through barriers and bringing her widespread recognition. Catching the eye of many of the Bay Area’s exclusive photographers, she has indeed become the popular choice of models in the region. Cheri’ has worked with the industry’s top local professionals, and is currently being sought after by numerous agencies, clothing manufacturers and representatives in television industry. Portraying a clean cut all American teen, Frenchi has become a role model for young girls in California. It is this youthful image that has proven to be one of the major driving forces in her success in the industry.

Cheri’ Clark will certainly continue to be one of the most sought after commercial models in Northern California. Currently, she has been introduced into the Los Angeles market where she is working with numerous advertising and entertainment professionals. It is in Southern California that she hopes to continue to capture and expand into the teen and young adult market, as well as further her career. Her new projects include fashion shows, voice-over/televsion work and brand advertising. She is also working with many established charities where she will be involved in raising revenue for those in need. Frenchi is by far the one up-and-coming model to watch for in the future.

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I have a giant pet peeve when it comes to what Americans “think” is art photography of the female form. Most people think of the photographs in Playboy Magazine as being art photography. I don’t. Fundamentalist would on the whole classify art photography of the female form (especially the nude) as pornography. It’s definitely not that. So what is it?

First of all when you think of people photographing the female form, especially the nude female form, there is a whole hierarchy of classification. I would put pornography at the very bottom and I definitely would not define it in any way as artful but rather degrading. At the very top of that hierarchy would be art photography of the nude female form.

When you gaze at an artistic photograph of the female form right away you can tell that the model is being posed and lit with the utmost respect. Always try to decern the intent of the photographer. Is he/she being gratuitous in any way or is the photographer trying to make a statement about the beauty of the human body.

Look again, do you get the sense that the photographer is honoring the subject matter by rendering an image that speaks first and foremost to the viewers highest sensibilites. Do you get the feeling that the nude is being photographed as though it were akin to a lovely landscape?

A good example of art photography of the female form are the images of Alfred Cheney Johnston who was the premier Ziegfeld Follies photographer during the Jazz Age. Most of his photography was of the stars of the Follies. But it was discovered after his death that he’d done a number of photographs using nude models. If you look at the photographs of his clothed models right next to those images of the nude models you will fine no difference in his intent to take artful photographs.

In all his images he shows nothing but a fine artist’s artistic approach to shooting photographs of the female form. You can see that his intent is always to glorify women and their place in the world.

So the next time you look at a photograph of a woman, I hope you will have a better understanding of what constitutes art photography of the female form. Art photography will ALWAYS be based in integrity and the classic rules of the fine arts.

Ava Land has a degree in Fine Arts. Over the years she stood by and watched silently as society has repeatedly misunderstood exactly what art photography of female form (nude) really is! For sumptuous examples of art photography of the female form http://alfredcheneyjohnston.com/art_photography_female_form.php

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This is the first in a series of articles designed to improve your photography. Your job as a photographer (whether you’re an amateur or professional) is simple. You have to make your subjects look as good as they’ve EVER looked without your tricks and techniques being obvious. That’s a task easier said than done.

A number of repairs and improvements can be done in Photoshop, but unless you are a true master at retouching, it’s hard to do too much without ruining the portrait. The more problems that you fix “in the camera” the better off you will be and the easier it will be to get seamless retouches.

Today let’s talk about wrinkles and acne.

You won’t have to do many portrait studies to realize your models all have a few traits in common. Your older subjects want to look younger, even if they don’t say they do, and younger subjects want to minimize their acne. Let’s face it, as we get older our wrinkles become more pronounced and actually deeper. Wrinkles are the first photographic signs of our age but they’re a problem that is actually fairly easy to fix.

What defines a wrinkle? It’s the shadows filling in the crevices. As we get older and those crevices get deeper, the shadows become darker and darker. How to get rid of wrinkles and take years off your photographic model?

Lessen the shadows.

If you have light that is glancing across the face from above or to the side of the subject, the deepest part of the wrinkle crevices are not getting any light and appear darker. This makes our model look older. Depending on the directionality and intensity of the light, this can add a lot of “visual” years to our subject.

To make your model look younger, have your light shining directly into their face. This way the light is able to get into the “bottom” of the wrinkle. The wrinkles are filled with light which lessens their shadow effect and the years drop off dramatically. The time spent in Photoshop does too!

