{"id":12399,"date":"2012-07-17T11:27:00","date_gmt":"2012-07-17T10:27:00","guid":{"rendered":"http:\/\/amateurphotographer.co.uk\/uncategorized\/masterclass-with-annabel-williams-portraiture-12399"},"modified":"2014-10-23T11:23:40","modified_gmt":"2014-10-23T10:23:40","slug":"masterclass-with-annabel-williams-portraiture","status":"publish","type":"post","link":"https:\/\/other.kelsey.host\/amateurphotographer\/technique\/portrait_photography\/masterclass-with-annabel-williams-portraiture\/","title":{"rendered":"Masterclass with Annabel Williams – Portraiture"},"content":{"rendered":"

photo by Jennifer Peel <\/em><\/p>\n

Annabel Williams takes two readers out on location and shows them how to arrange a simple portrait shoot with the minimum of fuss. Oliver Atwell joins them <\/em><\/p>\n

Most of us have tried our hand at portraiture, whether it’s on holiday, at a wedding or during a stint of street photography. Yet portraiture can be a tricky genre. What we imagine to be a simple pursuit soon turns out to be a minefield of technical considerations, as well as a real test of just how confident we are as photographers. Directing people isn’t exactly the easiest task in the world. <\/p>\n

\u2018Rather than working with “real” people today, we’re going to be using a couple of models,’ says Annabel. \u2018The reason for this is that it gives us the freedom to lay down the basics of arranging a simple location-based portrait shoot. However, directing people is an important part of any successful portrait shoot, so we’ll also touch upon that today.’<\/p>\n

Annabel will demonstrate to our two readers, Jenny and Izzy, how to set up their cameras, look for the best lighting, choose the correct background and how best to compose and frame their subject.<\/p>\n

\u2018Whenever I lead a workshop, there are four key things that I always say are the most important aspects of portrait photography: rapport with subject; light; background; and equipment – in that order,’ says Annabel. \u2018In many ways the camera is the least important thing that you need to take a picture. It needs to be set up simply so you don’t need to worry about it. Digital technology has made things so much easier for the portrait photographer that we don’t have to spend too much time messing around with the technical side and can instead focus on composing our shots.’<\/p>\n

While it would be easy to imagine that shooting people on location is a vastly different discipline to shooting in a studio, the two share many common factors. Light reacts the same no matter where you are, and learning how to work in different conditions will significantly build your confidence as a portrait photographer.<\/p>\n

\u2018Today, we’ll be using a variety of locations and you’ll see that light is never the same in two different places or even at two different times,’ says Annabel. \u2018It doesn’t matter under what conditions you’re shooting – even a dreary day can give you interesting shots. You can always work around the light, no matter what it is.’<\/p>\n

So, with that final thought in their minds, Annabel, Jenny and Izzy move off into the city (accompanied by their two models Chynna and Chi) to see what the streets have to offer.
\n
\nYour AP Master…<\/strong><\/p>\n

<\/img>Annabel Williams<\/em>
\nAnnabel Williams is one of the world’s leading portrait photographers. She is passionate about working in a very simple way with natural light and has forged a successful career as a photographer and tutor. Combining previously acquired skills as a special-needs teacher has allowed Annabel to understand the psychology of people and utilise those skills to get the best possible images of them. She is based in the UK and the USA. For more details, visit www.annabelwilliams.com.
\n
\nThe AP readers.<\/strong>..<\/p>\n

<\/img>Isobel Murphy<\/em>
\nIsobel is a keen photographer with a particularly strong interest in portrait imagery. She uses a Canon EOS 7D. \u2018The workshop with Annabel was amazing,’ she says. \u2018We had so much fun, but learned a lot too. Annabel has a very relaxed style of teaching, which helps a lot with the practical side of photography.’<\/p>\n

<\/img>Jennifer Peel<\/em>
\nJennifer is a keen portrait photographer and has been keen to attend an Annabel Williams workshop for a long time. She shoots using a Nikon D300. \u2018It was a really good experience to watch Annabel shoot, and to see how she directs her models into poses to get the expression she wants,’ she says. \u2018I’ve learned how to get a variety of shots by making small changes to the pose and changing position to get a different backdrop or angle.<\/p>\n

