Simple Tips to Improve Your Portrait Photography Immediately

By: John McIntire

Getting started with portrait photography can seem like a daunting task. Once you start researching all the techniques, equipment and (so-called) rules, and everything else you have to memorize and acquire, it can all feel a bit overwhelming. Even so, the journey is worth it, and portraiture is a rewarding pursuit. Throughout your time taking portraits, you will meet, talk to and get to know a lot of people, and hopefully take some great photos of them as well. Instead of focusing on what you need to take great portraits (that’s a camera by the way, nothing more), this article outlines eight tips that you can take and start using immediately to help you improve your portrait photography immediately, without spending another penny.

1. Use softer light

Soft light is an incredible tool to get the very most out of your portraits. Using it is not the only way to 

do things, but it’s a great place to start.

If you’ve read anything about portrait lighting before, this is a tip you’ve already heard, but it needs to be repeated over and over again. Hard light, such as that from the midday sun, is usually the quickest way to attain contrasty and harsh portraits with unflattering shadows and highlights. Taking the time to seek out pockets of softer light (or creating it in the studio) is by far the quickest and most effective way to improve your portrait photography without doing anything else.

Outdoors, look for areas of open shade or take advantage of overcast days where the light is diffused by the cloud cover. Of course, golden hour will provide you with amazing light most of the time, but that doesn’t mean you can’t go out and search for pockets of diffused, flattering light at any other time of the day.

For soft light in the studio, big modifiers in close will do the job just great.

In the studio, make sure that you are using as big of a modifier as you have. If the light is still too hard, you can diffuse your light with a diffuser (yes, I know that might require another purchase, and I apologize for that), or you can move the light closer to your subject.

Just remember that the bigger the apparent light source is to your subject, the softer the light is.

Is all this to say that you shouldn’t use hard light for portraits? Absolutely not. Hard light can make for wonderful portraits, but in a lot of cases, and especially as you are starting out, you will find it beneficial to learn how to use and understand soft light first.

2. Light for the eyes

Making your subject’s eyes a priority when you are lighting your images will ensure that the eyes are 

bright and remain the focal point of your images.

Eyes may be the most important part of a portrait. When your viewers look at photos of people, most of the time they engaging with the person’s eyes first. This is because that is how we humans engage with people in face-to-face scenarios. To make sure you get the very best from your subject’s eyes, start making sure that you light for the eyes at the beginning of every portrait session before you even take your first frame.

To do this, watch your subject’s eyes carefully as you arrange the light, whether that be outdoors or in the studio. Direct your subject (or move your light source if you can) so that the catchlight in their eye is near the top of their eye. It also helps if the light is going directly into their eyes. This will help you to get the most detail in your subject’s eyes.

You will also find that making the eyes a priority at the capture stage means that you will rarely have to do anything to them in post-processing.

In short, light from above whenever possible and direct your subject’s pose so that the light is going into their eyes.

If you use a really big light source (i.e. to get softer light), the less bright the eyes will be. This is a

 good thing to keep in mind as you start looking towards big octaboxes and parabolic umbrellas.

As an aside, the softer the light source, the less detail will record in your subject’s eyes and the darker they will appear in your images. The harder the light source, the more detail.

This will only become an issue if you are using really, really big modifiers in the studio, or if there’s particularly heavy cloud cover. You should be fine if you’re using medium (normal) sized modifiers.

If your goal is simply to get the most detail possible out of your subject’s eyes, you might need to go for a harder light source. You could also mix light sources so that your subject’s eyes are lit by a hard light source, but there is still a softer light source evening-out the contrast in your images.

3. Rapport

Having a good rapport and good communication with your subjects is the best way to get the best 

expressions out of them.

It should probably go without saying that if you are serious about undertaking portrait photography, then your people skills are going to be paramount to your success. In order to get the best reactions and poses, and to keep your subjects comfortable and engaged, you should build a rapport with each and every subject. Every person is different and no two techniques or methods will work the same with everyone, so you will need to build a catalog of techniques to help you encourage the best from people.

You can start by always, always being polite. Stay positive and complimentary even if things are going completely wrong. Instead of saying: “this isn’t right,” try something along the lines of “This is cool, let’s move on to something else.”

Also remember that as the focus of your portrait is the person you are photographing, so should your attention be. Talk about your subject, and let them talk about themselves.

Try to avoid talking about your photography and definitely avoid technical jargon. Unless you are photographing a photographer, nobody cares. I know that’s tough to hear as you as a photographer care deeply about that stuff, but nobody else does. The confusion and disinterest that those topics inspire in other people will clearly show in the final photos.

If you remember that it’s not about you or your photography, but the person in the photo, you mostly can’t go wrong.

4. Background

On location, making sure your backgrounds are clean and distraction-free is a vital skill to develop.

This is one of those skills that once you learn, you will start to do it automatically and never have to think about it again. In the beginning, however, it is vital to pay close attention to the backgrounds in your images. Ensure there are no extraneous elements creeping into the frame. Make sure there’s nothing like poles, trees, or cars intersecting your subject. If your background is blurred with a shallow depth of field, make sure there are no blobs of contrasting color or value that take away attention from your subject.

In short, pay as much attention to your backgrounds as you do your subjects and ensure that they are clean and distraction-free.

Background clutter is just as much of a pain in the studio. Lights, cables, reflectors, edges of the 

background all seem to find a way to creep into the frame.

This is easier to do in the studio environment, but there are still things that you can look out for. Avoid using wrinkled backdrops (they never, ever look good). With plain walls, look out for marks and cracks from subsidence or similar. Just taking a moment to pay attention to these small details can help to improve your photos immensely. It’s also a lot easier to spot these things and deal with them in the moment than it is to retouch them out of your photos later.

5. Get close

Filling the frame with your subject will help to emphasize the focal point of your image.

It was Robert Capa who said, “If your pictures aren’t good enough, you aren’t close enough.”

Out of all the photography quotes ever quoted, this is the one I find the most useful by far. It applies to all genres of photography in general, but in portraiture, it’s a particularly important concept. Whatever the focus of your photos (people in this case), ensuring that that your subject is the focal point, and the only focal point in the image, is important. Get close and fill the frame. In most cases, you don’t need much background, and in a lot of cases, you don’t need any background at all.

Doing this helps you to make sure there are no distracting elements in your images. It also helps to emphasize that your portrait is a portrait of a person and nothing else. Sure, there are plenty of instances when you want more background in your images.

Environmental portraiture is a fantastic genre that I love to look at, but if you look at some of the best examples of these, you will probably find that the subject still dominates the frame. The background is just ancillary information that is used to complement the focus on the subject rather than detract from it.

All that said, the use of dead space is a valuable and wonderful compositional element.

Another instance you might opt not to get too close is when you want to use dead space as a design element or perhaps for editorial photography. That’s also fine. The key in these situations is to know when to be close and get a tight-framed portrait, and when to step back and let more into the frame. Most of the time with portraits, however, you will be well-served by getting in close and filling the frame.

The beginning

There you have it, that’s a few tips that will help you to improve your portrait photography without spending another penny. Perhaps not all of these tips will suit you and your photography, but I encourage you to try to implement them for the sake of seeing what you can learn from them anyway.

This list is by no means exhaustive, and if you have any tips you feel should be shared with beginners to help improve their portrait photography, please do leave them in the comments.  Share this article.

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