If you’re one of those photographer’s who has been fighting the urge
to try film for the first time, I have two words for you: Do it.
Ok,
easier said than done. Once you decide to take the plunge, what next?
It’ll take more than two words, but I do have a shortlist of film
photography basics, that is essential items you will need to get started
with film photography.
1. A Camera
Obviously. And since
you’re just getting started, it’s best to keep it simple. You’ll want to
get your hands on a basic 35mm camera. You can worry about all that
medium and large format stuff later.
35mm film cameras are easy to
find and they’re affordable. If you don’t find one in your attic or
basement, you can look at charity shops, yard sales or local
classifieds. And, of course, there’s always the internet. KEH, eBay and UsedPhotoPro are just a few of the sites that camera seekers have a habit of turning to.
Remember, you’re just looking for a starter camera. Above all, make sure it’s in good working condition. A built-in light meter is nice to have, but hardly a must.
You can expect to spend somewhere around $150 on a classic body like the Nikon FE, Olympus OM-1 or Canon AE-1.
If
you’re going to “overspend” on something, better it is a lens than a
camera body (generally speaking). Don’t worry, though — getting a really
good lens for your film camera doesn’t have to break the bank.
Canon, Nikon, Olympus, Minolta and Pentax all produced some wonderful lenses back in the day. You won’t have a hard time finding one that pairs perfectly with your camera of choice.
A 50mm f/1.8 for one of the camera bodies mentioned above, for example, might set you back around $70, depending on condition.
A 35mm camera is nothing but a showpiece if you don’t have any film to put into it. Fortunately, there are plenty of options here as well. Again, you’ll want to choose something at the lower-priced end of the range.
Why?
Because you’re likely to make mistakes as a beginner, and mistakes with
film can be costly. You don’t get to delete shots you’ve ruined, so
it’s best to minimize the cost of those mistakes as much as possible.
This means using a basic black and white or color negative film.
Some
of the more affordable offerings from Kodak include Tri-X, Gold 200 and
UltraMax 400. Ilford doesn’t make color film but their HP5+ is a
legendary black and white option. Fujifilm offers Fujicolor 200 and
Superia X-TRA 400.
Each of these companies also makes more
expensive “pro” films and slide films. You may want to experiment with
some of those other options down the road.
Kentmere and Ultrafine produce a line of “budget” black and white films.
Film costs can vary quite a lot by region and retailer but expect to spend approximately $3 to $4 per roll.
When
you finish a roll of film and you’re ready to retrieve the images
you’ve captured on it, you’ll need a way to get that film developed. A
film lab in every town and pharmacies that provide one-hour processing
are largely a thing of the past, so you’ll probably end up mailing your
film to the lab.
Indie Film Lab, The Darkroom, Richard Photo Lab and The Find Lab are a few well-respected mail-order options.
Prices vary, of course, but you’ll spend about $10 per roll just for
developing (shipping and scanning options will at least double your
costs).
Just be aware that processing will be the priciest part of shooting film and, obviously, it’s an ongoing expense.
It’s
easy to get your hands on a 35mm camera and some film. It’s also easy
(though expensive) to get your film developed by someone else. What may
not be so easy for beginner film shooters is tempering expectations.
Initially,
you may be discouraged by your results or by the weird aesthetic quirks
you may encounter — light leaks, grain, accidental double exposures,
unexpected color shifts — things you don’t really deal with when
shooting digital (noise and grain aren’t quite the same things).
Keep
an open mind, give yourself room for error and be patient. Before long
you’ll know whether film is something you feel is worth sticking with.
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$15,000 Stolen from NYC Studio by Photographer That Worked for CNN
A massive haul was taken from photographers Adorama Rewind’s Seth
Miranda (and others) by none other than fellow photographer David Scott
Holloway who admitted his guilt to police upon arrest.
Of course, it probably didn’t hurt that he was caught on surveillance cam ripping off his peers but that’s a whole other thing.
Though the gear was taken some three months back, Miranda reports
that he and the others that had their stuff stolen were only made whole
just recently.
In total, the gear was valued at anywhere between
$USD 12,000 and $USD 15k. Interestingly, the whole thing is a bit more
complex than a simple theft and seems to be some kind of combination of
Holloway’s impressive resume and the use of his peers’ confidence in him
that tinges the entire thing with an extra element of betrayal.
