The dark art of concert photography.

By Sarah Arnold, QA

I’ve been surrounded by music my entire life. I grew up in a family of musicians, one of whom toured the world in the sixties. Being drawn to concert photography was only natural for me as music was such a vital part of our family. I loved feeling the music through my feet and eventually through my fingertips while photographing the musicians on stage. Starting at the age of 14, concert photography has become a large part of my photography business. I’ve learned a lot over the past 10 years through huge amounts of trial and error. Here are some of the things I’ve learned that can be useful to anyone just getting started in concert photography.

Getting in

Don’t be shy. The majority of the concerts I’ve shot, I’ve walked straight up to the band and asked them directly, “Would you mind if I take photos?” 99% of the time, they are excited a photographer is interested and have absolutely no problem saying yes. You have to be a bit of reporter when trying to track down the band. I usually find where they’re located backstage or wait until they are on stage setting up and simply approach them. In many cases, I’ve ended up becoming friends with the band members and am given stage passes as well as put on the guest list for future shows. Stage passes are key for great shots of the crowd and band interaction. These shots are usually the ones bands use for marketing purposes, which in turn can bring a lot of traffic to your site when the band gives you proper credit. This brings up a very important rule: ALWAYS make sure the band is giving you credit when they post your photos. ALWAYS. This can be a verbal or written agreement via email. You can also draft a quick and simple photo session agreement before releasing photos to the band.

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Want this shot? You’re gonna need a stage pass!

Plan ahead. Some concert venues require permission from the venue as well as the band, sometimes as much as three weeks prior to the event. In such cases, reaching out to the location on social media is a good way to start. Mention that you’re a photographer, share some previous concert galleries you’ve photographed, and tell them you would love their permission to photograph at their venue. Persistence is key in this case. Follow up with them if you don’t hear back. Not hearing back from the band manager? Try reaching out to individual members of the band. Still not hearing anything? Reach out to other bands in the line-up. Ask if they would like your photography services. Even if you don’t get approval from the headliner, you can still shoot for the opening bands. They can report their experience back to the headliner and, in the future, you’re more likely to get approval once they’ve seen what you’re made of!
Get official. When shooting for festivals, the best approach is to start at their official website. They usually have a “media” section where you can request to be part of their media team. This process can be a bit more picky. You must have a concert portfolio and usually they require a list of all the gear you own and plan to bring. Most of the time you’re signing a contract saying they have full rights or “own” your work, but you’ll get attribution for the shots you’ve taken. The bigger the band, the more likely they are to take full rights from you — meaning you can’t sell the photos. If this is the case, make sure you’re being compensated properly. Keep in mind you won’t be making money selling prints and digital downloads. Calculate this into your final price so you’re walking away happy and not feeling taken advantage of.

Gear up, Buttercup

The bare necessities.

Concert halls by nature are dark, making low-light lenses a necessity. The lower the aperture, the better (f/2.8 and below) because the lens opens up wider, allowing more light to reach the sensor. This means you can get away with using lower ISOs, minimizing the graininess of your photos. You’ll still need a faster ISO setting given the lighting, approximately 1000 to 2000 in order to not get too much movement. A shutter speed of 1/50 of a second is the lowest you should set your camera to when shooting drummers and other band members who are likely moving very quickly.

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Don’t let graininess overshadow the emotion you’re capturing.

Don’t get flashy, kid.

Whether it’s natural spot lighting or a colorful light show, concerts have unique lighting systems. Usually the stage lighting used produces a much more natural capture, while flash can distract the musicians during their performance and can interfere with the experience for those involved. A good rule of thumb is to refrain from using a flash. It won’t add anything to your photos that the stage lighting isn’t already providing for you.

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Say yes to starbursts and no to flash.

Beware the spots.

