What to wear for your family photographs
In my last blog I spoke about why you should have family portraits – beautiful timeless photographs around the home. But what should you do before the session to ensure they are as good as can be? Firstly, think where you are going to put your portraits. Having those amazing, printed images on your wall is what I want for you, so that you will walk past them every day and see them, the family all together and connected. If you are looking at these images every day for years to come, you want them to stand the test of time. While something might seem really great now in an image, if it is sat there in ten years’ time will you still love it? Those logos, stripes etc will date, so it is something to think about.
Ask the Photographer - What to wear for family photographs
What clothes to wear for your family photography
Outfits is a biggie. I love seeing matching or complimentary tones in images, but it is up to you. Again, for the reasons I put above, you are making an investment in time and money to have these images taken and the art on your walls, make sure you can live with them. Another thing to think about is will they match the décor in the room you wish them to hang? Talk to me about this and I will make sure we can come up to clothing colours and I’ll suggest studio background colours that will compliment to create a great image. If in doubt then neutrals like creams and beige are always great, I love denim with plain white and black. Greys work well on both light and dark but if you want bright colours, they can also work well as long as it compliments.
What about my arms?!
Sleeve length is another thing that people worry about. Quite often I find people don’t like their upper arms, if this is the case then go long sleeved, it works well if all are in the same but don’t worry too much if you have different sleeve lengths, it’s my job to make it all work in a portrait.
Feet and faces!
Footwear is a personal choice but it’s one I can help you to decide on. In my experience, shoes on or shoes and socks off work but it has to be the same for everyone in your group. Bare feet for everyone are timeless and won’t draw attention in an image. White trainers in an image of all black or dark colours will stick out like a sore thumb! If you have a more formal portrait in mind then you should encourage everyone to wear dark, smart shoes.
That’s enough of me talking about what to wear, but have a think about things like haircuts and nails etc. Mismatched nail varnish isn’t going to look great, the same as a brand-new hair style that you haven’t settled with yet. I want you to be comfortable in your images so don’t worry about all the little details, that is my job.
Which family members to include in your family portraits?
Last thing I really want to talk about it a little more personal, I often have parents, grandparents etc coming in with children for a shoot but not wanting to be in the images themselves. I hear all the excuses, wrong clothes, too much or too little make up, not lost weight or too thin… all the excuses as to why. Forget all that, It is about existing in portraits for years to come, to build that legacy behind you so that when the time comes when we don’t look like we do or in fact, we are no longer here for our children then we are still there for them in these lasting images.
If in doubt, get in touch and I will talk through things with you because, at the end of the day I want you to have the best portraits for your family at the studio in Preston, Lancashire.
How Important Are Family Photographs?
When Should You Have Family Photographs Taken?
We often have milestones in our lives, something that is important to us and we celebrate or make memories for that. In the UK we tend to have a more conservative approach to having family photographs taken than in other parts of the world. Take the USA as an example; baby portraits, child portraits, family portraits yearly, seniors’ portraits (teens), marriage, pregnancy and the cycle continues. These are all very standard for American families. In the UK, weddings, babies and perhaps one family portrait is what UK families tend to celebrate and record with photographs and in particular, professional photographer portraits.
Now as a photographer, obviously I want more and more people to have professional portraits taken. I want to encourage that and I want people to know why I say that. Of course, it’s my job, But beyond that I care about your memories because of my own experience.
I wish I had more family photographs…
I come from a large family, had the most incredible parents who loved us so dearly. My Father was my best friend growing up, he did everything he could to support me. I was 17 when I lost that best friend suddenly, leaving a huge void in my life. The only things I have left of him are those precious years of memories and photographs. I have ONE photo of my Mum and Dad together, it was taken at a family members 18th Birthday and it’s a small, blurry print. It is so important to me that I have it scanned, backed up to dropbox, on my phone and on three hard drives. The original sits in a padded envelope and is well looked after. I cannot replace that and it means the world.
I understand that you might be reluctant to get into the photo, but it’s so important.
