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The post The Ultimate Guide to Photographing People for the Shy Photographer appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.
My dad had a lovely Zeiss camera. The kind with bellows that folded up into a compact unit. It took 120 roll film. I used this camera to photograph my brother’s band, playing an outdoor gig when I was 17. These 12 exposures filled my first roll of film.
Photography became my passion. Having a camera in my hand excited me and taught me to view the world around me in new ways. I would visualize and compose photos in my imagination even when I didn’t have my camera with me.
I photographed old rusty things, beaches, skies, mountains, and flowers, among other subjects – but never people.
Cira. 1983 Scanned from slide film © Kevin Landwer-Johan
People were well outside of my comfort zone – especially strangers.
“I don’t want to impose on others.”
This is the most common reason I hear from photographers about why they don’t photograph people.
Overcoming the fear of imposing, and settling the butterflies in your stomach is possible. Focused effort is required, but the results are well worth it.
The purpose of this Ultimate Guide is to teach you practical methods for photographing people, no matter how shy you are.
Photography is so much more than choosing the best lens and camera settings. Connecting with your subject is vital, particularly when you’re photographing people. If this is challenging for you, digging deep is essential – deep into your feelings of fear that invade your mind when you want to make a portrait.
Concentrate on the positive. Focus in on what’s attracted you. Why do you want to make that person’s portrait? Before you even approach someone or put your camera to your eye, clear your mind of doubt. Settle your thoughts and have a positive attitude towards what you are doing. Training your mind to think like this you will in time be able to control the feelings of self-doubt and fear of imposing.
Learn to recognize your negative thoughts that disrupt your intentions. Jump on them fast. The more consistently you can do this, the more successful you will be.
Only entertain your positive thoughts. As you do, your actions become automatic and relaxed. You will find it’s not stressful to approach people and to photograph them.
The more you do anything, the easier it becomes.
Practice training your mind to replace the fear of imposing with positive thoughts. Think about having a pleasant interaction with your subject. Reinforce your initial ideas of why you’ve chosen to photograph them. Let your mind fill with the intent to succeed.
Make yourself concentrate on the photo you are planning to make. Zone in on your composition, lighting, exposure, and timing. When you do this, the rest of the world disappears for a while. Be in your own creative space in your head and heart, and nothing else will matter.
This may sound a little abstract and not what you’re used to reading in a photography article, but I assure you, as you focus your mind and practice these techniques, you will become a better photographer.
Focus your mind. © Kevin Landwer-Johan
Knowing how to use your camera with confidence is your first step. If you’re not comfortable using your camera you’re not likely to enjoy photographing people.
Use your camera every day. Make a habit of taking at least one or two photos a day. You’ll find it’s addictive in the very best ways. Having a creative release is good for your soul. Your creative imagination will develop as you use it. The more you practice, the more your artistic style will begin to emerge.
Frequent contact is key. Have your camera in your hands at least once a day. You will become intimate with it. Your fingers and thumbs will feel the shapes of the dials and buttons. You will develop your subconscious memory of where each control is. As you learned fast enough where the on/off switch is, you’ll be able to find all the essential camera controls before long.
Pick a time each day to use your camera. I am sure if you think about it you will fit in ten or twenty minutes to be creative. Perhaps when you commute to work or school, during your lunch break or before dinner. Making it the same time each day helps you to form this good habit. Routine, especially at first, is helpful. I know if you work at this, by the end of the first month you will have a good foundation to build on. You will have developed a positive new habit. Moreover, you will see the quality of your photography improve.
The subject matter is not as relevant at first. Don’t even think about photographing people. Your goal in taking photos every day is to learn to love your camera and use it with confidence.
Experiment. Imagine. Express what you see. This will become a natural time of learning and growth. Sometimes you may feel frustrated at not being able to create the image that’s in your head. This is the time to learn more about controlling your camera so you can make it do what you want it to. Use various lens focal lengths. Choose different angles and composition techniques.
Combining some photography study often will result in more rapid growth. There are so many books, magazines, websites, and courses you can learn from. Find a way of learning that you’re comfortable with and set to study a little and often.
Experiment. Imagine. Express what you see. © Kevin Landwer-Johan
Building proficiency using your camera will often prepare you to photograph people. You need to be comfortable and confident you have the settings right.
Concentrating on your camera more than your subject is a common mistake. It’s easy to be distracted by your camera, especially for shy people. Not engaging with someone when you want to make their portrait leads to a disconnect. This is often noticeable in the resulting portrait.
You don’t want to leave the person looking at the top of your head as you peer down at your camera as you make adjustments.
Set your camera as much as possible before you engage with your subject. Then you will be giving them your attention without distraction. Don’t make your camera an excuse not to communicate. It’s not there to shield you from the world. Use it as a bridge to help you connect with your subjects.
Be comfortable and confident. © Kevin Landwer-Johan
“One of the easiest ways to overcome shyness is to become a photographer.” – David Hurn, photographer
Years ago, I heard an interview with a photographer saying they thought shy people make the best portrait photographers. This was because the resulting photo will be more about the subject than about the photographer. As a shy person who liked photography, this interested me. It challenged me.
British photographer, David Hurn, talks about being shy in this interview with Huck magazine.
“I’m incredibly shy. Photography is the best thing for shy people because you have something to hide behind. The problem with shy people is that you don’t want to be rejected. So your safeguard is that you go into yourself. But with a camera, you have an excuse to be somewhere. So when you’re walking down the street and looking in a doorway at a whole load of people, being tattooed or something, with a camera, you can walk in and suddenly say, ‘Do you mind if I shoot some pictures?’ And if you show a genuine interest in what people are doing, I have never known anyone to say no. People love you being interested in them. The camera gives you that excuse to be there. It breaks through that barrier.”
https://www.huckmag.com/art-and-culture/photography-2/david-hurn-magnum-advice/
Why do you think David Hurn never had anyone say no to him? I believe it’s because of his approach. He has determination and a gentle manner.
He knows what he wants to achieve and the photos he wants to capture. Concentrating on his goal, he uses the camera as his reason to step into people’s situations, and into their lives. He is sure about what he wants, and he works with focused confidence to do it.
Having purpose will push you further, faster, in anything you want to achieve in life. It is no different for photography. If you have a well-defined purpose for what you want to accomplish, it can become a reality. If you drift about without direction, it takes a long time to achieve anything.
Photography is the best thing for shy people. © Pansa Landwer-Johan
Taking your time is not a bad thing. If you’re worried you will miss the photo, it means you haven’t started your preparation soon enough. Every genre of photography requires patience and anticipation. The better you know your camera, the faster you’ll have it set and ready in any circumstance. Take time to learn manual mode. This will not only give you more control of your exposures, but it will also help you see life at a different pace.
