How to Take Low-Key Head Shots

By: Lily Sawyer 

When talking about head shots, there are so many different types of lighting and styles, that there almost seem to be no hard and fast rules on how to take good ones. There are the basic lighting patterns for portraits that are applicable to head shots. The most commonly used lighting for head-shots is often the clean, classic corporate look; generally speaking a bright background and even lighting. The type of head shot also depends on what it’s for, or if there are prescribed guidelines which must be adhered to.

Typical head shots: two light basic setup

This article will show you how you can take more low-key head shots. By tweaking a few things in your setup and settings, starting from the commonly used lighting setup, you can achieve darker lighting and a moody look, while still looking very professional.

The setup for this one is a light beige background, with a strobe attached on a gridded octabox as the main light, positioned 45 degrees to the subject. Opposite the the main light is a speedlight with a snoot, set up on a stand. The speedlight reduces any shadows on the background which may be cast by the main light, and also provides a hair light and a little backlight. A typical camera setting would be ISO 100, between f/2.8 – f/5.6 and a shutter speed of 1/125 – 1/200 (make sure you don’t go faster that your camera’s sync speed). Of course you adjust the power of the strobe, but the typical look is plenty of light, and pretty brightly illuminated faces (not much or deep shadows).

Normal head-shots have the face more brightly and fully lit, with less shadows. If you want a more dramatic low-key head-shot you can play around with using more shadows and contrast on the face and a darker background. Try split lighting or Rembrandt style which both have more shadow.

By stopping down to f/10, which is what I did on the photos above, still using exactly the same setup, you can cut out a huge amount of the main light, the background will be darker (less light will get to it), and there will be more shadows on the faces. You will have a more low-key look and feel to the image too, softer but with some light and shadow. However, this is still not low-key enough!

Low-key head shots: one light

Tweak the lighting setup further by removing the hair light, replacing it with a silver reflector (on the face), and stopping down to f/11 you will be cutting out more light. Now there is only one light, and any light that hits the reflector will bounce light back on the subject’s face. Remember, that the main light is gridded so there is not much spill at all. The background is so much darker, the catchlights are still visible on the eyes, but there are no more hotspots on the face. There is a lot more shadow on the unlit side, and no hair light. The result is almost painterly, as you can see below.

More shadows in this Rembrandt lighting pattern produce a more low-key result.

Low-key head shots: natural light and speedlight

I wanted to see if I could achieve this painterly look for head-shots by removing the strobe as the main light, and replacing it with a window light. The setup below shows the window light on camera left, and a speedlight, bounced into a silver reflector, as a secondary light on camera right. I also changed the background to dark green.

The results below show two catchlights on the eyes from the window and reflector; the lighting is flatter (less contrast or ratio) but the mood is soft and painterly. If you want deeper shadows use a white reflector instead of silver, or take it away entirely.
The portrait at the top of this article was taken using this setup. The lesson here is that by making small tweaks to your lighting setup you are able to achieve different looks for your images. Don’t be afraid to experiment.

Here are a few examples of really moody low-key head shots I found on Flickr to give you some ideas to make your own:

By Scott Butner

By Al Ibrahim

By Stephen Poff

By Stefano Corso

By Jason Tan

Do you have any tips in getting moody low-key head shots and portraits? Please share them here.

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How to Do a One Light Portrait Setup and Use it as Your Back-up Plan

By: John McIntire 

When photographing people, every session is different and every subject is different. This leads to a lot of scope when it comes to lighting choices and experimentation. This variety is fantastic, and it’s a large part of why portraiture is such a rewarding pursuit.
Unfortunately, with too much experimentation, it is all too possible to end a session with a collection of sub-standard images. Yes, this exactly how to grow and develop as a photographer, but where does that leave your subject? Often enough, this situation means that you’ve gotten what you need from the session, chiefly experience, but the subject is left with less than stellar photos for their time. This isn’t much of a problem if you’ve wrangled your kids to sit for you, or if you have paid someone else to pose for you. If you’ve been paid for this portrait session, however, this becomes problematic and can be devastating to your future efforts.
A good way to alleviate this is to always include a technique that you’ve practiced thoroughly. Doing this may not ignite your creative spark, but once it’s done, you can experiment until your heart’s content, while safe in the knowledge that you will still have something usable at the end of the day.

