Summer portraits

For the portrait photographer the great outdoors provides an endless variety of locations, backgrounds and props and the best, most natural lighting you'll find anywhere - if you know how to use it. 

The summer months are a great time to shoot for so many reasons.

Firstly it's warm, so your models don't have to be trussed up like eskimos. Models look more sensual in their sexy summer dresses, couples feel more romantic with the sun on their backs, kids... well, they're on holiday! People seem generally more happy and chilled when the weather is nice, making it easier to capture relaxed portraits of them.

Secondly the longer days mean you have more time to shoot. It's light well into the evening so you can even arrange a session after you get home from work. The low, warm sun of late afternoon and early evening is a great time to shoot portraits anyway. Which brings us to lighting. There's usually lots of it, so you won't be forced up to the higher ISO settings just to get a handholdable shutter speed.

But there is a downside. Summer comes loaded with booby traps for the inexperienced photographer. Direct summer sun can produce the most unflattering portrait lighting you'll find anywhere, causing hard shadows under the subject's nose and chin and in the eye sockets, making them look like a panda. Luckily we're here to point out these pitfalls, and to help us along we've asked some of the UK's top people photographers to share a few techniques and tips that will have you shooting like the pros in no time.

Camera Equipment for portrait photography

Camera

You don't need to use a DSLR for portraiture, but you'll get better results if you do. This is partly due to the larger sensor making it easier to blur the background.

A short telephoto lens

Between 70mm and 150mm range is the most flattering for portraits and will help isolate your subject from background, making them stand out more. If you can use one with a wide maximum aperture, so much the better. It doesn't have to be a zoom - in fact prime lenses are generally better.

Tripod

A matter of personal taste, this one.

Some people like to be able to set up and lock the composition so they can move away from the camera and concentrate on their rapport with the subject.

Others prefer the more fluid style afforded by handholding the camera, so they can move around to vary the composition, and react to spontaneous moments.

Monopod

Preferred to tripods by many photographers because, like a tripod, they take the weight off a heavy telephoto lens and provide a degree of stability to reduce camera shake, but are more manoeuvrable and less static than a tripod.

Light modifiers

Some consider a reflector an essential accessory for portraits, for bouncing light back in to shadow areas, brightening up faces or blocking out stray direct light.

Diffusers soften the light falling on a model.

Flashgun

Again a matter of personal taste, a flashgun can be used on a low power setting as a fill light, or perhaps add a hair light, backlight or even to light the background.

A flash can be bounced off a reflector or fired through a diffuser to soften it, though some photographers still prefer to keep it simple and just sculpt the light that's already there.

What the pros use

Damien Lovegrove

About Damien Lovegrove

Former BBC cameraman, now one of the UK's foremost social photographers, Damien now devotes much of his time to teaching his skills to other pros and keen amateurs through his training company.

www.lovegroveconsulting.com

‘For portraiture the camera is the area where the least investment is required. A good-quality lens is far more important. Previously I used the 70-200mm because it has Image Stabilisation, which is very useful, but now my favourite lens is the new Canon 100mm macro, which also has Image Stabllisation. It's fantastically sharp even at maximum aperture (I like to shoot at f/4 a lot) and I can go right in for close ups. If I could only ever use one lens it would be this one.

‘If the light is consistent I use manual exposure mode, but if the sun is in and out of clouds a lot I shoot in Aperture Priority mode. The danger with Aperture Priority is that the shutter speed can drift dangerously low and you may not notice.

‘I often leave the white balance in Auto (which is very good on the Canon) and because I shoot raw I can fine-tune it later in Lightroom. There's no reason nowadays to ever shoot in anything but the Raw format. I use 16GB media cards, keeping the same card in the camera for the whole shoot, and it holds 900 Raw shots, which is ample.

‘I always use a monopod for exposures below 1/30sec, though you still have to be careful with subject movement. Having the subject rest their upper body against a wall or tree helps keep them still.'

Peter Searle

About Peter Searle

Peter spends most of his time photographing the great and good of British society for the broadsheets, sunday supplements and glossy magazines. From MPs to TV presenters, scientists to musicians, he's shot them all.

www.petersearle.com

‘I only ever use prime Canon lenses on my EOS 1Ds Mk III and EOS 5D Mk II bodies. I have the 24mm, 35mm, 50mm f/1.4, 85mm f/1.2 and 100mm macro. The quality with primes is much better at the wider apertures than even my 24-70mm f/2.8, which is a bit soft by comparison - though it's great at mid-apertures on mid-zoom. 

'I use the wideangles when I want to show the subject in their environment. It's worth pointing out that although changing the lens does not change your perspective, if you move your position so the subject remains the same size in the frame the perspective relationship between subject and background does change.

‘I always shoot in manual exposure mode and prefer not to go above ISO 400, though sometimes I have to go up to ISO 800, which is still very good. If I'm using the 85mm or 100mm I use a monopod, especially when shooting at the wide apertures. Not so much to prevent camera shake but because the depth of field is so shallow that it's easy for the focus point to drift if I don't keep the camera steady.

