Why Corporate Photography Is Essential 

Corporate photography is essential to any business. – Great Images make a big Brand Leaders. For big brand need good images. Because these are required for internal communication, news letter, posters, presentations etc .  These are also usr for external communication,Press releases,f or brochures ,Website ,Social media and Blogs. Corporate houses need a photographer who can shoot with his experience with great equipment and technique.

All businesses are looking for growth and differentiation, and in any business, it’s the people within them that really make a business unique.

Outlook of consumers has changed, mostly they communicate easily with social media. They want to know about the people behind the businesses that they buy from.

Most of brands adopted social media to showcase their products but what better way is there to show the people and the personalities and products behind a business than with photography?

Personal, engaging and interesting photography gives a business a real edge over their competitors by creating a strong personality and identity that gives their customers a better understanding of them.

 

Educational institutes also needs to present their personalities, prospectus, campus, facuility, facilities through external communication, press releases,procpectus,and for Website ,Social media.

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We also enjoy shooting at schools, colleges and educational institutions. Its a great way to capture the vibrancy of the young in a picture. These pictures were taken at an international university in Himachal Predesh.

I have just uploaded a gallery of my corporate photographs here. Like many photographers, I combine my editorial work with assignments for business and corporate clients.

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You can see more of my freelance photography work here. — http://www.manjotphotography.com

mail to : mynaturepassion@hotmail.com

singhmanjot@manjotphotography.com

https://in.linkedin.com/in/manjotsinghsachdeva

http://fineartamerica.com/profiles/manjot-singh-sachdeva.html

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Should We Need To Hire Professional Photographer

I am a professional photographer, I am discussing here today, why we should need to hire a Pro Photographer.

No doubt, due to the growing advancement of technology. Everybody now has a smart phone with a camera in their pocket. And some of the newer models are taking good photos. Thanks to digital, versus film, you can take 1000’s of photos,there will be at least one that might look like a magazine cover print. But let’s face it, taking photos of your homemade food or your new nike shoes is not the typical reason you’d hire a photographer.

What are the main reasons?

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Your Business Products: If you’re a business with a new product, how are you going to compete with the market? You’ll need a professional photographer at some point to reach that next level in your marketing and sales. Especially when many businesses make most of their profits online, it’s best not to let a meagre effort to represent your product. If you’re an entertainer or market yourself in any way as a brand, only a professional photographer can really deliver the quality to exceed or match your competition. This includes headshots, business portfolios, politicians, and even homemade blogs. Just because you can make an online business from home, that doesn’t mean it should look like it. Everyone’s business model should include at least one professional photoshoot in their expenses. Too many small businesses forget to do this and end up trying to hire a photographer with the change in their pockets, when their profits aren’t where they hoped they’d be. Don’t mess around with your business, hire a professional photographer.

Unless we are talking about wedding photographers, or portrait photographers who photograph our kids for school, most folks just never have a need for a commercial photographer.

Commercial photographers usually deal with other businesses, a B2B approach that makes Graphic Designers, Ad Agencies, Magazines and Corporate Communications their main points of contact for work. Those entities are usually working on behalf of another company that is needing photography to promote their business, product, service or craft.

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Every product has challenges to making it look great. Every service has challenges in bringing that service to a photograph. Professional commercial photographers are uniquely prepared to meet those challenges and provide solutions that make images that work for you. Most commercial photographers consider themselves problem solvers first… and that is good for you.

Don’t look for “your photograph” in their portfolios
Photographers always have portfolios of images they have taken for someone else. Those images solved that client’s problems, and provided the unique visual solution that had been worked out with that with them. Your needs and challenges will most likely be different than theirs, and the photographer will work with you to find the best solutions to your unique visual challenges.

Most professional photographers are decent, honest people and want to work with you. They can take your budget and find the best way to get what you need done. If your budget will not be enough for a studio rental, they will find a way to shoot it on location. If you only have a specific amount of money to spend on the photography, most photographers will find a way to make sure you get the absolute best work possible. And for sure, different photographers have different ways of getting things done.

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Good photography sells more product. It makes your service look better. It takes your business and shows it in the best light (no pun… seriously). Look at the premium brands for the truth. They spend tens of thousands, even hundreds of thousands of dollars on their imagery. Why? Because they KNOW it works. In side by side comparisons, consumers and purchasers choose brands with great photography over products with bad, boring or mediocre imagery.In short… better photography sells more stuff to the clients you want to serve.