This article will give you a simple, yet solid, one light technique that works with strobes, flashguns (speedlights) and even window light. It will work with just about any modifier and suits men, women, children, and other subjects just fine.

Equipment

Here’s a list of what you need:

• A light source: Either flash or window light will work. In terms of modifiers, beauty dishes and softboxes are a great starting point.
• A white reflector: Don’t have a dedicated reflector? A sheet of white poster board or foam core is a perfect and cheap substitute.

Set up

First, have your subject stand or sit where you need them. If possible, keep them at least five feet from the background. Place your light source directly in front of them, between two and four feet away (60-120cm). Angle the light source (if using flash) so it’s pointing directly at your subject. Watch the shadows falling under their nose and mouth. For this technique, you’re looking to minimize the contrast on your subject’s skin. If the shadows are too long, lower your light source until they are minimized (also make sure you can see the light in their eyes as a catch-light).
Place your reflector directly against your subject, and parallel to the ground at waist level. For ease, you can place it on a stool or a card table. If your subject is sitting, just have them hold it across their knees.

Because the light source will be so close to your subject, you will need to shoot from directly underneath it. Calculate or meter your exposure and take a test shot. If all is well, you should have a good, clean portrait with soft light.

Backgrounds

You can change the way your background appears in the image by moving your light source if you’re using flash, or by moving your subject if you’re using window light.
With flash, to get a darker background, you simply move your light source closer to your subject. To get a lighter background, move your light source away from your subject. Moving your light source will require you to change your exposure. You can do this with your aperture settings or on the flashes themselves (turn the power up or down accordingly); it’s your choice.
With window light, you’re forced to move your subject instead. For a darker background move your subject closer to the window. For a lighter background, move them farther away. As with flash, this will also result in changes to your exposure. This time you can choose between shutter speed and aperture.

Farther from the window

Closer to the window

You should also be aware that the softness of the light is changed when you adjust the distance between your subject and the light source. If the distance between your light source and your subject decreases, the light will be softer. If that distance increases, the light will be harder.
Tip: If there are shadows falling on the background in your frame, your subject is too close to the background. Try moving your whole setup away from the background a few feet.

Angle of light

You can place your light as high as you want and still get good results; however, for really soft, bright skin you will want to minimize the contrast in blemishes and skin texture. To do this, make sure your light is only slightly higher than your subject, and pointing directly at them. As above, watch for the shadows under the mouth and nose. If they’re long and pronounced, try lowering your light until they disappear.

Window light

If you’re using window light for this technique, the biggest thing to watch out for is you. Because you are lighting your subject from the front, it is all too easy to find yourself blocking your light source. With extremely large windows, this isn’t much of a problem, but with a window in an average home, it can be a pain. One way to sort this is to have your subject sit. That way you can sit, squat or kneel and avoid blocking any light.

In the end

This technique may seem simplistic in writing, but it is effective and it yields good results. It also takes only a few attempts to nail down. By adding this technique to your toolkit, you’ll be giving yourself something solid to fall back on, should things not go to plan in other ways.
If you decide to give it a go, please feel free to share your results or ask any questions you may have.

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Advising Clients What to Wear for a Photo Shoot

By: Lily Sawyer 

Outfits can make or break a photo shoot. No matter how beautiful your photos are, if the outfits aren’t right it can affect the look and feel of the photographs. I wouldn’t have said this before, but now I know from experience.

Before each photo shoot, I send my client an article and encourage them to read it. I then ask them to send me some of their outfit ideas so we can discuss their choices. The client plays the most important role in the photo shoot, and so while I offer advice on what to wear, I  also like to tailor their photo shoot to match their preferences and personalities.
Here are some factors that help my client and I come to a decision on the right outfits for a successful photo shoot. Naturally, the outfits need to be right for the client. But they also need to be right for you as the photographer.