When relying on stage lighting, you have to be careful that your shutter speed isn’t TOO fast. Lights pulsate in a way that the eye can’t see, but the camera can. So you don’t end up with spotted lighting, a slightly longer exposure will allow the sensor to have full light on the entire band. When I shoot concerts, I tend to have my camera set to aperture priority. This way I ensure I stay at the lowest aperture and don’t miss capturing key moments while adjusting the manual settings thanks to constantly changing light.

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Streaking is only fun in college, not in concert photography.

Get the shot!

Framing.

Details, details, details. Bands love getting close-up shots of each member working their craft and playing their instrument like a pro. One shot I love to capture is where you can see every single band member’s face. This can be tough given all the equipment on stage, the placement of the drums, band member movements, etc. But getting a full shot of the entire band is a money maker. Some of my favorite shots are when the band members interact with each other. It shows a bit of fun and the relationship that the band has with each other.

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Forget cowbell, 2016 is the year of the tambourine.

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I’m ready for my close up, Mr. DeMille.

Location.

Moving around is key. You want to get entire venue shots showing the band and the concert attendees from behind, as well as those awesome detail shots taken from the front of the stage. The bigger the band, the more likely the front of the stage will be crowded and difficult to navigate. Staying in one place is easier, but you’ll miss some great shots. Usually if you show concert-goers your camera, they’ll move out of your way to allow you to change location. This is another example where having a stage pass comes in handy. You can skip the crowds by being directly on the stage.

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Sold-out crowd = visual bragging rights.

Nail that action!

Overshooting is better than undershooting. Capturing those hair tossing, spit-screaming moments can be tough, so I have my camera on multi-shot mode when I anticipate some action is about to happen. Within four or five shots, there’s usually that golden moment that results in a perfect action shot. Watch the musicians and their mannerisms. Is the singer highly animated? Does the bassist toss their hair around? Capture that! They make for great photos. I love watching drummers because they usually have great facial expressions and use every muscle in their body to keep beat. Watch for band members jumping around. Air shots are fun to capture and fans love buying them.

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All about that bass.

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Capturing character and the beat.

When the curtain closes.

Fix it in post!

Since you’ll be using higher ISOs, graininess will be inevitable. When editing with Lightroom, I use a tad bit of “Noise Reduction” > “Luminance.” This makes a surprisingly huge difference in the amount of grain that appears within your images without making the image look too doctored.

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The only noise in the photo should be the band.

Don’t sell yourself short.

I get paid for my work in a variety of ways. Sometimes the band and I have agreed to a price before the concert (which is usually an hourly rate since one set is typically an hour). However, a lot of the time, I’m showing up to a concert where the band doesn’t know me and I’m trying to get my foot in the door and need to show them what I’m made of. In this case, I bring business cards and let them know their photos will be available for purchase on my website.

Share the wealth!

This is where the beauty of SmugMug comes into play. With SmugMug, I can set up a gallery to show up on a map. Band members can use this map to locate their event and view their galleries. It’s also where they can purchase downloads or prints, and share the gallery on social media for their fans to purchase from as well. Using watermarks and a right-click message, I make sure my work is protected from theft. These features have helped my business grow in such an unexpected way. Thanks to SmugMug, I can shoot for strangers and sell my work without having to meet them or get any of their information in advance.

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No “Where’s Waldo” here!

Encore.

The dark art of concert photography can truly be a vividly beautiful experience. Whether you’re photographing a large festival or just checking out your local band, you can learn so much about your camera, how to interact with big clients, and how to market your business. Follow my tips and you’ll drastically improve your results and how you connect with the artists on stage. What are some of your experiences in concert photography? What bands would you like to shoot? I would love to hear in the comments below!

Check out more concert photos by Sarah Arnold here.

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Play us out, Sam.

 

 

 

Shedding Light on Outdoor Portraits of People in Glasses

By Alexandria Huff

Alexandria Huff is a Marketing Coordinator for BorrowLenses.com, where she is also the resident lighting guru. Visit her website to find more lighting tutorials, discounts on classes and camera gear, plus view her collection of chiaroscuro-style closeup studio portraits. She can be reached on LinkedIn and followed on Instagram.

