If I want to take dramatic portraits on a black backdrop (without
even needing a single light), a garage is your new go to spot. This is
the simplest (and most makeshift looking) setup that I use. As you can
see in the image above, all I am using is a piece of black foam core,
folded into a “v,” set inside a garage on a sunny day.
While you can accomplish this setup on overcast days, having a sunny
day helps to increase the brightness of everything outside the garage,
thus increasing the catch light in the model’s eyes.
The sunny daylight scene outside the garage essentially acts as a giant
reflector, which hold under the subject’s chin to soften shadows.
The reason why a garage is great for this kind of setup is that it
allows you to place your subject closer or further away from the bright,
outdoor light, depending on how much light you want in your subject’s
eyes or how even you want the light to appear. For example, if the
subject is right at the edge of the garage, just out of the sun, the
exposure will be very bright, requiring a very fast shutter speed and/or
a small aperture, but they will have large catchlights in their eyes.
Note that the smaller aperture will cause the image to be sharper from
the front to the back. Also, the closer the subject is to the bright
outside, the darker the background will be once you’ve adjusted your
exposure for their skin tone.
Alternately, if the subject is placed deeper into the garage, it
allows you to use a wider aperture or slower shutter speed, which can
create a flattering, softer, depth of field, though the catch light and
overall light quality will change.
Shooting in a garage is the equivalent to a one-light studio portrait
since the only light source is the open garage door. This increases the
appearance of the image being a studio portrait, as it mimics a large
softbox or octabank (though an open garage door is larger and less
expensive). If you want to have more light, such as hair light and rim
light to create separation between a subject and the background, there
is another option available to you. Simply place your subject on the
shaded side of the garage, allowing the sun to light just the edges of
your subjects hair and shoulders, as seen below.
The
one downside to having a huge wall of soft light in front of your
subject is that it can flatten out the subject, which can make the
lighting appear flat or boring. One remedy for this is flagging off
portions of the light, as seen in the image below. Note that any object
you place in front of the model to flag the light will also change the
shape of the catch lights in their eyes.
For portraits like this, you will want to use a focal length of at least 50mm or longer.
Anything wider angle will lead to distortion of the subject’s features.
Since you are shooting outdoors, you have unlimited space to back away
from the subject. So I like to use my 70-200mm lens for these type of
head shots.
The other perks that come with shooting outside or in a garage is
that you have a free hair fan and plenty of ventilation, which comes in
handy when you’re shooting smoke.
My buddy Colin is a drummer in the band House of Heroes. He
approached me to shoot the cover of their latest EP, Smoke. He wanted a
dramatic, close-up of a girl’s face with smoke all around. I knew that
my garage would be the perfect spot to conduct the shoot (open air with
bright light). I placed white boards on either side of Courtney, which
helped to not only fill in any shadows under her jaw but also add catch
lights to her eyes. In addition to the images of Courtney, I also shot
several frames of smoke, being exhaled by Colin (try doing that inside a
studio), isolated on the black backdrop, which was later overlaid on
the final image of the model in post-production.
Have you tried doing portraits in your garage or other makeshift
location? Have any additional tips? Please share in the comments.
Share this article.
4 Beginner Tips for Creating Dramatic Portraits with One Flash
In this article, I will explain how you can use a
transmitter/receiver, or transceiver system to achieve simple dramatic
portraits using only one flash. Below is a step-by-step guide on how to
get you started.
Background
I used to fear using anything other than natural light. One of the
reasons was that I had a notion that using artificial lights such as
off-camera flash and strobes is too difficult and requires deep
technical knowledge. Well, yes and no. To master it, you have to
understand lighting ratios and learn to make mental calculations of
light from various sources and suchlike. But to start using it, not
really.
My first experience of off-camera flash was using the Creative
Lighting System (Nikon) capability between my speedlight and my camera.
Most of my early attempts were unsuccessful especially with the
limitations of the line of sight infrared system. It was unreliable too,
especially when shooting under pressure or caught on the hoof. I also
used overexposed my light with my very untrained and inexperienced eye
when I was just starting out.
Wireless triggers
Enter wireless radio transmitters and receivers (or transceivers) such as the Pocket Wizard, CyberSyncs, brand’s own (Nikon and Canon) and the super affordable Yongnous.