Type of photoshoot

Chances are you already know this from the booking and/or your niche (if you have one). But in case you don’t, here are some photo shoots you may be asked to do:

• Family (immediate family, perhaps with a couple of grandparents added)
• Children (just the kids, sometimes with cousins included)
• Siblings (brothers and sisters or multiples e.g. twins)
• Three generations (e.g. grandmother, mother, daughter)
• Engagement, love shoot or couple shoot
• Newborn or babies
• Valentine, anniversary
• Activity-based (sports, event, themed)
• Clan (bigger family shoots to include extended family, several families together)
• Birthday, cake smash
• Lifestyle (usually more informal)
• Portrait (usually more formal)
• Corporate

Type of client

From my experience, clients generally fall into one of two types: styled or casual.
Styled clients think about every detail of their shoot including:

• the look and feel they want
• the color scheme, location, and any props they want to use
• makeup and accessories
• the final outcome of their shoot in terms of products and what they do with them.

Casual clients just want some memories captured, usually showcasing their usual attires and what they do as a family. They’re not too fussed about location or outfits, they just want lovely photos of their family or themselves and have the digital files stored safely so they can print them whenever they want.
In both cases, I still try to get together with them to discuss their outfits and plan the photo shoot.

Theme or no theme

When it comes to themes, the possibilities are limitless. But I always advise my clients to narrow it down to a handful of choices and keep things simple within their chosen theme. For me, a theme just provides context. The focus is still the client looking good in their photographs, looking natural in the context, and loving the way they look in them.
Keeping it simple is best.

Location of the shoot

Rather than talk about differences between studio and outdoor locations (which are pretty obvious), I want to focus on what’s important when choosing outdoor locations to fit a client’s outfits and vice versa.
If they’ve put a lot of work into choosing outfits (and perhaps props), a location that provides a simple but effective background will work best. So having outfits that suit the location is crucial.
If you’re shooting in a busy location (e.g. city, market, funfair) where you can’t avoid being surrounded by people, I’d suggest plain, non-printed outfits. This will help you isolate your clients so they’re still the focus amidst the busy setting. When I shoot in these locations, I sometimes blur the background or drag the shutter to blur everything but the client.

If the location is a park where you can find a quiet spot and use trees, foliage or sky as the background, then they can wear florals and busy patterns. You can isolate them by blurring the background when shooting so you get creamy bokeh in a very shallow depth of field.
You can also do silhouettes. This works well if they’re wearing outfits that are similar to each other (e.g. simple jackets or trench coats).
Here are some other locations you could choose:

• a brick wall (or any textured surface) large enough to be the background
• large murals
• alcoves
• corners
• an old building
• a row of pillars that would work for background.

While I try to minimize stark contrast within the outfits themselves, I try to maximize the contrast between the outfits and the location. In other words, plain outfits in busy locations and busy outfits in plain locations.

Time of the year

This is pretty self-explanatory, except I want to add one word: options. I encourage my clients to have a change of outfits in case they want a different look. Some take up the offer, while others don’t. The weather in the UK can change quite dramatically. In autumn and spring, we can have all four seasons in one day.
So during this time, I encourage my clients to dress in layers. If the sun comes out they can take a layer off. If it rains we can do some shots with an umbrella. If we’re suddenly plunged into winter, we can add a couple of layers for a cozy look in a cafe, complete with hot chocolate topped with marshmallows.
But make sure you factor the weather, outfits and any activities (boating, cycling, etc.) into your shoot so you don’t run over time.

Your style/niche

You may have been told you should have a niche, and shoot only within that niche. That’s a nice ideal, but it isn’t true (or easy) for everyone. Sure, some people may not be your ideal client. But if they like your pictures, want you to photograph them and will pay you for it, would you turn them down?
And while you may not showcase their photos on your blog because of the niche and brand you’re trying to build, if they don’t mind then why not do it? Yes, the photos in your portfolio, on your website and in your social media messages will help you attract those ideal clients. But here I’m talking about those who want you to photograph them regardless.