‘Most of my portraiture is lit by a mix of daylight and flash. I use Profoto and Quantum flash units on stands, usually diffused with softboxes, and triggered using Pocket Wizards.'

Trevor Yerbury

About Trevor Yerbury

Along with wife Faye, Trevor shoots up-market portraits and weddings from their Yerbury of Edinburgh studio.

They're also known for their award wining fine art nudes and run workshops all over the UK and Europe.

www.yerburystudio.com

‘I use a Nikon D700 with an 85mm f/1.4 lens for almost everything.

'If you are not used to working in manual mode the best setting is Aperture Priority.

'By setting a wide Aperture (e.g. f/2.8 to f/5.6) then you'll be assured of throwing a large part of the background out of focus, thus drawing attention to the subject and not the area behind. ‘

Camera settings for portrait photography

Shooting Mode

Aperture Priority is the most popular exposure mode for portraits because it gives direct control of the depth of field. Set your chosen aperture and the camera takes care of the shutter speed. Alternatively, if the light is consistent, switch to manual and take control of both aperture and shutter speed.

Focus Settings

For posed portraits switch your camera to single-shot AF mode and select a single focus point - either the one in the centre of an off-centre one closest to the subject's eyes. With candid portraits of, say, moving children, using continuous AF and multiple focus points will increase the chances of getting a sharp shot.

Exposure

Don't be afraid to question the exposure settings suggested by your meter. Even when a scene is technically ‘correct', portraits often look better when the shot is slightly overexposed, as this lightens skin tones and burns out distracting background detail. Try a test shot at +1EV or +2EV of exposure compensation to see what they look like on your LCD screen.

White Balance

Auto White Balance has its place but can get things wrong. In shots with a lot of greenery for example, it can over-compensate and turn the face a bit magenta. Experiment with your pre-sets, such as shade if shooting under a tree, or take a custom white balance reading and set that. If you shoot in Raw mode you do at least have the option to change the setting later if you get it wrong.

Metering

Multi-segment metering is generally fine for portraits but in some situations can go wrong, such as strong backlighting where it may underexpose the subject's face. You could always switch to spot metering and take a reading from your subject's cheek, then set this in manual exposure mode. (Don't use spot in Aperture Priority mode because when you recompose to shoot the meter will adjust for whatever the spot is pointing at, which may not be the subject.

Image: This portrait by Damien Lovegrove has a fabulous bright, summer atmosphere thanks to the contre-jour lighting and high key exposure treatment.

Locations, Backgrounds and Lighting for portrait photography

Architectural settings such as arches, doorways, pillars, steps, and the like can make excellent locations, especially if you're shooting an environmental-type portrait with the subject shown in a wider setting. Trees with low branches can also provide a suitable spot. In urban areas dilapidated backgrounds such as peeling paint, corrugated tin, or boarded-up buildings can provide a great visual counterpoint to an attractive model.

But you don't need to overcomplicate the shot. A simple wall can also suffice, as can an open spot in the park or on a beach, with just a blurred, distant backdrop. The main things to remember are that the background should not distract from the subject, and the light should dictate where you shoot. Don't sacrifice good light for the sake of a dramatic background. Remember, the subject is your model. 

Image: A simple but striking portrait by Trevor Yerbury.  Shooting into the light has not only produced a soft, even light on the face but an attractive halo around the girl. 

Position them in a shady spot where the light will be even on their face and they won't be squinting. Nice, wide open eyes make for a more flattering portrait. Dappled light on, say, a wall can look good as a background, or try shooting into the light but exposing for the face so that the background bleaches out - a great way to hide any distracting elements. For head and shoulder portraits this method, or simply selecting a wide aperture on a telephoto lens, will also blow out any background detail.

Image: For this portrait of musician Alison Bolsam, Peter searle balanced flash with the ambient light. A Profoto head with a 6ft brolly was placed to Alison's right, with a second light, also with a brolly, lit her from the left.

Expert tips on locations, backgrounds and lighting

Peter's tips

‘When choosing a background don't be seduced by a dramatic background. A simple, non-distracting background is ideal. I also like strong graphical backgrounds, though only if they suit and enhance the subject.

‘When selecting a setting for a portrait I generally look for shade. Direct sunlight is hard to cope with. Eight times out of ten I take additional portable flash lighting. The benefit for me is that it makes the pictures more punchy, which is important for editorial use, and gives me more control. It gives me many more options for where I can position the subject in relation to the background. I like to use balanced artificial light (or reflectors) combined with indirect ambient light. So I usually position the subject in the shade and use flash to balance their brightness with the light falling on the background. The flash, however, is diffused by large brollies or softboxes, never direct.'

Image: Here Peter put Alison in the shade of a Rhododendron and lit her with a Profoto head. Peter is a master of fill flash, but his flash equipment is much bigger and more powerful than consumer flashguns.

Trevor's tips

‘Look for old doors, stone walls, interesting shapes to use. For children if you want your portrait to look bright and funky then keep an eye open for any brightly coloured doors, garage doors, walls etc. and then complement your choice of background by choosing an outfit to contrast. Try to avoid outfits that have logos on them as they draw attention away from the subject. Also, unless this is the result you are aiming for, avoid stripes and patterns.