Hiring a professional photographer should not be difficult or cause angst or pain. It is an important business decision, and should be considered with deliberate thoughtfulness. Choosing the wrong photographer, or making visual decisions that are not in keeping with your brand and the goals of your business can have long reaching consequences. Choosing the right photographer can bring more to the bottom line of your business than you even imagined.

Choose… wisely.

NOTE: this post was inspired by this excellent post by Mike Montiero of Mule Design. He was discussing hiring a designer and I, being a designer as well, realized that many of those thoughts transfer to hiring a professional photographer. Great post, Mike.
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Save T 24 Ustad Tiger Of Ranthambore From Captivity

Save T 24 Ustad Tiger Of Ranthambore From Captivity

We need freedom of Ustad

I am blessed with a Ustad’s #T24, I spent time with the Ustad that I can not forget in my life. Who brought me so close to nature,  I never see a gentle like a tiger in its natural habitat, and neither I have ever seen man nor animal . Ustad had nothing to do with anyone, he was just enjoying nature in its fun, and I was able to capture from the eye of my  lens.

Who says Ustad is a man eater. … Unfortunately, greedy people are putting on him allegations. …..

Manjot Singh

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Photo By Manjot Singh

On May 8, 2015, Rampal Saini, a Forest Guard at the Ranthambore Tiger Reserve, Rajashthan, was allegedly mauled and killed by a tiger, while he was patrolling the forest. The killing has been attributed to a male tiger T-24, christened Ustad, though no one saw the tiger commit the act. Some so-called local experts zeroed in on Ustad as the culprit, as he is known to be an aggressive tiger, with a history of previous alleged attacks. Many vested interests want this tiger removed:
1. Ranthambore tiger Reserve sees thousands of pilgrims walking through the park every Wednesday to visit a temple. This brings in a lot of money to local businesses.
2. Illegal grazing, logging, etc cannot continue in the reserve for fear of this aggressive tiger.
3. Someone is instigating the forest guards to strike work, and local leaders are threatening to create a law-and-order problem.
A local committee of so-called experts has persuaded the CM of Rajasthan to release an order for capture and relocation of this magnificent animal to a zoo. They have allegedly informed the CM that the tiger is a man-eater, and have even attributed attacks by other tigers to Ustad to strengthen the case. Today, the tiger has been tranquilized, and will be ferried away soon. I implore your goodself to take proper action, to prevent the tiger’s relocation. Sadly, if this tiger goes, his two cubs, whom he protects, will soon fall prey to other male tigers encroaching into his territory. Hope you can help Ustad.

Credit —  https://www.change.org

Sign the Petition from here to Save him –  Sign Petition To Save T24

For one, under orders from the Chief Wildlife Warden of Rajasthan, there was an extraordinarily swift response by the Forest Department. Though initially it was presumed that the cat responsible was T72 (Sultan), about 30 minutes after the incident, T24, already under the scanner for three human deaths, was sighted at the exact spot, apparently searching for the body, which had by then been removed. The whole saga started from here. And it opened up massive, emotional debates that polarised wildlife lovers.  – See more at: http://www.sanctuaryasia.com/magazines/conservation/9955-ranthambhores-ustad-saga.html#sthash.OvhUbxX1.dpuf

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Photo By Manjot Singh

‘Ustad’ was branded a ‘man-eater’ after he mauled to death a forest guard on May 8. Within days of the incident, he was drugged and translocated 530 km from Ranthambore to the Udaipur park, considered a rescue centre.

But for the tiger, now caught in transit between his natural habitat and a zoo, a return to the Ranthambore forest, to his female companion and her cubs, is still a long way off. On the brighter side for the big cat, a Vacation Bench, led by Justice A.K. Sikri, has ordered status quo. That means, the tiger stays on at the biological park until the Rajasthan High Court decides his fate. The High Court will hear his case on May 28.

This urgent hearing came on a petition filed by Chandra Bhal Singh, a Pune resident and tiger lover. The hearing itself was a rare gesture from the Supreme Court, which only considers urgent matters during the summer break. Mr. Singh, through counsel Sanjay Upadhyay and Salik Shafique, said ‘Ustad’ had only acted in self-defence when the guard trespassed into his territory.

The tiger, he said, had merely acted to protect his family. His absence from the tiger reserve spelt danger to the tigress and the cubs left helpless in the wild, he said.

He blamed the National Tiger Conservation Authority for acting in haste, under pressure of public opinion and without conducting any scientific probe or understanding the circumstances of the attack.

Credit — http://www.thehindu.com/

WE SIGNED: “KING OF RANTHAMBORE” DYING IN A ZOO, UNABLE TO PROTECT CUBS – RETURN TIGER T24 TO THE WILD!

