Tag Archives: People Shots

The top twenty phototips that you should know

20 spots - twenty tips

• 20 spots – twenty tips •
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Learning photography is about…

Doing the simple things really well. Although there are a lot of things to learn, the important ones are a few things you do over and over again. If you improve them you will automatically improve your photography.

Work on these to make the biggest improvement
  1. A proper stance will provide a proper, steady hand-held camera position.
  2. Go everywhere with your camera. Use it every day – improve every day.
  3. Learn with what you’ve got, better equipment will not improve your skill.
  4. Three essentials – camera, lens, tripod. Learn to use them all equally well.
  5. Get close, fill the frame, your shots will probably be better.
  6. Think about every shot before you push the shutter button.
  7. Count to two before taking your camera away from your face.
  8. Never just look at others’ photos – do a critique every time.
  9. Work on your composition skills at least as hard as your technical skills.
  10. Be inspired by other photographers, but develop your own style.
  11. Discuss photography as much as possible with other photographers.
  12. Look for contrasts in colour, light, shape and other variables.
  13. Declutter your shots, show it as simply as possible.
  14. Use natural light as much as possible – get to know its properties.
  15. The rule of thirds works more than 95% of the time.
  16. Try different perspectives, points of view and heights at each scene.
  17. Vary shutter speeds, ISO and aperture settings to experiment with exposure.
  18. Make people, and especially faces, a central study in your photography.
  19. Great photos can be found everywhere – you just need to look out for them.
  20. Be completely obsessed with the study of light and the language of light.

If you pay attention to these important tips you will find your photography will develop.

Photography becomes a way of life, but don’t make it the only thing in your life. You need other interests to bring new perspectives into your photography.

Most of all enjoy what you are doing. Photography should be fun… don’t take it too seriously. Laugh a lot.

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By Damon Guy (author and editor)

Netkonnexion

Damon Guy (Netkonnexion)

Damon is managing editor of Photokonnexion.com with professional experience in photography, writing, image libraries, and computing. He is also an experienced, webmaster and a trained teacher. Damon runs regular training for digital photographers who are just starting out.
See also: Editors ‘Bio’
By Damon Guy :: Profile on Google+

The secret to a wonderful black background with moody lighting

Mastering the black background

• Mastering the black background •
With very little practice you can get a perfect black background and moody lighting.

The eye is captured by solid black.

It provides a really focussed experience for the viewer. Low key and solid black backgrounds provide a wonderful insight on detail and features. If you get this right it provides an excellent insight for portraits and helps many other aspects of your photography. This is a technique I use for product photos, still life, landscapes and flower photography.

Simplicity itself

The technique involves using a bright light (off camera flash) to overpower the ambient light. The steps are simple…

  • Set your camera to its lowest ISO setting (around ISO 100) – the sensor is least sensitive to light.
  • Set your aperture to a high f number (small aperture = low light), say f11, or higher so that the amount of light your camera lets in is very small.
  • Take a test shot to ensure your screen is black – you want nothing to show.
  • Shoot with a diffused off-camera flash at full power using a narrow beam.

This simple technique is relying on extreme underexposure. Basically you are underexposing the whole scene to blackness. But then you are introducing a very narrow beam of brightness that overcomes a limited area of the underexposed shot. This leaves your highlighted spot on the subject in a moody light with the rest in black.

Photography Technique: The Invisible Black Background

Glyn Dewis  External link - opens new tab/page introduces the technique on video. Notice the way the umbrella is creating a focussed narrow beam of light. You can do the same thing with “barn door” lights or cards either side of a reflected flash. Enjoy the video…


By Damon Guy (author and editor)

Netkonnexion

Damon Guy (Netkonnexion)

Damon is managing editor of Photokonnexion.com with professional experience in photography, writing, image libraries, and computing. He is also an experienced, webmaster and a trained teacher. Damon runs regular training for digital photographers who are just starting out.
See also: Editors ‘Bio’
By Damon Guy :: Profile on Google+

Three great ideas to make group shots more compelling

Bloomingdale beach girls put their heads together by JeromesPOV, on Flickr

Bloomingdale beach girls put their heads together
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Bloomingdale beach girls put their heads together by JeromesPOV, on Flickr External link - opens new tab/page

Group shots are about togetherness.