In my Glare Aware Series, I cover the basics of avoiding lighting glare in photography. To recap, the following are essential lighting laws for working with reflective surfaces:

  • Broad Lighting vs Short Lighting

Short lighting is when your light is primarily illuminating the angle of the face that is far from the camera. Broad lighting is when your light is mostly illuminating the angle of the face that is close to the camera. Short lighting is harder to use on subjects wearing glasses than broad lighting. To learn more, see  Glare Aware Part 1.

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  • Position Lights Outside the Family of Angles

Placing your lights at acute angles in reference to the subject (90º or less – think of on-camera flash as being 0º) is generally bad for glass and placing lights at obtuse angles (greater than 90º) is generally good. To learn more see Glare Aware Part 2.

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  • Angle of Incidence = Angle of Reflection

For the most part, light travels in a straight line. If you position your light toward glass at a 45º angle, the reflection will be apparent in your image if your camera is also positioned at 45º on the opposite side. To learn more, see  Glare Aware Part 3.

These tips are well suited for controlled environments – studios and homes. When you step outside the comfort of a room, the lighting laws are a little less clear. After frequent requests, I am sharing a few of my go-to tricks for troubleshooting stubborn eyeglass reflections when shooting outside.

Combating Glare in Eyeglasses for Outdoor Portraits

Shooting subjects wearing eyeglasses outdoors poses particularly vexing problems. It can be really hard to eliminate all direct reflections coming from pavement, the sky, and other shiny objects that are out of your control.

Some articles suggest that your subject either remove their glasses (not always an option) or that you should choose a different environment or optimal time of day to shoot in. It is good to know what to do even in adverse conditions, however. Here are three things I did to reduce glare while shooting glasses outside on a very bright day near a home with plenty of reflective objects. Practice these to improve your skills and reduce panic when troubleshooting these problems during a live shoot.

Tip #1: Absorb Reflections with a Black Flag

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Black objects produce little diffuse reflection and do not scatter light like white objects. Using a black flag (as part of a scrim or reflector kit) will reduce reflections coming from our subject’s glasses. It also acts as camouflage for your camera when shooting directly into a subject with glasses.

Black will also absorb light so expect to lose a stop of exposure. Use exposure compensation or bump exposure in post production. If you’re shooting RAW, you’ll have a lot of latitude to adjust exposure while editing.

Tip #2: Fill Reflections with Artificial Lighting

Strobes are used outdoors to “overpower the sun,” which is a method of intentionally underexposing your ambient light and using artificial light on the subject to compensate. You can also use strobes to overpower reflections.

In tip #1, I filled my reflective object with a light-absorbing black flag. Now I am using an opposite approach by filling the reflective object with light. Light reflects off shiny surfaces at about the same angle as they are struck. Position your light so that the reflection is reasonably predicted to fall away from your lens. Make sure your light is close enough to your subject to fill the surface of the eyeglasses. The eyeglasses, as a whole, are now brighter and the light obscures the specular, distracting reflections of your environment.

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Tip #3: Change the Angle of the Reflective Object

In any shoot, there are three positions that can be adjusted to avoid glare:

  • The position/angle of your light.
  • The position/angle of your model.
  • Your shooting position.

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Unless you’re using strobes, changing the position of your light outdoors is hard – especially if you’re constrained by when and where you have to shoot since you’re depending on the sun. Your subject can tilt their head at certain angles, upward or downward, to reduce eyeglass reflections but these positions aren’t always flattering. If you find yourself in this rut, tilting the eyeglasses themselves helps.

As with head angle, tilting glasses isn’t always flattering. It depends on the shape of the glasses, how long the subject’s hair is, etc. Your mileage may vary.

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Bonus Tips

Bonus #1: Telephoto Lenses

Lens distance matters. A longer lens is going to produce a smaller viewing angle than a wide one. Smaller viewing angles cause fewer direct reflections than larger ones.