Would you like to take part?<\/p>\n<\/h2>\n

<\/p>\n

<\/img><\/p>\n

Every month we invite three to five AP readers to join one of our
\nfour experts on a free assignment over the course of a day. The experts
\nare Tom Mackie (landscapes), Cathal McNaughton (documentary and photo
\nessays), Annabel Williams (location portraiture) and Andy Rouse
\n(wildlife). If you would like to take part, visit
\nwww.amateurphotographer.co.uk\/masterclass<\/a> for details of how to apply.
\nPlease remember to state which Masterclass you would like to attend and
\nmake sure you include your name, address, email address, daytime
\ntelephone number, some words about your work and three or four of your
\nimages. <\/p>\n

<\/p>\n

Camera Settings<\/h2>\n

In previous Masterclasses, we’ve often talked
\nabout getting to know your camera’s settings and how working in manual
\nmode means having total control over your exposures. However, Annabel
\nprefers to take a different approach with her camera, and suggests that
\nworrying about technology and settings should not be something that
\ntakes up the photographer’s time.<\/p>\n

<\/img><\/p>\n

\u2018When
\n you first start you should never feel self-conscious about working in
\nauto mode,’ says Annabel. \u2018There’s a lot of snobbery about working in
\nthis way, but there’s no need for it. The auto mode is there to help you
\n so you can concentrate on taking a great image. Once you’re comfortable
\n with your equipment, you can start exploring how best to take control
\nof exposures.’<\/p>\n

While Annabel encourages people to explore the
\ncapabilities of their camera, she also recognises that doing so can get
\nin the way of actually taking images.<\/p>\n

\u2018I don’t believe that you
\nneed to know too many things about how your camera functions in order to
\n take great pictures,’ continues Annabel. \u2018It’s great photographers who
\ntake great pictures, not great cameras. Photographers, particularly
\nthose new to image making, can get tied up trying to figure out
\nf-settings and what every little dial and button does on their camera.
\nAs far as I’m concerned, that’s counter-productive.’
\nAnnabel’s advice
\n to our readers is to work with the settings that have served her well
\nfor the past 20 years of her career. First, set your camera to AV mode.
\nThen set the aperture to f\/5.6 and the ISO to 400. Set the camera to
\n\u2018one shot’ and the white balance to auto.<\/p>\n

\u2018If you have your
\ncamera locked on these basic settings, as soon as you pick up your
\ncamera you’ll be able to shoot straight away,’ she says. \u2018In that way,
\nyou can spend your time working on your backgrounds, directing your
\nsubject and ensuring that your composition is as you want it.’<\/p>\n

<\/p>\n

The Subjects<\/h2>\n


\nWhen
\n working with people who aren’t used to being photographed, your
\nsubjects can often feel a little awkward so it’s important to put them
\nat ease. While this Masterclass finds our readers photographing models
\nwho are used to being photographed, the same principles apply to make
\nsure everyone is at ease.
\n <\/p>\n


\n<\/img>photo by Annable Williams<\/em><\/p>\n


\n\u2018One
\n of the first things that I do is visit my model and get them to lay out
\n a wide selection of their clothes,’ says Annabel. \u2018Then I get them to
\ntake me through their outfits and what piece of clothing goes with what.
\n It’s a great way of involving your model in a collaborative manner.
\n <\/p>\n


\n\u2018I
\n always get to know my clients before getting my camera out,’ says
\nAnnabel. \u2018Just sitting down and having a coffee with them can help to
\nput them at ease. However, as comfortable as they may be around you,
\nthey may not necessarily feel comfortable being photographed. That’s a
\ngreat concern with many people who want to be portrait photographers –
\ntheir subjects don’t really know what they’re doing. That’s why I always
\n tell my models that I’m making it up as I go along. This is not a
\nmillion miles from the truth, though, as a portrait shoot should be
\nspontaneous. Don’t be afraid to wing it slightly and admit this – the
\nmain thing is to make your model feel better about being photographed.’
\n <\/p>\n

