Portrait photography tips and ideas.

1. Take your time.

So how do you go about creating that collaborative moment? Setting up a great photoshoot takes time, so be sure to give yourself a little space. Shawn Ingersoll, a designer and photographer, suggests that when scheduling a shoot, you should allow at least an hour. He explains, “It’ll be maybe the first 30 minutes before you’ve really gotten to know each other.”

It’s easy to feel rushed when you’re taking someone’s picture, but one of the keys to taking a good portrait is to allow the time to connect and consider. Naba Zabih, a wedding and engagement photographer, says that even in the flurry of a big event, it’s important to take time to compose an image that you’ll be proud of. She continues, “Especially when everything’s digital and super fast-paced, just stop, and compose, and think about the shot before you actually take it.”

Keep in mind that with a portrait photo, you’ve got an extra variable to consider: “People are people,” Zabih says, “so they are definitely going to be harder to shoot than something that’s still — they’re going to move. They blink.”

2. Go with the flow.

Pidgeon notes that every session will be different, so you’ll need to stay alert to your subject — some will be more available than others. “I think it depends on the person — where they’re at, what’s going on, whether they want to be there. A lot of times, they don’t,” he says. “A lot of times, they’ve had five things lined up before you, and they’ve got another five after you, and they’re just watching the clock. Some people will say, ‘Yeah, let’s do something cool.’ And some people will say, ‘Let’s get this over with.’ Some people are really shy. Getting a feel for their level of engagement directs a lot of it.”

3. Get attuned with your setting.

When you have a sense of the person you’re working with, then turn your attention to the room. Pidgeon suggests asking yourself, “Are there natural light sources? Is it a situation where I’m going to use harsh lighting, soft lighting, direct, indirect? What’s going to tell this story?”

More contrast means more drama.

When you’re working in low-light conditions or indoors in a studio setting, bring in artificial lights to brighten your subject. Set up a couple lights in various places and see how they affect your photos. Multiple lights can help balance one another to avoid the harsh shadows (or intense contrast) created from using just one light.

Ingersoll suggests, “If you want a dramatic, high-contrast portrait, you’re probably going to use more direct light, whether that’s sunlight or artificial lights. If you’re looking for a less dramatic photo, more like a professional headshot, that’s going to be more diffused, with multiple light sources. You’ll have a primary one, typically the brightest, and it’s going to light up one side of the subject’s face. Then you’ll want to light up the other side, so you’ll have a secondary stroke — otherwise you’re going to have a very dramatic picture. A third light is optional. Sometimes you use that to light up their hair or the backdrop, if there is one.”

Direct midday sun is too harsh for most portraits.

If you’re shooting outdoor portrait photography, using mostly natural light, you’ll need a slightly different toolkit. Goellner’s experience with outdoor weddings has taught her that the middle of the day is the worst time to shoot. She explains, “The sun is right overhead, and you’ll have shadows under their eyes. I’m looking for even lighting for portraits. If it’s the middle of the day, which so many times during a wedding it is, you always look for trees.”

When possible, try shooting portraits during golden hour — the hour or so right before sunset or right after sunrise. The soft, warm light gives subjects a magical glow.

Diffused light is more forgiving on the skin.

Pidgeon advises, “As people get older, you want to soften up the light a bit, unless you really want to accentuate the texture in someone’s skin. But if someone has acne scars or wrinkles, you wouldn’t typically work with a dramatic light, unless this is really part of who they are. I think part of it is asking, ‘Is this going to be kind to them, show them in their best light? Are they a dynamic person? Do they have an edge to them? Is this appropriate?’”

Experiment with incremental changes.

He warns that portrait photographers need to understand how to balance their lights. “A lot of beginners tend to overpower with flash, and then you have that mugshot kind of look,” he says. “You’re basically making two exposures at the same time when you’re balancing the main light and the fill light.

Used correctly, flash photography can create portraits with a fresh, hip appeal — but only when that harsh light is balanced correctly with the background. When you develop an understanding of how that balance works, you can make incremental changes instead of just saying, ‘OK, I’m going to blast it or I’m going to take it away.’”

