Photography and the Art of Speaking Our Peace

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Long before I started photographing, I was moved by images that captured my attention and enlightened my awareness of the world at large. On many a rainy afternoon, lost as a child in the photo essays of Life Magazine and National Geographic, I entered the lives of people around the world, pondering the contrasts between my life and theirs.

In my teenage years, there was an abundance of images that sank into my heart, cut short my innocence. Images from the March on Selma, the assassinations of John F. Kennedy and Dr. Martin Luther King, from the Vietnam War and the Kent State shootings, all showing a level of violence and intolerance I was not prepared for. I was impressionable then, as I am now?moved by what I see, changed by what I experience, led to action by what I believe.

Most of us, at some point, have a desire to make a difference in the world. We want our lives to matter, our words to be of use. And for those of us who traffic in images, we want them to speak eloquently of that which matters to us, to be the metaphor for who we are, what we believe in and stand for.

Dorothea Lange was invested in creating images that would alter the public?s attitude about migrant workers. Walker Evans was committed to making photographs of tenant farmers that would inform and inspire people to action. Lewis Hine, in his crusade against child labor, created images that did what dry statistics and lengthy speeches never could do. Robert Capa, who despised war, photographed five of them in an attempt to record its horror and monstrous stupidity, believing that ?the truth is the best picture, the best propaganda.?

Having seen their work and read of the national response and reforms their pictures generated, I understood the power that photographs could have on a level beyond the personal, saw how images could help shape a national consciousness, create an awareness that could lead to enlightenment, action, change.

Buoyed with this knowledge and faith, in the mid-80s, during the massive global buildup of nuclear weapons, I embarked on a peace pilgrimage around the world. Armed with 200 rolls of film and a slideshow of the U.S. peace movement, I was determined to use my photographs in the service of the people, to share with as many folks as I could these images of activism, of commitment to harmony and a safe home for all the world?s children.

In order to create a culture of peace, a culture that reflects our reverence for life, we need stories and symbols that heal and guide, that help us remember we are part of a whole. It?s hard, in a society bent on power and profit, to remember what life is really for. Harder still to connect with one another when most things serve to keep us separate. But stories help. Pictures help. And every contact with a lover of life brings us one step closer to loving our own. My journey was a search for those images and stories, an attempt to discover and reveal our oneness around the globe.

In Japan, I was invited to speak to a group of A-bomb survivors at the Nagasaki Association for the Promotion of Peace and to present my slideshow, Focus on Peace. Before that we would watch the premiere of a Japanese film, one which included recently released American military footage of the Nagasaki bombing.

I sat in the back of the room with Mr. Matsunaga, director of the organization, who served as my translator. The lights went out and the film began with a slow pan of the Nagasaki Peace Park. Paper cranes and colorful flowers filled the frame until a jump cut took us to the cockpit of a U.S. plane on August 9, 1945.

We watched the bomb drop. Watched the deadly cloud devour the city. And then from the ground we watched what followed. Mr. Matsunaga, his calm voice silenced, collapsed into tears by my side. The survivors in front of us sat still as sculptures. Frozen in time, they stared ahead, some gasping as they saw themselves on the silver screen, stumbling through the rubble of charred corpses. Dazed and burned, they were calling for families they would never find. Quiet sobs filled the room while we witnessed the re-run of a nuclear holocaust.

When it was over, no one moved. No one turned on a light. We sat there in the dark amidst sobs and tears, trying to recover. When the lights came on and I was introduced, I stood there before them and started to cry, and it was only at their urging I could carry on.

I spoke slowly about the slides we were going to see, with Mr. Matsunaga at my side translating my words and my hopes in whatever way he could. Then the lights went out again, the music started, and images of millions of people working for peace began to dissolve into each other.

There were no words being spoken. Just the pictures and voices from the International Children?s Choir singing Let There Be Peace on Earth. These images of colorful, festive, life-affirming demonstrations had more power that day than any I remember. Symbols of a solemn commitment to peace washed over and comforted us. They delivered us, if only momentarily, from the fear of such a holocaust happening again, for how could these millions not make a difference, their passion so clearly exposed and revealed?