<\/p>\n

Lighting and Composition<\/h2>\n


\n <\/p>\n

Working
\n in a location such as a city can mean that the photographer is
\noverwhelmed by the visual clutter that surrounds them. This can often
\nmake it difficult to identify what will make an interesting location for
\n their subject. One of the best ways to approach this problem is to see
\nyour model and their surroundings as a simple arrangement of shapes.<\/p>\n

<\/img><\/p>\n


\n <\/p>\n

photo by Jennifer Peel<\/em><\/p>\n

\u2018Taking
\n these kinds of images is a lot easier if you can begin to see
\neverything in graphic terms,’ says Annabel. \u2018Everything you see is just a
\n shape, from the models and their clothes to the environment they find
\nthemselves posing in. The way those shapes interact with each other is
\ngoing to determine your composition. Everything in the street is a
\nseries of shapes and lines, and you need to fit the shape of the person
\nin with the background. Move the person around until their shape looks
\ngood, and don’t be afraid to move them back and forwards until you see
\nwhat works.<\/p>\n

For Annabel, when it comes to the methods of lighting a subject, there’s no competition – natural light wins every time.’<\/p>\n

\u2018I
\n really feel that flash can often ruin a good picture and studio
\nlighting can be quite tedious to work with,’ says Annabel. \u2018When you’re
\nin a studio, you’re very restricted to the kinds of backgrounds that you
\n can use and the types of things you can do with your model. Therefore,
\nworking on location with natural light will always be my preferred
\nmethod. When you’re out on location, you begin to see how different
\nintensities of light will work with all the shapes we just discussed.
\nYou can treat the sun as a natural spotlight. It’s just that rather than
\n moving your light, you’re moving your subject.’<\/p>\n

Finding the
\nright light for your subject can often be a difficult task. Sometimes it
\n can be too harsh and at other times completely flat. The trick is to
\nlook for areas that offer something a little more flattering.<\/p>\n

\u2018There
\n are a huge number of different lighting conditions in a street
\nlocation,’ says Annabel. \u2018Standing in direct sunlight works well for
\nflawless models, but is too harsh for the rest of us mere mortals and
\nwill highlight flaws. However, if you can find some sort of cover, such
\nas a doorway, then that will work a lot better as it will soften the
\nlight slightly and give a much more even exposure. Also, areas like that
\n can make for really excellent backgrounds.’<\/p>\n

<\/p>\n

Location and Background<\/h2>\n


\n
\n <\/p>\n

One
\n of the really fun parts of embarking on a portrait shoot is exploring
\nall the locations that could potentially serve as interesting
\nenvironments in which to work. A key consideration is to look for an
\ninteresting setting. The easy option would be to find a \u2018clean and
\nsimple’ location, but it’s also worth looking for something a little
\ndifferent.<\/p>\n

<\/img><\/p>\n


\n
\n <\/p>\n

photo by Annabel Williams <\/em><\/p>\n

\u2018When
\n you look really closely at a location, you’ll begin to see all sorts of
\n interesting shapes, colours and textures that can produce brilliant
\nbackgrounds,’ says Annabel. \u2018I’m always attracted to things like
\nbrickwork and graffiti as these can really give your images a grungy
\nfeel.’<\/p>\n

The key thing is to explore, but that doesn’t mean having
\nto travel for miles, explains Annabel. Sometimes one location will
\nprovide ample opportunities.
\n\u2018It may take a while to find the
\nperfect background, but keep your eyes open and your mind receptive,’
\nsays Annabel. \u2018It could be that your background choice is affected by
\nyour model’s clothes or even the skin tone. Make sure the different
\nelements complement one another.’<\/p>\n

Annabel also suggests
\nexperimenting with depth of field. Having an out-of-focus background can
\n help to emphasise your subject and make him or her much more
\nthree-dimensional.<\/p>\n

\u2018When I want an out-of-focus background, I’ll
\nuse a long lens such as a 75-200mm,’ says Annabel, \u2018and that’s why I
\nalways have my camera set to f\/5.6. This will really bring your subject
\nout from the background.’<\/p>\n