A transmitter which is connected to your camera sends the message to
the receiver which is attached to the flash unit. Transceiver units, on
the other hand, can act as both receiver and transmitter so that you can
use them on either the camera or the speedlight but you would still
need one unit to attach to each piece of equipment.
These wireless transceivers are a game changer without a doubt. They
are simple to use and are reliable most of the time as well. I use
Cybersyncs for my studio strobes and Yongnous for my speedlights and
find the Yongnous are incredibly reliable and user-friendly with hardly
any misses. However, the Yongnous cannot be used for strobes.
#1 Choose the look and mood for your portrait
Do you want super dramatic low key portraits
or the other end of the spectrum – high key, bright and airy? The mood
of your picture will dictate your background and of course the camera
and flash settings. I have chosen a black background for these portraits
to achieve a high contrast between the brightest parts of the image and
the shadows. This will keep the overall mood dramatic and the lighting
low key with plenty of black areas.
#2 Set up your equipment
If you have transmitter and receiver units, attach the transmitter to
the hotshoe of your camera while the receiver needs to be attached to
the flash (speedlight or strobe). If you have a transceiver, this can go
on either camera or flash but you still need two units, one on each
piece of equipment.
It’s also a good idea to put your flash unit on a light stand.
I used a studio strobe mounted on a light stand but attached it to a
boom arm for more flexibility in angling the light. Note: A boom arm is
not necessary at all for a simple beginner setup. Without a light stand,
you can always mount your flash on a cabinet or steady surface, making
sure it doesn’t topple over. Most speedlights come with little plastic
feet that are handy for this purpose.
#3 Modify your light
One of my rules is to always modify the light.
The only time I shoot with a bare flash is when I use it as a kicker
light at wedding receptions or to light a backdrop. At all other times, I
will always modify it somehow or bounce it to maximize the softness of the light or to minimize the harshness depending on the situation.
For this look, I wanted the flash to point directly at the subject,
in a narrow beam and not have any spill onto the background. A gridded
snoot would do the job controlling the light direction, but I didn’t
have one. Plus I probably would have found that the light was still a
bit harsh without further modification. I ended up McGyvering my own
modified snoot using a black card and the diffuser panel of a 5-in-1 reflector.
I twisted the reflector (like you would when putting it away) so that
it was only a fraction of its size and I then had a 3-layer diffusion
panel. This was taped to the strobe and with black card wrapped around
it to direct the light onto my subject like a beam.
There are two factors that are crucial for getting soft light; the
distance between your subject and the light and the size of the light.
The closer the light is to the subject, the softer it is. The larger
your light source is, the softer it will be. My light source was not
very big at all, so to leverage maximum softness I decreased the
distance to the subject. The light was positioned about an arm’s length
away from the subject, quite high up at a 45-degree angle. This was to
mimic natural light coming from a high window.
#4 Try various settings
I wanted to shoot at f/8 so I metered the flash. You don’t require a
handheld light meter to do this, by the way, you can just start with a
few trial and error test shots to find the correct setting. I started
off with the lowest power on my strobe but ended up cranking it up as
the 3-layer diffusion cut out quite a lot of the light. My settings for
these were: f/8, 1/60th, ISO 400 and my strobe power high at 7. The
strobe settings will vary depending on the brand you are using.
This is just one of the many ways you can create portraits with one
flash. Try it and experiment with other angles, moods, and light
settings and you may be amazed at what one light can do!
Share your portraits here too in the comments below.
Creative techniques Get to grips with... Selective focusing 22 Get to grips with... Hyperfocal distance 26 Get to grips with... Extreme focal lengths 30 60-second lens techniques 34
Just copy and paste this link into your web browser to get Your FREE copy:
Today, digital photography is ubiquitous, but there is still a demand
among enthusiasts for classic film cameras. By all accounts, the analog
medium has made a comeback over the last 2-3 years. What you don’t
often hear of is people hankering for older digital cameras, even for
the sake of nostalgia. Technology has moved on, but has it moved on so
much that they are obsolete? Or are early 2000s digital cameras
secondhand bargains? We’ll find out.
There is still plenty of love out there for old film cameras. This is an Olympus OM10 (c. 1978-87).
Inescapable truths
Those of us that have been shooting digitally for over ten years
probably don’t miss the early days of post-processing. The sensors were
noisier and there was no in-camera dust removal. One way or another, a
lot of time was spent trying to clean things up. Less advanced, too, was
the software we used to process photos. Trying to recover highlights or
remove noise, for instance, was harder than it is today. Photos were abandoned that might be saved with modern editing.
