Change your view

Stagnating is easy in portrait photography, so to grow as a photographer it is imperative that you alter the way you see and shoot portraits every now and again

We often talk about the composition of a shot (I prefer the term ‘layout’), but we talk less about the camera’s position to capture the image. Of course, any change alters the viewer’s perspective of the final photo. That change in viewpoint can really add a different angle (figuratively, as well as physically) to your work. There will always be a place for the conventional head-height camera position, of course, but wherever possible, look around for something unusual.

Keep things interesting

I have spent a significant portion of my working life lying in gutters, balancing on chairs and taking on various contortions to create an interesting angle – often having to rely on Nikon’s autofocus system, as I am unable to see through the viewfinder! Today I am lucky enough to have the Nikon Z 9 with its versatile multi-axis flip screen, so being a contortionist is becoming a thing of the past.

I love creating images with the camera flat on the ground or pushed into a gutter. There is something about the low viewpoint and that buildings now loom up as the background.

Be careful that your subject’s legs and hips don’t become enlarged as they are closer to the camera than their face. This is easily fixed by using a long lens to reduce differences due to perspective or getting your subject to lean towards the camera, bringing their face closer (and larger) in the frame.

THE MIDDLE OF IT 11

Place your camera in the middle of a city pathway and open the aperture as wide as it will go. The surrounding architecture will blur, leaving just your subject in focus while the buildings blur to the merest impression of urban life.

THE CITY IS YOUR OYSTER 12

Try nestling your camera onto some railings and have

your subject lean on them. The leading lines gradually sharpen as they approach the subject, drawing the viewer in.

IN YOUR MIND’S EYE 13

Don’t just grab an image – design it. Sketch it in your head. In this instance, the subject is carefully placed into the eaves of the barn roof, between the two windows in the background, giving it a graphical quality in keeping with the moody feel.

UNCONVENTIONAL LOCATIONS 14

Look at a scene and spot lines of sight that might be unique. When I started out, my favourite locations for portraits were pubs and bars. Though they no longer have a smoky atmosphere, bars still have me hooked: something about the light and ambience creates beautiful images. Shooting along surfaces creates great reflections, while shooting through glasses or between lamps creates exciting framing. The bar-top lamps and the shiny surface here lead the viewer into the subject.

MIRROR, MIRROR 15

I am always looking for ways to shoot along or through things. For example, I love shooting through the cables and weight-racks in this gym to create layers and depth to the images. However, the space is restrictive, and the best option is to point the camera into the mirrors and shoot my subject as a reflection. It’s not ideal, but it’s the only way to create the layers and perspectives I love!

The best option is to point the camera into the mirrors and shoot my subject as a reflection