Critique First go at studio-style portraits

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Name
Tom
Edit My Images
Yes
I made my mum and sister sit for me while at home for the weekend. I bought a cheapo diffuser to go on my speedlight, which I had off camera to the right - 45deg ish. I don't think the diffuser is particularly good as the light wasn't as soft as I'd have liked it, but I did only spend £10 on it :ROFLMAO:

Frustratingly most shots were front focused so I had some tack-sharp fringes :mad: I don't know if that's user error or whether I need to fine-tune the af. Next time I will shoot at f/4 or 5.6 as there's no background to blur. Rookie error I feel.

Any feedback on lighting, editing, posing etc. would be greatly appreciated as I've not really used flash much and never in this controlled 'studio' (dining room) setting.

Thanks,
Tom

Oma4 by Tom Pinches, on Flickr

Oma3 by Tom Pinches, on Flickr

Oma2 by Tom Pinches, on Flickr

oma by Tom Pinches, on Flickr

Hannah3 by Tom Pinches, on Flickr

Hannah2 by Tom Pinches, on Flickr

Hannah1 by Tom Pinches, on Flickr
 
This is subjective...

- The shadows are quite harsh IMO. In frame 1 you have a big shadow on the mouth camera left, same with frame 2 & 4. It's not so bad on the younger model but the hair covering the eye in #6 has blocked the light. Frame 3 is one of the better images because your subject is facing the light which has stopped a lot of nasty shadows.
- The compositions are ok. Chopping the tops of heads is an oft argued point, and it doesn't bother me too much. As this is a family shoot, the only real question is does it bother you or them? Frames 4 & 7 are completely fine IMO because you haven't got a lot of space at the bottom of the frame.
- With your models, it's worth grabbing a hair brush. The hair in frame 5 is a bit wild and errant hairs can be dealt with much easier with a real brush rather than a digital one. Specs on or off is another laboured issue - and up to you/your subject. If they feel uncomfortable with them off, you're going to get a more natural shot with them on, but they cast shadows and can reflect light. The spec shadows aren't very nice.
- Poses are very "normal". Most people slouch when asked to sit. Shoulders look rounded suggesting relaxed sitters. Get people to sit (stand?) up straight, shoulders back, head up. Ladies look best when their chins are lifted slightly so consider an elevated shooting angle to tilt their heads up a bit. Expressions are quite plain. Frames 1, & 4 have interesting natural expressions, but the rest look forced or neutral. Consider chatting to them whilst you're shooting. Ask them what they love, what they hate... Anything to get a natural response. Develop some one liners even :) Good portraits (IMO) are taken when someone can look at the photo and say "yep. that's them!" Not sure who said it but portrait work is more pysychology than it is photography. Sight & Insight by Phillipe Halsmann and Degrees by Andy Gotts are 2 great books that provide annotation alongside the images detailing how the photographer got "that look" from their subject.

I'm no expert on lighting, but I think these ladies could do with a softer light which would reduce the harshness of the shadows. How you get that with a speedlight, I have no idea but it must be possible. If you intend to persist with what you have, then I think the light could come round a bit more towards the camera and going up a bit. But like I said - no expert on speedlighting. I think you would probably get better results with a nice big window and some daylight.

I've always struggled shooting portraits wide open (f/1.2 - f/2.8). My consistency improved dramatically when I started shooting at f/8-f/11. It also showed me what was possible with the lens I have. Over time, I was able to hit focus reliably on f/4 and it's very rare I'll go below that now unless I want a specific look, or I'm using available light rather than strobes.

Hope that helps!
 
Ian has produced a very comprehensive response.
For an early attempt, I think you've done well with these, maybe a few learning points to pick up on.
For myself, use the hairbrush, get a reflector (tin foil, newspaper etc) to bounce a bit of light back in on camera left.
As far as the speedlight goes (Canon use the term speedlight so I'll assume it's a Canon item), put the gun in manual and start at 1/2 power and dial down until you get the effect you want. If the unit has an angled head, don't fire direct at the subject (even with a diffuser fitted), I find 45° works well as a starting point.
Take heart, your early efforts are much, much better than mine were.
 
This is subjective...

