This is a guest blog post by Trevor Dean Rideout, a lifestyle and family photographer based in central Newfoundland.

So you’ve conquered exposure, you confident in your ability to shoot in manual or priority modes and your getting some great feedback on your photography. What next? Well here are three things to apply to your craft, that don't cost money, you can apply in-camera, and will improve your photography overnight!

These techniques are simple in theory but take time to become second nature. Don't fret and as the saying goes, “practice makes perfect”.

1. Focus On The Eyes

You've probably heard this expression more than once and may be wondering to yourself, “well what does that mean?”. The concept is simple. Set your focus mode to center focus. Most if not all camera's today have the ability to move your focus zone around between those little squares in your camera, but for now let's just focus on the very center. When shooting portraits, it is usually the most ascetically pleasing to shoot with a wider aperture. This helps to separate your subject from the background and gives you nice creamy backdrops. The biggest issue here, is that the result of opening your aperture nice and wide, decreases you “depth of field” (DOF). Wherever you zone in that focus point, is where your subject will be most in focus. To guarantee the best results you need to focus on the eyes. As humans, our first instinct when viewing a photograph is to look at what's in focus, and in portraiture, the most important element is the eyes.

So, have a look through your viewfinder, line up that little square right over the eye that is closest to you and press your shutter half way down. This will lock in that focal area and give you nice sharp results on the eye that you've chosen. Whatever else falls outside of the DOF at this point is irrelevant. Sometimes, you may not be able to frame the scene exactly the way you want it, if you just focus and shoot in the one spot. This is where locking in your focus (half press of the shutter) and then recomposing your shot, comes in to play. As long as you do not move the camera forward and backward, you will stay within your focal plane, and the chosen point will stay in focus. This is absolutely essential when shooting at anything wider than f5.6 but should become common practice whenever your photographing people.

2. Watch Your Crop!

I see this mistake made probably more than any other when photographing people. If you're not careful about where you frame your subject, you may end up cutting off fingers, toes, limbs, etc. While this is probably something you may have never noticed, it is commonly accepted rule in Art. There are though, what we call “crop points”. The general rule you need to remember, is don't crop at anything that bends. Most commonly you will see fingers cropped at the edges of the frame. Standard crop could include about midway down the bicep, above the waist (midway between the sternum and waistline) and about midway between the waist line and knees. When you crop at other sections of the body it tends to make the subject look amputated and is not considered ascetically pleasing.

3. Watch Your Backgrounds

This is also one of those things that you need to become completely aware of when photographing people. It requires what you might refer to as “situational awareness”. When you’re composing your photo you may want to include some of the background to help better portray the story you’re trying to tell. What you need to watch for is objects passing through your main subject. Commonly it would end up being power lines, tree branches and other architectural features; although I have seen some instances that involve much more hilarity. You have to keep in mind that we see in 3 dimensions, but our camera's only have the ability to convert that scene into 2 dimensions. This means that you may see your subject in front of a very compelling backdrop with lots of people and things behind them, but your camera may tell a different story. Deeper in the frame, objects tend to shrink, in relation to your subject. This could mean that although you see a person walking down the street, once compressed, that person could be walking right into your subjects ear (as a less likely, but more comical example). So keep your eyes open and make a habit of scanning the entire viewfinder area. When we're first starting out, we tend to focus on one thing … whatever the main subject we're trying to photograph. Try to make a conscious effort, whenever you’re composing your shot, to take a quick scan around the entire area of the viewfinder. This will also help to better express your vision. Think about what you want to include in the frame and what you don't. Even though our higher resolution sensors allow us to do some pretty heavy cropping in post, it is always better to nail it, in camera, and have the ability to work with the entire resolution of the photo.

So there you have it! Three simple techniques that you can apply right now. They don't cost any money, don't require any special software but they will take time to perfect and make second nature. Practice these techniques daily and before you know, you won't even know you're thinking about it!

Since this blog is all about learning and sharing, how about dropping a link to one of your images (use Flickr if you have to) that uses one or possibly all that Trevor has talked about in this post? Don't spam the comment box. One entry per person please. So, what are you waiting for? Let's see some of your images! If you do post anonymously, I reserve the right to delete your comment.

This isn't a plug for the Fuji FinePix X100 camera. I am just posting this video clip up here just in case you are a street photographer like I was back in the day. This camera will quite likely be THE camera to have with you at all times. No, it doesn't look like it will fit in your pocket, but then again, what camera would you want at the ready – one that is slung over your shoulder or the one tucked into your pant pocket – to capture your next great image?