After the slideshow, the survivors came to the microphone and one by one spoke of the profound impact these photographs had on them. ?I did not know so many people cared about what happened to us...we thought we were all alone in our struggle to prevent this from happening again...seeing all those Americans caring about peace encourages me in my struggle...how can we fail if there are so many of us??

I had been so immersed in the peace movement during those years of nuclear frenzy that, until that day, it had not occurred to me that others weren?t aware of it, had no idea of its magnitude. These survivors did not even know there was a U.S. peace movement doggedly resisting the production and proliferation of nuclear warfare. And it made a difference to them to find out, to see all those pictures, to witness others in solidarity with them, working as hard as they were for the same cause.

One photograph could not have done it, but those eighty images, one after another, blended with that music?it had an impact, told a story that bolstered their courage, honored their experience. What had happened to them did matter after all, and these photographs were evidence of how much.

Nothing in the world could heal their physical wounds, their irradiated organs, their burned and disfigured faces and limbs, but a healing occurred in their spirits that day, passed on through these portraits of comrades in action.

We can and do inspire each other in this life, and if a photograph does nothing more than inspire one person to feel that, somehow, his life mattered, her pain served a purpose, then that one photograph ought not go unseen. We can never know the reach of our work, never know when we share a photograph to whom and why it might make a difference, never know how our small images contribute to the global picture as a whole.

But what we do know, from our own experience and the experience of history, is that photographs can change the course of the things, turn one?s head, alter one?s thoughts, enlighten one?s darkness. To shoot with that awareness, to know our images, made of light, can contribute light?that is the true joy of photography. The End

Jan Phillips is an award-winning writer, speaker, and multi-media artist. She is the author of The Art of Original Thinking-The Making of a Thought Leader, Divining the Body, God Is at Eye Level - Photography as a Healing Art, Marry Your Muse, Making Peace and A Waist is a Terrible Thing to Mind. She has taught in over 23 countries and conducts workshops nationally in creativity, consciousness, and spirituality. You may subscribe to her free monthly Museletter at www.janphillips.com

 

Improve Your Digital Photography Skills for Outstanding Pictures

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Once you have a digital camera, you?re on the right track to taking much better photos. But perhaps you?re unsure of how to get the best out of your camera and feel that your skills are lacking. Improving the quality of your photos can be achieved with some fairly basic and simple steps.

Keep a level picture unless you are looking for a special angle: Try to hold the camera level by aligning it with natural horizontal lines, like the horizon. This will give you a classic picture. However part of the fun of photography is experimentation, so take a few snaps of different angles to get an interesting perspective on your picture.

Portrait photos: Avoid putting the subject in the center of the frame. This is a habit most people find hard to break. Remember to move close and put the subject slightly off center. Again take more than one photo with a portrait if possible. Zoom in for a close up of just your subject or make a complete picture a little further away by including a favorite pet or another person. Always experiment with different angles and poses to make your photo more interesting.

Be careful of lighting and exposure with your photos. If indoors, make sure you have a strong light on your subject. If outdoors, be careful of strong sunlight. The best time to take your photos outside is first thing in the morning.

Think about the focus of your picture, when you frame the shot. If you are trying to capture the expression on your child?s face, you can leave out the other children, the swing, the dog, etc. You can do this by zooming in and taking a close up or you can put the background out of focus so that only your subject is standing out. This can make quite an interesting picture.

Always be conscious of the background. Many good photos are ruined by clutter in the frame. Change your position to avoid a messy background.

A small tripod can give you a much better shot, by lending stability. Tripods are not meant only for professionals, as some people think. Using a self-timer can put you in a number of pictures, where you are usually not visible. This is great for a family or group photo.

Get a media card with plenty of memory, so you will not run out of space, at a crucial time. Shoot at the highest resolution allowed by your camera, to get the best results and sharper enlargements. Upload your photos to a picture gallery like Yahoo. You can just send the link to friends and family instead of sending large picture attachments. You can also select the photos you want printed and have them developed within 24 hours.