General outfit advice

Bearing all of this in mind, here’s my general advice regarding outfits.
Classic: Timeless style, chinos, khakis, beige and blues, nature-hues, pastels, shirts, and simple dresses.
Florals and prints: Just florals, or an eclectic mix of prints and patterns. Pairing them with stripes can also work sometimes.
Colors: Keep them complementary as opposed to completely matching (e.g. all white shirts and blue jeans). Avoid stark contrasts such as green and orange/red together, and yellows and purples juxtaposed. Complementary colors are more like warm tones (yellows, oranges, pinks, warm red and even warm greens) together and cool tones (blues, purples, greens) together. But an explosion of bright colors could also work, although I’d shoot it on a plain background or setting.
Consistency: Avoid extreme differences (e.g. one person is wearing a casual knitted chunky sweater and the other is wearing a nice silky dress). It can be quite jarring. Black and white is another combination that’s too stark a contrast unless it’s done intentionally.
Dark, light and bright: Darks for adults, and lights or brights for small children. Do it the other way and the adults will dominate the scene and draw the viewer’s attention, while the smaller people will disappear.

We all have our own personal preferences and styles. These are mine, but if you have other ideas for your photo shoots that’s okay.
If you have any other helpful advice, please share it with us in the comments.

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Don’t Be Afraid to Say These Things to Your Photography Clients

By: Simon Ringsmuth

Shooting photos for clients is an interesting business. People pay you to take great photos, but you also have to balance your photographic goals with the very human side of the job. You can’t just boss people around and expect them to come back or give you positive word-of-mouth. On the other hand, you can’t let your clients walk all over you. There’s a fine line between assertiveness and rudeness. However, as long as you are polite and respectful you should never be afraid to say these things to your photography clients.

Nikon D750, 86mm, f/4, ISO 2800, 1/400 second

“I don’t offer discounts”

If you have been in this business for a while, you have almost certainly had clients ask you about some kind of sale, discount, sweetheart deal, or other tactic to get you to lower your prices.
I used to feel self-conscious about these sorts of requests, thinking I had some kind of obligation to accommodate my clients who didn’t want to pay full price. The thought of not offering a discount made me feel arrogant and cold-hearted.
The truth is, you are worth your price. If people want to hire you to do your best work, then there is no shame in asking them to pay for it. If someone asks for a special deal, politely but firmly decline. Tell them that your prices are competitive and you will take beautiful photos for a reasonable fee.

Nikon D750, 92mm, f/4, ISO 220, 1/180 second

Additionally, don’t use the phrase “I’m sorry” when discussing your prices. You should never have to apologize for charging what you are worth!
You might think you are being polite, but you have nothing to apologize for. So you shouldn’t feel obligated to say it.
I have had several situations where potential clients have asked me about offering discounts. At first, I felt uncomfortable sticking to my guns. However, every single time I declined to go down in price, I have felt good about the decision. Plus, the clients were still happy with my photos.
Recently someone asked me about taking photos of her daughter’s graduation. When I told her my price, she winced and asked if I offered any type of discount. I said no, and she eventually went with another photographer who had a cheaper rate.
While a part of me wishes I could have gotten this woman’s business, I think of the ramifications if I had gone down in price.

Nikon D750, 110mm, f/2.8, ISO 160, 1/125 second

She would have expected a similar discount on future sessions, and she would have almost certainly told her friends about this great photographer she knows who gave them a really good discount.
That would have started things off on the wrong foot with other potential clients who might be expecting me to drop my price.
The implications for lowering your prices can be much worse in the long run. So you should never feel bad for saying these things to your photography clients.

“You have something on your face”

There are many ways to fix blemishes, pimples, dust, dirt, and other imperfections in Photoshop.
I have had clients joke about taking ten pounds or twenty years off in Photoshop. That always makes me a little uncomfortable since I think my clients look great just as they are.
With almost every photo session, there is some type of artificial issue that can easily be fixed right on the spot.
If not addressed right away, these things can add hours to your post-processing time.