Request to sign the petition — Sign The Petition To Return T24 To Wild

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HOW TO CREATE BOKEH IN STUDIO

BOKEH

Bokeh is a very popular photographic effect referring to the aesthetic quality of an out of focus area in the image. Bokeh can have different appearances. Smooth round dots as Robert used in his sample. Multi‐sided geometric shapes like hexagons, caused by the number of blades in the lens, and everything in between.

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Photo by Manjot Singh

BOKEH PHOTOGRAPHY TRIAL AND ERROR TIPS:

1. Set up (or find) a background that will have a potential to produce good bokeh. If working in studio / home environment poke holes in dark background paper and project light from the back. (As demonstrated in the video above) Alternatively use Christmas lights or background with strong contrast in details.

2. Focus your lens close. Manually turn the focusing ring to the minimal focusing distance, the opposite side of infinity. You may use an object or a person as your subject. Make sure the background is far enough from the subject to allow your lens to produce a shallow DOF, depth of field. (blur / bokeh)

3. Test you lens at various f‐stops. Adjust shutter speed to compensate for the correct exposure. Or use “A” / “AV” setting for aperture priority, the camera will adjust the shutter speed automatically while you are changing f‐stops. Please note that the difference in appearance of bokeh will vary greatly even with a

sublte change of ½ f‐stop. Often ½ f‐stop change will turn a circle into heptagon, or other shape depending on how many aperture blades your lens has andhandful other variables mentioned above.

4. Test, test and test some more. Change distance between camera and subject,subject and background, focal point, f‐stops, test all your other lenses, test withdifferent focal length.Bokeh effect

Photo By — Manjot Singh 

http://manjotphotography.com

Skype : manjot1367

Email :singhmanjot@manjotphotography.com
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Food Photography & Styling

A Portrait photographer needs a portrait who tells its story. The photographer needs to be more skilled than the subject because they feel calm in the front of the camera. But as a food photographer , I feel easier because the subject doesn’t talk. But it doesn’t mean I forget the food styling part of the food photography.

Today the world of the Foodie,Instagram. Everyone is a food photographer. Food photography, however, plays a huge role across many different businesses. Previously limited to the food industry (restaurants, markets, specialty food stores) and food-dedicated publications, food photography now spans a wide breath of editorial publications and commercial/advertising campaigns. Food is most often associated with comfort and happiness, so it’s no surprise that clients like American Express and CNN are now seeking food photographers.

No matter which type of the photographer you are. But it matter you have the skills of the food photography, you should have, Your work should be different that stand in the crowed, your client sees your work and feel to taste it.

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Photo By Manjot Singh

It will be happening than if your styling is up to mark.  I am discussing some tips on food photography and styling.

You need white bouncing cards and silver reflectors.  Avoid direct light on the food. Use always reflected and filtered light from the side. Use window light or diffuse light.

While it may seem more generous to serve plates piled high with food, an over crowded plate can look less appealing than a minimalist spread. Think about how you can use the white space of the plate to frame your dish.

While there are times when all white on white can be visually striking, I find I get better shots if I go for contrast. So a pale coloured food and plate gets a dark background where as a vibrantly coloured dish tends to be best with a simple white background.

Exactly how you go about getting that mouthwatering shot depends entirely on what food you are shooting. Before you even start cooking, ask yourself, what makes this good? The answer will influence a lot of your styling choices. For example, if you are shooting a club sandwich, the best part is what’s inside. A shot from above will just show bread, so you’ll need to set up a shot that allows the viewer to see those tantalizing slices of meat and crisp toppings.

 

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Photo By manjot Singh

 

The right background can make or break your food shots. A good background should offer a lot of contrast—you don’t want your food to blend in. Choose a background that will allow the viewer’s eye to be drawn to the dish immediately. Make sure you also consider the overall mood you are going for too. A fancy filet mignon would go better on a upscale tablecloth while a hamburger would pair well with a rustic barnwood tabletop.

Think about what makes your subject really delicious and then aim to highlight this characteristic in your shot. Ice cream is a great example. It’s all about smooth creaminess and licking drips from the sides of your cone or bowl.

Some foods look best fresh from the oven, while others are best shot a little later on. Lettuce and greens, for example, have the most life when they’ve just been washed in ice water. Emphasize the creaminess of ice cream by waiting until it’s dripping or choose to show it’s cool quality by shooting straight from the freezer. Do you want steam in the shot of that cornish hen? If not, you can make it still look fresh-from-the-oven even though it’s lukewarm by spritzing it with oil.