If you want to find out more about great digital photography, click over to Jackie's site at greatdigitalphotography.com Get more digital photography tips

The Art of Nude Photography

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Nude photography is the ultimate expression of you as an individual and your connection to the world. Nude photography simply gets to the essence of the person. There is little to hide but a lot can be said or represented about a person, their beliefs, beauty, individuality, togetherness and expressions. A professional photographer will help you express sensuality, sensitivity, compassion and excitement, desires, innocence, appreciation of skin and celebration of self.

These days, expert nude photographers can make the experience very rewarding, and in some cases, quite spiritual even. Nude photography sessions are exciting, sensitive, intimate, personal and totally individual and unique. Every person is treated individually to produce the type of imagery that they like or envisage for themselves. Images can be artistic, sensual, sexy, stylish, natural, highlighting your best features and downplaying any less flattering attributes. Photographs are normally taken in artistic black and white tones. The session should be enjoyable and fun. The idea is to have fun and express yourself and be surprised at the extraordinary results that can be achieved. In nude photography it is important to be made to feel at ease and relaxed. The session is not about the photographer, but about the individual or the individuals concerned.

It?s important that the studio of your choice is fully equipped with the latest technology. High quality digital equipment will ensure high definition images. Also, make sure the studio environments are fresh, clean and welcoming. There?s no reason you shouldn?t be made to feel welcome and be treated to a special experience by friendly staff.

A professional nude photographer will make you feel relaxed and comfortable with yourself and your session. Making you feel comfortable and relaxed is the most important element and is important in creating timeless imagery. They should focus all their attention on your experience so that they can create the right mood and atmosphere that promotes outstanding photography.

Nude photography can also be enhanced with special props and accessories; something that can represent your individuality and uniqueness. As nude photography can already be very flattering, props should only be added if they do something to enhance your body, attitude or style. Sometimes the minimalist approach offers the greatest opportunity for uniqueness.

Along the same lines as props, your photographer (or you) may choose to capture your unique features such as skin art, tattoos, piercings - all which accentuate and adorn a person?s skin. It?s important that your photographer understands and appreciates your preferences and use all your unique feature?s to create a most individual work of art.

Posing, placing and positioning for nude photography is very important as is image design and style. It?s essential that your choice of photographer is well trained to allow this type of posing to occur naturally and capture these important attributes in a spontaneous and uninhibited way. Nude photography should end in wonderful pieces of timeless art for your pleasure and enjoyment.

Framing and composing images is also very important. The choice of settings and backgrounds should benefit and highlight your personality and uniqueness. Many photographers have a range of studio backgrounds, however often the simple backgrounds such as basic black or white are most popular.

Lighting is also essential when it comes to nude photography. The correct lighting can emphasize features and bring out the best in you. Studio lighting is totally controllable to highlight or neutralize areas as required to ensure superb creative imagery.

Spontaneity, mood and feelings are what nude photography is all about. Make sure you find a photographer that creates the mood and brings out the feelings that will become timeless memories forever.

Vittorio Natoli is the owner of Viva! Life Photography located in Fremantle, Western Australia. Award-winning Perth photographer and businessman, Mr Natoli has spent the past four years refining the systems that have made Viva Life Photography one of the most successful portrait and female and male nude photography studios in Australia. Visit Viva's website www.vivaphotography.com for more information on Vittorio, Viva! photography franchise opportunities or Nude Photography

Black and White Photography in the Digital Age

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The world is celebrating color in full spectrum, not just in the environment but also in the computer. In the 60's, people are happy to see their photographs in black and white copies and it extended for quite some time until technology can already reproduce and provide people with colored digital photography.

Why still use black and white? If you have watched the controversial movie "Schindler's List" (1993) by Steven Spielberg, it has been presented in the screens in black and white color. Critics were expressing dissatisfaction, and to some degree, one could think it is such a waste denying the audience of more than 1 million colors reduced to nothing but grayscale monochromatic theme.

