You can find urban landscape subjects everywhere you look. These include industrial areas, city environments, shop fronts, structures, and even the New Topographic style of photography.  This was made famous in the 1970s by great photographers like Stephen Shore, Lewis Baltz, Robert Adams, and Bernd and Hilla Becher. Even the view from your window can be turned into an interesting urban landscape if you live in a town or city.

Have a look at our 7 urban landscape photography tips to see how to make the most of this fascinating subject!  Here’s a quick summary of what we’ll cover:

• Change Your Perspective
• Shoot From a Moving Vehicle
• Make Use of Leading Lines, Diagonals, and Other Compositional Techniques
• Go Abstract
• Find Patterns
• Try Shooting Black and White Urban Landscapes
• Use Lighting Apps to Find the Best Light And Serendipitous Moments

Change Your Perspective

Most people tend to take urban landscape shots from eye-level whilst standing up, but that often leads to images that look similar. This is especially true if the photo is of a famous building or landmark. Shake things up a bit by changing the viewpoint. You can do this by getting higher and shooting downwards, or by getting closer to the ground and shooting upwards. Even moving to the side of a subject so you’re shooting it at a different angle can give you diverse and unique images.

2: Shoot From a Moving Vehicle

You can get some great urban landscape images while photographing from a moving vehicle – although not while you’re driving, of course. Maybe you can persuade a friend or family member to drive you around the city.  Or, why not take a bus or train and take photos through the windows? I’ve tried this myself a few times, and you can get some really cool effects with (or without) motion blur on the urban landscape, depending on what shutter speed and aperture you use. Experiment to see what you get.  If you’re visiting a city for the first time, this might be the best way to get the maximum number of shots in a short amount of time.

Make Use of Leading Lines, Diagonals, and Other Compositional Techniques

In urban landscape photography, there are usually lots of bold, diagonal shapes and leading lines for you to make use of in your compositions. The eye is drawn to these shapes, and man-made structures tend to have a lot of them. Think of a narrow alleyway between two buildings – the lines of the alleyway lead your eye into the image and towards the other end. Architecture, bridges, paths, and railings are also places where you are likely to find leading lines and diagonal shapes.

Leading Lines

Symmetry

Beautiful Architecture is often symmetrical. While this isn’t the most interesting or creative photography composition, it’s certainly a necessary one to have in your urban landscape photography tool belt.

Reflections

Negative Space

Framing a statue, building, or other object with significant negative space can add interest to your photo.

Go Abstract (Watch For Serendipity)

You don’t have to capture an urban landscape in its entirety to get great shots. Sometimes, getting up close and recording the small details will give you intriguing images. Textures, colors, graffiti, architectural elements, and street signs are all subjects in their own right. You may even want to try your hand at macro photography in an urban setting.

Try Shooting Black and White Urban Landscapes

While urban landscapes are often full of color, sometimes it pays to get rid of that distraction and focus on the shape, texture, light, and form of your scene instead. Black and white photography is an ideal way to show how the light falls between buildings or through windows.

You could shoot in black and white in-camera, but it often pays to shoot in color first and convert your image to black and white in an image editing program later. This means you will have more control over the type of black and white treatment you give to the image.

Look for Repeating Patterns & Colors

There’s no shortage of repetition and patterns in urban landscapes. While these can look mundane to the human eye, careful framing and use of these repeating patterns make striking images. Look for a building with windows that are all the same size and shape, and zoom in on that repeating pattern – fill the frame with it. Create amazing photos by using color schemes, tiles, overhead wires, and paving stones.

As a counterpoint to this, anything that is disruptive and breaks the repetition or pattern automatically draws the viewer’s eyes. So keep a lookout for any disruptive focal points you can use, like a missing tile in a wall of tiles, or a building window that’s wide open when all the rest are shut.

Lastly, juxtaposition in general is a powerful tool to bring a whole scene together. Any time you see two related subjects about to align, be sure to have your finger ready on the shutter for that “Decisive Moment”!

