Retro PhotoStudio – the Blog

When looking at a portrait, we are immediately drawn to the eyes. They are without doubt the most important part of the image in conveying emotion.

As a photographer it is important to ensure eyes are tack sharp.  If your camera will allow you to lock focus one handy trick is to centre the eyes, press the focus button (generally a partial depression of the shutter release button), then, with the focus locked on the eyes, recompose the image to bring the eyes to the position you need.

Marianne Cheesecake - burlesque artiste

Head posture

Looking square-on into the camera will produce an intense contact with the viewer (as in the above portrait of burlesque artiste Marianne Cheesecake.

If the model looks at the lens, then turns her head slightly, the viewer gets to see one side of her face, and often this will produce a more pleasing composition.  However as she turns, firstly the catchlight ‘sparkle’ will be lost from the eye on the further side of the nose, then ultimately the far eye will be lost altogether.   I personally find such ‘one-eyed’ portraits aesthetically disconcerting.   Below Lisa Chenneour is looking slightly away from the camera – she could have kept the same head posture and directed her eyes back to the camera – either way the catch-lights in her eyes are both visible.

Strong photographic composition

A great way to compose and know you have a strong image is to have the eyes approximately one third of the way into the frame .  (this is a composition “rule”, which imagines your image area split into three, both horizontally and vertically – align the most significant part of the image on one of those lines or, better, where a horizontal and vertical cross, to achieve an image that will have a headstart at being aesthetically pleasing.
Get a sparkle in the eyes. Shooting outside it is a good idea to shoot with the sun behind the model, and use your camera flash to fill in what would otherwise be a shadowed face – it also creates that sparkle in the eye.   Without the catchlights eyes may look tired or “lifeless”.

Naturally every ‘rule’ is made to be broken. Letting a deep shadow, or the brow of a hat, obscure the eyes can create an image with an air of mystery. Check out the image below of retro model Jean Rae, taken for the vintage hat designers Rose Patricia Millinery.

Jean Rae - note the mysterious feel due to the shadowed eyes

So often I’ve heard the remark “Your pictures look good – but of course you’ve got an expensive camera”.   The reality is that a better camera will allow better clarity,  so photos can be printed out in larger sizes, but that is certainly not the essence of a good image. Getting a good photo is far more about technique than about having the biggest baddest best camera!  There are a host of really simple techniques you can apply to give your photographs the “wow” factor.

What is the subject for your photo?

There should always be a reason why you want to preserve what you are seeing in front of you when you switch on your camera. Be aware of the subject and compose your shot accordingly.

Make your subject “fill the frame”.

If it is a person – move in close, or use the zoom to fill the frame. Often, if on holiday it will be your loved one in foreign surroundings.

Elementary error: getting your loved one to stand back so you can capture the scene along with them.

Result: a scenic view with a tiny tiny family member in the background.

Instead  set your zoom to a wide setting, then get your subject to move close enough to the camera to be dominant in the frame (the wide setting should ensure the foreground family member and the scene behind are both in focus).

When taking a picture of a person, don’t leave their head in the middle of the frame – lower the camera lens a tad to bring their eyes to the top third of the frame – far more impact!

Why stick at eye level when you shoot?

You will produce a more interesting view by standing high or getting low and shooting upwards.

Taking pictures of your toddlers?

Wait until they are absorbed in play, then get right down to their eye level to shoot.

Want your models to have mile-long legs?

Shoot from their knee height!

Model blinks at every flash?

Give them a count-in to prepare them

If your model is looking out of the frame, to the side of the camera, your composition will look better balanced with a little more space on the side of the frame where they are looking…so-called ‘looking room’

A slightly off horizontal horizon looks wrong – add drama by tipping the camera much further – technically known as a Dutch Tilt.

Shooting outside?

• Get the maximum from your camera lens by using a lens hood – it prevents unwanted light hitting the lens at an angle and creating flare.
• When shooting in sunlight, get the sun behind your model and use your flash ( on pocket cameras there is often a setting for ‘force flash on’). Not only is it a very pleasing effect, but it overcomes the ‘screwed up face phenomenon’ where your model is squinting into the light!
• When shooting people in overcast conditions it is also worth experimenting with using flash, especially if you can reduce its intensity a little – it will add punch to your images.

So, for instantly better photographs, instead of upgrading your kit…upgrade your technique!