Nikon D750, 135mm, f/2.8, ISO 500, 1/350 second

You might feel a little nervous or uncomfortable telling your clients that they have a stray hair on their cheek or a spot of dirt on their shoulder. I know what that’s like, having been in the situation many times!
Kids are fussy, the wind is blowing, rain is starting to fall, and you feel like you’re adding yet another burden to your clients by telling them they’ve got something on their face.
On the contrary, don’t be afraid to say these things to your clients! Every time I have neglected to mention an issue while taking pictures, I have regretted it afterward.
If you fix a blemish on a single photo, you have to fix it on all the photos. If it takes one minute to fix the first time, multiply that by 20, 50, or 100, and the simple task quickly turns to tedium.

Nikon D750, 92mm, f/2.8, ISO 400, 1/250 second

Not once have I had a client get upset, offended, or otherwise bothered when I told them about a problem like this. If anything, they have appreciated my watchful eye and attention to detail!
Kindly and politely tell them that they have a leaf on their dress, a speck on their forehead, or a butterfly resting on their shoulder. (I’m not kidding, it has happened!) You can deal with it in a few seconds and move on, instead of worrying about it and then wasting hours of your time editing it out on your computer.

“Sure, let’s try your idea”

Any time I prepare for a photo shoot, I always make sure I know the location, the types of photos the clients want, and other pertinent information. I even built several custom photo benches that I bring with me in case people need a place to sit. Basically, I try to have all my bases covered so I can make sure the session goes smoothly.
However, sometimes clients have other ideas. When that happens, I used to get defensive – I’m the professional, my clients need to listen to me!
On a sports team, it’s the players’ job to listen to their coach, and if every person on the field did things his or her own way, the game would be lost in short order.

Nikon D750, 112mm, f/4, ISO 1600, 1/250 second.

A photo session isn’t a sporting event, and you are a photographer, not a coach, and certainly not a dictator. You have great ideas for how to carry out the session, but your clients might too. It also behooves you to show them you care and will listen to their suggestions.
Even if you might not particularly like an idea that your clients have for poses, locations, or props, you might be surprised at the results. At the very least, it will send a message to your clients that you are flexible and willing to listen to them.
Even if the photos aren’t your favorite, word of mouth from your clients will help build a good reputation for you!

Nikon D750, 50mm, f/1.8, f/2, ISO 320, 1/250 second.

The image above is one example of how this can work out well for you and your clients. After I shot this family in the middle of a park, one of them told me he wanted to get a picture by a bridge. I was a little hesitant since the lighting and location weren’t my favorite, but I was happy to oblige. These photos turned out to be their favorite from the entire session!

“I have a location I prefer”

This seems a little counter to the last bit of advice since the idea here is to not take your clients suggestions into account. If you shoot outdoors, as I and many others do, you probably have some particular spots you like to use. Your locations have good lighting, pleasant surroundings, few people, and no bothersome elements like trash cans or street signs. You have used these locations many times, and they work great!
Your clients might have other ideas, though, and this is when it’s important to push back a little. I have had clients ask to do photos in spots that might look great for social media selfies, but they just aren’t well suited to a formal photo session.
In these situations, there’s nothing wrong with gently but firmly steering them to a location you prefer.

Nikon D750, 200mm, f/2.8, ISO 280, 1/250 second

It might seem harsh or uncaring to say these things to your photography clients, but it’s all about setting expectations.
When it comes to choosing a location, you know things your clients don’t. You pay attention to aspects of lighting and composition they would never think about.
If a potential client is insistent on using a spot that you would rather not use, show them your portfolio and explain the reason that you want to do it at another location.
Ultimately it’s your call – you can go with a spot they want, and the pictures might turn out great. But there’s a good chance you will encounter unforeseen obstacles, distractions, and other issues that will lead to sub-par photos.
If your client is insistent, you can politely tell them you won’t be able to meet their needs and recommend another photographer instead. Or you can do the session anyway, but make sure to scout the location first so you can prepare for what awaits.

