The best way to get into portrait photography is to practice and experiment with various poses, subjects, lighting and photo backgrounds. By experimenting, you will be able to find your own style and gain the experience you need to become a professional portrait photographer.

One of the best ways to capture a subject’s personality is to try to capture them off guard. This does not mean to surprise the subject, just simply capture them in a candid manner. Have the subject do something during the portrait session that comes natural to them. For example, have the student read a book or the basketball player dribble the ball. Because candid portraits capture the mood, they are popular at weddings and other special event.

Another method of shooting portrait photographs include the art of cover up. By simply covering, or partially covering, up the subject you will get a more interesting image. Covering up the subject can also bring focus to certain parts of their face, body or outfit. Covering up the subject is a great way to display jewelry, show off make up techniques and model hairstyles. Have your subject use a brightly covered scarf to cover their hands, part of their face or their arms during the portrait shoot. Other items you can use include blankets, jackets, towels and the subject’s long hair.

There are a variety of different techniques to use when shooting portrait photograph. The best way to find what technique you are comfortable with is to practice and keep on practicing.

Keeping a backdrop for photography clean is not the only concern. It is also common for backdrops to become wrinkled, and may come with plenty of unwanted creases right out of the box. For the most part, hanging a photographic backdrop on a backdrop support system will take care of the wrinkles. If that is not enough to take care of the wrinkles a hand steamer or even a few drops of water can help clear out the rest of the bends and creases.

Although a few drops of water can help with wrinkles, too much moisture can be very bad for photographic backdrops. Mold and mildew can put a serious damper on your studio photography session, so keeping your backdrop in a dry place. It is also better to store a backdrop scrunched up, rather than trying to keep it neatly folded. A scrunched backdrop may have small wrinkles, but these are easier to remove than hard creases that you’ll get if you keep it folded. Small wrinkles can look natural; however creases just look like fabric.

Ideally, it is best to store backdrops hanging up. However, not everyone has the type of storage area the will accommodate this. Many photographers rent backdrops, and in these cases it is important to be extra careful in order to avoid fines. If you do rent, double check rules. Some companies do not like backdrops to be used outdoors and you must avoid tacking, taping, gluing or doing anything that may damage the backdrop. Having a good backdrop support system may help. If a rented backdrop does get damaged, don’t try and fix it. That’s best left to the rental company.

Muslin backgrounds have gotten a lot of attention, largely because they are cheap, lightweight, and durable. They also don’t allow light to pass through, which limits the lighting options for many photos. Muslin backgrounds are popular especially in smaller studios, and they come in many sizes, which leads many photographers to choose them as a place to start.

Paper backgrounds are the least expensive photographic backdrops and normally come in rolls. The downside is durability. Seamless paper backdrops will most likely rip or wrinkle within a couple of shoots. However the color and design options are vast and those who like to experiment with different photographic backdrop colors may have a lot of fun using an affordable backdrop that they don’t have to worry about.

If you’re looking for the “classic” backdrop, canvas may be the photographic backdrop you choose. It’s a thicker fabric that is easy to paint on and many use it when they want a “photo real” look. Many studios choose canvas when they are doing holiday shoots. Canvas is extremely durable and dependable, but it can get expensive. It is also difficult to find in larger sections, which is why many opt to use muslin backgrounds instead.

If you’re the “anything goes” type of photographer, green screen backgrounds might be the key. Green screen backgrounds, more formally known as chroma key, are the least expensive and have a great deal of versatility. It can also be very high maintenance, especially when you’re getting used to it. Chroma key backdrops normally are found in a single solid color, usually green or blue, and are used as a guide when replacing the background with a digital image and are used in combination with photo editing software.

When chromakeying is mastered replacing the background can go smoothly, and your backdrop can be anything you want.