Use Lighting Apps to Find the Best Light And Serendipitous Moments!

Speaking of serendipity; you can plan it out, too! It’s not “cheating” if you intentionally put yourself in the “right place at the right time” well ahead of a moment that you know has a lot of potential…

This last urban landscape photography tips is often overlooked by many photographers. Lighting apps tell you where the sun (or moon) will be at any given time in a particular location so you can plan ahead for your shoot. Many of these apps are free and available for iOS or Android devices.

Final Thoughts

I hope you enjoyed our urban landscape photography tips and feel inspired to try some of the ideas out. One of the great things about urban photography is that you can do it in your home town, or strike out for a big city. You’re also never far away from a coffee shop, which is an added bonus!

You do need to be vigilant, though. Towns and cities are generally full of fast-moving traffic, and you need to keep your wits about you while you shoot. Keep a very close eye on your camera gear too, especially if you are shooting the city at night. There’s no shortage of people who will snatch your camera or sneak a lens out of your backpack while you’re busy. It often pays to team up with another photographer to explore the city together and watch each other’s backs. If you’re looking for some visual urban and street inspiration, then why not check out these cool city images by Edas Wong?

How to Photograph the Milky Way | Table of Contents

1. Plan the Best Times for Milky Way Photography
2. Use Apps To Locate The Milky Way Core
3. Pick the Right Lens
4. Use a Sturdy Tripod
5. Scout the Location Before it Gets Dark
6. Choose the Right Exposure Settings
7. Set Perfect Focus on The Stars

Plan the Best Times and Locations for Milky Way Photography

When learning how to photograph the Milky Way, it’s important to remember that timing and Location are critical for good Milky Way photography.  The milky way core is not visible every single night of the year and varies by hemisphere.  Here is a brief summary for the northern hemisphere.  For the southern hemisphere, add or subtract 6 months.

• Mid-February – The Milky Way core will rise just before sunrise.
• April – The Milky Way will rise at about midnight, and be visible in the sky for the rest of the night.
• Mid-June, The Milky Way will rise just after sunset, and will be visible all night long.
• July – The Milk Way will have already risen by the time it gets completely dark and it will set during the night.
• August-October –The Milky Way will still be visible; however, it will set earlier and earlier each night, until in October when there will only be a very brief window of visibility before the Milky Way sets.
• November, December, and January, the Milky Way core will not be very visible at all.

In addition, Milky Way photography requires little to no light pollution, little to no moon light, and little to no clouds. We’ve dedicated an entire article on The Best Time To See The Milky Way, so be sure to read that before heading out!

Use Apps To Locate The Milky Way Core

The next step in learning how to photograph the Milky Way is get an app that shows you how to find the Milky Way. Mobile apps like Sun Surveyor, PhotoPills, and The Photographer’s Ephemeris are three of the most popular, and they should have both paid and free or trial versions. These apps will tell you where the Milky Way Core will be, and when.

For example, right now it’s winter here in the northern hemisphere, so the Milky Way isn’t visible at night, so I’m planning my Milky Way photography adventures for the spring of next year right now.

 Pick The Right Lens

If you want to learn how to take pictures of the milky way, you’ll first need a fast, wide-angle lens. Typically, astrophotographers recommend anything that is at least 24mm or wider. 24mm prime lenses are very popular because they can be even faster than f/2.8 zoom lenses.

A great option is the Samyang 24mm f/1.8 lens, which provides amazing image quality, yet it’s extremely compact, lightweight, and relatively affordable among 24mm prime lenses. You may want to go wider than 24mm, of course, and if so, you have a few more compact, lightweight, (and affordable) options such as Canon’s RF 16mm f/2.8, or, for Sony users, the  Samyang/Rokinon 18mm f/2.8. Alternatively, there’s the equivalent for APS-C cameras, the brand-new 12mm f/2 AF.

