Kabalikat Civicom Global

DO's

I (a) Recognize head on lighting; (b) create artificially the 45 degree and split light; (c) get instruction in portrait lighting; and (d) check light direction.

II (a) make photographs on overcast days; (b) change you point ov view and the subject's position during shooting; (c) make pictures under differing light conditions; an (d) keep one light source dominant.

III (a) learn to handle automated cameras; (b) get proper equipment: the 85 to 105 mm lenses are a must for portraiture; and (c) study instruction accompanying equipment.

IV (a) spend time observing your subject before taking picture; (b) get a conversation going; (c) note foregrounds and backgrounds; and (d) eliminate clutter from your pictures.

V. (a) learn to frame your picture; (b) get what the  editor ask for; (c) study the work of others; (d) honestly evaluate your pictures; (e) practice; (f) shoot in the format desired; (7) include a familiar object if scale will add to the impact, and (8) learn the rudiments of processing photographic printing.

VI (a) take care of the mechanics before operating, (b) take care at least 6 frames before changing point of view; (c) heed the format, and (d) practice with different sexes and age groups.

VII (a) learn what a job entails before quoting a price; (b) give yourself several self-assigned photo essays; (c) speculate in the beginning; (d) learn the "behind-the-scenes" work; (e) learn to suggest credible action, and (f) submit quality prints.

VIII (a) reshoot the setting if you think what you can improve what you have; (b) plan and discuss all angles on assignment with the principals; and, (c) keep your agency informed of progress or delays.

 IX (a) get clearances before working in an area; (b) evolve a plan of coverage; (c) amply both vertical and horizontal format; (d) learn as much about photographic printing as possible; and, (e) have enough money on postages or internet communication.

X (a) learn where to get information; (b) follow and interpret instruction; (c) keep your agency informed; (d) plan tomorrow's shooting today; and, (e) get identifications

XI (a) check meter readings when shifting locations; (b) evaluate situations rapidly and act; (c) keep a small flashlight in your case; (d) carry at least 2 cameras with you; and, (e) have a flash unit available.

XII (a) purchase a unit that permits a 45 degree flash head position; and, (b) determine your guide number. 

XIII (a) direct by concrete suggestion; (b) give more not less; (c) listen to suggestions; and, (d) be careful before you criticize.

XIV (a) find out what is to be stressed pictorially; (b) make some pictures where people are unidentifiable; and, (c) give complete coverage to the area.

XV (a) direct by concrete suggestion; (b) give more, not less; (c) listen to suggestions; and (4) be careful before you criticize.

XVI (a) find out what is to be streesed pictorially; (b) make some pictures where people are unidentifiable; and (c) give complete coverage to the area.

XVII (a) ask for key points to be featured; (b) determine the publication's policy and viewing audience; (c) make the same photographs under differing light conditions, and; (d) be alert for unusual situations.

XVIII (a) emply zone focusing; (b) use the saturation method; (c) seek constructive critique; (d) practice; and (e) coordinate your photographic responsibilities with those who have other responsibilities. 

DON'Ts

a)  ..depend exclusively on automation; (b) ..overload yourself with gadgets; (c) ..imitate; (d) ..set your goals too high; (e) ..be stingy with your exposure; (f) ..begin photographing  close to the subject; (g) ..force situations; (h) ..show all your pictures to the subjects; (i) ..ignore the help you can get from others; (j) ..forget your viewing audience; (k) ..underprice your services; (l) ..forget to identify the people you have photographed; (m) ..neglect candid shots; (n) ..neglect improvisations; and (o) ..miss a chance to recomnoiter an area before shooting.