It is true that automatic settings on your camera can help you take photos faster. You may be able to capture the action, but not the mood. Slow down and take notice of more than your camera settings. This is how you will learn to capture atmosphere.
Don’t think you always have to be fast with your camera. Doing so can be a distraction from truly experiencing photography.
Some of the best street photography appears to have happened in a snap, but this is rarely so. Planning and preparation. Choice of light and location. Waiting. These qualities factor into more great street photos than sheer speed. Those fleeting moments when all the elements align in the viewfinder are anticipated.
Take your time. © Kevin Landwer-Johan
Your camera is your bridge to the other side of shyness. It allows you to traverse the distance between your intention to photograph someone and the actual portrait. It not only makes the picture, but it connects you with your subject.
Speaking to a stranger for no particular reason is very difficult for many people. Having a camera in your hands is a wonderful reason to speak with someone. Your camera is the solution to your problem of not wanting to approach people. When you come to realize this and learn to use your camera as a bridge, you will cross over into a whole new world of wonderful, creative experience.
Photographing people when your mind is focused on them, and not on your camera, transforms the experience.
My camera gets me to the other side, away from my insecure thoughts and into a conversation with the person. It is a reason for me to be where I am and to start conversations.
Use your camera as a means to introduce yourself and begin an interesting discussion. Don’t hide behind your camera fiddling with its controls. Be prepared and bold with it. Your camera will fulfill your purpose.
Express your intention to take a photograph with an appropriate amount of confidence. Doing this will open the way for you. Focus on your subject and their response to you.
When you approach someone in a self-assured way, it will be evident. If you appear to be unsure of yourself, your subject will often reflect this behavior back to you.
Self-assured communication with your subjects is important. It is as necessary as being confident with the technical aspects of photography.
Your camera is your bridge to the other side of shyness. © Pansa Landwer-Johan
Stepping into the street to photograph strangers for the first time is a daunting prospect. It is not something many people find particularly easy. Don’t start there. Begin photographing someone you know and who appreciates what you are doing.
Friends or family members can be your best option. Someone you know and who enjoys having their photograph taken. People who like seeing their image are always the easiest to make portraits of. They are relaxed in front of the camera and are more likely to give you expressive feedback on your photos.
Finding someone you can photograph on a number of different occasions will help you learn. You will connect with them more each time you meet for a photo session. As you grow in confidence using your camera, you will find it becomes more natural to connect with people.
Take your camera to social gatherings – birthdays and other celebrations. Weddings, graduations, parties, church barbecues or the pub. Whatever social activities you engage in. Over time, you will begin to get more of a feel for the people who are easy to photograph.
Take your time. Make a start. Remain determined and practice as often as you can. Repetition will build your camera and your communication skills.
As you practice, be aware of how you are connecting, and the types of response people give you. Learn to read and understand the social dynamic having your camera in hand creates. Naturally, people will respond to you differently than if you are only having a conversation. Developing your perception of people’s reactions to your camera will help you when you come to photograph strangers.
Repetition will build your camera and your communication skills. © Kevin Landwer-Johan
Communicating your desire to photograph someone in an apt manner is imperative. This is a point of failure for many people. I cringe when I hear photographers speak inappropriately to the people they are photographing. Your portrait depends so much on the relationship you have with your subject. Even if that relationship only lasts a minute or two.
Being pleasant is vital to becoming a good people photographer – particularly if you want to become a wedding and portrait photographer. The way you communicate, your manner, and even your body language are important. Your clients notice these things. If they are comfortable with you, they respond well. Their body language and facial expressions will reflect this back to you.
Your manner of communication depends on your state of mind. When you are worried about camera settings and the lighting, you are not so likely to communicate best. Put the technical thoughts aside before you start to engage with the people you want to photograph.
People love it when you show an interest in who they are and what they love to do. Genuine curiosity is natural in photographers, and you are best to develop this as much as you can. Make this aspect of your shyness work for you. Being keen, but yet a little reserved will endear you to people much more than being too bold will.
Show an interest in who people are. © Kevin Landwer-Johan
Once you commit to a photography project, you have a theme or concept to work on. Sticking to your chosen topic and building a body of photographs allows you to track your development. Choosing to photograph a people project helps you build your confidence too.
Working on a long term project, you will experiment more with your camera and photography techniques. Push the boundaries and explore camera settings you don’t often use. This will allow you to produce a more diverse and interesting series of photographs.
As you build up a collection of images, you’ll be able to review and compare them. This will identify the skills you need to work on. It will also encourage you to see the areas where you are improving.
Over time, you will build up a significant collection of photos, both good and bad. Mostly bad. Don’t beat yourself up about this. It happens to every photographer. The more bad photos you take, the more good ones you will also create. Scrutinizing your photos over an extended period allows you to chart your progress.
Keep everything. Do not delete images in camera. The key is being organized. If you dump them all in a folder on your computer, this will not help. You’ll not be able to discern the nature of your progress.
Each time you work on your project, load the photos onto your computer and separate the top 10%-20% of the photos – the ones you are most happy with. Then separate into another folder, the ones you recognize as having potential and that you’d like to work on. Making notes for yourself during this process will help keep you on track and make it more beneficial.
Reviewing and comparing your photos like this can be challenging. You need to acknowledge the areas of weakness. Your photos will show you this. Having a more experienced photographer, someone who can mentor you through this process will be a huge advantage. They will be able to point out to you aspects of your work you may not be able to see so clearly.
Develop Your Camera Skills with a Project. © Kevin Landwer-Johan
As you spend time with the same people, the relationship develops. Committing to a photography project involving the same people, you will build a closer relationship. This is true if you are photographing a family member or people at your local market.
Building relationships takes time. With a photography project, you will have to make time for it to be effective. Returning to photograph the same people and/or the same location a familiarity will develop.
Stand on the same busy street corner and photograph people enough, and you will begin to build some form of relationship. You’ll become familiar with the feel of the place.
Learn to anticipate what’s happening and see the rhythm. Picking the same time of day when the light is right, you will start to see the same people passing by during their daily routines. They may start to notice you. If they see you often enough, they will not likely pay you any attention, unless you want it.
All it takes, when you catch someone’s eye who has become a little familiar to you, is to smile. They will probably return one to you. Next time they see you, they may show interest and inquire what you are doing.
Connecting with people on the streets becomes more natural when they see you with your camera often. Some won’t show interest, but many will. The locals, the regulars, people who frequent the same location, are the most obvious ones to connect with.