The most important thing in any picture is to connect subject and viewer. Some pictures are more compelling than others. Here are three powerful eye pulling ideas for groups.

Cohesion

One of the more compelling group compositions is to introduce cohesion. A happy group of friends has more cohesion than say, a bunch of people on a street corner waiting to cross the road. Something in a friend-group holds them together. There are lots of ways you can build in cohesion to a shot. One method I use is to get the group to put their heads together. Somehow when people go out of the way to touch heads, or to bring their heads close, there is a lot of intimacy shown. That cohesion is very powerful.

Another form of cohesion is arms around each other. More intimate is for the group to be leaning in the same direction in some way. That imparts a powerful togetherness to the group. Another idea is to pose arms in a similar way or a similar direction. You can do the same with legs too.

Commonality

Groups can hang together really well without being personally intimate. A common theme in the group can give everyone a dynamic togetherness. Sometimes a colour is a good theme. If I am doing family portraits it is important to capture the faces. Any distraction takes away the family feel. I urge my family group to have similar colours and clothes. That helps prevent distraction from the faces and gives a sense of togetherness – all wearing jeans and a blue tee-shirt for example.

If you think creatively there are lots of ways to achieve the same thing. Poses of all sorts can help too. When you are all doing the same thing it pulls the group together. The pose does not have to be intimate.

Saudi Graduates by Ben SJ, on Flickr

• Saudi Graduates •
Doing something in common like the pose here, or wearing similar clothes helps the group to have a common theme.
Click image to view large
Saudi Graduates by Ben SJ, on FlickrExternal link - opens new tab/page

Framing

One of the strong compositional elements in portraiture is framing. If you can find a frame that constrains the group in a small place it helps them to look more cohesive – especially if the frame pushes them close together. One of the best examples of this is in wedding photography. Close members of the family pictured between tight columns outside a church is a good way to pull the group together. The columns prevent the eye from straying out sideways and the family in the middle hold the eye as a result.

More after this…

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Group intimacy with effective framing can be shot among trees or other landscape features. There are plenty of ways to fit people between features. As long as the framing feature is not too strong the group will gain from the close proximity and still be the centre of interest. Using landscape features is great for impromptu family portraits on holiday.

A more traditional form of framing is the use of the vignette. You put the vignette in in post production. The use of shadow or white-out techniques at the edge of the picture and particularly the corners, helps focus the eye gently to the centre of the picture.

Fishermen ... and friends!

• Fishermen … and friends! •
Small group portrait shot in Green Harbour, Massachussets
This shot pulls it all together. Close head intimacy (right hand three). Togetherness pose (arm positions, smiles/expressions). Commonality in colour/clothes. Common theme – fishing. Framing – the boat roof stops the eye straying upward.
Click image to view large
Fishermen … and friends! Small group portrait shot in Green Harbour, Massachusetts by Nicola Zingarelli, on Flickr External link - opens new tab/page

Getting it all together

There are lots of ways to help make your group hang together. If you can add cohesion, commonality and framing to your group shots you will be well on the way to a compelling shot.


By Damon Guy (author and editor)

Netkonnexion

Damon Guy (Netkonnexion)

Damon is managing editor of Photokonnexion.com with professional experience in photography, writing, image libraries, and computing. He is also an experienced, webmaster and a trained teacher. Damon runs regular training for digital photographers who are just starting out.
See also: Editors ‘Bio’
By Damon Guy :: Profile on Google+

The hidden secrets behind doors…

• Red Door •

• Red Door •
Doors seem to have a powerful psychological impact…
• Red Door • By Netkonnexion on FlickrExternal link - opens new tab/page

Just what is the fascination with doors?

They are the subject of an image that most photographers take at one time or another. They are important in sayings in most languages. Yet visually they act to stop you seeing within, or do they? In fact doors provide a whole range of visual and conceptual photo-opportunities.

A real psychological impact

Recent research  External link - opens new tab/page at Notre Dame University, Indiana, has suggested that going through doorways causes memory lapses.

Entering or exiting through a doorway serves as an ‘event boundary’ in the mind, which separates episodes of activity and files them away.
Professor G. A. Radvansky

While the impact of going through a door is clearly a significant memory event there are undoubtedly powerful social forces at work too. Many of the worlds nations have significant ‘doors’ or ‘gates’ in their social consciousness with dominant architectural sites that resemble doors to the nation. Old photographs of occupying powers at the national gate is enough to evoke tearful responses from survivors of the time. The German occupation of Paris, France, is bought to mind through harrowing pictures at the Arc de Triomphe in 1940.