Nikon D750, 150mm, f/4, ISO 1100, 1/250 second

“Photos will be ready in two weeks, but not sooner.”

Your own timeframe for this might differ, but you must be honest with clients about these types of expectations.
They might have other ideas in mind based on experiences their friends have had with other photographers. If you need a specific amount of time to deliver the photos, then make sure to stand by what you say.
Be sure to explain this early when you establish a relationship with your clients, so they know right away what to expect. You don’t want them complaining on social media because they thought you would deliver their photos the very next day!
Let them know that you need time to carefully cull, edit, and even print their photos. A few extra days of work can mean the difference between good photos and frame-worthy portraits to hang on a living room wall.

Fuji X100F, 23mm, f/5.6, ISO 320, 1/125 second

Expectations

One trick is to under-promise and over-deliver. I let my clients know that they will receive their final images within three weeks. I almost always send their photos in two weeks. So in their eyes, I have not only met their expectations but vastly exceeded them.
Your clients might want photos quickly, but if you need time to do your post-processing, be firm and stick to your guns. Quality takes time, and you’re not just slapping on a filter like you would see on some social media apps.
And if you need a few weeks to work your magic, then make sure your clients know what to expect.

Nikon D750, 50mm, f/1.8, f/5.6, ISO 6400, 1/90 second. (Using a +4 close-up filter)

At the end of the day, this is all about establishing a positive, healthy, and productive relationship with your clients.
Always be respectful, and always treat them how you would prefer to be treated yourself. If you say these things to your photography clients it will help send the message that you are a serious professional. Moreover, they will likely want to keep working with you well into the future.
We hope Don’t Be Afraid to Say These Things to Your Photography Clients will help you on your photographic journey. Do you have other things that you feel can be said to clients that can help the session run smoother? If so, share it with us in the comments!

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How to Choose the Right Location for Your Photo Session

By: Jackie Lamas

It’s thought that clients are the ones who choose the location for their portraits, but more often than not, choosing the right location is left entirely up to the photographer. In this article, we’ll outline a simple formula to help you and your client settle on the perfect location for the session.

1. It’s not about location, it’s about the look and feel

When you talk to your client about possible locations, change the language you use. Instead of “have you thought of where you want your session to take place” with “what look and feel would you like your photos to have?”

That simple change in language will help your clients to visualize their final images. I’ve listed a few words that can help your client choose which look and feel they want for their final images. Thus, helping you to choose the best location for the session.

These two locations offer different “feelings”.

• Ethereal: This can be an open field, nature park, or a bright location with little to no busyness in the background like buildings.
• Nature/natural: Here you can offer a park with lots of green grass and tall trees. Giving them a more natural feel to the photos. You can also offer a field of wildflowers.
• High fashion/urban: This is definitely in a busy neighborhood or downtown area with lots of big buildings, reflective windows, and metal accents. Giving lots of contrast to the photos and the look and feel of a busy city.
• Vintage: This can mean either old architectural buildings with wooden doors and big arches or it can mean that they want a location where there are lots of vintage accents, like a neighborhood of restored or historical homes.
• Warm/homey: These words are a little broad but they can mean that the session can happen at a nice warm location like a field or during sunset at the beach. Homey can mean that they want to feel comfortable and relaxed, which can mean a location they frequent or even their own home.
• Beach: This one is pretty easy, you can offer the beach if you are near one as a location. The time of day will give you the look and feel. The morning will give you a more blue and pink hue whereas during sunset you’ll get the beautiful golden hour lighting. Make sure to explain both options to your client so you can choose the right time for the look and feel they are visualizing.
• Meaningful location to the client: Yes, this is an option as well! Especially for engagement sessions because it can be really meaningful to have the photo session at a location where the couple met, or where they got engaged, or simply where they spend a lot of their time together. This is also important for clients celebrating anniversaries or a really important milestone, like graduating from high school or college.

