Photo guidelines

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If an article is selected for publication, an editor may ask the author for a photo. If you are scanning a photo for email, please scan at 300 dpi and at least 5" x 7". You can send your color photo via e-mail. Generally there is no payment for the use of this photo.

Articles that run with color photos tell a more complete story and communicate with a wider range of readers. If you have color photos to accompany your story, please let your editor know, and we will determine if they are of use. If you are scanning a photo for email, please scan at 300 dpi and at least 9" x 12". Please send color photos via email when possible.

Get model releases for anyone in the image. The Sentinel and Journal cannot use images without model releases. A copy of the release will be required prior to publication and it must meet the requirements of the CSPS model release.
Clear, simple images with obvious focal points are best. Images with too much activity can be confusing and can dilute your message.
Photography can be inspiring to those who see it. Let it inspire you. Attempt to view your subject constructively. Look for the best in your subject.
Show relationships and interaction between subjects. For example, its better to have two people smiling at each other than to have them smiling at the camera.
Keep your backgrounds clean. Try to avoid visual conflicts between foreground and background elements.
Experiment. Often the best photos come from unusual techniques and angles. Try shooting from above or below your subject. Experiment with different light. Enjoy yourself.
The camera lens should be between three and four feet from the subject's face. Shoot an entire roll of film, using indoor and outdoor lighting conditions.

Photography tips

Subject matter and composition
There are three elements which, when used together effectively, help improve a photograph:

Interaction and relationship
Your photograph should demonstrate relationships between active subjects. If the subjects are people, the image should show a relationship or visual connection between them. If the subject is a single person, the image should show a relationship with their surroundings or themselves.

Background
Backgrounds should be intentional. "Accidental" backgrounds are rarely complimentary, often distracting, and can be the deciding factor between a good and bad image. Choose a background which works together with, or in support of, your subject matter.

Symbol
Visual symbols help communicate context in images. Landmarks, flags, distinct horizons, even cars, can add needed context and flavor to images. Choose symbols that support or work together with your subject. American flags in an image can help identify the subject as a patriot, for example.

Indoor portrait shots
Get as close as you can to a large window, so that the photographer's back is to the window and natural light falls on the subjects face (make sure the photographer's shadow is not falling on the subject).
or
Have both photographer and subject facing each other near a large window, each with a shoulder toward the window. This may not produce a good photo if a deep shadow is cast on one side of the subject's face. Fill-flash can be used.

Outdoor portrait shots
Overcast light is best for outdoor portrait shots. It provides direct and even light on the subject's face. To eliminate harsh shadows from the sun on the subject's face in direct sunlight, use fill-flash. It's best if the person is backlit—in other words, the subject is facing away from the sun.

Using flash in photographs

Flash as main light source

The main light source is the brightest light in a photograph.

Flash should be used as a main light source when there is not enough available light to produce a proper exposure. This commonly happens indoors with normal speed film or with slow lenses.

The point of using a flash as the main light source is to provide new ambient light. Therefore, direct flash light is to be avoided whenever possible. After all, how often would you shoot an image with your subject staring directly into the sun? Whenever possible, bounce the flash off a ceiling, a wall, or use a bounce card (found at most camera supply stores), or diffuser to create new ambient light. Direct flash creates ugly shadows behind the subject and looks unnatural.

Using flash:

Set your camera to its shutter sync speed (usually denoted with an "X". It is usually 1/60, 1/125, or 1/250) using either manual or shutter priority auto-exposure.
Determine the proper exposure using a flash meter or calculator on the flash itself. Your in-camera meter will indicate when there is not enough light but often does not help determine what flash setting to use.
Shoot.

Fill flash

Fill flash is when a flash is used as a secondary light source to fill in the shadows that the main light source creates. This means the flash is not the brightest source of light.

Using fill flash with auto-exposure:

Set your camera to shutter priority mode, or flash sync mode.
Set the shutter speed on your camera at flash sync speed (usually denoted with an "X". It is usually 1/60, 1/125, or 1/250).
Set the flash power at 1 or 1.5 stops less power than indicated by the flash meter or flash calculator. This step is very important because it keeps the flash from overpowering the existing main light source.
Point the flash directly or indirectly (bounce it off a ceiling or wall, or use a bounce card) at the subject.
Shoot.

Using fill flash with manual exposure:

Set the camera to manual exposure mode.
Set the shutter speed on your camera at flash sync speed (usually denoted with an "X". It is usually 1/60, 1/125, or 1/250).
Determine the necessary expose using the flash sync shutter speed, using a light meter (in camera or handheld).
Set the flash power at 1 or 1.5 stops less power than indicated by the exposure meter. This step is very important because it keeps the flash from overpowering the existing main light source.
5. Point the flash directly or indirectly (bounce it off a ceiling or wall, or use a bounce card) at the subject.
Shoot.