German troops at the Arc de Triomphe

• Paris, Deutsche Truppen am Arc de Triomphe •
German troops at the Arc de Triomphe, Paris, 1940.
Paris, Deutsche Truppen am Arc de Triomphe on WikipediaExternal link - opens new tab/page


On the more mundane level we all think of our homes as the feudal lords of past times thought of their castles. Our doors are the virtual fortifications that keep the evil hordes at bay. The popular culture of police drama is always breaking the door down in a symbolic statement of violation in order to capture the “bad guy”. Doors are both a symbol of safety and a manifestation of violation when breached.

Not only do doors and gates have an impact on social and dramatic conciousness but they are important to the language too. We talk of “having a foot in the door”, or “opening doors for the future” and so on. We use the idea of doors as both a defence and as an access. Many classic stories rely on symbolic or actual doors as the focus for the story. Even science fiction has its “stargates” and “doors” to other universes. The door connects to all sorts of consciousness stretching ideas.

Art, photography and doors

Doors are also a significant part of the cultural scene too. I did a search for “door” on Flickr, the popular photography social networking site. My simple search returned more than 4.5 million results! In fact doors have had a very long history in art and architecture. The ancient Greeks explored the concept of aesthetics and architecture from their earliest times. The proportions of architectural designs for doors and arches have long been associated with mathematical and aesthetic principles. It is not surprising that doors have penetrated so deeply into the psyche of the modern photographer. Doors have a lot to say about our culture and photographers have picked up on that fact.

The humble door leads us to a number of interesting artistic ideas…
Pattern: The strong similarity of the conventional shape of the door provides a large number of options for pattern photography. Doors are often dissimilar in so many ways (door furniture, colour, windows etc) that the regularity of the frame becomes the pattern forming element while the rest is the interest.

Montage: Totally different doors offer enough similarities to be able to form great photomontage opportunities. I have seen countless door montages and they always draw my eye.

50 Doors in Crestview by David Erwin, on Flickr

• 50 Doors in Crestview •
The regularity of the door shape make it ideal for pattern and photomontage shots.
50 Doors in Crestview by David Erwin, on Flickr External link - opens new tab/page

Colour: Brightly coloured doors are almost universally photographed. People seem to want to make a statement with their doors and photographers have gladly advertised the fact. My own picture at the top of the page is an example. Colour draws the eye.

Character: Many older buildings have wonderful old doorways. They can be found in some of the most ordinary of locations as well as more grand surroundings. The photographer with an eye to architectural detail can find some wonderful photographic opportunities in old doors.

The hidden secrets behind doors

• The hidden secrets behind doors •

Click image to view large
The hidden secrets behind doors By Netkonnexion on Flickr External link - opens new tab/page


Sense of place: Doors say a lot about a building and often about the type of occupation, they project a strong sense of place, of being and of architectural meaning. There are homely doors, business-like doors, run down doors, expensive, cheap… I cold go on. The door speaks about the place and people.

The grand statement: I mentioned the national gateway theme of many nations. The grand statement of ‘national’ arches or gates is paralleled by some of the grand doors of classical architecture. Huge structures, grand columns, magnificent entrances all serve to impress and awe the visitor – they tell a story of power and control behind the nation. We see equally as powerful door statements in the doors of some of today’s global businesses who’s power and money rival the historical extent of former empires.

Strong story potential: With all these things that doors can say they can also tell great stories. Street photographers and portrait photographers have a long association with doors as do travel photographers. They know a person in association with a door, especially their own door, tells a story that jumps out of the image. Looking for a strong story is a holy grail for photographers.

Secrets: Closed doors pique our interest because we are all a little nosey. Who has not walked past an interesting door and wondered what lay within. Even the plainest door could hide secrets we cannot even imagine. The secret, the mysterious and the hidden are all things that pull us into an image. These make doors interesting, but they also stimulate imagination. Often a peek in a window in association with an interesting door is a great way to give a taste of hidden fruit beyond our reach… a sure way to keep the viewer interested.