The
original Canon EOS 5d (c. 2005) had no dust-cleaning capability.
Neither did I. Whenever I
had the sensor cleaned, dust spots quickly
reappeared.
Aside from noisier, dirtier sensors and editing limitations, exterior
hardware on cameras was also inferior in the early days. LCDs were
smaller with a lower resolution, and electronic viewfinders weren’t as
clear. The benefit of a bright viewfinder shouldn’t be underestimated,
and it’s still a feature of higher-end cameras today over entry-level
models (e.g., pentaprism vs. pentamirror optical viewfinders).
Sensor resolution
With camera age comes the question of sensor resolution. Modern
cameras have high-res sensors. More resolution gives you more freedom to
crop pictures after the event and still end up with a decent-sized
print. It’s like having an extra lens. Many photographers prefer not
cropping pictures, but it’s a luxury that didn’t always exist. In the
“old” days of low sensor resolution, there was more discussion among
photographers on interpolation methods. People wanted to make their
digital files bigger so they could create larger prints. That subject is
now almost archaic.
The
CCD sensor of the Panasonic Lumix DMC-FZ28 (c. 2008). Despite having a
smaller sensor
than the earlier FZ30, the FZ28’s resolution was higher.
Advances in sensor technology are
frequently used to increase resolution
rather than substantially decrease noise.
Despite the drawbacks of using old digital cameras, some had useful
features that are rare or even extinct today. And the minuses are mostly
surmountable. Let’s examine three cameras that are all 10+ years old
and see what we can do with them. All of the following are eminently
affordable on the secondhand market: more so than many classic film
cameras.
Old camera #1: Sony Cyber-shot DSC-R1
Even by today’s standards, the 2005 10.3-megapixel Sony DSC-R1
is an innovative camera. It never sold well, but it had a unique
combination of a fixed 24-120mm Carl Zeiss lens, an APS-C sized CMOS
sensor, full-time live-view LCD display (a first at that sensor size),
and live histogram. The technical quality was/is excellent.
The Sony Cyber-shot DSC-R1 is a bridge camera with a large APS-C sensor. It was unusual in
2005 and remains so today.
The main limitation of the Sony R1 is a sensor that gets noisy above
ISO 400 combined with an absence of image stabilization. This is not a
camera you can easily use for high-quality interior photos without a
tripod. You have to employ old-school sturdy shooting methods with controlled breathing, a good stance, a steady hand, and a camera braced against pillars or posts if necessary.
This
is a Sony R1 JPEG with a bit of fill light from the built-in flash. I
persist with the raw files
despite their slowness in writing.
At ISO 160-200, Sony R1 pictures are clear with great color. At ISO
400 they’re still good. When viewed at 100%, the images are satisfying
with lots of detail. On the minus side, raw files
take a long time to write on the R1 (several seconds, typically). This
was never a rapid-fire camera for those aiming to pull the most quality
from it. The R1 takes CF cards or Sony memory sticks – no SD cards.
The
quality of the R1’s Carl Zeiss T* 24-120mm lens doesn’t disappoint.
The flip-out 2″ LCD of the R1 didn’t appeal to everyone as it swivels
upwards, effectively making the camera bigger. It’s already quite a
bulky bridge camera. Personally, I love the fact that the LCD screen can
slot flush into the top of the camera, turning it into a waist-level
finder. That’s great for candid portraits or street photos, even if you
have to wait for those big Sony raw files to write (you can shoot
JPEGs). The camera has an electronic viewfinder that’s dimmer and lower
resolution than you’d expect from today’s cameras, but it’s usable.
I’m
not aware of any other digital stills camera that allows this. The LCD
is only 2″ wide, but that
allows it to slot neatly into the top of the
camera like a WLF.
Of all the digital cameras I’ve used, the Sony R1 is one of the few
that I haven’t sold over time. I can’t bring myself to get rid of it
because of its quirkiness and quality. For those familiar with him,
well-known US photographer and blogger Kirk Tuck was still singing the praises of the R1 just a few years back. This is a secondhand bargain if you can cope with the cons.