Bonus #2: Polarizing Filters

Polarizing filters manage reflections coming from most non-metallic surfaces but you also lose stops of light and a certain natural reflectance of skin that can leave your subject looking flat overall. Experiment accordingly.

Bonus #3: Photoshop

Getting it right in-camera will save you time and hassle afterward. But not everything always goes to plan.

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Sometimes, a personal favorite shot just doesn’t quite ever get the right blend of good posing plus proper glare-avoiding angles. You can resort to Photoshop for these times. It is a tool like anything else.

Add your own bonus tips for overcoming difficult reflection situations when shooting outdoors in the comments below. Be sure to check out the rest of the Glare Aware Series:

Glare Aware: Photographing Portraits of People in Glasses

The Art of Copy Work: Photographing Artwork Accurately Without Glare

Bouncing Off the Walls: Lighting, Glare, and Shadows When Photographing Interiors

SmugMug’s 2015 survival guide for holiday photos and gift giving.

The holidays are fast approaching, and soon we’ll all be deep into the holiday shopping madness. Here’s SmugMug’s 2015 Survival Guide for Holiday Photos and Gift Giving! Do all your shopping from the comfort of your SmugMug account. Upload once—and send joy around the world.

Get ready to make a lasting impression. Whether you’re creating photo gifts for yourself, or a pro photographer looking to wow your clients, prints make perfect—and lasting—gifts. They’re personal, they stop time and make lasting memories, and they can be larger than life.

So, how do you go about making prints with all the great photos you’re displaying on SmugMug?

Start by selecting the photos you want to print. Once you’ve got your photos uploaded to SmugMug, it’s easy to add any image to the cart. One-stop shopping at its finest—just click that BUY button to get started. You don’t have to decide on the size of print or quantities just yet. There’s opportunity to adjust the items added to your cart later.

Once you select a photo, click the BUY button and choose a product category.
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Ordering is a breeze on desktop or mobile.

Tip: If the photos you want to print or turn into gifts are scattered throughout several galleries on your SmugMug site, you can gather them all together into a single gallery using the Collect tool or by setting a Smart Gallery ruleThat way, when it’s time to place your order, you can work from inside a single gallery on your site.

Consider the type of print you want to give. You’ve got four different paper types to choose from: Glossy, Matte, Lustre (the choice for portraits), and Metallic (particularly suitable to high-contrast scenes). You’ve got multiple standard, square, and panoramic print sizes at your fingertips. And, for that extra special someone, there are ready-to hang items such as box framed prints and mounted canvases.

Make sure your photos are ready for the spotlight. For you high-tech types, we’ve got all the nitty-gritty details you could ask for to prepare your photos for printing. BUT, rest assured that if you’re a low-/no-tech person, our great print labs will do the heavy lifting for you. All our labs offer a color correction service so your photos will be the best print that they can be.

Go beyond paper prints and wall art. There are great personalized gifts available from your SmugMug account as well. We’ve got mugs, puzzles, magnets, buttons, and much more.

Turn your photos into holiday cards. Send end-of-year wishes to family and friends by creating original cards right from your SmugMug photos. Choose between 5×7 folded and 4×8 flat varieties on beautiful heavyweight card stocks.

Make sure you order in time so your gift arrives on time. Check our shipping dates calendarand don’t forget that your prints and photo gifts need time to process as well as ship.

Perhaps our best gift suggestion (and we’re probably a little biased here)… Why not share your love of SmugMug with the people you love by Giving the Gift of SmugMugThis one’s great for last-minute gifts, and it’s guaranteed not to be re-gifted.

Happy Holidays from your friends at Smugmug.

How to Become the Neighborhood Sensation with Halloween Photos

By Chris MacAskill, SmugMug co-founder
Years ago we faced a Halloween dilemma: do we just pass out Snickers bars and bore everyone? Scatter a few plastic skeletons and cobwebs like everyone else? Enter an arms race with the guy a few blocks away who spends days turning his house into a Hollywood Horror Show? Where does he even store all that stuff?

