Worcester Art Museum: Cultural Diamond in the Rough

Worcester, Massachusetts, always seemed to me to be the last place I would want to look to satisfy my cultural palette. But, last weekend, I was surprised to discover that one of Worcester's few cultural lures, the Worcester Art Museum, is actually a fine, respectable establishment of the arts, just as deserving of at least one visit as any other such venue. In a city marred by crime, traffic, and a burgeoning vagrancy problem, I was pleased to find the diamond in the rough that held and engaged me for hours last weekend. When entering the Museum, by the main entrance, I found myself initially skeptical. For so cheap an admission (only eight dollars), I expected much less than I ended up getting. The range of exhibitions currently available at the Museum is truly astounding. From Jodie Manasevit’s contemporary exhibition to the “Hope & Healing” collection of plague-era Italian paintings to Jim Hodges’ eternally inspiring masterwork “Don’t be afraid,” there is something to be found for all range of artistic tastes. The first work I encountered in the museum was not a painting, but a mural- the largest in North America. Entitled simply “The Hunt,” it depicts an ancient Roman hunting expedition to Africa, probably a once-in-a-lifetime event for the hunters. The mural has been dated to not long after the turn of the first millennium. More impressive than its age, or the fact that it has been preserved so beautifully in its original form, is the fact that such capable craftsmanship existed at all so distantly in the past. This work, located on the ground floor, the lowest point in the museum, was tastefully placed to reflect the fact that this sort of work is the origin of all of our art today. Directly above The Hunt, draped along 67 feet of wall space, is Jim Hodge’s masterpiece, the mural “Don’t be afraid.” Scrawled across the sky-blue face of the medium are the words “Don’t be afraid,” as written in the native languages and styles of 100 different United Nations member states, including Japanese, Arabic, and Cyrillic. The message of the piece is one of inspired unity- the representation of a congruent whole represented through the diversity of smaller parts contributing to a greater, more powerful whole. The collective effort required to create the piece is also symbolic of the power of communal unity- the content of the mural come from 100, anonymous United Nations represented, and the actual construction of the mural took the work of about another hundred high school students, guided by Hodge. Hodge’s use of the “Don’t be afraid” phrase is also of significance on the artist’s personal level. Hodge has had the phrase hanging in his studio since long before this piece was commissioned by WAM, and he used the phrase on bumper stickers sold at last year’s Whitney Biennial. All in all, “Don’t be afraid” was an early, uplifting surprise for me, whose tasteful placing above the center of the museum seemed meant to represent the background emotions of unity and harmony that underlie our art and the purpose of our art. The “Hope & Healing” exhibition, which will be available at the Museum through September 25th of this year, was a truly emotional experience. The paintings are arranged by the exhibitioners such that the viewer follows the plague over its chronological course, from its tragedy to its triumphant conclusion. Paintings by all range of the ancient schools of Italian painting represent the full span of emotion felt by the suffering masses of Europe. There is despair, exemplified in Marcantonio Raimondi’s The Plague (after Raphael’s original) and the imagery archetypes of the infant trying to suckle its dead mother, and the fallen classical ruins all around, symbolizing both the apparent end of civilization and the loss of the integrity of societal institutions in the face of insurmountable tragedy. Flemish painter Michael Sweerts’ 1650s painting Plague in an Ancient City depicts a foreground of suffering plague victims against a background of the frantic healthy to show the fact that, at the height of the plague, those who hadn’t yet been affected were doing little more than waiting for the plague to reach them, inevitably. This theme is repeated in Giovanni Martinelli’s Memento Mori (“Remember, You Shall Die“), which shows a common dining scene of upper-class gentlemen and women suddenly interrupted by the intrusion of a skeleton holding an hourglass. This was meant to show that, unlike many of the pestilences that cling to the ghettos, the Black Death struck rich and poor alike, without discrimination, and without warning. Finally, the exhibition climaxes with the portrayal of Giovanni Andrea Sirani’s Michael the Archangel Overcoming Satan, surrounded by other works of religious art, relating the divine intervention many felt was responsible for the final abolition of the plague. Saints Rosalie, Roch, Sebastian, and others are represented as the divinely-inspired traveling healers who risked their lives to try to bring hope and healing to plague victims across Europe. But Sirani’s work reflects the larger theme of the plague’s demise, that the pestilence was an artifice of Satan’s, and its defeat was an inspired act of God, through his servants. Jodie Manasevit’s exhibition was what next I encountered in the Museum. Now I have never been a devoted follower of much contemporary art, yet the title of Manasevit’s exhibition, “Just Painting,” struck a chord with me. The use of seemingly random mosaics of painted color and unusual sculptures consisting of various arrangements of oil-painted paving stones gave me an important glimpse into the meaning behind this type of modern art: perhaps there is no effable meaning, only the impulse to “just paint,” and what that means to the artist is a total mystery to us until we, too, find it in ourselves to go and just paint, and see what “just painting” means to us. The Printmaking exhibition, which ends at the conclusion of July 2005, explores the origins of water-and-oil printmaking. It features artwork from the 19th-century European masters such as Fransisco Goya and Eugene Delacroix up through the lithographs of modern masters like Jasper Johns and Robert Raushenberg. The quiet, mostly colorless elegance of these works did not go unappreciated. Being able to portray such moving, lasting scenes like The Bulls of Bordeaux by Fransisco Goya or the quieter The Cat in Summer and The Cat in Winter, by Theophile Alexandra, through the use of only light and dark lines is an important, expressionistic tool from the history of our human arts that is quickly disappearing, but that cannot be allowed to be forgotten. Other exhibitions at the Worcester Art Museum, such as the American Art display that contains original metalwork by Paul Revere and continues up through the radio age, served as a reminder of where art has gone since its beginnings in the Hunt. The French paintings section, which bears all range of pieces, from Romanticism through Modernism and beyond, bridges the developmental gaps between the emotional plague years of Raimondi to the more-abstract-that-Abstraction, contemporary works of Jodie Manasevit with original works by Gorky, Gaughin, excerpts from Surrealism and Cubism, and pertinent works of everything in between. All in all, I was much more satisfied than I’d anticipated and in fact drawn to return multiple times by the Worcester Art Museum, and I would recommend it as a must-do experience for any serious art aficionado living in the New England area. It might not be the Louvre, but the Museum has such high-quality exhibited works and meaningful displays to make it well worth the trip and the price. The Worcester Museum of Art is open 11-5 on Wednesday through Sunday, 11-8 Thursday through Saturday, and is open from 10-5 on Saturdays, with free admission from 10-noon on Saturdays.