Old camera #2: Panasonic Lumix DMC-FZ30
The main problem with the 2005 Panasonic Lumix FZ30 is the noise from
its 8-megapixel CCD 1/1.8″ sensor. Even at ISO 80, it’s there. That
aside, there are many appealing features. The 12x Leica-branded optical
zoom lens with image stabilization is sharp across its whole range.
Despite its age, the electronic viewfinder in this camera isn’t bad,
even if the dioptric dial nudges out of place too easily. I tend to use
the EVF more than the 2″ flip-down LCD.
The
12x optical zoom of the Lumix FZ-30 is fairly modest by today’s
standards and isn’t very
wide at the wide end. But still, you get good
long-lens versatility that doesn’t seem to exceed its
Mega O.I.S.
ability (Optical Image Stabilization).
Offering all the exposure control you’d expect from an SLR, the Lumix FZ30
also allows raw shooting – a strong point in its favor. With today’s
processing, and by restricting your photography to base ISO where
possible, you can achieve good results. Limiting? Yes, but you get
36-432mm versatility for your trouble. The stabilization is effective,
allowing you to make use of that long zoom at relatively low speeds with
good technique.
The
Panasonic Lumix DMC-FZ30 feels well made and gives you as much control
as you want.
Aside from allowing raw files, it captures modest VGA res
video (typical for its age).
This is a camera that yields detailed pictures, is quick to handle,
has long battery life and doesn’t hold you up with big raw files. One
frustrating aspect is the need for 2GB SD cards to run it, which many people will not have in this day and age. It doesn’t accept SDHC cards (4GB+).
This
is a 100% section of an FZ30 file with Adobe’s “enhanced details” and
some basic masked
capture sharpening applied in Lightroom. The detail
isn’t at all bad at base ISO and unsharpened
noise is unimposing. (Best
viewed full size @ 1500 pixels.) Exposure: 1/500th, f/5, ISO 80.
Although noise is an issue with the Lumix DMC-FZ30, that is less
important now than 14 years ago when the camera came out. Software like Topaz AI Sharpen,
though not perfect, is good at suppressing noise and bringing out
detail. The tools in Lightroom and other programs have also improved no
end. Old cameras become more viable as processing technology advances.
Exposure:
1/160th @ f/4 – ISO 80. The focal length is 52mm, equating to around
250mm in
35mm terms. Image stabilization is probably helping a little
here.
Old camera #3: Canon EOS 450D/Rebel XSi
I wouldn’t recommend early digital SLRs to anyone based on dust
problems alone, but that becomes a non-issue four generations in. The Canon EOS Rebel XSi
(450D in Europe) came out in 2008. It was an entry-level DSLR offering
many benefits over previous models. Among them were a sizeable 3″ LCD,
Live View with phase and contrast detection AF, spot metering and a
bigger, brighter viewfinder.
The
lightest camera among the three even with its lens is the EOS Rebel XSi
(450D). The kit lens
is good, but a cheap 50mm f/1.8 would make even
more of the camera’s excellent sensor.
The Rebel XSi is small and light by SLR standards and won’t give much
satisfaction to metal-loving traditionalists. It doesn’t feel
substantial. However, it’s understated and functional, and lets you go
about your work stealthily. No-one is going to think you’re a pro, no
matter how well you hold the camera. The most noticeable flaw is some
wacky white balance results from time to time, especially under artificial light. Shooting raw, that’s not a deal-breaker.
This
100% view (with capture sharpening) shows good detail from the 18-55mm
Canon kit lens.
A 50% view creates more of a real-world impression, so
this is okay at full size.
As you might expect from a Canon CMOS sensor, noise levels are low
with the EOS Rebel XSi (lower than the Sony R1, for instance).
Obviously, they’re not as impressive as a high-end camera from today or
even yesterday, but you can risk ISO 800 or even max ISO 1600 images for
some indoor shots and polish them up later. Better still, you can make
use of live view, manual focusing and a tripod if circumstances allow.
Topaz
Sharpen AI is good at sorting out detail from noise, though you have to
check over the result
for artifacts. This is an ISO 800 shot viewed at
100% with Topaz sharpening and noise suppression.
This type of software
is only going to improve.
A question of balance
If you’re using heavy “L” series lenses, they may not sit well on the
Rebel XSi. It doesn’t have any heft. The original 18-55mm kit lens is
sharp, lightweight and has good image stabilization. A modern equivalent
of the Rebel XSi would give you more resolution, more advanced
processing (a little quicker, less noise at high ISOs), a higher res LCD
and video. All this was available in the camera that superseded it in
2009 – the EOS Rebel T1i (500D).