Instead, we set up some lights on the driveway and shot photos:

The thing is, Smartphone cameras don’t do well in the dark.  So parents bus their kids to our neighborhood to get their annual Halloween photos:

Even the cool kids need to score Instagram likes:

Here are some things I’ve learned from 7 years and thousands of photos:

  1. The Big Thing is to have a Very Big Light front and center.  I am usually on knees or bum, and the Very Big Light is above me.  I use a 60-inch softbox.  One reason for a big light in the center is that, on zero notice, Very Big Groups will form:

The big, centered light keeps some faces from being lost in the shadows.  And it casts very soft, flattering light that adults love.

  1.  Get a very wwiiiiiddddee backdrop.  I chose black because, well, Halloween.  Black anything will do: bedsheets, paper, whatever.  You can move it back from the subjects far enough that it’s really black and is never seen in photos.

This is what happens when the group is too big for the backdrop:

  1.  Knee pads.  Ow, my knees.  I like to get the camera down to the children’s level.

  1.  There will be witches, Darth Vader, and black-hatted villains.  If you can add a flash or two behind and to the side, you’ll actually be able to see black costumes and hair without them blending into the backdrop.

  1.  Smoke!  Smoke machines are cheap on Amazon and just a few puffs add a bit of awesome:

  1.  A zoom lens.  I love prime lenses and wide apertures for dreamy shallow depth of field.  But during Halloween, you’ll shoot a small child dressed as a pumpkin and 30 seconds later you’ll shoot a large group of teens.  I use a 24-105.
  1. JPEG, not RAW.  I set my white balance for the flash and it never varies.  I set my exposure at manual because the camera will give different exposures for people in white versus people in black if I try auto exposure.  There’s no issue with dynamic range, so RAW only slows everything down but doesn’t improve quality in this case.
  1.  Tether!  I use Lightroom to display the JPEGs on a monitor as I shoot them.  It’s great entertainment for people in line.  And when people see the photos, they’re sold on your photo booth.
  1.  Hand-out cards to tell your fans where they can download their photos.  I send them to http://halloween.smugmug.com.

Have an amazing time!  It’s one of my favorite nights of the year.

How to Photograph Your Kids

This famous mom photographer shares her secrets.

Last year, Elena Shumilova took photos of her sons as they played in the Russian countryside. She uploaded the photos online, then they started getting shared, and shared again… until they became a viral sensation, with over 60 million views.

These photos hit something magical all across the Internet — a sense of nostalgia for a childhood past. She even started getting letters from people in their nineties, saying the photos moved them to tears.

As parents, we instinctively want to take photos of our kids. We’re trying to preserve this brief slice of time before they grow up. But when we take our kids to professional photo studios, the results can end up looking stilted and unnatural.

We want to remember our kids as they actually are — not with the forced smile a stranger coaxed out of them at the studio, but with the real smiles and giggles they share with us every day.

How can we capture natural photos of our kids, the kind Elena seemingly has a magic touch for?

Photo by Ivan Makarov

Elena has mostly been quiet since her photos have gone viral, undistracted by all the media attention. Instead, she focuses on raising her kids and continues to photograph them every day.

Photo by Ivan Makarov

Given how quiet Elena has been, we’re excited to share a behind-the-scenes look at her in action. She invited us onto her farm in Russia, where we asked her to share how she captures these beautifully nostalgic photos.

This is what she had to say.

5 Tips to Get Better Photographs of Your Kids

by Elena Shumilova

Watch a video of Elena demonstrating these tips.

1. How to get your kids to look natural, not “posed.”

So you catch your kids in the perfect moment — they’re outside playing and laughing, the lighting is just right, and you see this perfect picture you want to capture. You rush to get out your camera, but then…

They see the camera. They stiffen up. They start posing. The moment is lost.

What do you do?

When photographing children, the single most important thing is to photograph them often — every day.

You can’t just do it sporadically, or they’ll freeze up as soon as the camera comes out. Consistency is key. That way they’ll be comfortable around the camera.