Christmas Light Photography Tips and Advice

We're out taking photographs of Christmas lights. There are so many beautiful displays, and we want to capture them on film. So as we prepare to take our pictures of Christmas lights, we back away so that we can capture the entire magnificent scene within our frame.

Correct. But also incorrect, if that's all we do. And this leads to our first Christmas photography tip for illustrating Christmas light displays.

(1) The best Christmas lights photography captures not only panoramic scenes, but also close-ups of the highlights within the panorama. We want both. Let's say that on the sprawling front lawn of a suburban home, we see Santa on his sleigh in one location, and a Salvation Army bell-ringer in a second spot, and a nativity scene someplace else. In addition to our distant Christmas photograph, we can also zero in on each of those three highlights.

(2) Opt for a high shutter speed. We want to illustrate the lights, not the light that they emit. A wide angle lens is for the panorama, and a macro lens is for the close-ups.

(3) Those Christmas light displays are so brilliant in the deep, dark, Silent Night. Maybe so, but our Christmas photography will be lousy at that point. Our photos will show the lights, but not the property in the background. Or, we'll see the property but we won't clearly see the lights, so to speak. Our best bets are at dusk or at dawn, and overcast usually is better than clear sky.

(4) If we're really dedicated and sticklers for perfection, we'll shoot our Christmas photography both at dusk and at dawn. Great photography of any sort is trial and error. Furthermore, if we show up maybe a half-hour before the optimal time, then we can plan our logistics and our camera angles, so that we're ready when the time is right. Extra time = excellence in our Christmas photography.

(5) Let's see here. We have the lights. We have the various props that go with the lights, such as the nativity scenes or Santa on his sleigh. We have the property in the background. Aren't we forgetting something? Oh yes, the sky. The sky! Look at examples of Christmas lights photography that impress you (or even thrill you) the most, and odds are that the sky will play a prominent role. Seek an angle at dusk that shows an afterglow in the evening sky. To include more sky, shoot from a low angle, upward toward the Christmas lighting display and toward the sky.

