Beautiful People Photos: Simple How To Tips You Can Master
Lovely, delicate black and white portrait of young woman by window light.
People photography combines creativity and technique to produce visually arresting images that explore the very essence of the human condition. If you’ve struggled to make beautiful people photos then my simple to implement tips will set you on the path to success.
To master people photos you need to be able to direct the subject and react to the decisive moment. A pleasing likeness, character based portrait or stylistic image exploring gesture, mood or emotion needs careful control of exposure, composition, lens focal length, lighting, posing and background.
With so many ways to photograph people, it's helpful to separate the people photography genre into the following sub-genres.
Formal Portrait
Environmental Portrait
Candid Portrait
People in Action
With so much great people photography created, understanding the differences between these sub-genres will help you make sense of the different kinds of people photos you’re likely to discover on the internet and how you can go about creating similar images for yourself.
Once you identify the specific type or sub-genre of people based photography you’re talking about you can identify the specific techniques and approaches required to make really beautiful people photos.
The above photo was made with soft window light on an overcast day. You can tell the light is soft because of the soft edge of the shadow on the right hand side of the subject’s face.
Hard light, by comparison, produces a very sharp edge that marks the demarcation between shadows and the brighter area immediately adjacent to it. Hard light sources can be appropriate in certain types of commercial portrait and fashion photography and, on occasions, in newspaper and photojournalism.
However, most wedding and portrait photographers work hard to produce a flattering likeness of their subjects, and soft light sources are a key component to achieving that result.
A close examination of the image reveals that most areas of brightness are either mid tones or deep, dark shadows. That’s why the whites in the subject’s eyes stand out and draw you towards them in a way that invites a very personal, somewhat intimate connection with the subject.
“The brighter the light, the darker the shadows will photograph.”
I remember that the illumination levels on the day were quite low, which contributed to the sombre mood I’ve been able to produce in this portrait.
By choosing a black and white rendering the image moves out of the present and evokes a somewhat timeless feeling. That’s another contributing factor that allowed me to achieve such a sombre, melancholy result.
I define the image as a formal portrait, more by the highly controlled interaction I had with the subject and the way I was able to direct her to position her head, on an imaginary diagonal line, against the more formally structured vertical brick column she’s leaning her head upon.
The use of the diagonal line in this image is interesting as it’s a more organic element of composition compared to the strong vertical and horizontal lines evident throughout the rest of the image.
I think that’s a really lovely juxtaposition and a good example that formal portraits don’t have to be stuffy or cheesy. They can also be eloquent and graceful.
What is Portrait Photography?
Before we continue it might be worthwhile spending a moment defining the meaning of portrait photography.
Portrait photography explores the representation of an individual, couple or group of people in a variety of ways that include the following:
A pleasing likeness, such as a child on their birthday
A character driven portrait, such as the face of an elderly person
A stylistic image that explores gesture, mood or emotion, like an action photo of expert tango dancers
Now that we have a basic definition of portrait photography, let’s explore some important factors that are involved in making great people photos.
How To Photograph People
A portrait photo may aim to produce a relatively life-like documentation of the person or persons photographed.
Alternatively, a more artistic representation will often come about through a willingness to experiment and to take a more physical approach to image making.
A key consideration is the position of the camera, relative to the subject, and the angle from which you make your photo.
The change in perspective that occurs by photographing from a lower or higher angle of view can dramatically alter perspective, the perceived power of the subject and the relationship between the subject and their surroundings.
To make a really great image the photographer also needs to understand and pay attention to a range of variables including the following:
Exposure
Composition
Lens focal length
Lighting
Posing
Background
A luminous formal portrait of a young man seemingly day dreaming.
How To Make A Formal Portrait Photo
The ubiquitous formal portrait has survived changes in fashion, style, photographic format and various methods of presentation and display over many years.
I believe the formal portrait has great merit. Whether created in a studio, home, business or outdoors there are many forms of formal portrait photography including the following:
Head and shoulder portrait
Half or full length portrait
Portraits that feature an individual, couple or group
Family and other kinds of group portraits
Formal portraits can be fully directed or created in a more collaborative manner between the photographer and the subject or subjects they depict. But it’s the client’s wishes and how the photographer approaches making the image that is, ultimately, what determines whether or not it’s a formal portrait.
Formal portrait photography often displays a definite interaction between subject and photographer in a way that’s very different to a candid portrait or an action based photo.
After all, candid and action based photos often suggest that the subject is unaware they’re being photographed. This isn’t always the case, but when the subject is depicted looking away from the camera, or is situated at a relatively long distance from the camera, they may appear to be oblivious to the fact that they’re being photographed.
If you’re interested in the history of photography and studying master formal portrait photographers then it’s hard to go past the work of Yousuf Karsh.
I’d say that all the images in this post, with the exception of the candid and action portraits are formal in nature.
The only caveat I’II add is that the environment is of more importance in the case of the environmental portrait, which is why it has it’s own classification or sub-genre. That’s because the environment can be an important element in the story telling aspect associated with that kind of image.