It’s these everyday scenes that you want to capture — the ones you’ll remember best when they grow up.

 

To get the most genuine photos, I try to catch them in the moment — when they’re playing with each other and have completely forgotten about the camera.

Here they’re playing “airplanes,” a game we also play together at lunchtime when they’re feeling picky about their food.

Watch Elena explain how she captures her nostalgic photos:

2. The types of clothes that work the best.

I follow a pretty simple rule: clothes shouldn’t be distracting. They shouldn’t take attention away from what’s happening in the photo.

 

For such a simple rule, it’s harder to follow than you might think. Kids’ clothes today are designed to grab your attention—with bright colors, cartoon characters, and writing all over them. In photographs, all this takes attention away from your kids.

When I started pursuing photography seriously, I actually replaced all their outfits. This took quite a while to do, but now I know that anything I pull from their closet won’t interfere with the photo.

3. How to best capture kids of different ages.

Newborns
A lot of parents have asked me about this photo — how did you get your one-month-old to look so calm? Infants are notoriously difficult to photograph because they’re often crying or fidgeting.

Here you’ll have an advantage as a parent. I’m his mom. I’m around him 24 hours a day, and I know when he cries and when he doesn’t. Let your parenting instinct help you choose the right moment.

The Golden Age: Ages 2–4
Something I noticed while photographing many children, including my own, is that there seems to be a universal age when kids are the most photogenic.

That seems to happen between ages two and four.

Kids around this age behave very naturally. They don’t care that someone is looking at them, they don’t care what others think, and they don’t care that a camera is pointed at them.

They aren’t yet self aware. And so, they’re free.

Ages 5 and Older
It gets a bit more difficult when they’re older. As early as age five, they start to become more self-conscious when the camera comes out. They start to pose.

The key here is to be very patient. Let them play while you disappear into the background. My best photos always happen at the end of a photo shoot, when my kids have forgotten all about the camera.

Photo by Ivan Makarov

4. How to get good photos of your kids with pets.

Just like people, every animal is different. Some pets like to be photographed, and others don’t.

Because every pet is different, there isn’t a magic formula for this. I spend hours observing our farm animals, figuring out how they move and what angles work best for them — just like I would for people.

I’ve also tried bribing pets with food, but it doesn’t work. It’s almost impossible to get a good picture when they’re chewing or licking their paws. So I’ve learned the hard way not to feed our pets during photo shoots.

With animals, you have to rely on a bit of luck — and constant patience.

5. Don’t give up.

This is the most famous photo I’ve taken. It’s been viewed over 10 million times — but I almost didn’t bring my camera that day.

Before I took this photo, my confidence was at a pretty low point. I had tried for a photo of my son and dog 14 other times — not 14 other photos, but 14 full photo shoots, all failures.

I was convinced that my hands were too clumsy, or my dog was not the right dog for it, or my kid was not the right kid for it. I was just feeling desperate that day and didn’t even want to bring my camera.

But something told me to bring it. And on that fifteenth day, it all just came together.

This dog of ours is now famous — but he’s not all that photogenic from most angles. He’s actually a pretty difficult dog to work with. From the previous 14 photo shoots, I’d learned what angles and body compositions work for him and my son.

It‘s easy to get discouraged. It’s easy to think, “Oh, why bother, it won’t work anyway.” And it may not for the first 14 times. Those 14 photo shoots weren’t failures though, because I learned from them. And they’re what made the fifteenth one possible.

Don’t give up.

For when you get frustrated.

Photo by Ivan Makarov

When I was first starting out, I got frustrated easily. I used to create these elaborate setups — I’d bring my kids to a special place, in special clothes, at a special time with the lighting just right. I’d arrange it all. And naturally, I started to feel like they owed me a good photo.

But I started getting better photos when I realized: no one owes me anything.

If you get frustrated, your kids will sense it and won’t want to participate anymore. Which just creates a vicious cycle of more frustration. When I stopped feeling entitled to a good photo, I was more relaxed. It was more fun for me and for them.