Look out for a door…

There is so much photographic potential in doors. Sometimes you can walk right past a photo-opportunity if you are unaware. Doors are there with us every day. They are a source for forgetting and a reason to remember. Think about photographing them. Enjoy!


By Damon Guy (author and editor)

Netkonnexion

Damon Guy (Netkonnexion)

Damon is managing editor of Photokonnexion.com with professional experience in photography, writing, image libraries, and computing. He is also an experienced, webmaster and a trained teacher. Damon runs regular training for digital photographers who are just starting out.
See also: Editors ‘Bio’
By Damon Guy :: Profile on Google+


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Ten simple ideas to help your portraiture improve

Video

Video

Straight forward portraiture advice is difficult to come by…

In the video we have some great ideas that help you to map out a great Portraiture session. This is straight advice aimed at getting you to a good quality completed portrait as directly as possible.

I have to add that the book advertised in the video is also a great book. It is packed with some excellent ideas and written in a simple and easy-to-read way. If you are interested in following up on the book I can highly recommend it. My copy is pretty dog-eared these days!

 

Portrait and Candid Photography: Photo Workshop This is a great book packed with lots of hints, tips and ideas like the ones below. A really worthwhile read.

 

Ten points at the core of good portraiture

In the video Erin Manning highlights the importance of the following ten points…

  1. Don’t fix your subject in the middle of the frame. Instead, think about the rule of thirds – a more dynamic outcome.
  2. Poses and “cheesy” words to force a smile are false and make the photo look strained.
  3. Make your clothes simple and un-distracting. Forget patterns and fussy details. Simple solid colours help the subject to stand out, not the clothes.
  4. Avoid straight on shots with a big flash. The open pupil in the eye will cause light to reflect back to the camera and show bright red eyes… You don’t want your subject to look like red-eyed monsters. Use red-eye reduction settings if your camera has them.
  5. Vary your poses, angles and heights. The more angles you get the more you are telling a story about your subject. Get them in many different ways.
  6. Use flash to help reduce harsh shadows. The sharp sunlight of the middle of the day is very unflattering. The use of fill-in flash softens the shadows bringing out the subjects character.
  7. Look for great quality of light. Remember that hard light (harsh edges and strong contrasts) is very unflattering. Shoot in the later afternoon or early morning to get soft light with better colours. Use shade to reduce hard light if you are forced to work in bright mid-day light.
  8. Don’t stand too close and use a wide angle lens. This exaggerates the nose. Stand away and zoom in. This reduces nose size and is much more flattering. (Great advice).
  9. Pay attention to the background. If it is too busy make sure there is nothing distracting. Check to make sure the background has not created odd effects like poles sticking out of heads and flowers in ears!
  10. Make sure you have enough battery capacity and memory card space to cover the whole session. You don’t want to lose any shots when you are in full swing.
Erin Manning’s Top 10 Dos and Don’ts for Great Portraits


Erin Manning


By Damon Guy (author and editor)

Netkonnexion

Damon Guy (Netkonnexion)

Damon is managing editor of Photokonnexion.com with professional experience in photography, writing, image libraries, and computing. He is also an experienced, webmaster and a trained teacher. Damon runs regular training for digital photographers who are just starting out.
See also: Editors ‘Bio’
By Damon Guy :: Profile on Google+

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A simple introduction to backlight

• Introduction to backlight •

• Introduction to backlight •
Various images showing backlight scenarios in the studio and outside.
Images from various artists – displayed on Google Images.

Backlight is a versatile light with great potential.

The term backlight refers to the use of a light which is projected from the back of the scene/studio onto the subject from behind. The camera is placed facing the subject. It captures the effect of the light as a highlighted rim or halo around the back edges of the subject.

The use of a backlight creates very distinct effects. The most important is the rim light around the edges of the subject. This highlighting effectively isolates the subject from the background. So it is a useful technique when the subject and background share similar colours or tones. The rim effect around the edges of the subject is especially useful for bringing out highlights and style in hair. Sometimes it is also used to imply purity or goodness after the manner of a religious halo.

Backlight can be produced either with artificial light, natural light or a combination. The sun is normally the most important light for back lighting and so in cases where sunlight is strong artificial light is often used to bring the foreground or the subjects front side out of shadow. This is fill light and provides sufficient light for a good shot of the subject without blowing out the effects of the back light.