I always do my upmost to get parents involved if they come into any portrait session. If I am photographing their child, I get a portrait or two with them. I hear all the protests, my hair isn’t right, make up isn’t perfect, I need to lose/ gain weight, my clothes aren’t right. I don’t photograph well, I have heard them all… What I say and what I say to you reading this is this, whilst portraits are important for now, what is really important is that those portraits are here in the future to support those memories we all have, to remind us of those stages in life. Let me tell you this, no child or parent of someone who is no longer with us, looks back on a photograph and says, wow, so and so didn’t have their hair done, make up right, hadn’t lost weight, when looking at that image of a loved one. They cherish the fact that they have that printed image to look back on, to remember them. THIS is what makes family portraits so important.
Family photographs are something you will treasure for years.
Yes it is an investment, time and money but, they will be there long after that latest iphone is obsolete, that fancy car is in the scrap yard, so please, make those memories for people who mean so much to you and get those portraits booked in. They don’t need to be formal, they can be casual and fun, my own style is posed but relaxed and most of all, timeless and cherished.
Don’t wait… book now
When you choose Art of the Portrait as your family photographer, you are deciding to book a multi-award winning photographer, who trains other photographers. Art of the Portrait is chosen by MANY professional photographers as their own family photographer – a testament to the quality of the images you will receive and the memorable experience that comes with it!
Take a look at some more examples of my family portraiture in the gallery, and do get in touch if you’d like to book. I have very limited weekend availability so if you have a special date in mind then book early.
How to light this portrait - The Dancer
How to Light Dance Photography - how to pose and light this image
The aim of this portrait was some simple dance shots to show off the new backdrops down at Click Props. This is the awesome Silver tones, I actually designed this one. i’ve added in a vinyl floor just to give it a floor.
Katie is a modern dancer, and this is a guide on how to light dance photography. Katie is used to the stage but unfortunately she doesn’t have any work at the moment. However she is also a great model and has been fabulous on our content days at the Click studios in Watford,
How did I create this?
It’s actually much more simple than you would think. I used a 150cm octobox boomed overhead slightly camera right and feathered across onto Katie. I also added a strip box accent light camera right behind in a usual feather position to separate the back leg.
Lots of timing to get the jump mid air, I think these two took jumps took 6 frames altogether. Fast flash freezes the movement even at 1/125th. F8, Iso 100.
The triptych was a different way of presenting a series of shot.
You can find more lighting diagrams elsewhere in my blog.
What does it take to become an award winning photographer?
I’ve heard that I am, once again, an award winning photographer. A couple of weeks ago I was awarded my second international Photographer of the Year title, this time in the Commissioned Portrait category, with the Societies of Photographers. In 2017 I was also awarded international Child Photographer of the Year with them. Both of these came after a lot of hard work. I started entering competitions in 2010 or 11, very early on in my career. The reason for this is that I like a benchmark, I like to see where I stand and if I am good enough. Now in my eyes I’ll never be good enough, but this is the passion that drives me, I want to always be better, to spot more details and make better imagery. At the start I had some early success, in fact I still think with regards to number of Gold awards etc those first two years were probably my greatest. But I entered so many images – I was mega keen and not too critical – and I think by sheer weight of numbers I did well.What does it take to become an award winning photographer?
Being creative is as important as being technically correct.
A couple of years later I found I wasn’t being as successful. At the time I blamed the judges, everyone else and moaned a lot – how could I go from hero to zero? I got the odd Gold award, a few silvers and nearly stopped entering. Every time the results came out, I would have a hissy fit and tantrum and well, blame everyone BUT me. The facts were, I was actually getting better, but I was becoming too critical and stopped being creative. The technical aspects were getting better but in return I was losing that spark that made my images different. I was so hung up on getting it right and I was missing the impact I had been showing before. A good bit of time with a great friend, Paul Haley, got me back on track and before long I was doing ok again. Since then, I have had 8 or 9 POTY nominations and the two wins, won the Open Category at the Newborn and Portrait Show and had runner up, over 75 Gold Awards, passed my Fellowship and Master Craftsman qualifications and been lucky enough to judge nationally and internationally. Now I’ve bored you to tears with my back story I’ll get to the point…
My tips for winning awards
Firstly, learn, learn and practice. For the first five years I picked my camera up and shot something EVERY day, experimented, tried, learned from it and tried again, I became able to change settings without thinking about it, knew where light was going to fall from a flash without having to test it and most of all practiced people skills to get the most out of my models. I also discovered that it’s ok to get things wrong! My brain hates this, but to get better you have to fail. I sat there at the Societies Awards night in 2018 (when 2017 results were given out) with my good buddy Cass Davies of Cass Davies Photography when I was expecting to get another runner up and saying to her, I would be getting my bridesmaid dress out again (never the bride) when my name was called. I thought I had been set for another runner up, but the fact was, those failures (whilst not really being failures) had pushed me to nail everything to the best of my ability and also, to accept that if it is not meant to be, it just won’t happen. So, when I dusted myself off, I looked why others had won and learned from every single winner and runner up. I worked harder and nailed more correct details.
