Top tips for portrait photography.

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?”

Having a greater sense of the person you’re working with can help you work out how you’re going to tell their story. For example, you might discover the significance of a piece of jewellery your subject is wearing - so you could bring this out by asking them to pose in a way that emphasises a ring, necklace or bracelet. Or you might find that their story centres on a specific setting, such as a bus stop or a skate park.

It’s easy to feel rushed when you’re taking someone’s picture, but one of the keys to taking a good portrait is allowing 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.”

How to use lighting in portrait photography.

Lighting is everything in determining how an image feels. So many elements of portrait photography rely on intuition over technical control, so it’s useful to be able to identify or arrange great lighting for your portrait session from the start. If you’re shooting in a studio, you’ll get to make a lot of these decisions in advance. Ingersoll suggests, “If you want a dramatic, high-contrast portrait, you’re probably going to be using 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 gonna 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.”

“There’s nothing quite like the challenge and experience of shooting outside – and working with whatever the weather gives you.”

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? Have they got an edge to them? Is this appropriate?'” 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. 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.’”

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.”

Every portrait photographer has their own style, but what works for me 99% of the time is natural light – particular the warm, soft, glowy hues you get during golden hour. Sure, you can spend time getting the precise level and strength of light you want in an indoor studio setting, but there’s nothing quite like the challenge and experience of shooting outside – and working with whatever the weather gives you.

Telling a story through the subject’s eyes.

Eyes can tell us so much about a person – from their demeanour as a person, their approach to life, to how they’re feeling at that moment in time. So they’re a hugely important factor to consider when it comes to telling your subject’s story.
 

Goellner holds that one of the most important tips for portrait photography is getting a sharp focus on your subject’s eyes: “If you’re focused on somebody’s forehead or fringe and their eyes are out of focus, it automatically kills it,” she says, “unless you’re being really artsy.” Beyond this simple but vital reminder, you’ll want to consider the lens you’re working with.

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 85 mm lens.
 

Personally, I find an 80mm lens is perfect if I’m going for a neat portrait crop, but I go longer when shooting full-length images (which I may choose to do if I’m using the backdrop to tell a subject’s story).
 

You can also adjust your aperture settings to bring more out of your subject’s eyes. For this approach, I’d recommend using f2.8, which isolates the subject from their background and puts the eyes centre stage.
 

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-millimetre 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. It’s hard to describe, but any time you see a nice tight portrait like a glamour shot, that’s almost always done with the very long focal length. Now, on the other hand, you have your wide focal lengths, so that would be anything 30 millimetres and lower. If you get real close to somebody with a wide-angle lens, it makes their head look really big and everything in the background look really small and you almost get that fisheye effect. It is not complimentary. You can use it for portraits, but it looks silly.”