Nowadays, black and white photography is directly proportional to vanity, because everyone desires colored output. In case of "Schindler's List," it was released on purpose as black and white, to give way to a dramatic impact for the setting of 1945 Nazi occupation. The effect of black and white reel, has added spice to the thematic goal of the director. The essence of using black and white is important for character shots.

The world is ironic and ridiculous at times, but we cannot simply take away black and white especially in the era of digital photography. We know all Graphic Arts editing applications, scanners, digital cameras, and other photography gadgets have grayscale options.

To start with your own black and white digital photography shots, you will not need extra effort and complications other than shooting as is. Take the shot in color then you can switch the setting of the digital image in an editor, using array of choices. If you are using Photoshop or Fireworks, you can change the whole image into black and white by editing "Hue and Saturation" or simply switching it to "grayscale" format.

Old photographs from developed films can be converted into digital images by scanning them. If you want a black and white portrait out of it, set your scanner into grayscale. The result is black and white photo.

Setting your digital camera into "evening shot" mode automatically converts the image as monochromatic. You can remove saturation to convert it to black and white. Digital camera works efficiently with a computer. You can do everything about it in full control---that is if you are adept with the manipulation of the technical side of it. It will be quite expensive but worth the effort.

Technology is getting better and better, if you choose conventional effects, as long as you have the 360-degree options to enhance possibilities, then black and white digital photography is very simple to produce.

Low Jeremy maintains http://digital-photography.articlesforreprint.com This content is provided by Low Jeremy. It may be used only in its entirety with all links included.

Challanges of Low-Light Photography

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Most of us at one point in our photographic history realized that capturing images in dim light, or fair darkness changes an otherwise mundane scene into a much more interesting, and in many cases a surreal scene. While capturing this scene in normal daylight is typically fairly straight forward, working with very low light is quite a bit more difficult. There are many minor issues, and just as many larger issues which make it tricky to capture good photography in dim light. As such, we will discuss the big issues which everyone without a doubt has encountered at some point. Sharpness, and accuracy of exposure is always a concern when the light is low. So, let's dig deeper into these issues, and discuss suggestions to improve your low-light photography.

If you are like most people you shoot your low-light, or night photography on the go. This of course means that unless you are already a pro, and have an assistant who carries your tripod, you have to carry it yourself. In most situations tripods are a great tool, however we may not always have them available to us, and at times traveling with one is not easy. There is nothing out there that will replace a stability of a tripod, however if it were not an option there are other things we could do to compensate for low-light. The most simple way is to increase your camera's sensitivity to light. It may sound weird to amateurs, but a higher speed (higher ISO) film, or a setting on a digital camera makes the instrument more sensitive to light. Basically, the higher the ISO setting on your digital camera (ex. 100, 200, 400, 800, 1600, etc.) or the ISO rating on your film, the faster it will respond. There are disadvantages to every advantage, and this is no exception. Higher ISO setting on your digital camera means lower image quality. While the camera does become more sensitive to light, and is able to capture lower amounts of light to "paint" the scene correctly, the high ISO also causes "digital noise"which looks like grains of sand sprinkled over the image. Luckily, technology is getting much better, and there are now digital filters built right into the camera which reduce this noise. Nonetheless, there is some loss of quality. In fact, with most Point-and-Shoot digital cameras the effect is greater than on digital SLRs (Single Lens Reflex cameras), because the image sensor, which actually captures the image through the lens, is very small, in many cases the size of your thumb nail. If you are planning to shoot a lot of low-light photography, consider upgrading to a digital SLR, if you are using a Point-and-Shoot, and are familiar with effects of digital noise. If you are still shooting film, the same problem exists, and higher ISO films are often much more "grainy"than a photograph captured with a digital camera. Some photographers introduce higher ISO films on purpose, because grain is at times considered an artistic effect, however, it has to be used wisely. If you invested in a film or a digital SLR, your options are more open. If you have a reasonable budget, consider getting a fast lens, which will allow more light in and require less sacrificing on the side of quality. Many new digital cameras come with an "Image Stabilization"which allows for sharper images captured at lower ISO settings without a tripod, or another stabilizing device.

