![\"\"](\"https:\/\/neilvn.com\/tangents\/images\/models\/anelisa\/NV2_7305-edit.jpg\")
<\/p>\n<\/p>\n
When I photograph someone on location, I rely on a simple, yet effective method that will ensure that at the very least, I will get portraits that work. Let’s have a look at this method, step-by-step:<\/p>\n
\u00a0![\"\"](\"https:\/\/neilvn.com\/tangents\/images\/models\/anelisa\/NV2_7330-edit.jpg\")
<\/p>\n
1\/1000 @ f3.2 @ 200 ISO <\/p>\n The background can be uncluttered and plain and work as a simple backdrop .. or it can be a pattern or an interestingly detailed background .. but it has to somehow complement your subject.<\/p>\n Just as important, is to look at the edges of the frame. \u00a0Carefully look at what you are including … and also what you are excluding. \u00a0Try to avoid things that will distract attention from your subject. \u00a0If there is a busy background, see if you can compose your photograph such that the background accentuates your subject. \u00a0Or that your background is perhaps a patterned background with repetitive forms.<\/p>\n Throw the background out of focus .. at least to some extent.<\/p>\n <\/p>\n The final image here is the only photo where only available light was used. \u00a0But in all four photographs, I looked for a background such that I could position my model, Anelisa, in even light. \u00a0No hard cross-shadows from sunlight. \u00a0No odd dappled light pattern.<\/p>\n In the first three photographs, I looked for a spot where I could position Anelisa against a brighter background. \u00a0I would then find my exposure for the background … which implies that she was under-exposed. \u00a0Then I used manual flash in a softbox to expose correctly for her. \u00a0The ambient light on her is then under by around a stop or two stops in these examples.<\/p>\n In using the flash & softbox, I could then control the direction and quality of light on her. \u00a0And of course, balance her exposure with that of the background … as I wanted to. \u00a0 In other words, I had a fair amount of control over how bright the background and subject were in relation to each other. \u00a0For example, in the second (B&W) image, I could’ve chosen to have my background slightly brighter. \u00a0Or darker. \u00a0Similarly for the first image. \u00a0I wanted my background *that* bright … and then pulled the exposure for her up to that level. \u00a0(Via flash in a softbox.)<\/p>\n If I had decided to use available light only for all the photographs I took during the session, I would have to very carefully consider the quality of light falling on her .. and then how I position her. \u00a0But in using flash (with a softbox), I have a lot more leeway in what I can do.<\/p>\n <\/p>\n The photos shown here all have a central composition. \u00a0It was a very specific decision in these cases. \u00a0I really don’t want to fall into the straight-jacket of mechanically composing my photographs with the Rule of Thirds<\/a> (or the Golden Mean) in mind. \u00a0Don’t even use that ugly ‘R’ word around me.<\/p>\n I want to instinctively react to what I see, and adjust my composition accordingly. \u00a0This does mean that I make mistakes that I can clearly recognize afterward in the editing process. \u00a0I do tilt images for compositional effect<\/a>, but sometimes the tilt creeps in because I’m not careful enough while shooting. \u00a0It it something that I have to guard against, and try to self-correct during the shoot.<\/p>\n Not only were these images specifically shot with a central composition, the 2nd and 3rd images were posed such that she is quite straight-on to the camera. If it works, it works.<\/p>\n <\/p>\n This relates to how the previous three considerations – background, lighting and composition – are balanced in terms of your own position. \u00a0If you change position, you change the way your subject is related to the background. \u00a0You change the composition. \u00a0And quite often, if you change your position, you change the light you will see on your subject.<\/p>\n Think of the two extremes as an example: \u00a0If you are in line with the light falling on your subject, you will have flat \/ even light. \u00a0If you stand behind your subject, you have a silhouette.<\/p>\n In short, consider how your own position<\/em> changes the balance in your composition, lighting and background.<\/p>\n <\/p>\n 1\/250 @ f4.5 @ 200 ISO 1\/250 @ f4 @ 200 ISO <\/p>\n<\/div>\n 1\/250 @ f4 @ 200 ISO <\/p>\n 1\/250 @ f4.5 @ 200 ISO <\/p>\n – more articles about\u00a0off camera flash<\/a> <\/p>\n
\nNikon D3
\nNikon 70-200mm f2.8 AF-S VR II<\/a>\u00a0(Amazon) \u00a0@ 155mm
\nambient light only<\/p>\n1.\u00a0find a good background<\/h2>\n
2. consider your light<\/h2>\n
3. \u00a0composition<\/strong><\/h2>\n
4. position yourself<\/h2>\n
![\"\"](\"https:\/\/neilvn.com\/tangents\/images\/models\/anelisa\/NV2_7310.jpg\")
<\/p>\n
\nNikon D3
\nNikon 70-200mm f2.8 AF-S VR II<\/a>\u00a0(Amazon)\u00a0 @ 150mm
\noff-camera-flash in manual mode, with softbox<\/p>\n<\/div>\n\n![\"\"](\"https:\/\/neilvn.com\/tangents\/images\/models\/anelisa\/NV2_7433-move.jpg\")
<\/p>\n
\nNikon D3
\nNikon 70-200mm f2.8 AF-S VR II<\/a>\u00a0(Amazon) \u00a0@ 160mm
\noff-camera flash in manual mode, diffused by a softbox<\/p>\n![\"\"](\"https:\/\/neilvn.com\/tangents\/images\/models\/anelisa\/NV2_7215-edit.jpg\")
<\/p>\n
\nNikon D3
\nNikon 70-200mm f2.8 AF-S VR II<\/a>\u00a0(Amazon) \u00a0@ 82mm
\noff-camera flash in manual mode, diffused by a softbox<\/p>\n<\/p>\n
\nNikon D3
\nNikon 70-200mm f2.8 AF-S VR II<\/a>\u00a0(Amazon) \u00a0@ 150mm
\noff-camera\u00a0flash in manual mode, diffused by a softbox<\/p>\nrelated articles<\/h2>\n
\n–\u00a0tips on posing people \/ working with a model<\/a>
\n–\u00a0making your images pop \u2013 through choice of lens<\/a><\/p>\n
\n