Rather than creating high-pressure elaborate setups, observe your kids in everyday simple situations. Do it every day. Bring your camera along.

And then — when the right moment comes along — you’ll be ready.

See more of Elena’s photos on her SmugMug print site.

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  • Contact press@smugmug.com
  • You may republish this on your publication (please credit & link back)

Watch Elena demonstrate these tips.

8 Rules to Remember That Make More Powerful Portraits

Valentine’s Day is rolling up, which means portrait photographers are aiming to capture beautiful clients looking their best. But even if you simply want to learn to take better, more powerful portraits, here are a few tips from expert portrait photographer, Alexandria Huff As the photographic brain behind the On Creating ChiaroscuroGlare Aware: Photographing Portraits of People in Glasses, and Transitioning from Point-and-Shoot to DSLR: Understanding Full Frame vs Crop Frame Sensors, she’s well qualified to share these 8 essential rules no portrait photographer should ever forget. 

By Alexandria Huff
There are no rules in photography. There are, however, good habits that photographers rely on when they need to quickly capture a solid image. These habits are especially important when shooting for clients rather than just for personal projects.

1) Items in the foreground will look bigger/fatter/wider than the rest.

Keep extremities away from the foreground unless you’re going for that exaggerated look. Even the elbows in the second image are too far forward for my taste.

We get fixated on faces when shooting portraits and sometimes forget about what the rest of the body is doing. Keep hands, feet, and anything else you don’t want looking too bulbous further away from the camera.

2) Cutting off hands, feet, and foreheads can ruin visual flow.

Don’t crowd your frame or cut hands off at the wrists. Watch out for this when shooting in small spaces.

Arms and legs can act as leading lines for viewers that they follow out to the edge of the frame. Cropping at ankles, wrists, and foreheads is often too abrupt a cut-off for viewers. It is generally more acceptable to crop mid-thigh for 3/4th length portraits or at the waist/above the elbow for half length portraits. Also, cropping the forehead can have a “Frankenstein effect” so crop above the hairline.

3) Anything directly behind the subject’s head can make an image look weird.

Lines directly behind the head of a subject can be distracting. Check your backgrounds.

Mind your background to avoid “brain stems” – lines, trees, or other elements that photographers accidentally place their models directly in front of. Even in the studio they’ll appear in the form of wayward backdrop creases.

4) Slide your subject to the side.

Shifting a subject’s body over in the frame can produce more engaging portraits.

Symmetrical, center-weighted images can be really cool but the Rule of Thirds still has a strong place in photography. Placing your subject along one of the vertical/horizontal lines that divide an image into thirds produces pleasing results. Also, placing your model at an angle rather than square with the frame can be “slimming”.

5) Use broad and short lighting to your advantage.

The flash here is set up for broad lighting. Short lighting would dictate moving the flash to the far side of the subject’s face.

In broad lighting, the light is on the part of the face closest to the camera. Short lighting is on the far side of the face. Broad lighting is often good for softening skin and for thin-faced subjects while short lighting is good for bringing out wrinkles/character and for thinning wide faces. Use broad lighting if you want to avoid glare in glasses.

Using broad lighting (left) vs short lighting (right) will have a huge impact on your subject.

6) Direct your model through a series of micro adjustments and expressions.

Direct your subject through incremental changes in body language and expression.

The devil is in the details and your winning shot might differ from the rest because of a slight change in expression (like a Peter Hurley-esque “squinch”, parted lips, or dropped shoulders) rather than from large movements.

7) Make the most of lousy locations.

If you can’t have the location you love, love the location you can get.

Don’t shy away from shooting if you don’t have a studio or a park nearby. A strong portrait can be taken anywhere if you you’re following other compositional rules.

8) Shooting down onto your model is more flattering than shooting up at them.

It’s very rare for a subject to look good when being shot from below.