These are the ones you can begin building a relationship with. Tell them you’re working on a photography project documenting your local neighborhood (or whatever your theme is). This will endear them because people like to feel included. We are designed to communicate with one another.
Even if you are a shy person, you can learn to use your camera as a bridge to achieve your purpose.
Connect with people. © Kevin Landwer-Johan
Photographing a friend or family member as a project, you will also develop your relationship with them. However they respond to you first, and how you relate to each other will change subtly each time you get together.
Show them some of your photos on your phone. They will be more confident when they can see the photos you’ve already taken. Don’t talk too long about what you’re doing; you want the attention to be on them.
You are best to have set your camera as much as possible before you meet with the person. If that’s not possible, ask them to give you a few minutes to set up. Doing this gives you space to scope out good light and background and to make the necessary camera tweaks.
Once you are happy with the light, background and your camera settings, it’s time to give most of your attention to your subject. Straighten their clothes a little, or get them to fix their hair, (unless it’s already perfect). Giving them this attention will help them feel better about themselves and build their confidence in you.
If it’s someone you don’t know well, ask them open-ended questions about themselves. Get to know them a little more. Make sure you start them talking.
If they are extroverts, they will love talking about themselves.
If they are introverts, you can help them get started, and they will feel more comfortable.
Get to know the people you are photographing a little more. © Kevin Landwer-Johan
Focus on asking questions that a simple yes or no won’t answer. Pay attention to what they are telling you. Do not be looking down at your camera. Focus on their story. Show them you’re interested.
Compliment what they are wearing or something else about the way they look. Aim to build up a positive atmosphere, especially if you sense they are feeling uneasy. Many people do not feel self-assured when being photographed. It’s an important part of your job to help them relax. The better they feel the more attractive they will look in the photos you take.
Initially, they may be shy also and feel awkward in front of your camera. Don’t worry about this. Make a bunch of photos and concentrate on relating to them. If you screw up and don’t get any decent images, use this as a lesson. Show them. Let them see what you are doing right and wrong.
Include them in your project, make it a team effort. The more they feel part of what you are doing the better photos you’ll end up taking. If you’ve messed up your settings, show them the photos and explain a little about what happened. Then make the same series of photos again.
Learning to communicate in such a manner that you help people enjoy the process of being photographed will benefit you and your subjects. Everybody enjoys seeing themselves looking good. Their feeling must precede their looks in your photos. If they don’t feel good about themselves, it’s likely they will not appreciate the photos you make of them.
At times your subject will be too uncomfortable. You won’t manage to make a flattering photo of them because of their tension. Show them the photos. Explain that the tension shows on their face and if they relax, they will like the photos you make of them.
People don’t usually look nervous when they view themselves in the bathroom mirror each morning. So when they see photos of themselves looking tense, it’s very unnatural to them. They do not perceive the image as a good likeness of who they are.
Working like this and showing off less than your best photos may be challenging, but it will help you grow.
Everybody enjoys seeing themselves looking good. © Kevin Landwer-Johan
Take your camera along to birthday parties, drinks after work, your kid’s sports events, or any place where people socialize. Doing so provides wonderful opportunities for people photography. When you can mix with the same people regularly, they will become accustomed to you being there with your camera.
For many people, this may seem a huge challenge. Think positively about it. Approach the situation and the people with a constructive attitude and with reasonable expectations. You will most likely find people will enjoy what you are doing, particularly when you start sharing your photos with them.
Be determined to work through your feelings of discomfort. Your first experience taking photos at a social gathering might be very difficult. Most of your uneasiness will be in your mind. If you give up after your first attempt, you will not know success. The more often you are present with your camera, the more confident you will become and the better photographs you will make.
Be determined to work through your feelings of discomfort. © Kevin Landwer-Johan
Do you go to church, a temple or a mosque? Are you or your kids a member of a sports club? Do you help out at a local animal shelter or participate in community events? All of these provide a fabulous opportunity to offer your services as a photographer.
Every group or organization loves to have good photographs. Putting yourself forward as a volunteer photographer can be a great experience. Here your camera really is your bridge.
Providing photos for a group or organization can be one of the best ways to build your confidence. Your commitment is greater because other people are relying on you.
Making it clear you are still learning is important. So long as they know this then you have the opportunity to improve over time. In the future, you will be producing wonderful photographs for the community you are volunteering for.
Offer your services as a photographer. © Kevin Landwer-Johan
I teach many people who mainly take photographs when they travel. They join our workshops, and many are too timid to photograph people. Or they prefer to stand well back and take candid pictures with a long lens.
Don’t be concerned if you can’t speak the language. Often this can be to your advantage. Use your camera as a bridge. When people see the smile on your face and even a slight gesture with your camera, they will know your intention. Hopefully, they will return your smile. This is permission to photograph them.
Non-verbal communication like this requires that you watch facial expression and body language. Some cultures may smile and mean ‘no.’ So long as you are observant and polite, you will be okay.
Use your camera as a bridge. © Kevin Landwer-Johan
Certain situations are best photographed without communicating with a person. Candid photography definitely has its place.
Choosing to stand back with a long lens attached to your camera and making candid images is okay when the circumstances are right. The photos you create using this technique will usually be void of subject/photographer connection.
Disturbing people who are engrossed in a conversation or their work breaks the natural flow of life. A candid photo will be more suitable than interrupting.
Artists and craftspeople at work are subjects best left to their creative endeavors. They are focused and passionate about what they are doing. A quick recognition and acknowledgment from them that they are comfortable with you photographing are best. A nod and a smile from you and their smile in return will not break their workflow or concentration. So long as you are not disrupting them, you will be able to capture intriguing portraits of them.
Choosing to work candidly should be a conscious decision because it’s going to produce the best photographs. Opting to capture images of people stealthily because you are too shy to communicate is never the best option.
Candid photography definitely has its place. © Kevin Landwer-Johan
At times you’ll find yourself in situations where you want candid photographs, but it’s just not possible. When people know you are there with your camera, truly-candid cannot happen. Capturing natural-looking photos of people in these circumstances is challenging, but not impossible.
Weddings, portrait sessions, and similar situations do not allow for real candid photos. You have to be able to communicate well and arrange candid-looking images.
Most people like natural-looking photos. The skill is in controlling the circumstances so you get the results you want. This means you must know what you want and be able to relate your ideas clearly to the people you are photographing.
With couples, it’s easy. Just get them talking to each other. Encourage them to forget you’re there and then offer them a conversation starter. Ask them to recall the first time they met, or when they proposed to each other. If you want to lighten the mood and capture some laughter and smiles, ask them something fun.