- The shadows are quite harsh IMO. In frame 1 you have a big shadow on the mouth camera left, same with frame 2 & 4. It's not so bad on the younger model but the hair covering the eye in #6 has blocked the light. Frame 3 is one of the better images because your subject is facing the light which has stopped a lot of nasty shadows.
- The compositions are ok. Chopping the tops of heads is an oft argued point, and it doesn't bother me too much. As this is a family shoot, the only real question is does it bother you or them? Frames 4 & 7 are completely fine IMO because you haven't got a lot of space at the bottom of the frame.
- With your models, it's worth grabbing a hair brush. The hair in frame 5 is a bit wild and errant hairs can be dealt with much easier with a real brush rather than a digital one. Specs on or off is another laboured issue - and up to you/your subject. If they feel uncomfortable with them off, you're going to get a more natural shot with them on, but they cast shadows and can reflect light. The spec shadows aren't very nice.
- Poses are very "normal". Most people slouch when asked to sit. Shoulders look rounded suggesting relaxed sitters. Get people to sit (stand?) up straight, shoulders back, head up. Ladies look best when their chins are lifted slightly so consider an elevated shooting angle to tilt their heads up a bit. Expressions are quite plain. Frames 1, & 4 have interesting natural expressions, but the rest look forced or neutral. Consider chatting to them whilst you're shooting. Ask them what they love, what they hate... Anything to get a natural response. Develop some one liners even :) Good portraits (IMO) are taken when someone can look at the photo and say "yep. that's them!" Not sure who said it but portrait work is more pysychology than it is photography. Sight & Insight by Phillipe Halsmann and Degrees by Andy Gotts are 2 great books that provide annotation alongside the images detailing how the photographer got "that look" from their subject.

I'm no expert on lighting, but I think these ladies could do with a softer light which would reduce the harshness of the shadows. How you get that with a speedlight, I have no idea but it must be possible. If you intend to persist with what you have, then I think the light could come round a bit more towards the camera and going up a bit. But like I said - no expert on speedlighting. I think you would probably get better results with a nice big window and some daylight.

I've always struggled shooting portraits wide open (f/1.2 - f/2.8). My consistency improved dramatically when I started shooting at f/8-f/11. It also showed me what was possible with the lens I have. Over time, I was able to hit focus reliably on f/4 and it's very rare I'll go below that now unless I want a specific look, or I'm using available light rather than strobes.

Hope that helps!
Thanks Ian for the considered feedback. Lots to think about! Annoyingly I recently bought a reflector but didn’t bring it with me! Ended up looking for household objects instead which didn’t work very well... regarding head chopping, that was a conscious decision which I’m happy doing to get in tighter. I might try some vertical in future, but for some reason vertical ‘headshot’ portraits seem quite formal... regarding posing and expressions I feel this is the hardest part of portraits! Not sure if it’s easier or harder with people you know? There were some other lovely expressions but they weren’t sharp. Turned out the sharper ones were the more staid expressions. Probably because they weren’t moving as much. And yes. I should invest in a better diffuser for softer light. Thanks again for your comments.
 
Ian has produced a very comprehensive response.
For an early attempt, I think you've done well with these, maybe a few learning points to pick up on.
For myself, use the hairbrush, get a reflector (tin foil, newspaper etc) to bounce a bit of light back in on camera left.
As far as the speedlight goes (Canon use the term speedlight so I'll assume it's a Canon item), put the gun in manual and start at 1/2 power and dial down until you get the effect you want. If the unit has an angled head, don't fire direct at the subject (even with a diffuser fitted), I find 45° works well as a starting point.
Take heart, your early efforts are much, much better than mine were.
Thanks Paul. When you say 45degrees, I had the unit at 45 degrees from the model looking towards me but so you mean not pointing it directly at them?
 
Lots to think about!

And best done in small steps. Trying to cover all the bases is brain overload! I tend to use the squinch when I have someone new. No-one's heard of it, and the faces they pull trying to do one is amusing as they forget about the camera. It often lightens the tone and breaks the ice in the beginning of a session. A Google of Peter Hurley and squinching should give you some material :)

As Paul said - these are a really nice start, and bettter than mine also! Your PP is good as it's easy to go overboard with skin and I prefer it as natural as possible.

Keep going!
 