In photographic scenes the backlight is often used to create an emphasis on the three dimensionality of the subject. Lights coming directly from the position of the camera tend to make a subject look flat because all the shadows are removed. Backlight has the opposite effect. The light halo effect at the back of the subject emphasises the depth of the subject. It can also be used to emphasis depth in the picture. By strongly highlighting the back of the subject the distance to the scenery behind the subject is revealed giving the image some depth.

Setting up an effective backlight requires some care. If the source of the light shines directly into the camera lens it will blow out and create a strong distraction for the picture viewer. Also a strong backlight can make the front side of the subject look very dark or even silhouetted. To prevent this it is normal practice to use a front light as well so the subject is bright enough to capture. Setting up a good backlight often requires getting the foreground light correct first, then putting in the backlight at around 2 to 3 stops brighter to create the emphasis.

The angle at which a backlight hits the subject can be critical. If the backlight is directly toward the camera the subject can be strongly blown out by and direct light passing around the subject. Normally backlight is applied at an angle. That way the lighting will provide a little texture on the subject and not be directed into the camera lens. It can also be used to more effectively show fashion elements like hair styles by picking out highlights, curls etc.

“Backlight” should not be confused with background lighting. The latter is where a light is used to light the background, the scenery or backdrop. Background lighting typically faces away from the camera. Backlights face toward the camera.

Backlights are used in such a large variety of ways that some practice and experimentation is needed to be able to work out the best way to use them. However, because of the intensity of the light from the back the foreground lighting is often important too. It is not unusual for multiple artificial lights to be needed in order to get the best out of backlights and to keep the balance of lighting good all around the subject.

Examples of “Studio backlighting” on Google  External link - opens new tab/page
Examples of general “backlight photography” on Google  External link - opens new tab/page

Backlight techniques are very important in photography as they have so many effective outcomes. It is certainly worth practising with your lights or even natural light to try out some of the effects.


By Damon Guy (author and editor)

Netkonnexion

Damon Guy (Netkonnexion)

Damon is managing editor of Photokonnexion.com with professional experience in photography, writing, image libraries, and computing. He is also an experienced, webmaster and a trained teacher. Damon runs regular training for digital photographers who are just starting out.
See also: Editors ‘Bio’
By Damon Guy :: Profile on Google+


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How to use camera angle to change body shape

How camera angle affects body shape.

How camera angle affects body shape.

The camera height to subject angle is important.

How you approach your subject can significantly affect their shape. The camera height affects the relative size of parts of the body. The part of the body nearest to the camera appears largest. So the angle you take to the body can affect emphasis and shape. Your lens can also affect body shape too. These two factors in your shots can really change the view of your subject.

Basic shooting positions
  • Getting down low gives your subject height and presence.
  • At waist level the angle is even across the body placing no strong emphasis on any one part of the body.
  • At eye level the head appears more significant and you can really draw out the features of the face, focus on the eyes for best effect.
  • From above the head and shoulders are emphasised and the legs are foreshortened.

From these basic positions you can also use different camera lenses. A 50mm lens is the lens that most closely matches the visual abilities of the human eye. Using one of these will help you to see the body as the eye will see it. On the other hand a wide angle lens (around 24mm) will help to bring out the emphasis of the body length. If you use a wide angle lens in portrait view from below you will tend to make your subject look statuesque – tall and grand. If you view the subject from above you will shorten the body and legs and make them look squat. These forms of emphasis have powerful impacts in pictures where you are trying to portray a persons presence. Statuesque tends to convey power and presence. Bodies that appear more compact tend to emphasis a more physical presence.

How camera angle affects the body shape – a video

The video brings out in detail the above points. The shoot is on the Bonneville Salt Flats, which is a wonderful location – even if it is flooded! The white of the salt brings out some great high contrast shots.

TheSlantedLens External link - opens new tab/page (Published: 02.Apr.2013)


By Damon Guy (author and editor)

Netkonnexion

Damon Guy (Netkonnexion)

Damon is managing editor of Photokonnexion.com with professional experience in photography, writing, image libraries, and computing. He is also an experienced, webmaster and a trained teacher. Damon runs regular training for digital photographers who are just starting out.
See also: Editors ‘Bio’
By Damon Guy :: Profile on Google+


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