As for lighting, a bright sunny day is not the photographer's best friend, despite what everybody thinks, unless you are looking for flared images with the bright sun behind or to one side of your subject. Instead look for shade - soft light is best for portraiture. Be careful under trees and the like, as they can cast a dappled light on your subject which is not very flattering. If you wish to ‘pop' some light back into your subject, buy a quality reflector (or a cheaper option such as a sheet of foam board or piece of white card) which can help pop some light into your image and give some modelling. Be careful to use it with restraint - it's simply to provide a fill light.'

Image: Trevor Yerbury used the pillar here as a prop for the model to lean against. This can not only help with the pose but keep a model steady if you're using a slow shutter speed.  This toned black and white treatment suits this image perfectly - black and white is always worth considering for portraiture, but convert it afterwards, not in-camera.

Damien's tips

‘In sunny weather I always look to shoot in open shade. For a start you get better expressions in shade because subjects don't have to squint and can open their eyes fully. Shade provides soft, even light on the face, which is important. I love to shoot into the light, and expose for the face for a high-key effect. It makes skin tones look bright and alive. I invariably use exposure compensation, often going up to plus two stops over the metered exposure to lighten the skin tones and make them more radiant.

‘When selecting locations it's about finding the light. I let the light dictate where I shoot and how I compose the shot rather than the layout of the environment. Under the canopy of a big tree is often a good location. Sometimes I'll find a gap in the hanging branches and shoot outwards, with the sun behind the model. I like to shoot in doorways too, but from the inside looking out, with the light behind the subject. If I have to shoot in the sun I encourage them to wear sunglasses and just accept that as part of the picture. You can also create a degree of shade by putting a hat on a subject.

‘I don't like to use reflectors because they can often look unnatural, especially when held low down as they often tend to be, rather than up high reflecting light back down onto the subject.
‘It's vitally important when shooting into the light to use a lens hood to avoid flare. Also, I never use filters. Lenses are designed with curved front elements for a reason, and putting a filter on the front just degrades the image contrast. If you use a lens hood that will protect your front element, and if your element does get damaged it isn't that expensive to get it replaced. I had one replaced recently and it cost less than £70 - some filters cost that.'

Image: Damien Lovegrove often likes to use a tree canopy as a setting but not in the obvious way, with the model leaning against the trunk facing out. He looks for a gap in the hanging foliage and has them facing in towards the trunk, so they're backlit by the light outside the tree canopy. He then exposes for the skin tone to create a high-key effect like this one.

Shooting portrait photography

One common mistake made by amateurs is to be overly focused on the equipment, the camera settings, the depth of field - everything except what the subject is thinking and feeling. Taking good portraits is all about connecting with your subject, which is why if you're a ‘people person' chances are you'll make a better portrait photographer. The ability to relax your subject through banter and a calm but confident manner is more important than which make of camera you use.  

Expert tips on shooting

Damien's tips

‘It's vitally important to generate a sense of intimacy and rapport with whoever you're photographing and the camera can often form a barrier between you which gets in the way. One of the reasons I use a monopod is that, once I've set up the shot I can swing the camera out of the way so that I can make eye contact with the subject, then swing it back in again very briefly to take the shot. It takes just a couple of seconds.'

Trevor's tips

‘If you're attempting to photograph your own children don't pressure them into posing as they always look artificial. Do not ask them to smile or say cheese - that is a portrait photographer's nightmare. Simply ask them to look as natural as possible, be quick and be simple. Children hate posing for too long especially for their parents! Make it fun, make it enjoyable and ask them to think up their own poses. This will involve them in the creative process and while not all of their suggestions may work they will be involved and on your side and that is a very important element of creating a good portrait.'

Peter's tips

‘Many people I'm asked to photograph hate having their picture taken. One method I use to relax them and get a good expression is to start with their face in repose, completely relaxed with no expression. Then I'll talk to them and try to introduce amusing thoughts  so that a half smile creeps into their expression which can look good, and then they start to relax. Of course some people want a serious expression and that's fine.'

Image: Peter Searle photographed diva Katherine Jenkins using natural light, assisted by a 4ft silver reflector in an atrium full of soft daylight. 

Post production for portrait photography - expert tips

Damien's tips

‘I use Adobe Lightroom 3 for 90% of my post-production now. I don't like plug-in effects filters - to me they're the "Chicken Tonight" jars of the photography world. I prefer to do my enhancements myself, treating each shot individually.'

Peter's tips

‘My advice is to always shoot in Raw, because it allows better quality final images and more control over essential parameters such the white balance. I use Capture One software.'

Trevor's tips

‘Try to avoid doing extreme skin work. There are too many images where people look as if they have plastic skin, free of all marks and blemishes and with eyes that have been whitened far beyond an acceptable level. Use curves or levels to add a bit of punch to your images and if you're looking for a very vibrant portrait then use the saturation tool in Photoshop. Remember to try some of your images as black and white, you can even add a bit of tone or grain in Photoshop. There are so many downloadable actions now available to make this process easier so it's a question of trying some out to see if they are what you are looking for in an image. Sometimes less is more!'  

More information: See John Freeman's tips for summer portraits