Last but not least, of course, the classic ultra-wide prime lens, the Samyang/Rokinon 14mm f/2.8 comes in quite a few different options, including AF versions for Sony and Canon mirrorless, and MF versions that are available for Sony, Canon, Nikon, and other mounts as well.

Either way, you want a 24mm or wider lens, with an aperture of f/2.8 or faster. In this article, we’re only recommending relatively affordable, portable options, however there are many exotic options, too! For more lens options, see our full list of the best lenses for milky way photography.

Use a Sturdy Tripod

Of course, you’ll need a tripod! You already knew that. But a really sturdy, strong tripod will be your new best friend (besides your favorite lens). Simply put, if you’re trying to use a cheap, wobbly tripod that you bought on Wish, you might still be getting blurry photos, even from a light breeze. Not all tripods are equal! So, even if you have a fancy lightweight travel tripod, you might also want to have a big, heavy, sturdy one for those shooting opportunities that don’t require lots of travel. Also, always check your tripod legs and make sure they are fully locked before you attach your camera! Always check and make sure your tripod head is tight and locked before you start shooting. Never step away from your tripod if there is a light breeze blowing! It’s impossible to learn how to take pictures of the milky way without establishing the importance of a tripod.  Here are some of our favorite tripods:

• Most compact for travel: Peak Design Travel Tripod ($379 | B&H)
• Best for ultralight hiking/backpacking: SLIK Sprint 150 Aluminum Tripod ($59 | B&H)
• Best for medium-duty, everyday work: Manfrotto Befree Aluminum Tripod ($179 | B&H)
• Best heavy-duty, large tripod: Slik 700DX Pro AMT Tripod ($99 | B&H)

Once again, note that here we are only recommending the affordable options because we believe this is where it is very important to avoid truly poor quality and get something durable. There are, of course, “exotic” tripods costing over $1,000 (including a head) and they’re all excellent choices too.

Scout the Location Before it Gets Dark

This one sounds basic but it’s very important, both for getting gorgeous photos and for your own safety! Stumbling around in the dark trying to find the right location, especially in the mountains or wilderness, is a very bad idea.

A great nightscape photo needs a good main subject besides the night sky! If you don’t figure out what your subject/foreground will be before it gets dark, there’s a good chance you’ll get either a boring photo or a shot with a poor composition/framing. So, get there early, look around, be safe, (avoid slippery slopes/cliffs/rivers, etc), and try to practice ‘Leave No Trace’ while you get yourself set up to spend a night under the stars outdoors.

Then, just enjoy the sunset, (take some pictures!) and wait for the stars to come out! Of course, you should also have an astrophotography app on your phone, like PhotoPills or Sun Surveyor, to tell you where things like the Milky Way are going to be, (and the moon phase, very important!) …so that you can point your camera in the right direction, on the right night, at the right time of year!

Milky Way Photography Camera Settings

One of the biggest mistakes that people make when learning how to photograph the Milky Way is not understanding exposure. You are going to be pushing the limits of your camera and lens, so it’s no surprise that many people come home with a lot of totally dark, under-exposed images, a few totally blown-out long exposures, and maybe if they’re lucky, a few half-decent exposures. How do you set a good exposure every time? Check your histogram every time! With ultra-dark conditions, especially if there is zero moonlight or “light painting” to shine on your scene, your camera’s LCD will deceive you every time. Check the histogram! Here’s the thing: you will have to forget about “ETTR” or “ETTL”, and just try to get your exposure in the middle of the histogram. That’s a good start!

If you expose the night sky very brightly, you’ll actually wash out the color in the stars, and they’ll all be white dots, or worse, if your shutter speed is too long, they’ll be star trails. If you expose the foreground of your scene too darkly, however, you will not be able to just recover the shadows like you can with a normal daytime landscape, because the high ISO you’ll be using will not have the same dynamic range. What exposure settings are a good start, by the way? ISO 3200 or 6400, f/2.8 or f/1.8, and anywhere between 4 seconds and 30 seconds, depending on the conditions. Start there, and then adjust your exposure as needed to get your histogram looking better!