<\/p>\n

Using an iPhone<\/p>\n

<\/img>
\n<\/em><\/h2>\n


\n
\n
\n <\/p>\n

photo by Annabel Williams<\/em><\/p>\n

\u2018I
\n love shooting with my Apple iPhone,’ says Annabel. \u2018I’m particularly
\nfond of the Hipstamatic and Camera+ functions. I love Hipstamatic
\nbecause you never quite know what you’re going to get – in fact, it
\nreminds me of working with cross-processed film years ago. With Camera+
\nyou have more control and can do all sorts of things to the picture in a
\n few simple clicks, making pretty ordinary pictures look amazing. <\/p>\n


\n
\n
\n <\/p>\n

<\/img><\/p>\n


\n
\n
\n
\n
\n
\n
\n <\/p>\n

photo by Annabel Williams<\/em><\/p>\n

However,
\n if you are taking photographs on a proper shoot, where you are
\ncontrolling the lighting and so on, then just picking \u2028up your iPhone
\ncan result in some great shots.
\n\u2018I am always careful to keep the
\nsubject’s face more in the centre of the shot when using apps,’ says
\nAnnabel. \u2018Apps tend to do weird things to the edges, so you need to
\ncheck that you don’t get colours bleeding into the face, for example.
\nWith objects this is fine, though, and just adds to the wacky look,
\nparticularly with Hipstamatic.’<\/p>\n


\n
\n
\n <\/p>\n

<\/img><\/h2>\n


\n
\n
\n <\/p>\n

photo by Isabel Murphy <\/em><\/p>\n

<\/p>\n

Readers’ Images <\/h2>\n

<\/p>\n

Annabel Williams takes a look at a selection of our reader’s Masterclass images and offers some practical advice<\/p>\n

Jennifer Peel<\/strong><\/p>\n

\u00a0<\/img><\/p>\n

<\/p>\n

I’m particularly fond of the muted colours in this image. Jennifer has
\nmanaged to use the buildings behind the model to add another level. The
\ntones and textures complement her hair perfectly. Plus I’m in love with
\nthose wonderful boots!<\/p>\n

<\/p>\n

\u00a0<\/img><\/p>\n

<\/p>\n

\nThis is definitely an unusual composition, but I have to say it works
\nreally quite well. <\/p>\n

<\/p>\n

I like the way the model is looking up, and the
\nbuildings in the background towering above her give the image a real
\nsense of scale. <\/p>\n

<\/p>\n

I think this shot is gorgeous. The light is beautiful because the model
\nis standing under a roof that is creating really good top shade and soft
\nlight. I love the out-of-focus caf\u00e9 scene in the background, and I
\nparticularly like the blurred edge on the left of the picture, which is a
\ncurved wall. I think this really helps to make us focus on the model.
\nThe blurred wall also links with the lights at the top right of the
\nshot, which helps to balance the photograph.<\/p>\n

<\/p>\n

\u00a0<\/img><\/p>\n

<\/p>\n

Isobel Murphy<\/strong>
\nIzzy has captured a really great moment here and has managed to make
\nthe shot look spontaneous, even though we asked the model to do this
\nseveral times. The model looks really happy, and it makes the shot a lot
\n of fun. I also love the out-of-focus texture and the colour of the
\nbackground in the top right of the picture. It’s amazing to think it’s
\njust a caf\u00e9 window at the end of a subway.<\/p>\n


\n\u00a0<\/img>\u2018A
\n good tip is to experiment with different camera angles. Just tilting
\nyour frame slightly can add a real dimension to your photographs’ <\/em>
\n <\/p>\n

\u00a0<\/img><\/p>\n

<\/p>\n

What really stands out in this shot is the fact that Isobel has tilted
\nthe camera to achieve a dynamic effect. That’s a good tip – to
\nexperiment with different camera angles. <\/p>\n

<\/p>\n

Just tilting your frame
\nslightly can add a real dimension to your photographs. Also, the
\npositioning of the model looks great with the columns towering above
\nher. <\/p>\n

<\/p>\n

This is a great shot. I’m particularly in love the model’s hair colour and
\nthe way that it works with the brick wall behind her. I’m also struck by
\n the way Izzy has faded out the right side of the picture to emphasise
\nthe model. The composition works really well and, most importantly, the
\nmodel looks incredibly relaxed.<\/p>\n

<\/p>\n

<\/img><\/p>\n","protected":false},"excerpt":{"rendered":"

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