Acne? Use the same cure. Acne scars, pimples and other facial blemishes are at least partially defined by the shadows they cast on the face. Again, light skimming the face from the side will cast longer and harder shadows thus making the acne scars more pronounced and pimples will appear larger. Shine your light directly into the face and they will be minimized or disappear altogether.

Use a reflector of some sort or even your on camera flash in addition to the sun to fill in the shadows. Your smooth faced teens and wrinkle free adults will thank you.

Dan Eitreim has been a professional photographer in southern California for over 16 years. His data base exceeds 6000 past clients, and he says that selling YOUR photography is easy - if you know a couple tried and true marketing strategies. He’s created a multimedia presentation that can teach ANYONE how to sell their own photography and generate freelance income in as little as two weeks. To learn more and enroll in a FREE photo marketing course, go to: http://www.PartTimePhotography.com or http://www.FreelancePromo.com

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If you read digital camera reviews you will come across the term “white balancing” again and again. Although the term sounds esoteric, it simply refers to the way you can correct for color casts in your final images.

For example, if under a given set of lighting conditions your shots of a perfectly white polystyrene foam surface produce images with a slightly blue color cast, then you will need to know how to white balance your images for that particular lighting situation. Once you have made the appropriate camera settings, the information will be recorded along with your image in RAW format so that the white balancing information can be applied to the final printable image. This is typically a JPEG file.

So what is the cause of these color shifts?

Photographers who still use film stock may be able to attribute some portion of a color shift to the characteristics of the film itself. This, of course, is not the case for digital photography, where the chemical nuances of film emulsion have been removed from the digital imaging process. Most color casting, then, comes from the lighting source used to illuminate the scene before the camera. Fluorescent lighting, for example, can add a slightly green color shift to images, while a blue cast may result from the diffuse sunlight of an overcast day.

This color bias is sometimes described in terms of an equivalent color temperature. Bodies which radiate the same neutral color spectrum as the sun are said to have a color temperature of around 5000 degrees Kelvin, whereas cooler bodies radiate more in the red portion of the spectrum, and hotter bodies are shifted to the blue.

As an example, the deep red hue of candlelight is typical of a body radiating at around 1000 degrees Kelvin, while the diffuse light of a heavily overcast day is closer to 9000 degrees Kelvin.

On the one hand, talking about color shifts in terms of the equivalent temperature of the light source may be technically useful, but for the average photographer it will likely only lead to confusion. For this reason, you will usually find on the back side of your digital camera, a chart that shows the equivalent white balancing modes to offset the effects of different lighting conditions, and no mention of color temperatures is made.

In addition to an auto white balancing mode (AWB) in which the camera itself tries to figure out the best white balancing setting to use, there are several other manual modes that can be selected. A cloud icon, for example, indicates the white balancing offset that ought to be selected if the scene is being bathed by the light of a fully overcast sky. This setting will compensate for the bluish cast that would be seen in the absence of a color correction. The correction for the generally neutral effect of direct sunlight is typically represented with an icon that depicts the sun.

One way to correct for white balancing, at least on a point-and-shoot digital camera, is to monitor the scene before your camera using your LCD screen. If the image appears too bluish (high temperature light source) you can adjust the white balancing to shift the image slightly to the red. Most digital SLRs use the LCD screen for image playback only, so you may have to take a test shot and view the result first, or if your camera supports it, you can bracket your white balancing (record a triple of each photograph with varying amounts of white balancing added to each), and then select the best result.

The trouble with this approach, however, is that it is somewhat subjective. A more accurate means to correct white balancing is to look for an element in the scene which is white and adjust your white balancing setting to ensure that the white object renders as true white. Carrying a white object with you, such as a white handkerchief, or white card, that can be inserted into the scene, can be very useful.

This is especially the case where the scene itself may predominately contain objects that are either blue or red, since this may cause the camera to select the wrong white balancing if left to itself to decide (in auto white balancing mode). As an example, if you were photographing blue icebergs in bright sunlight your camera might assume the blue coloration was due to a blue color shift caused by clouds and then try to reduce the amount of true blue in the final image.

By being aware of the causes of color shifts, and analyzing your images, you will find that over time you get better at making the needed white balancing correction before taking your photographs. But even if you have yet to get the hang of this while shooting, don’t forget that you can often correct your mistakes simply by working directly with the RAW format image after the event. This is one of the real advantages of working with digital images.

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