Once you have them talking, don’t hold back on the photos. You are going to need to take a lot of pictures. What’s happening is more unpredictable, so you need the quantity to get enough quality photos.
Aim to capture natural expression. © Kevin Landwer-Johan
You will throw most of them out, but the ones you keep will be relaxed, natural, and vibrant. I used this technique whenever I photographed weddings. It helped produce the most interesting, un-posed photos.
I would use a longer lens, often my 180mm, so I could stay at a bit of a distance, but not too far away. That way, I could still talk with the couple but be far enough back so as not to be in their personal space.
Another wedding technique I used for semi-candid portraits was to get the groom to stand behind me and off to one side. While photographing the bride, I would get them to look at each other and have a conversation. If the groom was somehow stuck for things to say I would make suggestions, often a little rude. This worked well for getting fun, relaxed facial expressions. Then I would swap the bride and groom, and photograph him while they continued their conversation.
Photographing individual portraits is more challenging as you can’t draw attention away from yourself so easily. If you have someone else with you, an assistant or friend, you can prime them to be the distraction. Before you begin, let them know they will have a role to play when you want some more candid-looking photos. Coach them a little so that they will be prepared. When you’re ready, direct your subject’s attention and conversation to your helper.
Working alone is when your communication skills are the most important. Your ability to converse and take photos at the same time will be put to the test. You have to give full concentration to both your subject and what you are doing with your camera.
The practice is again the key in learning how to build your communication skill so you can get candid-looking portraits. It takes time and effort. As you try certain techniques and figure out what works and what doesn’t, you will develop your communication skill set. You will become more confident and effective.
Develop your communication skill set. © Kevin Landwer-Johan
Semi-candid street photos can be made successfully with a short lens and the right technique. You don’t need to keep your distance and remain in the shadows. Get close, be observant, relaxed, and normal.
People at our local markets know me now. They sell me vegetables, and many of them know I will take their photo some days. They might shy away, or they might pose.
I like to create a mixture of candid and posed photos when I am doing street photography. However, being conspicuous means, I have to employ certain techniques so that I am not the center of attention. Often there are not many other foreigners at the markets, so I stand out.
Often I will engage with someone I want to photograph. Generally, they will stop what they are doing, smile, and pose. This is what they perceive I want. I will take their picture anyway. I’ll make sure it’s well exposed, sharp and flattering. Then I will show them on my camera monitor. Most often they are happy, and we’ll chat a little before I move on.
Once I have moved on, I will wait a short time and then head back near to where they are. They will think my focus is elsewhere because I already have their photo.
Hopefully, they will not pay any attention to me. This is when I get the photos I really want.
Over the years, I have listened to and read of many photojournalists who aspire to be as invisible as possible. It can be a valuable skill to develop. You can learn to do it without actually having to hide your camera or stay a long way back from the action.
Create a mixture of candid and posed photos. © Kevin Landwer-Johan
Remember, your camera is the solution, not the problem. With your camera in hand, you have a purpose for being where you are and a reason to communicate with people.
You are not only taking a photograph but giving an interesting experience. If you are able to share your photos, then you are truly giving something of value to your subject.
Presenting prints to the people you photograph helps shape the way they see you. A set of small-sized prints is inexpensive and will be appreciated by most. If you capture a photo that’s worthy of enlarging this will have even more of an impact. The cost of an enlargement is insignificant compared to the joy it will bring your subject.
Collecting someone’s email or social media connection will also allow you to give back in a meaningful way. Some people may value this even more than prints because they can share a digital file.
Your camera is the solution, not the problem. © Kevin Landwer-Johan
I often walk the same way at the markets when teaching our photography workshops. I’d been noticing this one older man. His face was interesting, but he seemed shy and would not make eye contact with me. He had a small stand selling traditional northern Thai sticky rice. I decided I would smile and say hello to him each time I passed with the hope he would become familiar with me.
I did this for a while, and one day when my wife was helping me teach a workshop, I told her what I had been doing. As we approached him, she smiled and asked if we could make his portrait. She had the charm! He placed his hands on the big bowl of sticky rice, pushed his shoulders back, and smiled warmly for us. We made some lovely portraits of him.
Not long after this, I had another lovely encounter with a woman who was selling sticky rice at the same stall. Each time we visited the markets, we’d have a lovely conversation with this woman. She was friendly and relaxed, quite happy to be photographed. Having not seen the man at the stall for a few months, one day I asked her about him.
Her face dropped, and her eyes looked so sad. I wanted the ground to swallow me up. I felt so terrible. The man was her husband. She told me that he’d passed away suddenly. Then a glimmer of hope appeared in her eyes, and she asked me if I’d made his portrait. I assured her I had and would bring her a print.
Normally when we print photos to give out, we get regular size prints. For this lady, we had an enlargement made and had it framed. She was very grateful. The next time I passed by she told me she had hung the portrait of her husband above her bed.
The moral of the story is, you never know how much you might bless someone by being bold enough to make their portrait. Think of what you do in a positive light. Sure, you will come across some people who do not want their photograph taken. As you practice building your confidence, your success rate will increase.
You never know how much you might bless someone. © Kevin Landwer-Johan
The post The Ultimate Guide to Photographing People for the Shy Photographer appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.
The post How to Take the Perfect Macro Photo (Step-By-Step Guide) appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
In this article, I’m going to show you exactly how you can take the perfect macro photo.
I’m talking about macro photos that are unbelievably good – the kind of photo that professionals strive for.
Because it turns out there are a few simple macro secrets. And if you use them regularly, you can practically guarantee some gorgeous macro images.
Are you ready for some step-by-step instructions that will take your macro images to the next level?
Let’s dive right in.
Macro photography starts with light.
And without good light?
Your photos just won’t work.
But what counts as good light for macro photography?
First of all, the golden hours are amazing for macro photography. If you shoot during the hour or two after sunrise and the hour or two before sunset, you’re guaranteed incredible light.
You do have to be careful about the light’s direction. During the golden hours, the sun is low in the sky. This means that the light hits your subject from an angle. And this angle will affect how your photos turn out.
In general, frontlight is the best type of light for macro photography.
(Frontlight refers to light that comes from over your shoulder, and hits the front of your subject.)
So if you stick to frontlight, you’ll do just fine.
If you struggle to find the best position for frontlight, try pointing your shadow at your subject. That way, you can be sure that your subject is always perfectly lit.
However, the golden hours aren’t the only type of good light for macro photography.
You can also shoot beautiful macro photos when the day is heavily overcast.
Because clouds diffuse the light, making it nice and soft.