Wedding photography also presents a special challenge, mostly because the subjects tend to be hyper-critical on their special day. Getting the photography lighting perfect is certainly a component of this. Without the proper lighting these very important photos can wind up looking overexposed or underexposed, but will definitely will produce some dissatisfaction. Brides and grooms also tend to be among the most vocal when they are disappointed, which could cause a blow to your reputation. But by following expert advice, getting practice shooting rehearsals, or even partnering with more seasoned photographers you can master the lighting challenges in this environment as well.

At the end of the day, one of the best ways to practice different ways to manipulate lighting both indoors and out is by applying everything you learn about lighting to general photography. With a little experimentation and imagination you can practice different lighting situations and contrasts on a wide variety of photographic situations. Practice taking stock photos or even the bowl of soup you had for lunch. See how different lighting ratios effects your final images. General photography, especially digital photography allows for a a considerable margin for error, which means you get all the tries you need to get it right.

For situations where you want more control over your lighting, studio photography is the way to go. Because you can position your lights anyway you want against your photographic backdrops many photographers consider the studio to be the ideal environment for a photo shoot. Besides the lights themselves, photographers often use light manipulators such as soft boxes and umbrellas in order to find the level of lighting that works just right.

Another distinct situation where specific lighting techniques should be adhered to is portrait photography. Common techniques used include dramatic lighting, Rembrandt lighting, and paramount lighting. Which one you choose will depend on your subject as well as the circumstances of your shoot. In each of these techniques different ratios of light and shadow and well as intensity are used to draw the desired amount of attention to facial features and the skin tones of the subject. And with the right knowledge you can achieve the effect you want, even on a budget.

When deciding on how to set up lighting the first thing to consider is the goal of the photo, because knowing what you want is the first step in setting up things up to get what you need. To begin with, you want your lighting to provide a stable light source. Once you have a handle on that, you can move forward either softening or brightening your light to get the look you want. But light isn’t just “there.” Like it or not, the light around you is going to play an active role in your shoot perhaps even more so than your studio backdrops. This can be on its own terms or yours. Some ways to manipulate it is to have it bounce off a wall, a photographic backdrop, or the ceiling. You can also use some sort of diffuser to make the light more subtle.

Equipment such as a light stand, umbrella, light meter, and a remote flash trigger are all tools as important as a backdrop support system that can help you work effectively with your most important partner in photography, the light around you. Just like a restless child, light needs to be treated with love and patience, yet still needs direction and discipline in order to truly shine.

Come to Their Level: Don’t just shoot a baby how you would an other person. Get on their same level, so you’re square with their eye level. This helps get the picture more from the baby’s perspective.

Shoot Their Best Side: As a photographer, you should be able to determine how best to shoot the baby. Pose them accordingly.

Close Ups: Don’t be shy, get right up there in a baby’s face – literally. Shooting them close up will help evoke more emotion and detail. Plus, you could get some really cut photos if the baby is interested in your camera lens.

Natural Lighting: There’s no need to adjust the lighting to make it all fancy and effects-laden. Simply rely on natural lighting, as your child is the prime example of something that is natural.

Backgrounds, Backgrounds, Backgrounds: Choose your backgrounds wisely. Chances are, you won’t want to overdue it with something extravagant, just something that allows for a nice portrait picture. Also be aware of what the child is wearing, as you won’t want to choose a photo background that will clash with the baby’s color scheme.

Color or Black and White: Color is up to you. For more of an art-like photo, you might want to shoot with black and white film. However, be sure to not shoot in all black and white. Parents dress up their children for a reason for picture time and you absolutely want to capture the little one’s outfit, skin tone, eye color, etc.

Include Family: So many pictures of your child, but not enough pictures of you with your child. Does that seem accurate? Well take advantage of the photo session by asking Mom and Dad to jump in for a photo or two with their little one, especially if the baby is behaving exceptionally well and you can capitalize off of it. Mom and Dad will likely love the photo and be happy with it in the long run. Plus, most parents don’t even consider this.