But the stills photographer looking for a bargain DSLR might find an
answer in the Rebel XSi. It has just enough and a bit more.
This
50% crop gives you a good idea of what the 2008 18-55mm kit lens can
do, albeit through
a compressed JPEG. There’s not much to complain about
quality-wise, even if the sensor promises
more.
With modern processing at our disposal, digital cameras from the
early part of this century have more potential now than they had when
new. Especially those that shot raw files. Yes, you’ll find it hard to
go back to them if you’ve spoiled yourself with ultra-high-res LCDs and
mega-bright EVFs. But some of the downsides in old cameras have upsides
of their own: less brightness and resolution means better battery life.
Low-res sensors mean not editing football-pitch-sized files.
You wouldn’t use old cameras if your living relied on the best
high-ISO performance. Still, any of the three models I’ve discussed can
easily produce a publishable, high-quality photo if you accept their
constraints and process the files carefully. Other than the Sony R1’s
slow write times, the cameras are quick and easy to handle.
So, with one or two caveats, I’d say early 2000s digital cameras can definitely be bargains.
Do you use any of these cameras, or have any to add to this list? Please share with the dPS community in the comments below.
In the year 2018, I’d just finished a quick search of the top
10 best selling digital cameras over at B&H Photo. Those 10 cameras
sport an average megapixel count of 26.1MP. Six of those cameras were
full-frame sensor models.
In 2004 I worked in a camera/photo processing lab and I remember the
day we all stood in jaw-dropped awe as the Kodak DX4530 arrived at the
store. The megapixel count of that glorious DX4530? A whopping 5MP. Bob
Dylan was very much correct. The times are in fact a changin.
What all this means is that today, on average, our digital cameras
pack in an enormous amount of resolution. This high resolving power
affords us advanced possibilities for post-processing unlike never
before and is especially true when it comes to enlarging and cropping
our images. More specifically, these increases in resolution allow us to
bend the limits of cameras and lenses by “shooting for the crop”.
What is Shooting for the Crop?
There’s no hidden meaning in “shooting for the crop”. It is a simple as it sounds.
When we say that we are shooting for the crop all it implies is that
before our finger hits the shutter button we KNOW that we will be
adjusting the entire composition of the photo later. This is entirely
different from the usual organic cropping that sometimes happens during a
spur of the moment flash of post-processing creativity.
Admittedly, shooting for the crop is not one of the most smiled upon
photographic practices. Most agree that generally, the best way of
making any photo is getting it consolidated, at least compositionally,
before post-processing ever occurs.
The reason for this is because when we crop digital image files, no
matter what, we are in fact making the individual pixel more apparent.
The result is a loss of image sharpness and definition.
Low-resolution image.
Still, there will be times when the focal length of your lens may
just not fit the situation. This is the usual scenario. There may be a
distracting element within the frame that your lens is simply too wide
to exclude or maybe that 50mm just doesn’t have the reach that you would
prefer to frame your scene.
Whatever the case may be, effectively shooting for the crop means
taking into account quite a few factors and variables to make sure the
image you intend to end up with looks as clean as possible. Let’s talk
about a few things you should take into account whenever you are
intentionally shooting for the crop.
Find the “Sweet Spot”
All camera lenses, whether they cost $300 or $3,000, have an area in
their field of view which carries the highest optical sharpness. Most
times photographers refer to this area of maximum lens sharpness as “the
optical sweet spot” because, well, it’s the sweet spot for sharpness.
While some lenses are of higher resolving quality than others, all of
them will have some degree of optical distortion and softness as you
move towards the edges of the frame. The very center of the frame is
essentially always the sharpest area of the lens and sharpness is
dampened radiating outward. So when you’re shooting for the crop, always
place the main subject or point of interest right smack in the center
of the frame.
It doesn’t matter if centering the subject makes a horrible
composition for your photo because you are going to crop and recompose
later in post-processing. All you should concern yourself with is
obtaining the highest level of sharpness for your main point of
interest.
This is because when you crop a digital image you are almost always
enlarging it at the same time. The more you magnify it the more pixels
you will see. It’s here when true sharpness becomes of paramount
importance.