Having
worked for CNN and the late Anthony Bourdain’s Parts Unknown, Holloway
is pretty well known in the industry. Having just joined the studio in
Spring 2019 according to PetaPixel, it wasn’t long before he used his
access to take some seriously expensive gear.
It wasn’t smooth
sailing with Holloway prior to the theft, however, with reports from
those involved that state he was late with paying rent on his studio
space and that he often reserved areas, only to not use them later, in
order to remove their availability for others in the studio.
Even
though he has an impressive resume in the industry, his execution of
this whole operation leaves a lot to be desired and borders on the
comical.
He quit his lease in July but turned in a fake key to
management. He then returned in August and then stole the gear in
question.
As far as looking for leads, we’re sure the police appreciated this bread crumb trail of bad behavior and dishonesty.
PetaPixel
says one photographer told them, “He thought he was so smart…He only
took the elevator to the 7th floor (the studio is on 12) then he got off
and took the stairs the rest of the way. On his way out, he took the
stairs all the way down. All that, but he wore the same hoodie and hat
you see him wearing in all of his Instagram stories.”
To make
matters even worse, he apparently helped with reorganizing the studio
space before he dipped out of it and targeted specific photographers’
gear in his theft.
It gets better: Even though Holloway admitted
the theft to police, because he returned the gear, there are no
consequences in terms of jail time for him. As you can probably imagine,
the photographers impacted by his actions aren’t very pleased with
that.
When asked for comment, Holloway declined to answer PetaPixel’s questions on his attorney’s advice.
What do you think about this story? We love to hear your thoughts – leave them in the comments below.
Live concert photography can be an exciting, yet, nerve-racking
time. The lights, the stage, the crowd….there are so many things out of
your control as a photographer but that needn’t stop you from obtaining
great results with a few hints to help get you started!
Introduce Yourself
This should be your first step in shooting a concert and getting the
best results. If you do not already know the artist personally, put in
the effort to introduce yourself. It can be email, phone call or one of
those old fashioned “snail mail” letters. Whichever route, get to the
point quickly and let them know who you are and why you’ll be shooting
the concert. The second point will be the most important. As artists
themselves, musicians typically have a keen eye on their image and
copyright as they are two of the biggest factors in doing what they do
(as well as obviously turning out great music). If you’re wanting to
shoot for your own private portfolio, say so. If you’re looking to sell
images taken at their concert, you’ll need to be prepared to discuss
things a bit more in depth. But if you’re simply looking to have some
fun and try a new style of photography and if the musician is more
approachable, simply offering use of select concert photos to them may
create a win-win situation.
The same can be said with building your portfolio. In the beginning
it may be necessary to work ‘on spec’, meaning you only get paid if they
see something they like and purchase the rights to certain photos.
This is fine when you’re starting out trying to make some money at
concert photography as you are being paid in experience (PIE) and also
paying your dues to build a portfolio and reputation. Later, with a
passel of quality work to show off, it’s easier to negotiate a fee to
artists more willing to pay for photos.
No matter your motivation for shooting a concert, having a chance to
say, “Hi” to the artist(s) can help make your job during the concert
easier. It can also help open doors of opportunity such as when you
have to…
Scout The Concert Venue
Photo by Anirudh Koul
If you get a chance before the concert, scope out the location first
to get an idea of how the seating is setup. If this is a small concert
in a bar or small hall, which it will likely be if you’re just starting
out, plan a trip the day or hours before the concert to take a look at
how the venue will be situated. Will it be standing room only? If
there’s seating, will you have enough room to maneuver between seats to
get the angles you want? Also as important, is there a place to store
your unused gear while shooting? Check to see if there are multiple
locations to shoot from. A concert shot from just the front row,
center, won’t convey the feel as well as one shot from in front, behind
and amongst the crowd.
Bring Your Fastest Lens
Once again, depending on the venue, a flash may be of little use.
Even if you’re close enough to use a flash effectively to light the
performer(s) it can be distracting if there is not a light show included
with the concert. It is better to trust to a fast lens to help capture
the action. One of the my favorite lenses for concerts is a 70-200mm
f/2.8 and while I don’t get my hands on one very often, it far exceeds
my normal kick around 28-300mm f/3.5. While it might not seem like a
large difference, the 70-200mm allows for a slightly slower ISO, helping
to reduce image noise (explained later on). It also allows for more
close up action and quicker focusing. Remember, the lighting can be all
over the place during a concert and a faster lens will allow for better
focusing due to more light coming through the aperture.