Just when you thought getting around without a tripod was difficult enough, I throw another curve ball at you. Overexposed Highlights - are common in photography captured in low light. It is a fine balance, and you never win. You either overexpose the bright light, or underexpose the dim areas of the scene. There is not one solution to this. Try to keep your exposures short, whether you use a fast lens on your SLR, or a higher ISO setting on your Point-and-Shoot, as this will reduce the overexposed lights. If your camera allows for exposure bracketing, use it, and it will help you get the right balance of light and darkness in the scene. Stay away from using any sort of flash, unless you are photographing people, and not a dimly lit scene. If you are shooting people in a club, a pub, or any other dimly lit place, use your flash, and try to be fairly close to your subject(s), because flash drops off very quickly. If you are shooting a street scene, a night landscape, a harbor, or any similar scene, the mood of the scene will be destroyed if any flash is used. The resulting image will be underexposed, and only very near objects will be captured. Obtaining focus may be difficult at times, when the light really drops off. This is when a manual focus comes in handy. It is unfortunate that most Point-and-Shoot cameras do not have a manual focus option. However, many new cameras have pre-focus lights built into them. If you have this option, make sure it is enabled. The camera sends very quick bursts of light to light the scene, and allow it to obtain focus. In extreme situations a flash light may help too. Simply shine it in the direction of the lens, and let your camera focus. Needless to say, when it is so dark, you MUST have a tripod.

While you will certainly encounter other problems shooting in dim light, the topics covered will no doubt ease your photographic efforts. Ultimately, most of your success will come from practice, and experience.

Written by Professional Photographer, and an owner of a Photography Selling Service. To learn more about this, and many other general, as well as more specific photography related subjects, or to explore a Fine Art Photography gallery, please consider visiting WorldonPaper.com Contemporary Fine Art Gallery

Advertisement Photography

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Tips for the advertisement photography market.

Advertisement photography is by far one of the most competitive forms of photography. This is mainly due to the fact that you can earn far more money than in any other aspect of photographic industry.

Every day companies pay millions of dollars on advertisement; with one goal - to sell their product. Companies want to tell the reader that their product is best - so you must be able to match this.

The photographers work must be to the highest technical quality and he/she must have the ability to create a masterpiece from something simple. Close enough is just not good enough. Close enough will not sell a product.

To become an advertisement photographer one must first understand the market and understand what the client is looking for. The best way of understanding this is pick up a magazine and look at the ads. Study each image. Study the images you see on billboards or images that are used to advertise movies.

Most parts of advertisement photography can be classed as still life photography. So if you are interested in taking images for the advertisement market your first job is to set up your own home studio. This can be a great place to practice.

Every thing in your home can be photographed. Start off with a few glasses. But remember you are not trying to make the glasses look nice - you are trying to sell them.

The second thing you need is a large format camera. Buy a range of the best lenses. Slide film is your best choice for advertisement photography. The client may want to blow up the images to a billboard size.

The most important thing when starting off is creating a portfolio of your work. This can be sent to advertising agencies or can be shown directly to a company. Always have a few copies on standby. Also set up a web page. On-line advertising is growing at a spectacular rate. Your portfolio should also consist of a different range of images.

If you are thinking of using an advertisement agency, get their guidelines from them. These should be very helpful to you in understanding the market. Dealing with a well established agency should be very profitable for you if your photography is to par.

Advertisement can be seen everywhere - and about eighty percent of all ads use photography. Most advertisement these days consists of a few words and a stunning picture that should attract the viewer's attention.TJ Tierney is an award winning Irish Landscape photographer and a freelance writer. He frequently writes for the shopping directory http://www.shop-4us.com and the photography directory http://www.goldprints.com To view or buy some of his images visit his on line gallery @ http://www.goldenirishlight.com

Night Photography: Low Light Tips and Techniques

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Photography at night can be used to create mysterious and amazing photos. When I say photography at night I mean the hours from around sunset until when the stars are clearly visible. The long exposures associated with low light can create unique effects and unusually sharp photos. And when I say long exposures I mean exposures lasting from half a second up to even 30 seconds. An exposure that long would seem impossible to prevent shaking, so my technique that I use very often is to compose the photo like I would normally and then to set the self-timer so the camera takes the picture on its own and I don't even have to touch it.

