Including hands in the frame when shooting portraits can add to the story and make your portraits more appealing. But if you don’t pose them properly, they are rather a nuisance than useful addition to your image. In this video, Miguel Quiles shares ten useful things for posing hands in portraits to make the best out of your photos.
I don’t think there’s a person who’s completely free of body insecurities. However, many people get so occupied by their “flaws” that it becomes a real struggle. It often even leads to eating disorders and all sorts of mental health problems.
UAE-based photographer Waleed Shah wanted to explore other people’s body insecurities and hear their stories, as well as share his. From this idea, an amazing project was born. It’s called Rock Your Ugly, and it shows real people and shares their stories. They talk about their insecurities and how they’ve faced them and beaten them. And of course, all this is followed by beautiful black and white portraits.
The focal length of your lens affects your portraits, both in terms of subject distortion and the subject-background relationship. In this video, Julia Trotti demonstrates how this looks. She uses five prime lenses from 24mm to 135mm, so you can see just how much the change in focal length can change the final look of your image.
Photographing people isn’t just about taking photos, it’s also about interaction. And just like in every interaction, there are some things you should never, ever say to another person. In this video from Advancing Your Photography, Jessica Sterling reminds you what you definitely shouldn’t say during a photo shoot. But also, she suggests what you should say instead.
Last year I had written an article about why I don’t shoot at conventions. A lot of it was for logistical reasons (not enough space, the time pressure, no guarantee that the spot you wanted to use won’t be taken up by others when you want to shoot, etc). But some of it was for creative reasons. The primary one being that when you have all of these factors that are forcing how exactly you have to shoot it doesn’t leave a lot of leeway for creative interpretation. Secondly when there’s so many people around doing the same thing it’s a lot more difficult to stand out as an artist if everyone from that event is putting out work that looks similar.
Being able to look at an image and understand the lighting within it is not crucial to becoming a great photographer. But having the ability to look at another image you love and recognise the qualities that stand out to you will undoubtedly help you to become a better photographer far faster.
Last week we looked at how important being able to understand light can be and I also highlighted where many self-taught photographers struggle with this in today’s industry. If you missed last weeks article then I recommend you take a look to see some of the pitfalls self-taught photographers can struggle with as today’s article leads on from that.[Read More…]
When shooting portraits, shooting at a high or low angle is a good way to convey a message. But, the angle can also make a big difference when it comes to composition and the lighting, helping you make the best out of your shots. In this video from Adorama TV, Gavin Hoey demonstrates how a simple change of shooting heights can make a dramatic difference in your portraits.
A little while ago I was teaching one of my lighting workshops and one of the attendees was looking to implement some of the set-ups I was sharing into his workflow. Seems simple enough right? Well it turns out this photographer was a Formula 1 trackside shooter that needed to get portraits of drivers and crew. As you may well imagine, there is limited time to setup a photoshoot in a busy pit-lane on race-day, so he was after lighting modifiers that would be suitable for his slightly more ‘run-and-gun’ portraits.
A lot of people seem to think I have this giant space. I do not. I actually never had more space than those 2 converted bedrooms I work in now and not so long ago I rented a small, bedroom-sized commercial space. And even before that, I used to work in my studio between my bed and desk. And going even further back, I had to sit on my bed to even be able to shoot a half body. I started working with clients in the time I had a one-room living studio space. Good times.
OnPortraits.com was built to fulfill a positive mission: I want to give you actionable tips and tactics so you can create the portrait photographs you want.
But I woke up on the wrong side of the bed today, and I want to talk about 4 things I truly hate about portrait photography in 2019.