(6) People. Where are the people? Just because your subject is Christmas lights photography, that doesn't mean the scene must be devoid of people. Have some children pose in the scene, or better yet, just tell them to go ahead and frolic. This can add a unique element to your Christmas lights photography.

SOURCES

http://www.intofotos.com/photography/2007/11/10/how-to-photograph-christmas-lights/

http://strobist.blogspot.com/2006/12/how-to-photograph-christmas-lights.html

http://www.slrphotographyguide.com/tips/christmas-lights.shtml

Enjoy an Art Museum, Docent Tour, and Lunch in a Day Trip

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It is an excuse for a tasty lunch. We justify the true goal of the day, trying a new (to us) restaurant, with the appearance of culture. Living in the suburbs of Dallas, it is not a huge ordeal to trek into the city and enjoy the resources available to us. Even better, we will share a simple stress free outing with you.

Sleep in on a Saturday morning, since the Dallas Museum of Art does not open until eleven. Knowing a decent lunch awaits, we curtail our breakfast bounty and read the paper curled around a bowl of cereal. It is a gorgeous clear, sunny day with a hint of fall in the air. Dressed in sturdy walking shoes and casual wear, we drive the twenty miles into the city. Downtown Dallas on a Saturday morning is not teeming with life. The Arts District off of Pearl Street is just waking up and we easily find a meter to plunk in a few quarters. It is silly to pay the full day parking lot rate, when we plan to browse and then bolt for lunch.

There are some families and students waiting for the doors to open and we join the group to pay the ten dollars admission fee. We find our name on the docent tour list and end up with a private tour. Now, the docent tour was a bit of a bonus. My friend had won a silent auction bid a year ago and the tour was expiring. Even with a month's notice, friends and family were too busy to join in the festivities. Hence, it was the two of us. The docent tours can be arranged privately or there is a free public tour at two o'clock daily.

The tour is a pleasant surprise and gives us a new perspective of the museum. Rather than a seemingly random hodge-podge of art, there is a flow to the building and the docent guides us to a starting point upstairs. As we walk up the steps we enjoy the glass sculpture in the window of the art café. Flowers or sea creature creations, the bright glass glistens and allows the imagination to wander. An added bonus from the second floor is a view into the Nasher Sculpture Center next door. This is a year old cultural coup for the city of Dallas. Raymond Nasher donated his collection to the city, as well as actively participating in the building and presentation of his sculptures. The Nasher Center is a possible side trip depending on your art ambition for a day.

Our docent begins in the early American galleries and proceeds to stop and discuss various favorites and newly acquired pieces. As we proceed, we get a mixture of opinion, art history, and technique. With a different view and some lively discussion, we enjoy our stroll through the Dallas art galleries. We sit in front of Frederick Church's The Iceberg to rest our feet. The Dallas Museum of Art has a wide-ranging collection from American to African art, from classical to modern. A few hours here can enlighten young minds or invigorate the old. Constantly changing and rearranging the art on the walls, the museum wants you to return to see old favorites in new settings or to enjoy new works. It is easy to take the museum for granted, but an occasional visit is refreshing.

After two hours, we thank our guide and proceed to lunch. A short drive from the arts district, McKinney Avenue offers a variety of funky stores, trendy clubs, and fabulous eateries. We head to Cretia's on McKinney , a bistro and bakery. At one in the afternoon it has a decent crowd, and with the gorgeous weather, the patio seating is full of patrons. The menu does not disappoint with choice of lunch or weekend brunch items. We chose the chicken croissant sandwich and the hot roast beef sandwich. The lunches come with salad choices, fries, or fruits. Save room for dessert because the bakery section of this establishment is wonderful. We savored carrot cake with real cream cheese frosting and a red velvet cheesecake that was melt- in- the mouth delicious. Cretia's proves to be an enjoyable reward for our dose of art culture.

To burn off a few calories, we finish the afternoon with a stroll up McKinney to the Knox shopping area. Unique specialty shops and popular stores such as Pottery Barn and Crate and Barrel line the streets. Shop, people watch, or plan the next outing complete with a restaurant choice on McKinney. This is one little section of Dallas and the Dallas Museum of Art is only one of many museums to see. Take the time to enjoy some art and lunch.