All the other people photography examples in this post utilize the surroundings more as a background with attention directed primarily upon the subject.
The formal portrait photography in this post was created at a low light portrait photography workshop I ran in Eltham on the outskirts of Melbourne, Australia. It was a cloudy day in late autumn/fall which provided soft, flattering light that was ideal for portraits.
I particularly love the luminous quality of the light on the subject’s face in the above photo. I was fortunate that the heavy cloud cover blocked the sunlight to such an extent that my subject was able to turn his face and gaze directly upwards, illuminating him with lovely, soft light.
The mostly darker tones in his clothing and the surrounding foliage further draw attention to his face and eyes and emphasize the luminous quality of his skin.
I wanted the image to explore the notion of daydreaming, an important process for creatives that so many folk seem to discard during the middle years of their lives.
As part of finding time for oneself I think it’s wise to set aside time to daydream, ideally outside in the natural world.
My advice is, whenever it’s possible to do so, to let your mind wander and just be!
I do it as often as I can. It’s a great way to relax and, every now and again, you’ll find your attention becoming focused, with crystal clarity, upon particular issues or problems.
I think it’s at such times that your subconscious mind sends messages through to you that deserve careful attention. I’d go as far to say that important realizations come to the surface at such times that can provide clarity and help define a way forward.
Let’s face it, a clear sense of direction is so important for meaning seeking folk, particularly those of us following creative pursuits like photography.
With that in mind, I’d recommend you take a look at my post titled Follow Your Bliss.
An interesting portrait background adds drama to this B&W portrait.
Portrait Backgrounds and how they Affect Your Photos
Backgrounds are often incidental to a traditional formal portrait. They serve as little more than a backdrop, whether the photo is made in a studio or outside in the natural world.
As an alternative it’s fun to work your subject in with one or more elements from the surroundings in which you’re working.
I’m a huge fan of the Lord of the Rings, both the books and the Sir Peter Jackson films. The statue in the above formal portrait reminds me of some of the, albeit larger, statues in those monumental films.
I started to imagine my subject as Aragorn who, incidentally, I always preferred in his guise as Strider.
I believe that flight of fancy helped bring the composition together and encourages the viewer to consider the similarities and differences between our primary subject and the statue.
It’s easy to see past and present in this image. But, in the context of Aragorn’s epic character arc, I’d like to think that what has passed and what might be achieved in the future is also suggested in this image.
Did the Ranger not become the King?
Actually, I’m really happy with the intense gaze I was able to elicit from my subject which, together with the black and white treatment I applied in post processing, adds a sense of drama to the portrait.
I think it’s a good example of how an important element in the background can take a formal portrait to an entirely different place.
The photographer who probably best exemplifies how to incorporate story telling elements into a portrait photo is master photographer Arnold Newman.
The backgrounds in his images often form an integral part of the composition of the photograph, helping to tell the story of the subject he’s depicting.
An environmental portrait of a young man at Half Moon Bay, Melbourne.
The Power Of An Environmental Portrait Photo
In candid, action and formal portraits it's usually the case that the subject is visually separated from their surroundings. That can be achieved in the following ways:
Framing, particularly when it’s very tight, thereby excluding the subject from much of the surrounding environment
Camera orientation, usually in the vertical or portrait orientation
Lens focal length, particularly within the telephoto range
Shallow Depth Of Field
However, there’s another sub-genre of people-based photography that’s worth exploring. It’s referred to as the environmental portrait.
In this case the subject is also working under direction or in collaboration with the photographer, but in such a way where the subject appears in an environment to which they seem to belong.
Examples of environments appropriate to an environmental portrait include the following:
place of residence
place of work
place of play (e.g., sport, hobby, etc)
place of worship
Environmental portrait photography is a great way to tell a story in a single image. Some of the greatest people based photos are environmental portraits and I’d encourage you to try out this most descriptive form of portrait photography.
When successful the environmental portrait is a great way to tell a story in a single photo.
What Is an Environmental Portrait?
While on one hand tagging a photo as an environmental portrait might be considered irrelevant by some, the term is part of photography's vocabulary and, as such, can help to describe the differences between one kind of portrait photo and the next.
It's also worth noting that, by being able to deconstruct a photo, you're that much closer to being able to construct a similar image yourself. And part of that deconstruction involves labelling or categorising the photo into the genre and, where appropriate, sub-genre into which it best fits.
Location Specific Portrait Photography
Needless to say, in the case of the environmental portrait, the environment in which the subject is depicted is of critical importance to the success of the image.
And by environment I don’t just mean the background. It might help to think of the word environment, in this case, as the surroundings in which the subject is depicted.
The above image of the young man looking outwards is an environmental portrait that was made at the beautiful Hay Moon Bay in suburban Melbourne.
It's a lovely location, particularly close to sunset when the sandstone cliff face is bathed in warm light.