Two different locations for the same maternity portrait session to offer variety.

2. Ask what their home decor looks like

Another way to set a location for the portrait session is to find out what kind of home decor, theme, or color scheme they already have. This way, when it comes time to hang beautiful photos in their home, you can be sure that it won’t clash with the rest of the home.

Your clients will appreciate that you took the time to find out what would look best in their home before even taking a single photo. This makes you look even more professional because you are going to choose the perfect location so that when they are ready to frame, they are reassured that the photos you took will match their home decor perfectly.
This can also help you to upsell items like albums because you’ll know the right album cover and color to choose for each one of your clients. It will make them see that you care more about how their photos will match their home rather than simply choosing an easy location for all of your photo sessions.

For example, choosing a black leather cover for an album can look great in a contemporary modern home whereas a fabric cover album would look better in a more country style home. Or another example would be if the home has brown, beige, and reds in the decor then a perfect location would be a field of flowers.

3. Time of the session

Time can be a huge factor in choosing the right location. Some families need to keep nap times and energy levels in mind when scheduling a session. For example, if your clients need to keep in mind a little one’s nap time at 2 pm, you can choose to have the session in the morning or in the evening when the child is at his best. Photographing in a park that is rich in trees and greenery can help shade you from afternoon light or keeping the sun off your clients.

Or, you could schedule the family during the golden hours at a nearby beach or lake so that the child can play and still have had his nap time earlier.
Sometimes the time is dictated by the location itself. For example, photographing in an urban setting where tall buildings can shade the sun during sunset means that you might have to photograph your client at an earlier time to have enough light.
Or, if you’re photographing in a field, sometimes the early morning hours are best when it’s cool and not so bright. Golden hour is also perfect for fields and beaches.

Midday sun at the beach may be a little harsh but it is still doable. Speak with your clients to choose the best time that works for their schedule.

Talk with your client to see if time will be the determining factor in choosing the right location.

4. Use your website to help choose the location

Chances are, your clients have already looked through your website and have fallen in love with your style! This is great because this can also help your clients to choose the perfect location for their portraits.

This photo is a common favorite on my website since most family sessions are on the beach and during sunset.

If your clients are having trouble visualizing what they want their photos to look like, have them go over to your website and point out a photo that they like the most.  The one that just jumps out at them and had them convinced they wanted you to photograph them.
If the location is nearby or accessible, offer that same location to your client! They loved the photo and it is what led them to contact and hire you, so why not photograph them there? It’s guaranteed that they’ll love the final photos.

5. When they leave it up to you

Even though you’ve gone through all the steps above, some clients don’t know what they want for their photos. They’ll look to you to offer up the best locations because what they want is to have the best photos possible so any location, look, and feel is okay with them.
When this happens, don’t be afraid to take charge. Choose a location that perhaps you’ve been wanting to photograph in for a while, or a location that you know has great golden hour lighting.

Sometimes, clients just need more of a visual to get an idea of what they are actually looking for. Send your clients links to two or three specific locations that you’ve chosen so that they can see with their own eyes what the images will look like. Blog posts and images from your website would be perfect examples.
This way, even though they don’t know what they’re going for, they can choose the one that seems more interesting to them. Giving them the final decision on where they would like the location for their session to take place.

6. More than one location

Depending on your portrait business model and what you have offered your client, and if you’re willing, you can do one session in multiple locations.

For example, if you are photographing an engagement session and they are going for a natural park look but got engaged in front of the downtown theater, then you could offer your clients to photograph in both locations for their session. Either on the same day or on different days.
Photographing in multiple locations offer your clients a variety in their photos so that they can showcase different photos in different rooms in their house as well!

Of course, sticking to one location where there is variety in looks can also be an option to add variety to the photos without having to go somewhere else.

Each session is different and each client is different, using the tips above will help you to determine the perfect location for all of your sessions. When you guide and help your client visualize the perfect location for their session, you will not only look more professional, you will be giving your clients a very personalized experience that they will appreciate. Resulting in more referrals and return clients!

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