With soft light, you don’t have to worry about the direction. Instead, focus on shooting subjects with color. The soft light will make the hues more vivid.
And speaking of subjects:
All perfect macro photos need a strong subject.
Something that stands out. Something that can act as a focal point for your photo. Something that anchors the shot.
There are dozens of possible macro photography subjects, including:
But here’s the thing:
The particular category of the subject isn’t important. You can take amazing macro photos of flowers or insects, rocks or feathers.
What’s important is that you choose the right flower, the right insect, the right rock.
Because you need to choose a subject that’s going to stand out from its surroundings. That is, you should aim for a subject that contrasts with the environment (ideally in multiple ways).
For instance, your subject can be sharp, while its surroundings are soft.
Your subject can be dark, while its surroundings are light.
Your subject can be red, while its surroundings are green.
The point is for your subject to stand out. If your subject blends in with the environment, the shot generally won’t work. Because almost every macro photo needs an anchor.
Note that this means your subject shouldn’t overlap chaotically with other, similar objects. For instance, you don’t want a flower that’s surrounding by other distracting flowers.
Bottom line:
Make sure your subject is powerful. That’s the first step to capturing the perfect macro photo.
You know the importance of a stand-out subject.
But your background is important, too.
If you want to capture a stunning macro photo, you’ve got to make sure that your background is totally aligned with this goal.
What makes for the perfect macro background?
First, the perfect background is simple. It doesn’t have much going on. It doesn’t distract.
Second, the perfect background enhances the photo as a whole. That is, it adds a splash of color, or creates a pure white look for the subject to rest on.
In general, you can make your macro backgrounds simple by creating a deep blur. You do this two ways:
To enhance the photo with your background is harder. I like to make backgrounds by using the sun-shade technique – where you make sure that your subject is in the shade, and your background is in golden sun.
That’s how I was able to capture backgrounds like this one:
If you can’t use the sun-shade technique, that’s okay. Try to find a background that includes a bit of color – such as a distant autumn tree.
Note that you can often find better backgrounds by simply walking around your subject and observing it from multiple angles. Try getting down low, shooting from up high, or getting on a level with your subject.
Once you’ve chosen a subject and a background, it’s time to choose your macro settings.
I’ll start by sharing my common settings, and then explain why I choose them and what I suggest you work with.
When I shoot macro photography, I use Manual mode, because I like tweaking both my shutter speed and aperture to try out different looks. However, it can also make sense to work in Aperture Priority mode if you’re not interested in playing with different shutter speeds for creative results.
I don’t recommend Shutter Priority mode, because this relinquishes control over your aperture – and aperture is something that you should absolutely choose yourself.
Speaking of aperture: I consistently use apertures between f/2.8 and f/5.6. This gives me the perfect blurry background – which, as I mentioned above, helps create a stand-out subject.
However, macro photographers sometimes prefer their subject to be sharp throughout. In this case, you’ll need an aperture in the area of f/16 and beyond, and you’ll need a tripod. In fact, if your subject is very three-dimensional, you’ll need to focus stack (a technique that’s beyond the scope of this article).
I tend to work handheld (because I like the flexibility). This means that I rarely let my shutter speed drop below 1/120th of a second. But if you use a tripod, you’re free to let your shutter speed drop far below this mark (if there’s absolutely no wind, that is!).
In general, I advocate using the lowest ISO you can get away with. You want to minimize noise as much as possible. So try to keep this down.
Finally, make sure that you switch from autofocus to manual focus, especially if you’re working at high magnifications. You simply can’t focus well with autofocus at macro magnifications, no matter how good your lens. So manual focus is key to getting the perfect shot.
And that’s it! Take your shot – and admire it! Because if you’ve followed the instructions above, it’s going to look really, really stunning.
You know how to take the perfect macro photo.
You know how to find the perfect light, the perfect subject, and the perfect background.
You even know the perfect macro photography settings.
So go out and take some perfect macro photos of your own!
Which step in capturing a perfect macro photo do you struggle with the most? Leave a comment right now letting me know – and I’ll see what I can do to help!
The post How to Take the Perfect Macro Photo (Step-By-Step Guide) appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
It’s back to basics in this week’s episode as Chris and Jordan break down some common photographic terms that might not be familiar to newer photographers. Learn all about IBIS, BSI and CIPA, as well as a, shall we say, ‘creative’ origin story for the word ‘bokeh.’
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Articles: Digital Photography Review (dpreview.com)
The post Your Guide to Studio Lighting Equipment appeared first on Digital Photography School. It was authored by John McIntire.
There’s a lot of studio equipment to get familiar with and with it, a lot of terms to learn.
If you’re new to studio lighting, it is easy to get intimidated by the amount of stuff you have to learn. The jargon alone is enough to make your head spin. Fortunately, none of the things you need to be successful in the studio are particularly complicated, there is just a lot of it. The purpose of this article is to serve as a primer to introduce you to some of the most basic studio lighting equipment, and terms you will need to navigate a photography studio.
This is not a comprehensive list, and with new tools and techniques being invented all the time, it could never be.
A little warning: Some of these terms are used differently by different photographers. Others get interchanged with one another. While it can be confusing at times, it’s not necessarily wrong. However, it is useful to know about when you hear someone refer to a flag as a gobo or refer to ambient light as continuous light.
Strobe – A studio strobe is a dedicated flash unit. They can sometimes be referred to as a monobloc or monolight. Usually mains powered, more battery-powered offerings are being brought onto the market all the time. Power output between models can vary greatly, with cheaper strobes offering as much power as a cheap third-party flashgun.
Strobes are powerful flash units that pretty much dominate studio photography.
Continuous light/Hotlight – Continuous lights serve the same lighting functions as strobes, but they don’t flash. Instead, they are high-powered lamps that can usually be fitted with modifiers in the same way as strobes. While mostly associated with video, continuous lights still have their place in stills photography. There are a lot of LED lights coming onto the market at the moment, and many of them are viable options.
The hotlight moniker comes from the fact that they tend to get very hot. Be careful with modifiers that sit close to the bulb as they present a fire hazard. This does not apply to LED lights.
Flashgun/speedlight – Flashguns are any small light with a hot shoe mount for placing on top of your camera. They are highly portable, and some come with reasonably high power outputs. Although their versatility is ultimately limited to their size and power output, they are still an extremely useful tool for any photographer interested in off-camera lighting.
Flashguns are small but competent light sources that are invaluable for portable studios.
Key light – Your key light is the main light with which you are shaping your subject. This will usually be the brightest and most prominent light in your scene.
Fill Light – A fill light reduces the intensity of shadows created by your key light, thereby decreasing the overall contrast in your scene.