-Equipment Options

For low light photos, a tripod (or some kind of substitute) is very necessary. I almost always keep a tripod in the trunk of my car or carry a miniature tripod around on trips. A miniature tripod can be very handy because it is typically small enough to fit in a pants pocket so it can be taken anywhere. Some photographers carry around a bean bag or something like it so that can set their camera down and tilt it in any way they like. Some of my best pictures I have taken simply by setting my camera down on a newspaper stand and setting the self-timer.

Many photographers are convinced that they need a cable release to take long exposures but the self-timer release option on just about all cameras works just as well. All you have to do is set the camera up, configure the self-timer, press the shutter button, and wait the specified amount of time (usually 10 seconds) and the camera will take the photo automatically. And you don't have to touch the camera so the photo won't be blurred from hand shaking.

-Night Photo Opportunities

Landscape Photos - My favorite kind of night photo usually includes a landscape with some kind of foreground element, some sort of framing element, and lots of lights throughout the scene. Adding some kind of foreground item to the frame helps to create a greater depth of field, this technique works for any kind of photo but I have found that it makes night landscape photos much better. Another tip you should keep in mind is that the main subject of a night photo should probably be the most well lit. Lots of light is good for a night exposure but there should still be some focus applied to the major objects in a scene.

Capturing Motion - A very popular kind of night photography includes a steady camera with some sort of fast moving object streaming through the frame. When cars are photographed at night with a long shutter speed, the headlights make a bright pathway of light and in most cases the car can't even be seen. Another option would be to set up your camera next to a lighted area with lots of people moving like a night club or an illuminated street. Just about any kind of motion captured with the camera steady produces a very interesting photo.

-Balancing Aperture and Shutter Speed

When taking photos at night you should keep aperture in mind as well as shutter speed. It is without question that you will need a long shutter speed, but the aperture that you choose will provide the depth of field. When I take night photos I usually have a very long shutter speed (5-15 seconds) and a very narrow aperture (high f-stop). This combination creates a huge depth of field and makes everything very crisp and in focus. Of course sometimes you will not desire a great depth of field and in those situations you should widen the aperture (small f-stop).

-Calculating the Exposure

Figuring out what exact shutter speed and aperture you should use can be very challenging in Manual Mode. I would recommend that you just try many different combinations for each scene and eventually you will refine the settings that you prefer. Another technique I use is Bracketing, if you bracket all your photos so the camera takes multiple exposures at different settings, you are more likely to end up with a photo that has a satisfactory brightness.

-Conclusion

There is no exact science to night photography; I hope some of these tips will guide you in the right direction. But the best night photographers are usually the people who experiment a lot when they are taking low light exposures and eventually they figure out the best scenes and best exposure settings to match. Just remember that you need a very long shutter speed setting, and that you need to keep the camera very steady.

Richard Schneider is a digital photography enthusiast and founder of http://www.picturecorrect.com/ which offers tips and news about digital photography, digital camera reviews, and photoshop tutorials. Please also visit http://www.picturecorrect.com/freewallpaper.htm where you can find many examples of the techniques described in this article to use as your desktop wallpaper.

Terms Used the in the Stock Photography Business

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Terms Used the in the Stock Photography Business

So you are a small business person or web designer and you want to purchase some stock photography for your website. Great. Photography is a wonderful way to improve the emotional impact of your site. But there are a few terms unique to the stock photography business that you should know.

Royalty Free - youll see this term often. What it means is that you pay a one time fee for an image and you can use it for as many times as you want for as long as you wish. It is a great way to get inexpensive photos. Now if you are concerned that your competitor would or could use the same image as you, photographers and agencies can continue to sell the image after you purchase it, then you need:

Rights Managed - this one is next term youll see. This means that you pay a fee for the image based on how, where, how long, and how many people will see the image. This one will cost you a lot more in most cases. This is worth it if you do not want your competitor using the same image for the same purpose. Usually the stock agency or photographer also agree not to sell the image to others in your field for the time that you are using the image. So you can see why this option protects your use of the image but youll also pay much more for this protection. Remember too that, at some point, you decided to discontinue using/paying for the image the agency or photographer can then sell the image to someone else, even someone in your field.