Dallas Museum of Art Arts District
Cretia's 4438 McKinney Ave Dallas Texas 75205

How Baby Talk Helps a Baby's Language Development

celtics baby clothes

Adults speak to babies in a distinctive way in all cultures, in baby talk.  In some ways, baby talk cannot be helped, some adults are not even aware they are speaking differently with a baby.  The face of a baby appears to inspire adults to speak in a slow, high pitched, singsong voice.   In a different context, in which a baby is not involved, it often sounds silly and out of place.  It is not the voice that adults generally use with other adults.  Why is that that we as adults distinctively use baby talk with babies?

One might be tempted to say that it is a cultural phenomenon.  After all, we see other people coo-chi coo-chi coo-ing to their babies, and we were also coo-chi-ed at when we were babies.  Perhaps using baby talk is a latent memory of our own early days as babies.

These are all possible theories, however, some clever social scientists have found reasons to suspect that we are, in essence, programmed to engage babies in baby talk because it helps them to develop their own language skills.

Babies are fascinating people.  They are born with the ability to soak up knowledge like a sponge.  They have an innate ability to watch, listen, and imitate the people around them.  Yet, if you watch the preference of a baby in the crib, they will pay more attention to the person speaking in baby talk than the person speaking in a normal voice.  Why is that?  Do they prefer the voice of the mother and the caretakers, the people who will speak the most baby talk?

Tests have shown that babies not only prefer baby talk, but they prefer any kind of baby talk to a regular voice.  Baby talk in French or any other foreign languages will be preferred over the normal voice of the mother.  We can then deduct that they like to listen to the certain pitch and tone that comes with baby talk of all languages.  Why the preference?  Babies are not susceptible to cultural phenomenon just yet, and baby talk is distinctive different than how adults interact with each other.

As it turns out, baby talk is not just the way we happen to speak to babies, but it is a mechanism of helping babies learn language.  Analysis of baby talk shows that the vowels are lengthened, and speech is slowed down, and more articulated.  It is an exaggeration of adult speech.  What appears to be an unconscious effort is actually a lesson plan in language.  Even mouth movements are exaggerated for the baby’s benefit.  One would press their lips more tightly together to say “baaaaaaaaaaall” to a baby.  In fact, when the full length baby talk is written down, it has the look of a grammar lesson, repetitive, but varied by description and structure: “Look at the ball, look at the bouncing ball, look at the pretty bouncing ball”.

As silly as it may sound, baby talk has all the important components of language.  It is an important part of a baby’s language development skills because it provides them what normal adult speech lacks, a methodical way of providing the basic building blocks of language.  So baby talk is not just an unconscious effect of babies on adults, but rather, the unconscious way people teach babies how to use language.

DIY Wedding Photography on a Budget

Photo Credit: celtics baby clothes

So, your wedding is fast approaching and you want memories that will last a lifetime. However, you are on a budget and don't have a lot of money to spend for a professional wedding photographer. You can still get professional-looking, creative, memorable pictures with DIY wedding photography.

The first thing to do is to find someone who takes great pictures. This doesn't have to do be a professional photographer. Many people have a "great eye" and instinctively know how to take great pictures. Think of friends or family members who you've complimented on their photography from vacations, for example. Another way to find a cheap wedding photographer is to look on local college bulletin boards, or post on them yourself in the art department or photography department. Many students have amazing talent, but since they are still a bit inexperienced, will be your wedding photographer for a fraction of the price of a professional wedding photographer. Some may even photograph your wedding for free, for no more than a free meal and use of your wedding pictures for their portfolio. You can also consider putting an ad on Craigslist for a hobbyist who is not a professional wedding photographer, but has an artistic eye and loves to take pictures. Get samples of work and negotiate a price you are both pleased with.

Whether you use a talented stranger or an artistically-inclined friend or family member as your wedding photographer, make sure they have a good camera. You may even consider purchasing a good quality, digital camera that you can give them as their "payment". If you need to purchase a camera for your DIY wedding photography, make sure you give it to the wedding photographer in plenty of time for them to learn the ins and outs of the camera, so they can adjust the settings. Digital cameras also allow for easy editing, so you or your DIY wedding photographer can edit your wedding pictures. Also, digital cameras have a large capacity to store many pictures, with a memory card they can hold hundreds of pictures, so you will have plenty of wedding photos to choose from to preserve your special day.