Rim light/backlight – Rim lights light your subject from behind to help separate them from the background. Often, rim lights are positioned so that only a sliver of light is visible on the sides of your subject.
Background light – As it says on the tin: background lights light the background.
Hair light – Hair lights are used to add emphasis to your subject’s hair. They can also be used to help bring up the exposure of your subject’s head if it is blending into the background.
Ambient light – This is any light that is present before the addition of any other lighting sources. This could be from lights in the room or daylight from a window or outside.
Umbrellas – Umbrellas usually come in silver or white and can be attached to your strobe via a mount. By firing the strobe into the umbrella (which reflects the light back to your subject), you are creating a much larger light source which creates a softer light. Although mostly directional, umbrellas can have a lot of spill, and they aren’t the easiest modifier to control.
Umbrellas are your most basic modifier. They are good for soft, diffused light, but they are hard to control.
Translucent Umbrellas/Shoot-thru Umbrellas – Translucent umbrellas don’t reflect light, but are instead made of diffusion material which you aim the light through. This softens the light, much in the way of other modifiers, but without the benefit of directionality.
Translucent umbrellas also provide soft light, but they aren’t as directional as softboxes.
Softboxes – Softboxes come in a variety of shapes and sizes. Once attached to your light, a softbox acts to shape and soften the light so that it is more flattering. Softboxes also tend to be quite directional, and they are easy to control and further modify.
Softboxes are the workhorse of the photographic studio, and they come in all shapes and sizes.
Strip boxes – Strip boxes are softboxes, but they are long narrow rectangles that produce a much narrower beam of light. These are great for lighting a subject from behind for a rim lighting effect.
Striplights are a useful type of softbox that offer very directional light.
Octaboxes – Also a type of softbox, an octabox is octagonal in shape. The rounder light source is useful for shaping the light for portraits. Octaboxes also tend to be quite large, making them an ideal modifier for portraits.
Reflectors (the modifier kind) – The reflector is a modifier that goes directly on your strobe. They channel the light in a specific angle for very directional light. They are also a very hard light source. Most are designed to take a variety of grids.
Reflectors, like this 110-degree reflector, provide a very directional and very hard light source.
Snoots – Snoots are modifiers that are designed to focus your light in a very narrow beam. They are great for both hair lights and background lights.
Snoots direct your light into a very tight and controlled beam.
Barn doors – Barn doors are fitted with two to four flaps for you to manually adjust the aperture the light is let through. These flaps can help you narrow the focus of your light on a specific aspect of your subject (such as their hair), or they can be used to flag the light from hitting a spot that you don’t want it to.
Beauty dish – Beauty dishes are directional modifiers that are somewhere in between soft and hard light. They are great for beauty photography (hence the name) as well as fashion and portraiture altogether. They often come with grids and diffusion socks to give you even more options in how to use them.
Beauty dishes offer a contrasty light somewhere between hard and soft.
Grids/Honeycombs – Grids are modifiers for your modifiers. Placed on a reflector, or softbox, or beauty dish, they narrow the beam of light further and help to ensure that the light is only falling on your subject (or where you want it to).
Grids help you to further modify the directionality of your light.
Gobo – A gobo is placed in front of a light source to change the shape of the light. This can be as simple as narrowing the beam and be as complicated as creating complex patterns. The easiest way to explain this is to imagine a Venetian blind with light streaming through. Now imagine the pattern on the wall. The blind is acting as an effective gobo and shaping the light.
CTO Gels – Color correction gels are used when you need to correct the color temperature of a given light. For example, if you have a gridded beauty dish that is particularly warm (like mine), and you want to use another light as a hair light, that second light might be very cool compared to your key light. By placing an orange CTO gel on your hair light, you can match and balance the color output of both lights.
Color Gels – You can also use gels towards a creative end. You can gel your lights to produce just about any color that you want to.
Reflectors (the reflective kind) – Reflectors are an important part of any studio kit. These allow you to reflect light from your key light back onto your subject. They are a means of creating a fill light without using a second dedicated light source. Reflectors come in many shapes and sizes, from the ubiquitous 5-in-1 reflectors to fancy tri-flectors sometimes used in beauty portraits.
Reflectors and diffusers are two vital tools when it comes to shaping and controlling your light in the studio. Also shown here is a reflector stand.
Diffuser/Scrim – A diffuser is a piece of translucent material that you place in front of a light source to alter the shape of the light or to reduce the intensity of the light. Some diffusers do both.
Flags – Flags are used to block (or flag) light from falling in your scene where you don’t want it to. You can use them to stop excess light falling on your background, or you can use them to reduce the exposure on the parts of your subject that aren’t the focal point. For example, sometimes, I like to use flags to help underexpose everything from the neck down in close portraits. This helps to ensure that the face is the main focus of the image.
Light stands – Simply a stand to hold your light source. Ensure you have one that can hold the weight of your light. A high-powered, dedicated strobe requires a lot more support than a speedlight.
This image shows a boom arm attached to a lighting stand on a dolly. It’s a fantastic and versatile bit of kit.
Dolly – A light stand with wheels. Most useful.
Boom arm – A boom arm is a light stand that you can position at any angle between completely vertical and completely horizontal. These are useful to get your lights high up and also to place your light at angles a traditional light stand wouldn’t be able to manage. You can mount different varieties of boom arms to other light stands as well as permanent fixtures like walls.
Reflector Stand – A dedicated stand designed to hold a reflector in place.
Background/backdrop – A backdrop is any surface that you place your subject in front of. These range from paper and vinyl rolls to bare or decorated walls to pieces of painted canvas.
This image shows a painted canvas background. At the top of the frame, you can just see grey and white vinyl rolls on a motorized support system.
Background stand/support – Any support system designed to hold a backdrop in place. These can be free standing or wall mounted.
Clamps – Clamps and other fastening devices come in all shapes. You can (and should) use these to hold all manner of things in place. Backgrounds, flags, reflectors, gels, and many, many other things need to be held in place. For example, bulldog clips are indispensable for holding canvas backdrops up, whilst double-headed clamps can affix to a table and hold a flag or reflector.
This image shows a selection of clamps and clips that will you always find a use for in the studio. The double-headed clamp is holding up a piece of black foam core for use as a flag.
Rails – In bigger studios, you might see lights fixed to fittings on the walls and ceiling. These rails allow you to move your light relatively freely around a space without the hassle of a light stand.
They also help to keep cords out of the way of you and your subjects.
Quality of Light – Quality in this instance refers to the physical characteristics of light. These include shape, intensity, and color.