Practice, practice, practice.
The other thing I still do (when not in Lockdown), is I make time to shoot for myself, 1-2 sessions a month, to try things, to hone areas and just to keep trying to get better. So many photographers I speak to don’t do this and then wonder why their creativity is waning or they are shooting the same stuff all the time. Look outside the box, art galleries, street art, fashion magazines and build your own ideas.
As a judge I get sick of hearing, well, It ‘has to be’ fine art style on a textured backdrop to win. Trust me, it doesn’t. It is just that people see one photographer or style doing well and then all copy it and submit. Some do it well and end up scoring high, a lot don’t. As judges we love to see something different so don’t think you have to adhere to a style to win, any style will win if it is done well!
Which style will win?
The other thing I still do (when not in Lockdown), is I make time to shoot for myself, 1-2 sessions a month, to try things, to hone areas and just to keep trying to get better. So many photographers I speak to don’t do this and then wonder why their creativity is waning or they are shooting the same stuff all the time. Look outside the box, art galleries, street art, fashion magazines and build your own ideas.
As a judge I get sick of hearing, well, It ‘has to be’ fine art style on a textured backdrop to win. Trust me, it doesn’t. It is just that people see one photographer or style doing well and then all copy it and submit. Some do it well and end up scoring high, a lot don’t. As judges we love to see something different so don’t think you have to adhere to a style to win, any style will win if it is done well!
Learn all the time
I average between 30-50k of images a year, first few years probably closer to 70k, so I reckon over three quarters of a million images. It is practice and attention to details that will make you a winner so please, get educated, go practice and be inspired. Don’t get bogged down in trends and most of all, have a lot of fun.
If you would like to learn from me, I run group workshops and do 1:1 mentoring for photographers. I can help you to improve!
How to light this portrait - Maternity
This is the gorgeous Tianna Jarrett-Williams, a fellow photographer, who I kidnapped to demonstrate how to light maternity when there was a training session going on at my studio in Preston, Lancashire. This was created and shot literally in a five minutes. So the how is very simple, feathered 135 octobox as key light, 70 deep box as an accent. The ratio would be smaller one at 1 stop less, in hindsight a 1/3 rd less than that would have been even better. The feathering on the key is to just graze that soft light across the front of the bump and also pick out those gorgeous cheekbones, the accent is to prevent total loss of hair against the dark grey background. Camera height is halfway to prevent any distortion and shot on the 85mm at f5.6, iso 50.
How to Light Maternity Photography - how to pose and light this image
How did I create this?
Why I shot it like this
I am going to talk about not just the shot but to the whole final image presentation.
The pose is very simple, the dress was a touch as it was not for maternity, so wouldn’t fasten at the back. This meant I was a little limited as to what I could do. Keeping it very simple with a top and bottom bump hand set up , cheeky angle on the head just looking beyond bump to prevent neck compression then probably said something cheeky to get the expression (Tianna and I are friends so I can get away with it, judge your client before trying it!). The crop is just a simple half length as the dress fit better that way.
SO, into PS after a simple raw conversion and then skin tidy , some dodge and burn to really pop the cheek bones and localised sharpening to bring out the details. Now this dress I have shot probably 20 times and try and make it different so popped it into alien skin to give a colour grading which you see here ( no idea which preset, probably a mix of 2 or 3 ). A vignette was added as I prefer to shoot with a large light source for the quality of light on subject which causes background spill which I can then pull down with a curves vignette. That was the retouch finished but I liked the tones and cohesive nature of this so felt the stroke line and border added to the final presentation, the colours of both are sampled from the image to make the tonal range flow through it all.
That’s it really. A simple but effective shot .
You can purchase exclusive access to maternity lighting and posing instruction videos, along with regularly updated content and ongoing support in a members only group.