Flat Rate - this term isnt quite at common but it is similar to royalty free. Usually this means that you pay a one time fee for an image, but it can only be used for one purpose by one person. Pricing will be higher than royalty free but less than rights managed.

Copyright - even with royalty free you are still only purchasing the right to use an image not the image itself. All images are property of the agency or photographer who owns them. How do you know who owns them, there is usually a symbol with date and name of the person or agency who owns the image. No matter what you paid for the image you are NOT the owner of the image. This means you cannot remove the copyright information, alter the photo, use it as part of a logo that you own a copyright, or resale the image as your own.

These terms will get you started but remember there can be differences in these definitions from agency to agency and photographer to photographer. Every agency and photographer selling stock images should have a legal or license page to explain these terms and any others that they use, if they dont you may want to move onto another site. Be aware, read all the information, and know what you are buying.

Kelly Paal is a Freelance Nature and Landscape Photographer, exhibiting nationally and internationally. Recently she started her own business Kelly Paal Photography (www.kellypaalphotography.com). She has an educational background in photography, business, and commercial art. She enjoys applying graphic design and photography principles to her web design.

Nine Ways to Save Money on Wedding Photography

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Weddings are memorable events couples and their families want to remember forever, and what better way to capture these moments than by a camera. Weddings may be gone, but the feeling of joy will always stay because of the wonderful moments captured on film. And photography expenses shouldnt be too high if you want to have the nicest photos on your wedding day. Here are some ideas to help you get started in producing great photos on a budget.

1. Hiring a professional photographer is the best option because he has the equipment, the experience, and the knowledge in this field. So look around in your area for professional photographers that suit your needs, and dont charge too high.

2. If you choose the above option, do a lot of research on the price, the portfolio, and the over all behavior of the photographers you selected. Dont just compare them on the price alone. Take note of his portfolio. Are the photos professional and outstanding? Observe his professionalism by asking his past clients (if you know one) on his punctuality and behavior. Did he come on time for their wedding? Were the arrangements made smoothly? Did they have any disagreements later on the price? Was he polite or bossy during the picture-taking? Asking questions not only about the quality of his work but also on his professionalism and personality will greatly determine your over-all satisfaction, and will ensure every dollar you pay him is worth it. You dont want someone you hired to act grumpy and ruin your important day, do you?

3. Book as early as possible, say 6 months from your day. This way you wont have to worry about the other clients who might also need him on the same day as your wedding.

4. Hire a photography student in a nearby university. He/she is more than willing to take on your assignment and unleash his/her creativity. As much as possible have a look at his/her works first, and observe his/her personality as well.

5. Gather your friends on your pre-wedding party and have him take photos of you.

6. Make an arrangement to keep the negatives to yourself afterwards so you can reprint them and edit them if you like. You can even use the pictures to make personalized thank you cards later that show the guests on the wedding.

7. Have your guests take photos as many as they want by placing disposable cameras on the tables during your reception.

8. Have a talented family member take your photos. Nowadays because of digital cameras and photo editors, it is more possible than ever for an average person to take great pictures.

9. Ask for help from your friends who recently married. Advices from them will surely help you a lot because theyve gone through what you are going through now. Ask for references, if they know of some photographers who fit your qualifications.

The first most important point to remember when setting a budget for your wedding photographer is to talk to your partner first, and determine your requirements early on and how many prints you want to make. Then seek for cost-effective alternatives. Do a lot of research, and compare your choices reasonably.

Dulce Azogue is the owner of http://www.weddingofherdreams.com, where frugal brides learn to cut wedding costs while having a nice wedding. Visit the site now to join her newsletter that teaches you more cost-effective ideas like these at http://www.weddingofherdreams.com/gift.html, and download a free ebook.

dulce@weddingofherdreams.com