If you don’t own a particularly fast lens, there are many places online where one can be rented. DPS has a post entitled Where To Rent A Lens Online, written by yours truly, to help you along. Also check your local phonebook as it may be cheaper to acquire a lens in-town.
Switch To Manual Mode
Photo by Anirudh Koul
Switching to Manual Mode can be a daunting task the first couple of
times you try it, but it does help. The problem with an automatic
setting is the high contrast varied lighting can produce. For instance,
the image at right is from a larger concert for the Backstreet Boys.
While most of the frame is black, shooting in automatic exposure mode
would likely produce blown out lights and artist (little guy on the
right side, well exposed) to help compensate. Setting the camera on
Manual Mode will allow for greater control especially when lighting
changes quickly. Which leads us right into the next tip!
Get Spot On
Photo by Kevin Klöcker
If you’re interested in capturing the lead singer and band members
during a concert, you’re going to want to choose spot mode for your
metering. Most concerts have a large amount of darkness to them and
using evaluative, or full frame, metering will attempt to compensate for
all that black, often over exposing the main subject. Especially when
they are lit with a spotlight. To get around this anomaly, switch to
Spot Metering early on and get a good reading off the lead singer. If
you’ve made contact with the band and venue management as described
earlier, you should be able to gain access to a sound and lighting check
before the concert. Having this opportunity can save a lot of time
during the concert in adjusting your camera.
Once you have the metering set for a spotlight situation, it will be
fairly easy to adjust the shutter speed to compensate for slightly
darker settings (such as shots of the drummer, who often don’t share the
spotlight). A quick review once in a while will let you know if your
settings are working. Once you have set your shutter speed and
aperture, the metering becomes less and less important as you get a feel
for the effect of different colored lights on stage as well as
intensity.
Watch The ISO
ISO can be your friend in shooting a concert if you are without a
flash. But it will take some testing to see how much noise you are
willing to withstand. As you know, playing around with ISO will have a
direct impact on your shutter speed (most concerts are shot with a
shallow depth of field to bring in as much light as possible) and it’s
important to match your shutter speed to the action. If it’s a fast
moving rock concert, a shutter speed of 1/60th or more will be needed to
prevent excessive blur. If it is a sit down type of affair, you may be
able to get by with speeds a full stop slower.
Photo by Peter West Carey
While grain can be an issue if you’re forced to push the ISO much
above 400, it can be used to an advantage. Using filtering or actions
found in your favorite photo editing software to change your image to
black and white (see this DPS article for more information) can be a solution to high grain. The shot to the right from a recent concert with singer/songwriter Alyse Black
was shot at ISO 3200 as the lighting and zoom contributed to a dark
scene. With too much noise for my liking, taking the image black and
white turned the noise into grain I found acceptable given the artist’s
style.
Concert photography can be a fun and exiting experience. The basics
of covering a concert for the first time including getting to know the
artist, doing a bit of preplanning to know what the environment will
look and feel like, picking your fastest lens(es), switching to both
Spot Metering and Manual Mode to have the most control of exposure and
keeping an eye on ISO so you are aware of noise in your photos.
In my next post I’ll include some more advanced techniques for getting the most creative results at a concert. Update You can read this next post at How to Photograph Rock Concerts – Beyond the Basics.
In my last post
I explained some of the basics of photographing a rock concert.
Aspects like watching your ISO, using spot metering for tricky lighting
situations and switching to manual exposure mode. In this post I’d like
to explore the more creative side of rock concert photography. After
you’ve read through these examples, please feel free to post your own
experiences in the comments section below.
Set The Mood
Photo by marfis75
Setting the mood can take many forms. As the image at left shows,
you don’t even need to see the band to successfully set the mood. These
shots usually do better when there is no main subject in the picture.
Look for unusual lighting and stage effects to present themselves. If
the band is dynamic it’ll be easy to find this element, as they will be
putting in effort to set a certain mood with the concert. Make sure
you’ve listened to some of their music before you go to the concert, if
this is a band you’ve never heard before.