Another idea is to meet with your DIY wedding photographer to develop a plan of what you want photographed. Remember, since you will be saving a lot of money by not hiring a professional wedding photographer, you will have to do some of the work yourself. This includes providing the DIY wedding photographer with a list of what you want photographed. This may include photographs of the wedding rings, the wedding invitations, the bridal party, the groomsmen, the family of the bride, the family of the groom, the bride and groom's first kiss, the wedding service, etc. This will help you and your DIY wedding photographer be on the same page and know each other's expectations beforehand, so you get exactly what you want on your special day.

Also, encourage others to take pictures of your wedding. Some of the best wedding photography are those wonderfully candid moments caught by some of the guests. Some wedding couples choose to put disposable cameras on tables for guests to take photographs of, then ask that they leave the cameras when they leave the wedding reception. Some give the cameras out as wedding favors and ask that any great wedding photographs be sent to the married couple.

Lastly, consider the best of both worlds. You can hire a professional wedding photographer for a short period of time to take a few very specific pictures, then rely on your DIY photographer and wedding guests to take the rest of the photographs. This will eliminate a lot of cost for a professional wedding photographer. You can also opt to don your wedding attire a few days after the event and go to a studio to have a few professional pictures taken.

Remember, it doesn't take a professional photographer to take some amazing, creative, professional-looking wedding photography. Have a great day!

The Budget Bride's Guide to Saving Hundreds on Photography

photo source

If you are planning a wedding, you already know how much things can add up. From invitations, venues, catering, decorations, and so on, you can quickly spend thousands of dollars on your wedding day, without even realizing where all of it went. In fact, according to theknot.com, the average wedding cost is $27,800 per couple! Think of how that money could have come in handy in case of an emergency, in putting down a down payment on a new home, or in financing a fantastic honeymoon! However, if you take control of your budget now, you can have a memorable, elegant wedding while saving thousands for your happily ever after years.

The first thing you need to do when you are planning a wedding is to decide on how much you can reasonably afford and then discuss which items are the most important to you. Many couples decide that photography is at the top of their list. Follow the tips below to have memorable pictures, while staying on budget:
Shop around for photographers

The first step in saving money in general is to find out who offers the service and how much they charge. Never accept the first offer that you receive. Call various photographers and ask them what they charge and what their service includes. Be sure to consider how much the entire cost of photography will be. For example, a photographer who charges less per hour who charges more per each picture may not be a good deal. Search through your phone book and go online to see photographer's blogs and samples of their pictures.

Think outside the (office)box

Although there are plenty of photographers who specialize in photography and have a career in photography, there are also many skilled photographers who have different day jobs, pursue photographer as an interest, or specialize in other forms of photography. Check around for people such as these who have experience in photographing weddings, but who do not depend on it for their bread and butter. Think about anyone you know who fits this criterion: someone who takes pictures for the local newspaper, a sports photographer, a friend who has taken a few photography courses, etc. They will often charge much less than photographers who make their living from inflated wedding packages. Typically anything associated with weddings is more expensive than something without the wedding association. So try to find a photographer that has similar experience with a much smaller price tag.

Get digital prints

Ask your photographer if he can photograph you with a digital camera. Any type of special effect like using sepia pictures, black and white pictures, red eye removal, coloring in certain elements like the flowers while leaving the rest of the picture muted, and so on can be completed by just a few buttons. So you won't have an effects expense passed on to you. Also, ask your photographer if he can give you the digital prints on a cd or memory card. If he does this, you will need to be sure that he has signed over the rights of ownership to you so that you can develop the pictures yourself. This step could save you hundreds, maybe even thousands, and you will only be paying for his hourly rate and the ownership rights, rather than a certain dollar amount * the amount of each picture.

Consider limiting the photographer's time

Consider the actual amount of time that you want to have the photographer around. Keep in mind that many photographers will also charge you for the time it takes to travel and set up for the pictures. Some brides want the photographer to take pictures while they are preparing for the wedding, but if you are not interested in these types of pictures, don't ask the photographer to be around during that hour. Consider having your photographer take your pictures during the important parts of the ceremony and formal posed pictures after the wedding. Then just have him stay for the first hour of the ceremony, rather than the entire event. You can still get in many of the important photos during this time, such as the first dance, the receiving line, and the cake tasting. But you can save hundreds of dollars if you do not keep the photographer around for the next 1-3 hours of the reception. And with many photographers charging hundreds of dollars an hour, this is easy money that you can pocket for your future.