How to use a light meter - video tutorial
In a previous blog post, I explained WHY I use a light meter, and why you should, too. Now I’ll show you exactly how to use a light meter in this video tutorial. If you want to really improve your portrait photography and learn in person, take a look at my upcoming Studio Portraiture WorkshopHow to use a Light Meter
Review of Photography Mentoring
I choose 1-2-1 photography mentoring with Gary Hill so that I could take advantage of all his time, knowledge and experience. Having followed Gary for a few years, I loved his style of light; how each individual picture captures features of the subject making his work extremely noticeable. I chose Gary because I wanted to push myself and tweak bad habits I have as a photographer. I wanted to learn more about different sources of light and how it can change a whole image using different lighting techniques. Having joined The Guild of Photographers I wanted to push myself to awards higher than the bronze awards I was already receiving. I knew Gary was the mentor to do this.
I had photography mentoring with Gary... this is my honest review.
We covered lots
I spoke with Gary leading up to my 1-2-1 about the areas I wanted to cover; gels, posing, how to shoot on a white backdrop, headshots with the triflection, full length shots using natural light, one source or light then introducing a second light to change the image completely.
The day was jam packed of tricks, helpful tips and lots of fun and laughter. Gary arranged two models who were very relaxed. There was no pressure to understand quickly, if you didn’t get it Gary would explained it until you did.
I learned so much
The lightbulb moment for me is my confidence this is the issue with me, Gary taught me simple methods on how to spend more time capturing and trying out new things and getting it right in camera then spending very little time to edit. He built my confidence then and now, Gary’s after care is great he never stops pushing or helping you grow.
The workshop has helped build my confidence and style as a photographer I’ve gone on since to win high bronzes and a silver award with the guild.
I’ll book again!
Having completed this 1-2-1 with Gary it won’t stop me from doing so again, there’s so much to learn and grasp with photography. I loved watching him work the camera and the lights. Overall I had a wonderful experience and hope to return again this year!
When I return again I would love to cover more with family posing
The overall experience is just what I wanted to get out if it. Gary is a fantastic mentor.
Lindsay Betts Photography
Why I Shoot Timeless Portraits
A portrait for me, has to have something more than just be a representation of the person you are photographing. It has to have connection and a feeling. When I was learning my craft, I studied so many images and I was always drawn to classical posing, simple styling and good lighting. I teach different genres of photography, but timeless studio portraits is by far my most popular course. If you’d like to find out more, you can take a look at the training page of my website, or get in touch to discuss it with me.Why I Shoot Timeless Portraits
When I look back at my portraits over the years, there is a theme of timeless and traditional running through most of the. Over time, I found my own style developing along those lines and I wondered why.
I originally loved shooting fashion images, images that were current and some would say trendy. But as I developed and evolved, I found that both myself and the people I photograph appreciated the fact that I had developed a timeless style.
How and Why I Shoot Timeless
To achieve timeless portraiture, I try and avoid my subjects wearing overly fashionable items, opting for classic clothes and accessories that won’t date instead. The reason for this is that a portrait that is going to be displayed on a family’s wall is a big investment. Not only the cost of the product but also, the time and effort into getting the sitting booked, the planning of the clothing and turning up for the actual session. Add in the cost of a wall art portrait and it’s a commitment. So for me, I want them to have photographs from their photoshoot that are not really going to date.
Photographs that will stand the test of time and be there when that child is no longer living at home. If they never ring their parents while at university, but the parents walk down the stairs and see that wall art in the hallway. It reminds them of the time when they were together, adding to the positive experience of the photoshoot. That way, the investment becomes much longer lasting, and the value or it immeasurable. That to me is why I love the timeless portrait.
To learn in person about timeless portraits and family photography, check out my upcoming workshop.
Five Important Rules for Studio Lighting
Learning to use studio lighting can be a minefield at first, it takes practice to get it right but it helps if you stick to the basics. Would you believe I still use only one light approximately 90% of the time, for the first two years of my photography career, It was all I used for clients, one light and a big octobox. I practiced, I refined and eventually mastered that one light to get it to do what I want, but now ten years on, these are my tips for anyone starting out with studio lighting or who is looking for studio lighting training. If you are interested in learning in-person, check out my upcoming studio lighting workshop. Five Important Rules for Studio Photography Lighting
1. Light comes down
I regularly provide studio lighting training for photographers at all different stages. The first rule is that all photography light patterns rely on the shadow from the nose coming down, so get that light higher than the head, golden rule for me, softbox up to 1m in diameter, bottom level with top of the head if possible. Over 1m, bottom level with top of the shoulders. We get used to seeing those nose shadows going down with the sun in the sky and ceiling lights so, while we might not always understand why low lights look wrong in an image at first glance, we will see it as wrong. Light coming from below the face is often referred to as “horror lighting” – imagine telling a horror story with a torch pointed at your face from below the chin, and you will understand!