Remember the 500 Rule

The 500 rule is based on a simple concept – the earth’s rotation causes stars to move in the sky, so if your shutter speed is too long, you’ll get a star trail. Before the days of high-resolution digital cameras, you used to be able to just take the number 500, divide it by your focal length, (say, 20mm) and that would give you a number that is the shutter speed, in seconds, that you can shoot at. However, now that we have 30, 40, even 50-megapixel cameras this rule just doesn’t work as well. For starters, just throw away the number 500, and start with the number 250 instead.

There’s one challenge that comes with finding the perfect exposure that makes things even more difficult sometimes. Unfortunately, if your shutter speed is too long, the stars will go from pinpoint dots to star trails. If you’re just posting low-res images on posting on social media, then all you really need to do is take the number 500, divide it by your focal length, and that is your shutter speed! (500/24mm = ~20 seconds!) However, if you’re going to make big prints from a high-megapixel camera and want pinpoint stars, try using the number 250 instead of 500 for your shutter speed calculation. By the way, DO NOT trust your camera’s LIVE histogram! They are often highly inaccurate in extremely dark conditions. ONLY trust the histogram of an actual test exposure.

Use the 2-Second Shutter Release

In order to prevent camera shake, set your camera to a 2-second shutter release so that way you can press the shutter button and avoid moving your setup. This is especially important for longer exposures and avoiding star movement.

For more information, see our article on the Ideal Camera Settings for Milky Way Photography.

Set Perfect Focus on The Stars

Setting focus on the stars can be extremely frustrating if you’re not using the right technique. The best way to do this is to use live view! First, point your camera toward the brightest star (or planet) in the sky. It doesn’t have to be in the exact center of the frame, but it’s a good idea if it’s not in a corner, too. Then, with your aperture set wide-open, magnify your live view to 100% or 200%, right on that star. Use manual focus, and start with the lens set near infinity. But, don’t just trust your camera or lens even if it says infinity, there can be a broad range for “infinity focus”, unfortunately. Manually focus back and forth a little bit around infinity, and watch that bright star come in and out of focus until you can perfectly nail it. Once you set focus, leave it alone!

The Samyang 24mm f/1.8 has a bonus feature that will prove very, very helpful for those wanting to learn how to take pictures of the milky way. Not only is the manual focusing very smooth and precise, allowing you to easily focus perfectly on stars, BUT, there is also a green light that will stay illuminated when it is set to perfect infinity! You can fine-tune the exact focus position that leaves this light illuminated, and it will remember the focus point within the lens’ optics themselves, not just an electronic measurement for focus.

Shoot Your Foreground Before It Gets 100% Dark!

Before it gets totally dark, however, set up your shot, frame the scene, lock down your tripod, and shoot a few exposures of the foreground as blue hour goes by. Because later, especially if you don’t have a super-fast lens or a camera body with stellar high-ISO performance, it might get so pitch-dark that the image quality of your foreground will be terribly noisy and underexposed.

Consider Milky Way Photography with Portraits

While challenging, photographing the milky way with people in the photo is possible.  This requires the subject to hold very still and for the photographer to use flash to help “freeze” the subject.  To learn this, see our guide on How To Photograph The Milky Way With A Portrait Subject.

Video: 5 Essential Tips on How to Take Pictures of the Milky Way

To help you digest all of this information, see this video that we created on How to take perfect milky way photos.

More Information

To learn more about Milky Way Photography, see our full Milky Way Workshop inside of SLR Lounge Premium.

This guide covers three go-to styling frameworks that photograph consistently well, require no stylist on set, and give you distinct looks without starting from scratch between each setup. The same logic applies to portrait sessions — not just model work.