It’s rare for a subject to look good when being shot from below, even when you’re going for a power look. Nostrils are just not very photogenic — stick to eye-level or above. Remembering these rules and practicing good shooting habits will help you create consistently strong portraits. After a while you will have enough experience to successfully break the rules and develop your own distinct style.

To see more of Alex’s work, browse her SmugMug-hosted portfolio here.

Cold Snap! Tips for Staying Warm While Taking Winter Photos

Planning on hitting the snowscapes with your camera? There’s plenty of cold-weather advice on the web, but our in-house landscape adventurers offered to share some of the more practical tips to help you stay focused on having a good time.  From one photo lover to another, it’s about getting the shot and having fun – not freezing your fingers off. Here’s what they said.

1) Keep Those Hands Warm

Snow can turn an otherwise mundane scene into something starkly exotic. Photo by Ivan Makarov.

Your hands are the second-most important part of you in photography (after your eyes), so treat them well. There are many kinds of gloves that keep your appendages toasty while still giving you tactical function: traditional, fingerless, convertible mitten/glove, or just regular gloves that you remove to hit the shutter. Go to the store, try them out, find what works best for you and your shooting style. As a bonus, get a couple of chemical hand-warmer packets and throw them into your pockets.

2) Hold Your Breath

Be ready and spend more time exploring the beauty of winter. Photo by Welling Photography.

 It’s pretty neat to exhale plumes of smoke like a dragon in winter, but you probably don’t want this getting into your shot. If it’s frosty out and you’re trying to capture clear, pristine views, hold your breath when you hit the shutter to be sure you’re not polluting the pic.

3) Bag It! (Your camera, that is)

Landscape photographers are familiar with harsh conditions, but being prepared is a good tip for all kinds of photographers. Photo by Schmootography.

Your house is significantly warmer (and damper) than the naked outdoors, and this can wreak havoc on your camera when you come inside. When you’re finished shooting, try sealing your camera in a Ziploc bag, pack it away, and wait for it to come to ambient temp after you get inside. Why? A cold camera in a warm room can cause moisture in the air to condense into water droplets, which is a risk your inner electronics probably don’t want to take.

4) Beware the Tripod

Just because the water’s still flowing doesn’t mean it’s warm. Photo by Mike Diaz Photography.

Given how tripods are a bit of an investment, we don’t recommend that you go out and buy a new one just to shoot in the cold. But if you are shopping for one and plan on doing a lot of winter landscapes, certain materials like carbon fiber don’t get as cold when you grab them. The last thing you need are sweaty palms that get you stuck when you’re packing up! If you do have a traditional metal tripod, try wrapping the legs with insulating fabric where you grab them, or cover the parts closest to the ground in plastic to prevent salt, water, and other damage. You know those long, rectangular plastic baggies you find at incense shops? Those are perfect.

Way-over-the-top tip: If you’re super hardcore, wood tripods are a great compromise between cold resistance and vibration stabilization. It’s not likely you’ll be spending your winter standing in icy rivers, but if you were, we hear wood’s the way to go. 

5) Plan Ahead

Winter portraits can be tons of fun for both you and your clients. Keep warm and plan ahead so the attitudes stay positive! Photo by Black Cat Photography.

If you know what you’re doing, you’re less likely to scramble. And this is especially important in uncomfortable situations like bone-freezing cold, so plan your shoot as best you can. Scout the location, check the weather and sunrise/sunset times, keep cables and cards within reach, and have an idea of the final image so you bring just the gear you need. The less time you spend switching lenses or moving around, the more time you can spend focusing on your shot. (Plus, it’ll probably be dark.) 

6) Thaw Properly

Snow can add emotional warmth to your engagement portraits, even if it’s ten below zero. Photo by Black Cat Photography.

When you’re done, don’t forget to come indoors and sip a hot chocolate while you edit, upload, and share your photos. We’ll argue that this is the most important step of all. Because chocolate.😉

Stay warm and creative this season! If you’re feeling ready for snow and need more inspiration, don’t forget to check out our short film about Arctic surf photographer, Chris Burkhard. 

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