Opt out of the reception

Consider not having your photographer take reception pictures at all. This will save time on moving between venues, set up, and hours off of his rate. Many brides today are opting for more photojournalistic pictures, rather than posed pics. Place a couple of disposable cameras on each guest table and ask for their help in taking pics at the reception. Be sure to leave a convenient basket for them to drop the cameras off at before they leave. For the cost of a few $5 cameras, you will wind up with hundreds of pictures to choose from without the hefty photographer's fee.

Compare packages

When deciding on a package, be sure that you are comparing what each photographer is offering you. Sometimes you will save money by going for a package deal, sometimes you may be better off deciding on a certain number of pictures, rather than a package. So carefully scrutinize the charges for each package. Also be leery of unnecessary charges: a $100 wedding photo album is not worth it when you can go to your local supermarket and buy one for $10. According to Elizabeth and Alex Lluch in Planning the Most Memorable Wedding On Any Budget, you can also save big if you place the pictures in the wedding album yourself. It might take a little time, but make a day of it with your new spouse to look back at your happy memories.

Skip the engagement photos

Although it might be nice to have pretty picture to send with your invitations or to the local newspaper for your engagement announcement, you can use alternative methods, rather than pay the hefty studio and professional photography fee. For example, if you already have existing formal photos of you and your fiancé, use those instead of opting for a multiple hundred dollar studio session. Alternatively, ask a friend with photography experience to set up a muted background or go to a natural setting and have her photograph you and your fiancé for your engagement photos. Finally, check a local family photography studio, such as Wal-mart, Sears, or JC Penny. They will have appropriate backgrounds, but charge much less than a wedding photographer.

Barter, barter, barter

If you have met with several photographers and you liked one more than the others, but he was a little too expensive, let him know that you received a better offer and see if he comes down on the price. Also, before you commit, be sure that you ask "Is this the best deal you can give me?" for even more wiggle room. In this economic time, more and more people are learning powerful negotiating skills and businesses are suffering from unprecedented losses. See how flexible your photographer will be with the price. If you can't quite get the deal you want, go with another photographer or see if your first choice can throw in a freebie, such as a free parent's album, rather than a reduction in price.

Barter some more

If you have any type of service that you complete, see if you can exchange your service for the photography or a portion of his fees. Also, if you blog or you are involved in advertising or website development, see if you can get a discount if you provide free advertising for the photographer after your event. This type of service exchange can be posted in a local newspaper ad or on craigslist.com. Alternatively, if you have a friend or relative getting married, see if your photographer will give you a discount for a positive recommendation and referral.

Consider a student photographer

Yes, it might be scary to put the future of your only wedding pictures in a non-expert's hands, but you can save big by asking a student photographer to capture your wedding day. Additionally, students are more likely to give you digital prints (see above) in exchange for them gaining experience and increasing their portfolio contents. Be sure that they have some previous experience and make sure you look at their previous work. Also, be sure that your expectations are clearly stated and make sure that they can be depended on and that they are punctual.

Regardless of which photographer you go with, be sure that you get recommendations for him, check his portfolio, and make sure that you both know what you will be getting. Be certain that any adjustments are in writing, especially if the photographer has reduced the price. Then rest assured that you have done your best to get the pictures you want, and the peace of mind you need as you begin your new life with cash in your pockets.

Christmas Photography Tips and Advice

credit,credit

For Christmas photography tips, or any sort of photography, we want the best results to come from our time and effort. Christmas photography captures special moments, especially when children are involved. In fact, this leads to my first Christmas photography tip:

(1) Focus on the children first. This admittedly is a bias of mine, but Christmas foremost should be a children's holiday. This applies to gift-giving, and also to photography. If you disagree and/or if adults are at the center of your Christmas, fine, that's just my opinion. Just think of ol' Art Linkletter: "Kids Say the Funniest Things." Kids also make the best photo subjects, and regardless, Christmas (like Trix cereal) is for Kids.

Our Top Ten Christmas photography tips are going to relate to the strategy of taking the best photos, not to the type of camera. That's a whole 'nuther topic. In fact, yours truly is not even a shutterbug. My advice comes from working as a local daily newspaper reporter, among some of the best professional photographers, going back to the 1970s when they still used darkrooms, up to today in the digital age. These Christmas photography tips are geared toward how you interact with your subjects, once the camera is chosen and the lighting adjustments are made.

(2) Don't be one of these photographers who is constantly out front and interrupting things, asking people to pose. For your best Christmas photography, be the fly on the wall. Stay in the background and take candid photos of what's happening, photos in which the subjects don't realize you're taking their photos.