Tell me this doesn't look like an early Leica rangefinder camera. Yes, it's all digital. How I wish Fuji will come out with an all-black version of it. That would really bring back memories of my Leica M6.

So, what do you think? Will you consider buying this camera? Word is it won't be out till Spring 2011. As I told my friend Jigar on Twitter – I want it NOW! Brace yourself, though, as the retail price is likely to be close to $1000 or more.

This guest blog is a second for Jen May Pastores. Her first post was about her Cambodian photo project.

Beyond the online sphere of social media, smart phone efficiency, and the praise of technological advances that the world goes gaga for there is still an unfulfilled satisfaction that plagues many of us. It’s a real desire for a true connection without the abbreviations or vagueness that often travels through digital walls. Symptoms of this desire starts with often checking emails for replies, scanning Twitter for mentions, and counting likes and comments on Facebook. This is where Woot Camera intervenes to present a pleasant breakaway from the modern day overload.

Woot Camera is a personal project that sends a disposable camera to strangers across the world. It arrives in a purple box in the mail–sent from the previous photographer–and when opened a personal handwritten note sits on top to greet the new photographer. Included are instructions to take a single, creative image with the Woot Camera and then send it off to the next person. When completed the camera returns to me and the exposures will be developed and shared online. It’s a fun example of balancing the intimate joys of a tangible connection and sharing it with the multitude of users on the Internet.

All participants signed up last month when I first released the project and since then Woot Camera has traveled to five cities on the east coast. Other places like Canada, Dubai, Japan and more cities in the states are on the itinerary, as well. Participants have expressed excitement in sharing this experience and are eager to see the results. Who wouldn’t enjoy discovering a package in the mailbox in front of their home that encourages creativity and new friendship?

Woot Camera will continue to rescue the dissatisfied, gadget-addicted-junkies with a second round of participants starting before the holidays. The best part about this is that anyone can start their own traveling camera project. Tie a disposable camera around a tree or leave one on the subway. The possibilities start with you giving back in a unique way. Photojojo, an online source of the best photo tips and DIY projects around, is also another great place to discover fun ideas.

Follow Woot Camera’s journey on Twitter (@wootcamera) or sign-up to be a part of the project.

This is a guest post by Paul Gero, a wedding photojournalist based in Orange County. Paul is also known for being a terrific writer, speaker and teacher. He, his wife Nicki and now two kids are wonderful people to know.

Having been in photography for a little while, I find that the work falls down into basically two approaches: Control and Chaos.

Doing Control type work is about setting up, posing, lighting and forging a bond that elicits the desired response.

Much of the commercial world and a lot of the wedding and portrait world is in that category of Control.

A few reasons why it might be so popular:

a) The desire to create an image that looks familiar (and with the web more images are shown and seen than ever before).

b) The desire to create an image that you know will be client pleasing and you know will sell.

c) A newer photographer with new found skills and less certain about capturing things “on the fly”.

The Chaos approach has been around for decades practiced by many of the greats including Henri Cartier-Bresson, Josef Koudelka, Larry Towell and others.

Many of the great photographers from the famed photo agency Magnum work in this manner. These are some of my favorites primarily because of the way the see the world, the moments they capture and the way they structure their photographs.

It’s a style that takes practice to master. It's about looking, watching, spending time in the field with a camera, and anticipating — it's not always reproducible, but it will always be interesting. Serendipity is a huge part of the equation of Chaos photography — that can be scary but also hugely rewarding.

It takes thinking about how you'll approach a situation from where you position yourself in relation to your subject, where they are in relation to the background and what focal length you'll use to make this type of photograph.

I recommend to my students is they watch people especially as they gather at a mall, for example. Notice how they stand, how they greet people (and cultures are different).

Then when watching those interactions think about where you would need to be to make a great photograph of that situation. What lens would you use? How far would you be from the subjects?

Selecting a spot to stand in relation to your subject in the Chaos realm is important. This location along with your focal length determines how much context will be revealed in the photograph. And typically you’ll want to see that subject’s face in order to capture emotion (the eyes reveal the soul, as they say). That often means being in front of or to the side of your subject.

When I worked in Washington DC and covered events with the President, it was interesting to watch how the Associated Press determined their coverage and would station a photographer front and center of the President. That was a safe angle, and often times the best angle.

They would position another photographer off to the side for most events — that 45 degree or called the “cut away” angle.

