Photography Portrait Tips
Selecting a viewpoint – by Photography Portrait Tips
Taking good shots of people depends on many factors. One of the most important is
where you take the picture from. It is difficult to set down hard and fast rules
about this, and obviously it depends on the situation. But one or two general points
are always worth bearing in mind. If you choose a high viewpoint to photograph a
person full length this will have the effect of shortening them. But if you kneel
down you will exaggerate their height. A quick look in any fashion magazine shows
many examples of this stance, with models who appear to have legs that go on and
on.
With young children and babies it may be necessary to get down on the ground and
choose an extremely low viewpoint for an effective shot. When photographing groups
or crowds of people it is generally best if you can remove yourself from the throng
and view them from a distance, or perhaps from above.
At a special event you may be able to emphasize the detail of a uniform or costume
to make an individual or small group stand out from the rest. When you go in close
the viewpoint you take can emphasize or exaggerate a persons expression. But remember
that if you go too close with a wide angle lens it is very easy to get distortion,
which may not look too flattering. Your next consideration is exposure. If people
are moving about rapidly metering may be an asset, but when taking shots by this
method beware: the meter is reading for the general scene and not for a predominantly
dark or light area which may be the centre of interest of the picture. You may need
to compensate for this to get a correct exposure.
Formal Portraits
Formal portraits does not mean that subjects have to sit or stand to attention so
that they look stiff and uncomfortable. In the early days of photography when exposure
times were measured in minutes people did have to sit very still to avoid blurring
the picture. Photographers even used special clamps at the back of their sitter’s
neck and waist to brace them in position. Fortunately these days are long past.
The most important thing in any portrait, formal or otherwise, is to capture the
expression that best illustrates a person’s character or status, or both. However
formal the portrait might be, try to enter into a dialogue with the sitter. Discover
a common interest, and the conversation will become easy and relaxed.
Even if the sitter is a complete stranger, try to plan the general nature of the
shot in advance. It makes a bad impression if the first thing the photographer does
after meeting the sitter is to stare hard at them, as if undecided what to do. But
it is also important to plan wisely; it produces an even worse impression if, after
a few shots, it becomes clear that the setting does not work, so that all the equipment
has to be altered. Often, time is of the essence. Some people, such as businessmen
and public figures, are very busy, and they may be under the impression that photographs
can be taken as quickly as if they had walked into an automatic photo booth. Knowing
what is wanted, and directing sitters with flair and firmness, can yield strong
portraits in a relatively short time. The results will please them and enhance the
photographer’s reputation and they are more likely to return,
Portraits in the studio
There are many advantages to taking portraits in a studio. For a start, the photographer
has total control of the lighting, and the choice of backgrounds and props. Also,
depending on the type of photograph, make-up and dress can be specified or chosen
and altered. Some photographers, and even more so their models, can feel inhibited
by the studio environment, however. A suggestion from Photography Portrait Tips
is a bare room with only a few lights and rolls of background paper can seem an
impossible setting for the creation of an interesting picture. But it only takes
a little know-how and a measure of confidence to achieve a whole new dimension in
photography.
Studios do not have to be elaborate, lofty or spacious. In fact, a reasonable- sized
room in an ordinary house can work just as well as a studio. To improvise a studio
at home, hire lights from a professional photographic dealer, or perhaps buy one
or two modest units as a start. However, at Photography Portrait Tips we would suggest
that good flash equipment would be a better investment than floodlights. It is generally
more powerful, which allows shorter exposures than are possible with photofloods.
It is also more comfortable to work with. Photofloods get very hot, and after a
while this can make conditions uncomfortable. People also find the constant glare
irritating. An alternative is to hire a purpose- built studio. There are quite a
number of these and they are advertised in photographic magazines. It is often a
good idea to join a local photographic society, which can probably provide access
to such facilities as well as equipment, assistance and even models.
Here at Photography Portrait Tips we hope you’ve enjoyed this article on portrait
photography. Why not try one of our other Photography Tips article. Check the menu
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