(3) A lower angle (shooting "upward" toward the subjects and the scene) often yields better results. Don't hesitate to sprawl on the floor.

(4) In your Christmas photography, look for sequences of events. A photo is just one moment in time and to capture a sequence, many folks nowadays prefer a video camera. Still, there's nothing like a series of photos. For example: (A) Child awaits anxiously for gift-giving to begin. (B) Child receives wrapped gift. ( C ) Child tears wrapping off of gift. (D) Child reacts to gift.

(5) In fact, your sequence of events could begin hours earlier. Child helps decorate tree. Child puts on Christmas outfit. Etc.

(6) Just because you're staying out of the spotlight with your camera, that doesn't mean you can't be persistent. Patience is a virtue in waiting for just the right moment, just the right shot.

(7) Be a minimalist. Don't try to illustrate the whole scene of the Christmas event at once. If it's a party, take turns focusing on individual participants, or no more than two or three in one frame. If your Christmas photography involves a group of carolers, go ahead and photograph the whole group, but also aim for closeups of one caroler, or a small group.

(8) If you still want some posed Christmas photography for the archives, that's fine. Try to do the posing at the conclusion of the shindig, not at the start or during the middle.

(9) For posed photos, try to keep the number of subjects small. Let's imagine the group of Christmas revelers is 20. Go ahead and shoot the group of 20, but keep in mind that with so many folks in there, their faces are going to be the sizes of dimes. Also shoot "subgroups" with three, four, five people.

(10) When people pose in groups, have them put their heads as close together as possible. This may seem like a minor point, but when you see the results, you'll understand. Faces can be 20 percent larger and up close if we eliminate the wasted space between their heads.

SOURCES

Personal experience

http://digital-photography-school.com/16-christmas-photography-tips

http://www.best-family-photography-tips.com/Christmas-pictures.html

http://photography.about.com/od/christmas/Christmas_Photography.htm

Boppy Pillow Photography Prop

source

Photography props are expensive and many times are not even worth the investment. A Boppy Pillow however, even if bought at full price, is well worth the investment. You will get years of use from your Boppy Pillow and as a photography prop the Boppy Pillow can be used for babies and pets. The Boppy Pillow is also washable so it can be cleaned inbetween uses. You can purchase Boppy Pillows new at stores such as Target or used at resale shops and rummage sales.

Boppy Pillow Photography Prop Pose #1: Baby On Back
Place the Boppy Pillow on the floor of coffee table or other raised surface, not to high since you will be photographing from above. Cover the Boppy Pillow with a backdrop, blanket, material, etc. Gently rest the upper body of the baby on the Boppy Pillow, the baby's bottom should be near the open end. This position is perfect for newborns that can not support themselves.

Boppy Pillow Photography Pose #2: Baby on Tummy
Prepare the Boppy Pillow as above on a raised surface. For this pose the table can be high or low since you will be photographing from in front of the baby. For this photography pose you will be facing the open end of the Boppy Pillow away from the camera. This pose does require some upper body strength so it works best for babies 2 months and up. Place the baby stomach down with the upper body resting slightly forward of the Boppy Pillow. You now have a perfect head and shoulders position.

Boppy Pillow Photography Pose #3: Baby Sitting
Prepare the Boppy Pillow as described in pose 1. As in pose 2 the raised surface can be high or low since you will be photographing from in front of the baby. The Boppy Pillow opening should be facing the camera. Sit the baby inside the hole with the baby's legs coming out the opening. The Boppy Pillow will help support babies that can sit unassisted. In this pose the Boppy Pillow is mainly used to keep the baby sitting tall. Photograph the baby from the front. This pose will help you capture a nice head and shoulders photo of babies six months and up.

Boppy Pillow Photgraphy Pose #4: Pet Laying
Again prepare the Boppy Pillow as stated above. You will be photographing from in front of the subject so a high or low table will work. The Boppy Pillow opening should face to the left or right of the camera. Lay the pet with the front paws on the Boppy Pillow. The body should be laid into the center and if large enough out the opening. Stand behind the camera in front of the subject and get the pet to turn their head towards the camera. I use a rubber chicken, not a squeaker toy. A squeaker toy will scare most animals and usually makes a dog jump up and want to play. You only want to get the animal to look in your direction with their head.

I have included a couple of photos that show the Boppy Pillow in use.