Go Wide
Alyse Black Benefit Concert - Photo by Peter West Carey
If you have the option to use a few different lenses make sure one of
them is a wide angle lens. It won’t be used that often as most people
like to have shots of individual band members close up, but a number of
wide angle shots are vital to conveying a whole ensemble on stage. Wide
angle shots can also allow you to capture some of the crowd in the shot
as well as the band as well as the ever important huge video screen
behind the stage for interesting effects. It probably won’t be on your
camera long, but it will help to have the variety a wide lens can
provide.
Don’t Forget The Crowd
Bon Jovi Crowd - Photo by Anirudh Koul
Concert Photographer Anirudh Koul
does a wonderful job of catching the massiveness of a Bon Jovi concert
by turning his camera away from the stage. For me, this gives a great
feel to just how chaotic, electric and exciting the concert really was.
While a completely dark audience wouldn’t convey the same feel, a hall
with the house lights all the way up would not work as well either.
Look
for a time when the crowd is partially lit as in this photo at right.
Try to get above the crowd as well, not too hard to do if you’re allowed
into the fringe around the stage, but a bit more difficult if you’re
amongst the crowd. The crowd is an integral part of the show because
remember, without a crowd, it’s just a rehearsal.
Look For The Unusual
Blimp At Van Halen Concert - Photo by Anirudh Koul
Big name concerts tend to have some wild things going on during the
concert, making them more like stage shows than a concert. From
spinning drum risers to mechanical robots to the blimp Van Halen used,
you will probably have something unusual going on. As most bands with
theatrics in their concert tend to repeat gimmicks from city to city,
get on the band’s website/blog/fan club mailing list to get an idea of
what goes on at their concert. Get hold of others who have been to
concerts during the same tour to know what and when to expect it.
Anirudh’s shot of the blimp shows excellent positioning and timing. it
may have been luck or he may have known what to expect from past
concerts.
Zoom In/Get Close
Juke Wyatt On A 5-String Bass - Photo by Peter West Carey
It’s time to swap out the wide angle lens for a zoom to get up close
and personal. Get as close to the stage as you can or even better,
obtain a press pass for a larger concert. With a decent zoom (70-210mm
is a favorite for most) you will be able to isolate individual band
members and their activity. At this point I’ll also reemphasize a point
I made in my last post, don’t forget the drummer! They’re back there,
all alone most of the time, isolated by the mass of equipment and
pickups (microphones) around them. The only way to get good shots
without a pass to get on or backstage is with a decent zoom lens.
These are just a few ideas to help get the creativity juices flowing
before you shoot a concert. If you’ve shot a concert before and have
other great tidbits and photos to share, please post a comment in the
section below to pass along your knowledge in DPS’s spirit of learning!
Thanks!
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Sunday, November 3, 2019
A Guide to Newborn Photography – Preparation, Posing and Post-Processing
Newborn photography is, in my opinion, one of the most rewarding (and
difficult) branches that a photographer can get into. I’ve shot
numerous hectic weddings where I was physically exhausted afterwards,
and had lifestyle sessions where nothing went right, but nothing has
even come close to the process involved when taking photos of a precious
newborn baby!
Over the years, I’ve learned some insightful tips from interacting
with parents, to posing newborns safely, and also my philosophy when it
comes to editing. I want to give all of these tips to you, to hopefully
fast-forward your newborn photography aspirations and take you to the
next level.
Before I dive right in, I want to give you some insight on my
background and techniques, so that you can evaluate your style compared
to mine, and make adjustments to my tips to suit your photography.
LIGHTING AND SHOOTING PACE
First, I’m a natural light newborn photographer.
I will use a continuous lighting system in my studio on the darkest of
days, but 99% of the time the only light in my photos is coming from
that big fiery ball in the sky. Speaking of studio, I exclusively shoot
newborn sessions at my in-home studio space. I’ve converted one of the
bedrooms in my home to my shoot-space. You don’t need a huge studio for
newborn photography – my small 10×10′ (3×3 meters)room with two windows
gives me enough natural light and room to do everything I need to do.
SAFETY
Safety is my absolute number one priority for taking photos of
newborns, which I’ll talk more about later in the article. It scares me
how many pros and amateurs alike don’t make this step important. While
on my soapbox, if you don’t make safety an absolute priority, then you
have NO business photographing newborns. Whew – I feel better now.
PREPARATION
Whether you’re a photographer inviting newborns and their parents in,
or you’re a parent yourself trying to capture beautiful images of your
baby, the steps for preparation are virtually the same.