The best lenses for portraits.

Goellner says that the best lenses for portraiture will open up really wide. “A really wide aperture lets in a lot of light and lets the background be blurry,” she says. Wide-angle lenses and a shallow depth of field help you to keep the focus on your subject, rather than losing them to background elements that might be less important. Goellner’s go-to portrait lens is an 85mm lens.

Longer lenses can be flattering.

Derek Boyd, a photographer in the Pacific Northwest, suggests trying out even longer focal lengths: “If you have a long focal length and you’re close to your subject, you’ll have very shallow depth of field,” he says. “So a 200-millimeter lens is great for portrait work.”

“Basically, you shoot almost as close up as you can with it, and it looks great because the background gets blurred out. And the compression that telephoto lenses cause — it’s a little bit of distortion that’s very flattering to people. It makes noses look a little bit smaller, and it makes eyes look a little bit better. It’s just very complimentary,” says Boyd.

Try for a sharp subject and a soft background.

The kicker here is the ability to choose your focal point. Boyd explains, “Before I shot on a real camera, an SLR, I’d only shot on point-and-shoots where everything was in focus. I think that’s the difference between a snapshot and a real artistic photograph — highlighting your subject. That doesn’t mean that you have to use shallow depth of field, but a professional-style portrait will. And the first time that you do it on your own, it’s like magic.

“That look is something that I’ll always be a sucker for. I’ll always love a portrait with a just completely blurred-out background, and a nice, sharp eye with a catch-light, a nice twinkle in the eye.”

Take off the training wheels.

“A program can give you the basics, but I don’t think you can get very creative,” Pidgeon says. “The program is there to keep you within the range of ‘this will be fine.’ But if you’re getting into photography, you want more than fine. You have to use manual mode to get that nuance. And that’s scary — a lot of people think, ‘Hey, this particular program mode works great. I got awesome photos in this situation. I don’t want to let go of that.’ And then suddenly you’re in a different situation, and it doesn’t work. The program was doing the work for you, doing all the math for you, and making a lot of decisions. So then you have to go back and figure out how exposure works.”

Learning those manual camera settings for portraits and getting access to more nuanced decisions means you can get much more creative, artistic portrait photography.

Get creative with composition.

And there’s no need to stop with refining your use of exposure. Alex Tan, a photographer and designer based in Los Angeles, encourages even more experiments. He says, “I think filling the frame is really interesting: when there’s parts of an image that aren’t necessarily fully in the frame or there’s a subject that’s very much in the foreground and maybe covering a third of the frame. I feel like I’ve transitioned a lot lately from taking portraits of people that were perfectly centered in the frame on really clean backgrounds to ‘What would that look like if the camera was actually in this room and it was behind somebody or looking over somebody’s shoulder?’”

Go black and white.

Black-and-white portraits can show your subjects in a new and unique way. Remove color from a portrait to add more emphasis to other aspects of the image, such as composition, texture, shadows, and the subject’s mood.

Master the selfie.

Self portraits are a creative form of self-expression, but they’re also a great way to perfect your portrait photography skills. When you’re both the model and the photographer, you can take your time while adjusting aperture for portraits, trying different lighting, and experimenting with creative ideas.

Aim for authenticity with candid photos.

When you practice candid photography, you capture unplanned moments of subjects being their most authentic selves. You don’t pose your subjects or direct them in any way for candid portraits. Instead, you passively observe and shoot them as they carry out normal activities.

Take professional headshots.

With headshot photography, you can bring your creativity into a professional setting. While corporate headshots often need to follow a specific style or visual approach, you can always find unique ways to help individuals stand out and bring personality to their pics.

Add a little glamour.

From fine art portraits to avant-garde fashion shots, glamour photography highlights a subject’s personality, attitude, and appearance. Learn how to plan your own glamour photoshoot, polish your images with post-production editing tools, and then add some glamour shots to your portfolio.

Whether you’re a seasoned pro or new to photography, portraiture is a wonderful way to build skills and foster creativity. Give it a try for yourself, and remember to always keep the focus on your subject and highlight their personality.