Lighting pattern – A lighting pattern is a specific technique in which a light is placed in a prescribed manner for predictable and established results. Examples of these include butterfly lighting, Rembrandt lighting, and split lighting.
PC Sync Socket/Cable – The PC sync is a means to connect your camera to a flash with a cable. You can use this option in lieu of triggers.
Triggers – Triggers are devices that allow a camera to communicate with your lights and ensure that your flashes fire while the shutter is open. These range from very basic models with just one function, to complex devices that allow for full control over the settings of multiple lights.
Triggers allow your camera to communicate with your flash so that they work in sync with one another.
Slave mode – In slave mode, a flash will detect the light from another flash via a sensor and fire. This is great in situations where you have multiple lights, but only one basic trigger.
Mount – A mount is the means in which a modifier is attached to a strobe. A lot of lighting manufacturers have their own proprietary mounts associated with their systems (Bowens, Profoto, Elinchrom, etc.) So you will need to ensure that any modifier that you buy will fit the system that you own.
This is the shape of the commonplace Bowens S-mount.
Modeling light – Many strobes come fitted with two bulbs. One is a flashbulb, where your strobe light comes from, and the other is a modeling bulb that is on whenever the strobe is not flashing. This makes it easy for you to see what the light is doing to your subject. As a bonus, if you’ve cut out all ambient light (like you should in a studio environment), modeling lights give you the ability to see.
While this list is not, and can never be, a complete list of studio lighting equipment, it should serve as a decent primer to get you started in the world of studio photography. If you feel that I’ve missed something important, please add it in the comments below.
The post Your Guide to Studio Lighting Equipment appeared first on Digital Photography School. It was authored by John McIntire.
The post Your Guide to Posing Bands in Photography appeared first on Digital Photography School. It was authored by Anabel DFlux.
Getting your favorite band into your photo studio might sound like a dream come true – but could quickly turn into a disaster if you don’t know what you’re doing! Not all bands know how to pose or position themselves for photographs, and it’s your job as a photographer to direct them. So before you find yourself having a crisis – unsure of how to properly get bands set up for their epic promotional shoot – check out your guide to posing bands in photography!
I hear this question a lot in my line of work. How does band photography differ from, say, a group portrait at a sports game or a family reunion? Well, the short answer is – the intent is different. Though all types of photographs tell a story, band photography has to sell both the image and idea of the band. The poses, styling, arrangement, lighting, and everything in between is akin to the marketing of the music group itself. To make this even more complex, the audience members have to develop the right preconceived idea of what the music will sound like based on the picture! This is the same principle that is applied to album artwork.
Aimee Saturne
As well as this, the connection between all of the members in the band is different than that of family members or a sports team. Bands can be a complex series of relationships, some akin to kinship, others to sibling rivalry, and some can even be likened to business partners. Whichever is true for the band you are photographing, that unique relationship will come out in the photographs.
DIM7
In short, yes and no. The genre of music can impact every facet of the image, but not necessarily. Doubling back to the idea that a photograph of a band needs to sell their music, the genre portrayal can be a fundamental part of that goal. For example, metal music has a much darker, harder, and tougher edge to it than, say, a girl pop band.
Much of how I figure out how to pose bands has to do with three key factors:
Aimee Saturne
Here is an example of how these three questions can drive a photo shoot.
Say that a five-piece, all-female symphonic metal band approaches you, with a melancholy and dark sound, whose story revolves around pagan rituals. With this in mind, the posing will likely be more rigid with the band members standing in a crescent formation due to the ritualistic nature. Their chins will likely be a bit lower down with a very slight hunch and legs tightly placed together, and eyes are looking directly towards the camera (whilst the face is slightly lower down).
Likewise, say an all-male pop duo approaches you with a very light-hearted, summer, beach feel to their music, with a tagline revolving around living every day in the moment. The posing will be very loose, fun, and expressive – likely a popular choice would be to place the two lads back to back with them looking over their shoulders at one another laughing and the arms placed in very relaxed positions.
As a photographer, much of our jobs revolve around bringing a static visual image to an ever-moving description.
Chasing Desolation
To express why genre doesn’t necessarily have to affect the pose, not all bands fall perfectly within a box.
That’s a good thing. Art shouldn’t always be easily categorized.
As such, some acts defy traditional rules and do not follow convention. Their images won’t follow convention either, and the posing may change drastically from the usual.
Of course, posing groups of people isn’t without its troubles.
Here are some of the most common posing “uh-ohs” you might encounter (with solutions, of course):
This is a very common situation you’ll encounter. Luckily, there are some clever solutions!
Firstly, if your band promotional image doesn’t include full body shots, simply place the member(s) on boxes (often called ‘apples’ in studios) that even-out their height.
If the band does want full body shots, play with perspective. Place the taller members further in the back and the shorter members closer to the front. A reverse V or U shape is an excellent idea!
Thirdly, get creative with levels and props. My go-to – which tends to receive favorable reviews – is to place one member sitting on a chair and pose the rest of the band around the chair. The taller members can crouch on the ground at the corners of the chair while the shorter members can stand around the chair. The frontman or frontwoman sits in the chair.
You can achieve a similar effect by posing on stairs, walls, rocks, or anything that allows one person to sit while the rest are crouched or standing.
Killin’ Candace
I photograph primarily heavy metal and rock music, so this is something I deal with daily. Everyone wants to wear black in a black studio, against a black wall. The result, when done right, is super cool. However, when done wrong, the image suffers from “floating head” syndrome.
The real key here is to ensure that every article of clothing is a different texture from one another. Everyone can wear the same color, but try to encourage the band to wear different textures.
For example, a shiny top with matte pants works great. If a band member has both a matte top and matte pants, throw in a textured scarf or a tie to break it up. Jewelry is also a great idea. The point is, the colors can all be the same, but the way the clothing photographs must be different from one another. This can affect pose positioning as well, as you don’t want the same texture to cross one another and look flat in an image.
You can also use lighting to help separate the subject from the background. For example, shoot your studio lighting behind the band so that it creates a rim light, which pushes them off of the studio wall.
Our Dying World
Sometimes, a band member overdresses while others underdress. If you can’t swap out wardrobes or add accessories, then get extremely creative with posing.
When I was pursuing my visual communications degree, I had a wonderful professor drill into my head that the key to an effective image is having the viewer’s eye move around the entire frame rather than settle on one central point.
A great way to get the viewer to take in the entire image rather than settle on one point is to place the elaborately dressed band members around the less-elaborately dressed members on opposite ends.
Another solution is to use the flashy wardrobe to create lines that the viewer can follow throughout the image. A good way to create a line is to have the overdressed band member stretch an arm out to the other band members to encourage the eye to travel.