Here are some great tips to keep in mind when you prepare for the session:
Warm it up! I close the door to my studio and use a space heater in
the corner to warm the room up to about 80-85 degrees F (26-29c). This
is usually a great temperature to keep the baby happy, especially if
they aren’t swaddled. Be sure to give any clients a heads up about the
warmth, and suggest they bring light clothes for themsleves.
Wash your hands. Take every precaution not to spread germs, especially for a newborn with a weak and developing immune system.
Do NOT wear jewelry. I always take off my rings, bracelets,
earrings, and necklaces. While the likelihood of your jewelry falling
off is low, it’s not a zero chance. Keep it simple to keep the baby
safe.
Avoid fragrances. While a newborn’s vision and hearing senses are
not too keen, their sense of smell is very sensitive. Don’t wear
perfume/cologne, fragrant lotions, or strong hand sanitizers. This can
upset the baby quickly.
Try to create some white noise. Having some white noise can dull any
thuds, shuffles, or the sound of the shutter on the camera that may
otherwise wake a baby. My space heater serves to not only provide heat,
but also gives me plenty of white noise. You may want to consider an app
on your phone if the space heater is too far away, or too quiet.
Get all your props, backdrops, blankets, etc., ready before you take
any photos. The less you have to move the baby to set up a new shot,
the better.
Another aspect of preparation for photographers working with clients,
that isn’t talked about as much, is preparing for newborn parents. As a
photographer myself, I have met hundreds of parents who are swelling
with pride for bringing life into the world, but who are also completely
exhausted. I offer my clients coffee when they arrive to let them know
that this is a haven for comfort, and to trust me because I know what
they are going through.
You’ll also run into two types of parents while photographing
newborns: “hover” parents and “passive” parents. Hover parents may
clutch and grab for their baby at the slightest sign of a whimper (which
is natural human instinct, by the way), and it can impede your ability
to take great photos for them. Passive parents are typically those that
are the opposite of hover parents, and I’ve found are usually associated
with parents who’ve had multiple children and are pretty laid back
about the whole process.
The best solution for interacting with all parents is to make sure
they’re properly informed before the session begins. Reassure them that
their baby’s safety is your number one priority, go over your process
with them, and make sure you openly communicate about their baby during
the session. This will help ease any concerns a nervous new parent may
have.
POSING
I LOVE natural newborn poses, and I try my best to capture the precious little miracle, and show how they are naturally. I do own a newborn posing beanbag
(which I highly recommend purchasing) that has curves, allowing me prop
the baby up, or lay them down. There are literally hundreds of guides
on the internet about how to pose a newborn, so I won’t go into the
different specific poses and setups here.
However, I will go over the basics, and get into some more in-depth and
technical aspects. If you have no idea how to start posing a baby,
start with those guides before you ever (read: ever, ever, ever) actually take photos of a newborn!
Like I’ve stated numerous times already, MAKE SAFETY FIRST! Natural
poses are also safe because there’s very little risk involved if the
baby twitches or moves spontaneously. While the baby is posed naturally,
I’ll also snag some macro feature shots of the baby’s unique features
like their cute little noses, tiny feet and toes, and the adorable
little lips they have. Posing the baby naked, or swaddled with blankets,
is something that you’ll decide, hopefully after a conversation with
the baby’s parents to see what they prefer, and what photo theme they
want.
You WILL eventually run into a fussy baby at times while posing
during the session. It’s pretty rare to have a newborn that gives you no
issues at all. That being said, you can prep the baby beforehand to
increase your chances of successful posing. I always ask the parents to
plan a feeding right before the session begins. Full belly = a happy
baby most of the time. However, this isn’t the be-all-end-all solution
for some newborns. I’ve been affectionately called the “baby whisperer”
by many of my clients because I can typically sense what the baby wants,
but I do so by using cues that the baby provides.
A hungry newborn will cry and root, sometimes shaking their heads
back and forth and opening their mouths (kind of like a fish) as they
look for a food source, i.e. Mommy. Another symptom of being fussy can
stem from being cold. Look for tiny goosebumps on their skin to see if
they’re too cold. The newborn baby may also be gassy, which can be tough
to detect many times, but usually happens in a delay after a feeding.