2. Light should be soft
Unless you are deliberately going for an edgy, high-fashion look, clients will always look best in soft light. So master a big soft modifier and if you haven’t got one, consider a scrim in front of your small modifier to make it bigger. Hard light can work well in the right situation but if in doubt, soft light it out.
3. Get your exposure right
When I’m running studio lighting training, it’s important to get a good exposure – get it right in camera. Yes, you can alter it in post production but, changing exposures always degrades the file so if you can get it right in camera, do. My own preference is to use a light meter, so you know everything looks good and is correctly exposed before you press your shutter. You can find out more about why and how to use a light meter in this blog
4. Learn to use a grey card
It’s such a tiny tool in a shoot but it really helps you with consistency. If you are doing multiple set ups and different backdrops, especially with babies, it will just help you get those skin tones the same. The two minutes it takes to get a grey card shot in every set up will save you hours of editing and adjusting when your client wants to purchase a multiple aperture frame.
5. Buy good modifiers
A light that is inexpensive can give you great results if you put a good modifier in front of it. Good diffusion will make that light lovely and soft and help with hot spots. So, if funds are tight, spend it on a good modifier. Be aware also of mixing brands, in particular at the cheaper end of the market. I’m lucky to be an Elinchrom and Flash Centre Ambassador so exclusively use those as they are great kit, but I have been to studios where they have had different brands in their modifiers and have caused issue with colour balance in images when using two or more lights. Buy right and buy once.
Why Choose 1:1 Photography Mentoring
I have been training photographers and offering 1:1 photography mentoring for many years – both professionals and beginners. I am passionate about raising the quality of portrait photography for everyone. If you’re looking for photography mentoring, you’ll find an array of different options available – online workshops, in person small group photography workshops, larger group workshops and 1:1 mentoring. Hopefully I can help you to choose what’s right for you. There is some information here, and on the training page of my website, but do get in touch with me if you’d like to discuss it in person.Why Choose 1:1 Mentoring to improve your Photography
1. Bespoke to you.
Whether you are a complete beginner or a seasoned veteran photographer, you are never finished learning. A 1:1 photography mentoring session with me can be completely bespoke to your needs, what you want to work on and how you learn. Whether you are looking for a day learning about fine art photography, or a half-day in the studio and a half-day editing, or even ongoing support with regular training throughout the year, we can design your photography mentoring to be all about you.
2. In your own space, or in mine
I travel all over the UK and throughout the world to deliver photography training. Coming to you means that you can learn the very best ways to use your props, posing aids, lights and studio space. I can even help you to decide what you may need to buy to add to your studio collection if you want.
If you don’t have a suitable studio then you can come to use mine and I will train you using the very best Elinchrom lighting and modifiers from The Flash Centre, and a fantastic selection of backdrops from Click Backdrops. You can use this knowledge whether you are mobile or use another space to work from.
3. Find or develop your own style
In a workshop, a group of people will inevitably lead to more generic training, whereas a 1:1 means we can concentrate on your own style of photography. Whether you prefer light and airy, vintage, fine art or high key, we can spend a day working carefully on your style of photography.
4. Concentrate on one genre
If there’s something in particular you want to excel in, in a 1:1 mentoring session we can concentrate on the genre you want to specialise in. If you’d like training in boudoir posing and lighting, we can concentrate on that, or if you’d like to work with younger children, then that’s OK too. You’re in charge of your training and I’ll help you with whatever you would like me to!
5. Some things are just better 1:1!
When we are working together for 1:1 photography mentoring, there are some things that we can do better than in a workshop! For example, I can demonstrate a skill, then watch as you try yourself, and make tiny adjustments to show you exactly how to get it right. We can sit together at an editing screen and I can show you the small edits that will make a huge difference to your image. It’s all about you – and how I can best help you to become a better photographer.