Bullet Height
If you do backstage photography, you’ll run head-on into this issue (especially in Los Angeles. Unless the band is in a major theater like The Hollywood Bowl, your backstage experience will be cramped. Trust me on this one). The most efficient way to utilize small spaces is posing the band in levels. Have some crouching and some standing, some leaning on walls and some stretched on the floor! Think of keeping everyone in a square image ratio format. You’ll be able to pose even 11-piece bands in a small space (I’ve done it!).
Trash Deity
The lighting you are using will make a difference in how you pose the band. If you’re shooting outdoors and are at the mercy of natural lighting (but don’t have a reflector), you will need to adjust head, hand, arm, and leg positions in order to make the best of the conditions you are working with.
For example, if you ended up shooting at high noon, keep chins up to avoid unflattering shadows on the neck. Likewise, make sure hands aren’t hidden in shadows so that they do not appear too dark.
Jyrki 69
If you are in the studio with more controlled light, this becomes a bit easier – assuming you have enough lights! Work with what you have, and find creative ways to pose the musicians in order to illuminate them in the most flattering way. If you don’t have enough lighting units to capture certain poses, avoid them altogether (unless you are a whiz at post-processing!).
Karim Ortega
(Pssst: reflectors are your best friend! Both indoors and outdoors. In outdoor situations, these help control the light. In indoor situations, if you don’t have enough budget for additional studio lights, you can use reflectors to bounce light and help it stretch further. Reflectors are budget-friendly solutions, and can even be made at home if you are DIY-savvy).
Athanasia
With some bands, it definitely is! Generally, you want the frontman or frontwoman as the center of attention with the rest of the band members posed around. Some bands have more than one vocalist, and often the vocalists tend to be the central figures (not to be confused with importance. All members are important. A band does not function without all of its contributing talents). Guitarists and bassists tend to find themselves beside the singers naturally, and other instruments such as percussion and keys even further off to the sides.
Bullet Height
Most of the bands that step into the studio are live performers; that is, they have experience playing on a stage together. As such, the first thing I do is have them stand in my studio the way that they would arrange themselves on stage. I use that as the basis of where I pose everyone in the lineup. Many bands organically step into the spots that they are meant to stand in.
Brandon Rage
Posing a solo musician opens up a door of massive possibility. Very little is out of your control here. However, remember, because you are photographing only one person, try to give the image as much interest and life as possible. Images are static; we have to make them move. The more dynamic the pose, the better, and the benefit of music photography is that you can get super-quirky with it!
Grant Webb
Remember that traditional posing rules also apply here. Flattering angles and flattering poses. Try to avoid harsh shadows on parts of the face or body that may make someone appear different than they are.
Aimee Saturne
Mess around with props as well. Props are great ways to give a client something to do with their hands or legs. They can also make an uncomfortable or nervous client much more comfortable as they have something to which to focus. Don’t assume that because a client is a musician that they love getting photographed – not everyone does. It’s your job to give them the best experience possible and make them love being in front of the camera with you.
Aaron Lee
My technique is to shoot with a high shutter speed and have the musician constantly move and change poses, encouraging even the weirdest of ideas to come through. More often than not, the weirder it seems, the better it looks. Also, making the client move continuously keeps them from pausing and overthinking.
Alexx Calise
Including their instrument is a common request from musicians, especially solo artists. Band photography often steps into the realm of endorsement photography for the various instrument companies that may be sponsoring the project. With solo artists, it’s fairly easy to get them posed with their instruments as you don’t have to consider the spacing with other band members.
Alex Crescioni
The key with instruments, however, is to ensure that the instrument does not cover any important parts of the musician’s body such as their face! The instrument should fit in very organically and not feel forced or uncomfortable. It’s okay to have the band member pose with, say, a guitar hanging just a bit lower than they play it – as long as everything looks natural.
Ace Von Johnson
Commonly, I have the musician play the instrument to feel more comfortable with the lens being there. Often, those candid moments look amazing.
Arielle Silver
Posing an odd number of people in a band is arguably the easiest (outside of a solo musician). This is because you can adhere to many of the traditional (and very effective) band poses, such as the “U” formation, the “V” formation, and anything else that pushes the lead member to the front. The lead member that stands in front of the rest is a great baseline to use to pose the remaining band members. Moreover, you tend to keep your composition more even on either side as a result.
Athanasia
However, don’t let this fact make you lazy. Just because you can do a traditional “crowding around the lead” shot, doesn’t mean you should make it boring! After all, you’re photographing bands – play with various facets of music photography and keep it interesting.
The addition of instruments might seem daunting, but this is a brilliant opportunity to use the lines of the instruments to have your viewer’s eyes move around the frame. As well as that, this allows you to use the instruments as a way to direct the attention to the lead of the band.
Zeistencroix
The most common even-number band is two. I love posing two-person bands. There is such a dynamic range of posing you can do. The connection between each member in a two-person band is also really cool and unique. There are lots to play off here. Honestly, get as quirky with this as possible!
Batfarm
An added benefit to two-people bands is that they don’t take up much space. Whether you’re in a studio or an outdoor location, two people take up less space than three or more. You can fit in a lot of wickedly cool shots in smaller spots.
Ascent
The main things to remember are that both members need an even amount of attention in the images. Don’t try to have one overpower the other. It doesn’t look right in an image.
Our Dying World
Now, the difficult even-number bands are those of four, six, or eight members. The primary difficulty is that you can no longer arrange them in “V” formations or have one member in front of the other because there isn’t an odd number! As such, try staircase poses or diagonal lines. You don’t want either side of the frame to feel too empty or too busy; you have to even it all out.
The addition of a prop is an excellent idea to even out the composition. I like to pose even-number bands in a more square-ratio (and this isn’t just because of the rise of Instagram). This gives you more options for dynamic posing and is a good baseline to help pose even-numbered bands.
Much like with just the band members themselves, use the addition of instruments to comply with a square posing ratio even further. If you pose everyone straight, make sure that you have enough room for the guitar and bass necks. You can play with levels here too, like in the example image below.
Our Dying World
Alex Crescioni
Brandon Rage
In conclusion, all great posing arrangements start with a deep understanding of what your client is wanting and needing. Don’t be afraid to have some fun with it, but keep everything cool, flattering, and most of all – epic. This is the music industry after all!
Do you have any other tips to add to this guide for posing bands in photography? If so, please share with us in the comments below (and your band photos)!
The post Your Guide to Posing Bands in Photography appeared first on Digital Photography School. It was authored by Anabel DFlux.
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