Shutter speed and aperture considerations
Getting the absolutely sharpest image for cropping later extends well
beyond the quality of your lens. In order to ensure you have the best
croppable photo you must take into account the shutter speed and
aperture you’re using when making the exposure.
Use a fast shutter speed
The more motion you can arrest in a photo the more clear and sharp it
will be. This is one of the rare facts of photographic technique. When
shooting for the crop you should always use the fastest shutter speed
obtainable.
Of course, this isn’t true when you’re looking for intentional motion blur. Using a fast shutter speed helps mediate not only subject movement but also unintentional camera shake.
A great method to help you figure out the slowest shutter speed you can use
is “The Reciprocal Rule.” I am a long-standing evangelist of this rule
because it truly is just so incredibly useful for helping you to achieve
sharper photographs.
The Reciprocal Rule states that when shooting handheld your maximum
shutter time is equal to “1” over the focal length of your lens.
So to help reduce camera shake when using a 50mm lens
your slowest shutter speed would be 1/50th of a second. If using an
80mm it would be 1/80th. If you’re using a variable zoom then simply use
whatever approximate focal length you happen to have dialed in on the
lens.
Caveats on aperture
Just as every lens has an optical sweet spot so too does every lens
have an optimal aperture range when it comes to sharpness. Various
lenses have wildly variable aperture sweet spots.
Some are tack sharp at wide apertures and soften as you move into
smaller apertures. With others, the exact opposite could be true. Even
two samples of the same model lens could have different results at the
same aperture.
When shooting for the crop it’s always a good idea to shoot at your
ideal aperture whenever possible. Just like using the optical sweet
spot, using your lens’s ideal aperture will stack the odds in your favor
when it comes time to crop.
To find out what apertures produce the best results for your
particular lens will take some testing. Simply shoot an image at each
aperture and compare them. Generally speaking, most lenses are sharper
at the relative “middle of the road” apertures as sharpness tends to
degrade as you approach the very smallest or the very largest apertures
of your lens.
A brief word on megapixels
There’s no beating around the bush when it comes to megapixels and
shooting for the crop. Without attempting to give too technical of a
talk (you’re welcome) on image sensors, it’s best to remember that the
more megapixels you have packed into your camera’s sensor the better off
you will be when shooting for the crop.
We talked about how cropping a digital photo is essentially zooming
in on the image. Since that image is made of little picture elements
(pixels) the more you zoom the better you can see the individual pixels.
Pixel depth and size aside, the more pixels you have held within a
sensor the more flexibility you will have to crop more liberally.
Final thoughts on shooting for the crop
Let’s face it, shooting for the crop is not high on the list of best
photography practices. But, unfortunately, we live in a real world of
unexpected circumstances. We either won’t have the ideal lens available
or the environment will limit us to resorting to some judicious cropping
later in post-production.
Luckily if you already know you’ll be cropping an image later you can
work to stack the odds in your favor to have better success. Here are a
few key tips to remember whenever you find the cruel reality of a scene
requires you to shoot for the crop.
Center the point of interest in the lens. Make use of that optical sweet spot!
Use the fastest shutter speed possible when shooting hand-held. Remember the Reciprocal Rule.
Know which aperture yields the highest degree of sharpness from ALL of your lenses and employ if possible.
Cropping exaggerates the size of the pixels that make up a digital
image. An image from a 16MP camera probably won’t crop as cleanly as one
from a 34MP camera.
As with most things to do with post-processing, don’t overdo your
cropping. If you know you’ll need to crop down extremely tight just to
come close to your ideal picture, allow me to ask a small favor; take a
breath and put the camera down. Remember that there will be other
photographs and more opportunities. A butchered photo of an incredible
scene is less desirable than not having the image at all! Most of the
time….
Do you have a cool before and after example of shooting for the crop? Share them with us in the comments!
Share this article.
Friday, June 26, 2020
6 Tips for Perfect Composition in Portrait Photography
Every on-location portraitist is faced with the challenge of paying
attention to the details regarding his or her subject, such as posing,
lighting, composition etc. Perhaps the greatest mistake made by amateur
on-location portrait photographers is the lack of emphasis placed on a
portrait’s background surroundings.