This angle adds depth to the photo as the subject to the right or left of the President would often be slightly out of focus (with a telephoto lens). It would be a good angle if the President was looking in the camera direction, and perhaps less successful if he were to look to the opposite side.

Selecting the angle behind your subject is a lower percentage choice, but can be useful as this position gives the viewer a sense of “walking into the sunset”, or leaving. That aspect makes it useful and can help creating a natural looking end to a story.

While observational skills and camera position are critical to successful Chaos photography so is being in control of your technical skills.

Knowing light, knowing exposure, knowing when to trust or not trust your meter all play into that role.

Many photographers use the auto modes on a modern camera to “set it and forget it” and while that can work and does in many cases, there are times when it can get you in trouble especially if you’re not paying attention to the choices made by the camera or get sloppy in where you meter and hold the exposure value.

When I choose my working settings, I start from selecting aperture first, in order to create the look and depth of field on the scene (especially using wide or normal lenses).

My shutter speed choice then coincides with a good exposure for that scene based on the ISO (typically using the lowest ISO for optimum quality while still being able to get the desired shutter speed). I also consider the amount of movement in a scene in order to select the appropriate shutter speed to stop the action.

Lens selection is critical for Chaos photography.

Much of what I call the inspirational photography in this genre is often made with simple focal lengths, either slightly wide or normal (i.e. 28mm, 35mm, 50mm lenses on 35mm cameras). Rarely do you see a lot of this work done with extreme wide angles and extreme telephotos.

These lens choices also force an intimacy with your subjects in terms of your position to them. It’s much tougher to hide when you’re using a wide or a normal focal length lens, as is possible when using long zooms or telephotos.

When you’ve become really disciplined using one, two or three focal lengths, you begin to see the world taking place on the stage for those lenses. You get comfortable framing with the the imaginary lines of those focal lengths.

Zooms are popular and can be useful tools, though I find that primes often help photographers hone their vision especially when learning. It forces you to move to frame, rather than zoom to frame.

I know for me when using zooms I have to be very disciplined to not just zoom out when I should be moving my feet to frame. In fact, I try to use the zoom like a prime and determine the focal length I want to use, set it on the zoom and then move to frame but not zoom unless I absolutely must (especially with a zoom such as the 24-70mm; less so with a long lens such as the 70-200mm).

Metering light which then translates to a great exposure is critical especially in fast-moving situations.

I find that using an old school incident meter is great in this area. It allows me to dial in the exposure so that helps exposure consistency from frame to frame. Even if you only use an external meter for a while as you learn the patterns of lighting, I think it can be extremely useful.

This gives you one less thing to think about because you’ll know that exposure is handled.

Look at the scene and anticipate what would happen if you change position or your subject’s change position. Think ahead and pre-visualize where the subjects might go can help you successfully handle any change in exposure.

I can’t stress it enough: Exposure is a critical component to successful photography — and especially digital photography.

To paraphrase my instructor, famed National Geographic photographer William Albert Allard: You have to get your exposure dialed in because you’d hate to lose a portfolio photograph due to a lousy exposure.

He was right when he told me (and we were shooting transparency film) as he is today if you’re shooting digital.

What I enjoy most about Chaos photography is that it’s more about capturing life as it happens, as opposed to having it set up by me. It takes more time for this to work, because you have to be able to witness things — having a five minute window with a subject often precludes that and reduces you to do Control work.

I find that life is so much more fascinating and people do much more interesting things than I could ever set up.

I loved to be surprised when looking through the lens and use that as a guide to know if I'm in the presence of an interesting photograph — if it moves me, excites me, or causes an emotional response in me while I'm photographing, it will usually translate in the actual photograph.

Perhaps folks who prefer Control photography are not certain that good or great photos will even materialize therefore they want to ensure that they do.

All I can say from years of experience is to trust that they will — if you have time. Wherever people gather there is a potential for great photographs. And you will often be surprised by the photographs these subjects give you.

The human element makes that happen. The energy from an event makes it happen. You just have to have faith that you’ll see those moments when they happen and using your skills acquired from practice and observation, you’ll be in the right place at the right time.

Knowing how to create nice Control images is a part of the modern photographer’s tool box, no doubt, but I think it should be a piece of the box, not the whole thing.

Practice your observational skills and your technical skills and be prepared to be surprised with the beautiful and incredible chaos that is life and then capture that feeling with your camera.

What kind of photography do you practice? Do you agree or disagree with Paul? Your comments below will create a dialogue that I will welcome here on Tiffinbox. So please take a moment to tell us what is on your mind. We're listening to you!