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Photo By Manjot Singh

Angle is big in food photography and helps dictate the mood. Again, keep in mind that first question—what element of the food do you want to emphasize? Here’s a few of the most common angles for food photograph:

Straight on: When the camera is level with food, the viewer almost feels like they can reach out and start eating.

Above: Shooting directly from above will emphasize the shape of the dish and the props.

Tilted towards the camera: When the dish is tilting towards the viewer, it creates a welcoming feel.

Titled away: Tilt the dish away from the camera and the viewers eye follows the food into the image.

 

Food photography is often about telling a story. Who made this? What’s the occasion? What season it is? The right props can help you share this story – just beware of going overboard.

Try picking one standout color from the dish – say the strawberries in a strawberry rhubarb pie – and adding a small element that incorporates that color. It could be the paper that your dish sits on, dusted powdered sugar on the table, orange slices, a wooden cutting board, or a cup of coffee.

Food styling is arguably one of the biggest things you can tackle to improve your culinary images. How you set up your dish, props and background, as well as how you compose everything within the frame can help you go from pictures that just get glanced at to the ones that make mouths water.

Manjot Singh

manjotphotography.com

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Spotted Owlet

Spotted Owlet
Calls – Athene brama

Introduction: The Spotted Owlet is a small, white-spotted greyish-brown to brown owl with a round head, yellow eyes and prominent white eyebrows.

[For help with terms used in the description, see parts of an owl. For general characteristics common to most owl species, see owl physiology.]

Description: [Note: following description is for raceindica, nominate race brama is generally darker and smaller] The facial disc is creamy-buff with brown concentric lines. The forehead and lores are white to pale buffy. Eyebrows are white and curved. Eyes are pale to deep golden-yellow. The sides of the face are dark, contrasting with white rear edges. The cere is dusky green or greenish brown, the bill being greenish-horn, but sometimes darker, and somtimes more yellow on the upper ridge. The crown, sides of the head, and upperparts are earth-brown to greyish or rufescent, marked with small white spots. The nape has very large white spots, forming a collar, while the back has large white spots, and the scapulars have broad white edges. The chin, throat, and front and sides of the neck are white, with a dark brown band below this. The remainder of the underparts are whitish, spotted and mottled with brown, sometimes with broken bars.
The wings are spotted and banded white, and the tail has narrow white bars.
The tarsi is feathered, and the toes bristled and dirty yellowish. Claws are dark horn, and soles yellowish.

Size: Length 19-21cm. Wing length 143-171mm. Tail length 65-93mm. Weight 110-114g. females usually larger than males.

Habits: Generally crepuscular and nocturnal, but sometimes seen by day. Roosts by day in tree hole or on a branch. May roost in pairs or small groups. Flight is deeply undulating, consisting of a few rapid flaps followed by a glide with wings pressed to the body.

Voice: A harsh screeching chirurrr-chirurrr-chirurrr…followed by, or alternating with cheevak, cheevak, cheevak and a variety of other screeches and chuckles.

Hunting & Food: Mainly preys upon beetles, moths and other insects. Also takes earthworms, lizards, mice and small birds. Usually hunts from a perch, pouncing on prey, but occasionally takes insects in flight. Often uses street lamps as hunting bases, hawking insects attracted to the lights.

Breeding: Northern races breed from February to April, while Southern races breed from November to March. Nests are in natural tree hollows, or in holes and cavaties in human dwellings. May also nest in cavities in the sides of ravines and earth cliffs when suitable trees are scarce. The nest is sometimes liked with grass and feathers.
3-5, sometimes 5 white, roundish oval eggs are laid (average 32.2 x 27.1mm), with incubation begining with the first egg. This causes the young to hatch asynchronously, resulting in a considerable size difference within the brood.

Habitat: Open or semi-open country, including semi-desert. Within and on outskirts of villages and cultivation, groves with old trees, and ruins. This species avoids thick forest. Lives from sea-level to about 1400m.

Distribution: Southern Asia, from Iran to Vietnam. Present on most of the Indian subcontinent (except Sri Lanka) and Southeast Asia, except peninsular Thailand and Malaysia.

Distribution of the Spotted Owlet Athene brama

Status: Generally common.

Original Description: Temminck, Coenraed Jacob & Laugier de Chartrouse, (Baron) Meiffren. 1821. Nouveau recueil de planches coloriées d’oiseau pour servir de suite et de complément aux planches enluminées de Buffon, livraison 12, pl. 68.

Subspecies: A. b. brama, A. b. indica, A. b. mayri, A. b. albida, A. b. pulchra, A. b. ultra

Photo credit Manjot Singh
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