Photographers who do not closely examine the surroundings within the
frame of their image are those who come away with images that have great
distractions. No high school senior or bride will purchase a portrait
in which a tree limb is sticking out of her head. Such distracting
elements take emphasis off the subject, and are detrimental to the
portraitist’s sales. There is nothing more painful for a portraitist
than taking a portrait that is beautifully posed, gorgeously lit, and
absolutely unusable … simply because no attention was given to
background composition!
Posing and lighting both play enormous roles in the creation of a
dynamic portrait. However, background composition is a forgotten
component that requires an equal amount of time and thought.
Some things to consider when creating a perfectly composed portrait:
1. Fill the frame with your subject
A portrait is about the person, so don’t be afraid to zoom in close!
Remember that zooming in does not mean capturing only face shots. You
can also capture “tight”, close up shots of your subject sitting on a
stool or leaning into a tree.
2. Keep eyes in the upper third
This is the most natural spacing for a portrait. Try not to divert
from this rule unless you are deliberately creating tension. Another
exception of this rule is when a subject is full-bodied in the bottom
third of the frame.
Here are some techniques that you may not be aware of if you’re new
to portrait photography. It takes practice, but being aware of these
ideas can get you experimenting, and inspire you to try shots you might
not have otherwise tried.
1. Frame Tight
Next time you’re watching a movie, pay attention to the close-up shots. See the top of anyone’s head? Probably not very often.
Tightly framed natural light portrait
Leaving too much space above the head is a common mistake in portrait
photography. For a close-up portrait, just cut off the top of the head.
You don’t need it. I know it feels weird at first, and to be honest, I
would never have tried this if someone hadn’t told me to. But it works
because we connect to faces, not the tops of people’s heads. Also
cropping out the top of the head (either in camera or in post) brings
the eyes higher in the frame and helps you achieve rule of thirds or
golden section placement of the face in the frame.
Tight portrait with golden-section crop overlay to show composition.
2. The eyes have it
The eyes often look best when the iris is centered in the eye. Direct
the subject’s gaze to position her eyes such that the iris is about
centered. By centered, I mean centered from the camera’s point of view,
not the subject’s point of view.
Natural light portrait with good eye position and catchlights
I do this one of two ways, depending on the situation. If possible, I
raise my left hand and have the subject follow my hand with her eyes
until her eyes are positioned favorably. If this isn’t possible, I give
directions like “keep your head still and just move your eyes a tiny bit
to the left.”
In addition to directing your subject’s gaze to position the eyes,
also take note of the catchlights in the eyes. A large, soft light
source will create the most attractive catchlight. Windows without
direct sunlight shining through them work great, as well as clear open
sky.
3. Let the kids run wild!
You’ve heard this before but I’ll mention it again. When
photographing children, one of the best ways to get natural smiles and
fun photos is to shoot them in their natural habitat, which probably
isn’t a photo studio.
And he only kicked me once.
Aside
from a great portrait tip, this is also good all around practice to
improve your photography skills. Kids at play are fast and
unpredictable. Learning to frame, focus, and shoot before the moment has
passed takes practice and patience.
4. Watch the hands
When it comes to portrait photography, hands are rarely neutral.
Usually they are either adding to your photo, or taking from it. Make it
a point to pay attention to your subject’s hands.
When photographing women, showing the hand in profile with the
fingers curled works well. Often this looks more feminine and alluring
than showing the back of the hand. Consider this example:
For portraits of women, showing the hand in profile with the fingers curled often works well.
Have you ever heard a subject complain “I don’t know what to do with
my hands?” If you’ve ever stood in front of a large group of people to
give a speech, then you know this feeling. When we’re put on the spot,
it’s hard to do know what to do with our hands.
If idle hands are messing with your portrait, then put them to work.
Sometimes solving the hand problem is as simple as handing the hands
something to handle. Think creatively about using a prop to give your
subject something to do with her hands.
Woman trying on an earring
Woman playing with a classic Konica
5. Shoot into the sun
Morning and evening are great times for backlit portraits. When the
sun is low in the sky, you can use it as a rim light to highlight the
subject’s hair. This works best if you can position your subject against
a darker background, like a shaded area, without losing the light on
the subject’s head.
Backlit portrait using the sun as a rim light
I hope I’ve given you a few new ideas to try next time you set out to
shoot a portrait. Let me know your thoughts on this article by
commenting below or reaching out to me on my Facebook page. I do my best to respond to questions and comments.