Cost of moonlights ranges from $300 to over $600, depending upon the type, style, size and manufacturer. Just like other lighting sources, moonlights are available for purchase as a complete kit. Most moonlight kits include moonlights that are at least 150 watt-seconds each, light stands, small clamps, a roll of gaffers tape, a barn door, a reflector and a snoot. Extension chords may sometimes be included with the kit, but are available at any local hardware store.

Now that you have all of the lights you need, it is time to work on synchronizing all of the lights. This will ensure all of the lights go off at the same time when shooting a photograph. There are different methods used when synchronizing lights, including hard wiring, light-sensitive triggers connected with speed lights, infrared triggers and radio slaves. Radio slaves are the most popular and reliable device for synchronizing your lighting equipment.

If your budget is causing a problem with purchasing all of the lighting equipment you need for your studio, you may want to look into alternatives. Purchase the items one-by-one or consider purchasing a used kit. There are photographers who started out with used or inexpensive equipment who may be willing to sell their old equipment.

If your budget only allows you to purchase one or two lights, spend time working with the lights before shooting photographs. Move lights around and find out which placement works best for your photographic needs. You can also bounce lights off of walls, reflector boards, ceilings, umbrellas and other flat reflective surfaces. This will make it appear as if you have more lights and ensure the subject if properly lit.

One main light is all you need to get started as a new photographer. You can always add to your light collection as time goes on and you have the budget to do so. When using a single main light, purchase an umbrella or soft box, which will spread the light over a wider area, creating softer shadows and a flattering look.

Other lights you can purchase later on include fill, hair and background lights. The fill light can be used with an umbrella and should be placed at a 45-degree angle to the subject. Background and hair lights are smaller lights and may require the use of a snoot or cone to pinpoint the placement of the light. Colored filters can be added to background and fill lights to create different colored backgrounds and outlines. Colored filters on the lights can also be used to counteract colors created by natural or artificial light sources. For example, when shooting with daylight coming in through a window you may want to cover the window with an orange gel or place a blue gel on the light. This will create more natural colors in your final product.

Sometimes when shooting stills, a small speed light in addition to the main light is all you need. Additional speed lights can be added in the future. A four-light system is ideal and can include three speed lights in addition to your main light. Just like the larger light kits, smaller speed light sets are also available. Many speed light sets include small speed lights, lightweight stands, small accessory shoe adapters, small silver reflector umbrella, a small shoot-through umbrella, small clamps, assorted filters, photo eye triggers and a roll of gaffers tape.

Keep in mind, that when using a hot light the area where you are shooting in may become warm. It is best to shoot with hot lights in a large, air-conditioned studio. However, not all photographers can afford the luxury of a large studio setting. Many times, a photographer’s studio is an extra room in his home, in the garage or anywhere else there is enough space to set up his equipment.

Other safety precautions to watch for include keeping flammable fabrics, equipment, photo backdrops, props and other items away from the hot lights. This includes the use of diffusion materials, which should be placed a sufficient distance from the bulb. Put on a pair of gloves if you need to maneuver barn doors during a photo session to prevent your hands from getting burned The use of sand bags to secure light stands is recommended to ensure the lights do not tip over. Though all of these precautions will help prevent a fire in your studio, it is still a good idea to keep a fire extinguisher on hand.

New technology, including fluorescent and LED, make it now possible to work with the same lighting quality as a hot light, but without the increased temperatures. Advancements in DSLR technology makes it possible to shoot high quality photographs with a lower amount of watts.

There are an number of choices a photographer can select from when shopping around for a new lighting kit. Some choices include a small camera-mounted LED, multiple fluorescents and tungsten. Many light kits come with light stands, umbrellas, a reflector, bulbs and a case. Prices ranges from $100-$1000 depending upon the type of lighting kit and manufacturer. Each one has its own benefits and even some of the more inexpensive kits are just as good as some of the expensive ones.

Photo by Davis Photographic