Sometimes it feels impossible to detect what may be causing the baby to
be upset. I’ve found that often this is due to the newborn being just
slightly uncomfortable or restless. You can calm a a fussy little one by
doing some very soft rubs on their forehead or back, or some very light taps on their bottoms. Every baby is different in what they like so it may take some trial and error.
Photo
one (left) holding the baby’s head for safety. Photo two (middle)
holding the baby’s
head from below for safety. Photo three (right) the
two combined to make it appear that the
baby’s head is resting on its
hands.
While I prefer to naturally pose the baby, I will also do a few
“risky” shots for variety, and that artistic touch. I put risky in
quotes because these photos would be completely unsafe normally, but
with composite editing in Photoshop, you can merge safe images together
to create the artistic illusion you may be going for. Classic examples
of this would be the head propped on hands photo (see above picture),
hammock photos, or anything where the baby is perched on some object. By
the way, you should never do these photos in one take – use the
composite route! Just do a quick Google search for “composite newborn
images” for step-by-step instructions on how to pull this off.
POST-PROCESSING
As a natural light photographer, I don’t typically manipulate the
light in too many of my photos in Photoshop. I’ll make some tweaks here
and there, but my biggest adjustments are typically associated with skin smoothing
(although I also do some touching-up in post-processing). Slightly
overexposing images helps with smoothing the baby’s skin, and shooting
in RAW can help you correct any exposure or color issues along the way.
Here’s
a tip – you don’t need a massive studio with a huge backdrop to create
gorgeous images from far away. Take the example before/after photo above
(sans newborn baby) – some minor editing and blending can create
fabulous images you’ll be proud of. Just search for some floor/backdrop
fading tutorials online for details and step-by-step instructions on how
to do it.
Using the clone tool, the blend tool, and creating/manipulating layer
masks in Photoshop, you can create exactly what you are after in a
“look”. Digital Photography School has some basic Photoshop tips that are fabulous!
In the end, you’ll need to decide what your style is, and what you
want your photos to look like. My style includes editing out the skin
imperfections on the newborns, but leaving certain features on macro
shots (like skin flakes, birth marks, some baby acne, etc.), but there
are others in my area that leave the images as they are, with very
little touching up. It’s up to you. If someone has hired you, it’s
because that person loves your images and the way you edit your photos –
stick with it, or try to appeal to a different base.
Posing can feel a little repetitive after a few shots
during maternity photo sessions and if this is how you feel, read the
following posing guide for maternity sessions, so that you can get more
ideas for your next shoot!
Interacting with the belly is a great pose for maternity photos.
Basic posing for maternity
Basic posing
for maternity sessions is centered around the baby bump and the
mama-to-be, specifically. You can use very basic posing to build from
and add more variety to the poses. However, these basic poses are
perfect for any session and can work well in any situation or location.
At 45-degrees from the camera is the best way to highlight the bump. Notice the hand placing to
accentuate the silhouette.
In order to flatter the baby bump the best, turn your
client at least 45-degrees from the camera to either side. Ask which
side is more natural to your client, so they feel more stable and at
ease.
After you have turned your client, give her some shape by
adding lines to her body. This creates more flow and adds some curves to
break up the body. To do this, have your client pop out the knee that
is closest to the camera. This helps guide the eye up from her leg to
the bump, then ultimately resting on her face.
The knee closest to the camera is best for giving shape to the body, creating a natural leading line.
Finally, use her hands to cradle the bump, further adding emphasis to it. You can pose hands in a variety of ways:
Place one on top of the bump and one under
Both under
One on the side and one under
Only one hand on the bump
If your client is wearing
a long, flowy dress, pose her hand under the belly, so that the bump is
more prominent. With a flowy or loose dress, it can be difficult to
fully see the bump’s shape if it’s not gathered underneath.
Same hand position in two different posed shots.
Using this basic set up is easy to build upon and add partners or
other siblings to the mix. Posing the mama first is helpful as well, so
that she doesn’t have to move around too much.
One great tip is to avoid having your clients look directly down at
her belly. This can create an unflattering photo. Instead, have her look
down with her eyes keeping her chin slightly up. Have her look down as
if is she is trying to look past her belly and at her feet.
Posing with partners
Next in your posing guide for maternity sessions, is posing with
partners. Posing with partners makes any maternity session a little more
intimate.
Pose the mama first and have her partner fit in. This makes it easier
to build poses and change it up when you want variety without tiring
the mama out.