The terrain is fragile so, if ever you visit, please avoid climbing on or walking too close to the cliff face. Let's all stay safe and help preserve this lovely location for generations to come.
Subject Placement in a Photo Composition
Under normal circumstances, when asking a subject to turn their head away from the camera, I'd ensure there was more space on the side of the frame into which they’re facing.
It’s an important consideration because, by having your subject looking into space, you’ll create an image with a greater sense of hope.
You can achieve this simply by taking a step to one side which will have the effect of moving your subject away from the centre of the frame.
If you were to place your subject much closer to the edge of the frame, to which they’re facing, you'd create an image with much more visual tension.
Think about a photo that points to the lack of hope a prisoner in a detention centre might feel. That’s the kind of hopelessness that simply technique can evoke in your image. Needless to say, subject placement is a key consideration in achieving an optional composition.
In this case I was happy with my subject placed quite central in the frame, at least on the left to right axis, as it adds a slight tension to what is otherwise a very beautiful portrait.
I can’t really discuss why I felt this subtle undercurrent of tension was appropriate to the story I wanted to explore in this image. But it’s true to say that portraits can also be considered landscapes, of a kind. They can explore the landscape of the mind, whether it be that of the photographer or of the subject.
Great Composition Makes Sense of Elements Within The Frame
Of course composition doesn't end with subject placement. Let’s spend a moment considering the range of contrasts within the scene.
There's the warm orange of the cliff face against the cool blue of the sky. We can refer to that as color contrast.
Likewise, the contrast between inanimate rock and the human form is certainly present in this image.
You might also notice other differences and similarities between the cliff and sky. One is textured and the other smooth, yet the shapes of the clouds are somewhat referenced in the textured rock.
These examples of differences and similarities appear frequently in my photography. The cohesion and harmony that’s achieved by these kinds of juxtapositions is an important component in achieving a successful composition.
The more the photographer, as artist, is able to both separate and link otherwise disparate elements the more compelling the image is likely to be.
Some of the seemingly disparate elements in the environmental portrait of the young man at Half Moon Bay include the following:
Landscape and human
Sky and rock
Air and earth
Above and below
These kinds of dualities underpin many of the photos I produce.
Candid portrait of a young woman at the Damnoen Saduak floating market.
Candid Portrait Photography: Art and Technique
My favorite exponent of candid photography is Henri Cartier-Bresson the photographer responsible for coining the phrase the Decisive Moment.
A candid portrait is very much of the moment and seems to be made in a way where the subject appears unaware that they are being photographed.
That's not necessarily the case as the people being depicted are often alerted to the photographer’s presence and, thereby, aware that they’re being photographed.
That’s exactly what occurred when I photographed this lovely young woman at the busy Damnoen Saduak Floating Market about 100 km from Bangkok in Thailand.
It was a lovely, quiet moment and she appeared so calm and serene amongst the hustle and bustle of the busy market environment.
Focusing my camera’s lens on the primary subject and using a shallow depth of field to help visually separate her from her surroundings were the primary techniques employed to create this photo.
A warm tone, black and white rendering helped to calm the image by neutralizing visual distractions like the myriad of modern, colorful clothing worn by vendors and tourists alike, throughout the picture.
While people are often alerted to the fact they’re being photographed, the notion of someone being captured unawares is a common preconception associated with the candid portrait.
Whether you're standing back and employing a long telephoto lens, or working much closer in a way that doesn't invade the subjects sense of person space, a great candid portrait explores a range of interesting concepts that include:
A moment in time
A powerful emotion or feeling
An interesting or intimate gesture
An expression that portrays the response to a thought or an unfolding event
Even when working in a collaborative way with your subject, the candid portrait relies on notions of the decisive moment and a moment in time.
This Bells Beach surfer is an example of photographing people in action.
How To Photograph People in Action
Finally let’s explore the notion of photographing people in action.
The very notion of sports or wildlife photography suggests that, to be able to successfully record (I don't like the word capture) action, you first need to be where the action is.
The idea is to make the best use of the situation and the camera equipment you have available to you. The goal is to photograph the subject in a way that best illustrates the action undertaken, as it unfolds before you, and the emotion and effort exerted.
It's all about movement and whether you freeze the moment, through a fast shutter speed, or explore creative movement by recording subject movement, during a relatively long exposure, you're looking to make a descriptive and visually arresting image of one or more people in action.
Conclusion: Knowledge and the Creative Process
Photography should be fun. For the artist understanding why you make photos is as important as how you go about creating the images you do.
Likewise, understanding historical context and gaining a better understanding of the vocabulary of photography, including technical terms and genre classification, is also important.
Such knowledge helps to clarify your intentions and build confidence in your creative endeavours.
It’s an example of how talking the talk can go hand in hand with walking the walk. And it’s a lesson that’s particularly useful for up and coming teachers of photography.
I hope that by deconstructing the various people photography examples explored in this post you’ll be in a better position to enjoy the process of making really beautiful people photos, more often into the future.