And best done in small steps. Trying to cover all the bases is brain overload! I tend to use the squinch when I have someone new. No-one's heard of it, and the faces they pull trying to do one is amusing as they forget about the camera. It often lightens the tone and breaks the ice in the beginning of a session. A Google of Peter Hurley and squinching should give you some material :)

As Paul said - these are a really nice start, and bettter than mine also! Your PP is good as it's easy to go overboard with skin and I prefer it as natural as possible.

Keep going!
I'll look into Squinching! And of the two books you referenced, is there one you'd recommend over the other?
 
Annoyingly I recently bought a reflector but didn’t bring it with me! Ended up looking for household objects instead which didn’t work very well
TBH I really quite like them, they are clearly not just snaps and have character and engagement. Things can always be improved but I think it's a great start.

If you can get them sat quite close to a white/pale coloured wall it can help act as a reflector. Also if you know in advance that you are going to produce B&W then white balance isn't too critical so you can get away with using lamps and other light sources.

Assuming you were using AF then it is typically going to focus on the nearest thing, so watch where the focus area is and keep it small an on the eye. Personally I use back-button focus so that I can focus separately from pressing the shutter button.
 
I'll look into Squinching! And of the two books you referenced, is there one you'd recommend over the other?

Sight & Insight is one to keep an eye out for in a charity shop. eBay prices are silly. Degrees is more accessible but has less info. Almost all of it done with available light (lamps and windows) too.
 
@Harlequin565 I checked out Squinching and ended up watching a load of PH's videos. He's quite entertaining. Some interesting stuff on making jawlines look good too. Quite oriented towards corporate headshots, where the look you're going for is cool and confident. Quick Q regarding lights, maybe @reheat module and @sirch can help too: I've read that there's a relationship between hardness of light and distance of light source - would it have softened the light if it was moved closer to the subject??
 
Moving the light closer makes the light source larger relatively speaking, so it seems to be less of a point-source and more like a larger source such as a window. Generally you want to get the light as close as possible, also the the inverse square law affects all lighting, doubling the distance makes the light dimmer by 4x.

The Speedlighters Handbook is a good reference book for using flash guns and has loads of examples of how things look with distance, modifiers etc.
 
I’ll start with they’re a great start for portraits, engaging which is the hardest part.

so to answer your confusion re diffusion and the harshness of shadows, the only way to soften a light source is to make it bigger.
the absolute easiest way of doing that is to bounce your flash off a large area (which becomes the light source).

takes me to the light position, for natural shadows, the light should be higher (as per the sun). Indoors, I would suggest a sat subject and a softbox or brolly touching the ceiling.

the last tip is that I’d use a slightly longer lens to push you further back for a more attractive perspective.

but again, the important (people) stuff is very good.
 
I’ll start with they’re a great start for portraits, engaging which is the hardest part.

so to answer your confusion re diffusion and the harshness of shadows, the only way to soften a light source is to make it bigger.
the absolute easiest way of doing that is to bounce your flash off a large area (which becomes the light source).

takes me to the light position, for natural shadows, the light should be higher (as per the sun). Indoors, I would suggest a sat subject and a softbox or brolly touching the ceiling.

the last tip is that I’d use a slightly longer lens to push you further back for a more attractive perspective.

but again, the important (people) stuff is very good.
Thanks for your encouraging feedback Phil. I will try bouncing the flash the ceiling next time. I guess you will end up with fairly front-on (butterfly?) lighting that will be flattering for women.

Lens-wise I was using an 85mm. do you think a 105 would be more appropriate?

Thanks again,
Tom
 
Thanks for your encouraging feedback Phil. I will try bouncing the flash the ceiling next time. I guess you will end up with fairly front-on (butterfly?) lighting that will be flattering for women.

Lens-wise I was using an 85mm. do you think a 105 would be more appropriate?

Thanks again,
Tom
‘Bouncing off the ceiling’ is an odd description, most people assume pointing the light straight up at the ceiling at 45deg or similar.
my preference is to point on camera flash behind me into the join of the wall/ceiling, or the wall to the side.

But a brolly costs less than a tenner, a large brolly box £20 and a decent pop up softbox £30 which all give a better degree of control.

bouncing a speedlight could never really successfully achieve the precision required for butterfly or any other light pattern.

for focal length, it’s distance that creates perspective, ordinarily I’d say 85mm should be long enough for a H&S portrait, but you’ve gone in closer than that
 
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