Using props can help with posing and highlighting certain details of the session.
Fit the partner in slightly behind your client and have
their arms holding the baby bump. The partner can place their hand
closest to the photographer under the belly. This might require the
partner to come out a bit from behind. That’s okay. If they look
comfortable in the pose, it’ll look better in the final image.
With the hands farthest from the camera, have the partner
put their hand on the arm close to the shoulder. The mama can place her
other hand on top of her bump.
Another great pose with the partner is to turn the partner away from
your client slightly so they’re facing opposite each other with their
shoulders touching.
Here, ask them to hold hands and have the mama lean into her partner.
With her other hand, have her place it under the bump and pop one knee
out to give her body a curve.
The bump isn’t the only focus. Try posing the partner
caressing and cradling the bump by kneeling and getting close. Here you
can ask them to give the bump gentle kisses. Talk to the baby, or simply
close their eyes and enjoy.
In this pose, have mama look away and get a close shot of the moment. This can eliminate double chins or unflattering poses.
Posing with siblings
The next point in your posing guide for maternity sessions is working with children.
Working with children
during a maternity session doesn’t need to get out of control. It’s
best to start with the complete family, move onto shots with the mama
and siblings, then some creative shots of everyone. Then, finally, let
them go and play.
Allow children to cuddle and get close.
Getting photos of the siblings first can make the whole
session go smoother in general. Again, begin by posing mama first. If
they are in the session, place the partner next. Then place the
children, or child, next to the parents.
For creative posing, if the children are 5 years or
younger, you can have the parents hold them. Then get close-up shots of
the family interacting.
Have them hold hands and walk along a path while they talk
and interact with each other. These poses are more authentic and help
children to be more active in the photos rather than forced to pose.
Switch between natural posing and posed
What is natural posing?
It is when you give your clients an activity to do and allow them to
enjoy the moment. For example, you can ask your clients to walk along
the shore while they look at each other and enjoy the beach views.
Alternatively, it can be having the partner kneel down to
the level of the belly and have them talk to the baby. Capture these
moments from a bit of a distance so that your clients feel that they can
enjoy the intimate moments.
Posed
is when you direct your clients to stand, sit, or pose how you want for
the final image. This can feel stiff after a while, so mixing natural
poses with posed ones can offer a lot of variety in the final gallery.
Posing for maternity photos doesn’t have to be just posed,
you can mix in a bit of the excitement and natural expressions adding
to a variety of poses to build from.
I hope your posing guide for maternity sessions helps you
with your next shoot. Do you have any posing ideas that work for
maternity photos? Post in the comments below!
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5 Tips for Photographing Portfolio-Worthy Costume Portraits
There’s been an explosion of interest in photographing costume
portraits over the last few years. From movie cosplays to
historically-inspired portraits – there’s no end to the kind of costumes
that could make their way into your portrait portfolio.
Shooting someone who is playing a role can bring a whole new
dimension to your images. It can add depth and vibrancy to your
portfolio. People often lose their inhibitions about being in front of
the camera if they are pretending to be someone else!
With that in mind, here are my top five tips for creating portfolio-worthy costume portraits.
1. Be inspired by history
Fabulous costume portraits have been created throughout history, both in photography and in other kinds of art. Julia Margaret Cameron,
for example, was a British photographer born in 1815 who used to shoot
people dressed up as characters from Shakespeare. Her contemporary, David Wilkie Wynfield, would photograph his friends wearing fancy dress in the style of the great 16th-Century Venetian artist, Titian.
And don’t just stop at taking inspiration from photographer either –
there are thousands of years of portraits to take inspiration from. In
the portrait above, I took inspiration from a painting called La belle ferronnière by Leonardo da Vinci. Other times I’ve been inspired by different historical artists – Rembrandt lighting is a popular technique amongst photographers too and a great place to start!
Never be afraid to try self-portraiture
when you’re experimenting with different lighting and looks inspired by
historical portraits. It can take a bit of practice to get it right,
and you will almost certainly be your most patient model! The shot above
is the result of an hour locked in my studio experimenting with light
and self-portraiture. I cannot recommend the Fujifilm camera system and app highly enough for shooting self portraits. You can focus and shoot at the touch of your phone screen!
Costume portraits are a great excuse to step away from the kind of
lighting that you would usually use and try something different. If you
always use studio lights then how about trying some available light?
That’s how artists would have mostly worked in the past, and if it
worked for them then it must be worth trying! Equally, if you usually
work with available light then perhaps this is an excellent opportunity
to step outside your comfort zone and try something tight and controlled
with studio lights?
2. Check the costume faithfulness
I’m not suggesting for one moment that you should become a victim to
historical or film accuracy in your costume portraits. But it does pay
to just think through all of the elements that your subject is wearing
or surrounded by.
In a costume portrait, even more so than a regular portrait, every
aspect of the costume and any props contribute to the story being told
by the final image. Ideally, nothing should appear in the final image
that wasn’t intentionally put there to be a part of the story.
So if you are shooting a portrait inspired by a period of history, or
perhaps inspired by a film or comic book, just take a little time to
research your inspiration before scheduling a shoot. Check that your
costume, accessories, and props aren’t going to be jarring to the story
you are trying to tell.
This is where it might be worthwhile working with costume designers
if you are new to styling costume portraits. Their expertise and advice
on putting together and styling different kinds of costumes could save
you an awful lot of time and heartache in the long run! Of course, there
are always opportunities to hire costumes from theatres too – it can be
a surprisingly cost-effective option.
3. Set the scene
Think about the scene that you want your character to inhabit. Are
they royalty sitting atop a beautiful throne, or are they a
post-apocalyptic warrior tracking danger through the forest? Scouting out a location and sourcing props to suit can be half of the fun when it comes to staging a costume portrait!
You
can find great locations in the most surprising places. I have shot in
front of huge roller shutter doors on industrial estates, in a scrubby
bit of forest that looked like a dreamy estate in the final images, and
against an old stone wall in my back garden. With the right lighting, lens selection, framing choices, and post-processing the most unexpected locations can look great in portraits.
But, of course, there’s always the option to head into the studio! Taking a subject into the studio and placing them against a plain backdrop
can serve to really highlight the story you are telling through their
costume and appearance. It puts the focus squarely onto the subject.
This style of studio shooting can be a double-edged sword. There’s less
room for mistakes in this kind of controlled studio portrait, but the
payoff can be more than worth it when it comes to portfolio-worthy
images.
4. Give your subject a character
When people usually sit for portraits they are playing themselves. So
when you have someone sit for a costume portrait, it is helpful if you
can have them play a role. It can help them to get into character more
quickly and easily.
Before you do the shoot – while you’re pulling together your styling
and location – think about the character that you’re looking to capture
and write down a few thoughts as part of a shoot plan.
Are they a brooding young Victorian poet who lost their love? Perhaps
they’re an underground rebel trying to uncover a government conspiracy
four decades in the future? This is the driving force behind the entire
shoot, so gear everything towards bringing this character to life.
Once you have your subject dressed up and with makeup done, equipped
with props, and in the location you have chosen, all these elements
should come together to help them portray the character. It’s their
portrayal of the character that will shine through, tell the story, and
truly make your shots portfolio-worthy.
5. Don’t forget the post-processing
You’ve styled an amazing shoot in a fantastically atmospheric
location with a great team, and you’ve collaboratively told a compelling
story. So what is next? Post-processing – that’s what.
The choices you make on the computer or in the darkroom after the
shoot really help you focus the storytelling. Good post-processing can
help elevate a portrait to something extraordinary.
You
can make stylistic choices in post-processing that you may not
otherwise make if you were shooting regular headshots or family
portraits. For instance, when I shoot images with an apocalyptic theme, I
tend to add lots of layers over the top to create a grungy look to the
piece. If I am shooting something inspired by a sci-fi movie, then I
often choose to push the colors quite hard to resemble the film grading
used by cinematographers. Moreover, if I shoot something medieval- or
viking-ish, I usually dull all the colors down and make the finished
shots look “dusty” and worn.
With practice, you’ll find your style for post-processing costume
portraits. Don’t be afraid to step outside of your comfort zone and do
something different from your usual approach. Everything about these
images is already completely different from how most people would
approach a regular portrait. It’s a chance to experiment!
Now that you’re armed with my top tips for shooting costume
portraits, it’s time to try it out yourself! Remember to create a
character, set the scene, and think about every element that you’re
placing in the image. That way, you’ll tell a compelling and consistent
story that shines through in the final image.
I’d love to see your attempts at shooting costume portraits. Post an image in the comments for everyone to see!