Start with the model’s existing wardrobe

Before pulling pieces, talk to the model. Ask what she already owns that fits well and what she feels confident in. Confidence reads on camera — a model who’s slightly uncomfortable in an outfit will show it, and no amount of direction fixes that. For a first or early portfolio shoot, working from her own wardrobe also eliminates the logistical friction of sourcing.

The brief for what to bring: neutral colors, classic cuts, nothing with large logos or busy prints. White is the default starting point because it works against almost any backdrop, reads cleanly in both color and black and white, and keeps the focus on the model’s face and movement rather than the clothing.

Ask her to arrive with minimal makeup — fresh-faced, not bare — and hair that works both up and down. That single prep note doubles your look options before you change a single piece of clothing.

Look 1: fitted denim and a simple top

A well-fitting pair of jeans paired with a fitted tank or a simple bra top has been a portfolio staple for decades. That’s not an accident. The combination works at full length, three-quarter crop, and tight portrait framing, which means one wardrobe choice gives you usable images across multiple formats.

The denim wash matters more than most photographers realize. A medium blue wash with minimal distressing reads as versatile and contemporary. Heavy distressing or very light washes tend to date the images faster and can clash with certain backdrops. When in doubt, go darker — it photographs more cleanly.

For hair, shoot at least two variations: down and loose, then pulled back. That’s not two separate looks, but it reads as two in the final selects. The change takes 90 seconds on set and adds real range to the portfolio delivery.

Look 2: oversized white button-down shirt

A men’s white Oxford shirt is one of the most useful pieces you can keep in a shoot kit. On a model, it hits mid-thigh, which is long enough for body shots but short enough to read as intentional. The oversized drape creates a different silhouette than the fitted tank — moodier, more editorial, with more negative space in the frame to work with.

This look rewards a slightly different directing approach. Fitted clothes tend to work with clean, confident posing. The oversized shirt works better with a rawer, more loose energy — hair slightly undone, shirt gently off one shoulder, expressions that lean vulnerable or introspective rather than assertive. Give the model specific verbal cues: “soften your eyes,” “let your shoulders drop,” “you just woke up.” Vague directions produce vague results.

Shoot this one in black and white as a matter of habit. The tonal contrast between the white shirt and skin reads particularly well without color competing for attention.

Look 3: a jacket or blazer

A fitted blazer or an oversized structured jacket is the fastest way to add a third distinct look without a full wardrobe change. The silhouette shifts dramatically, the mood shifts with it, and you’ve extended the shoot without adding complexity.

One technique worth using: loosely tuck the model’s hair into the collar of the jacket to create a faux bob. It takes 30 seconds, it changes the frame entirely, and it reads as intentional styling even though it isn’t. Combined with a few accessories — a simple chain, a hat, or a scarf — you can pull two or three distinct variations out of the same jacket.

Keep the jacket relatively neutral. Black, camel, white, and charcoal all work. Avoid loud patterns or strong colors unless the backdrop and lighting are deliberately designed around them, which is a different type of shoot entirely.

What to avoid when styling your own shoots

A few decisions that tend to create problems on set rather than solve them:

• Busy patterns and large logos. They compete with the model’s face and date the images faster than almost anything else.
• Clothes that don’t fit. Styling can’t fix poor fit. A $15 white tank that fits correctly photographs better than an expensive piece that doesn’t.
• Too many looks. Five half-developed looks produce weaker portfolio images than three fully developed ones. Depth beats volume.
• Skipping the makeup brief. Heavy or highly stylized makeup limits how the images can be used. Fresh-faced is the default for test shoots for a reason — it leaves the most doors open.

Building the skill over time

Styling your own shoots is a practical skill that compounds. The first few times, you’ll second-guess choices on set. After a dozen shoots, you’ll have a mental library of what works and what creates problems, and you’ll be faster at making decisions before the model arrives. That fluency also makes it easier to collaborate with an actual stylist when the budget exists — you’ll know enough to contribute to the conversation rather than defer entirely.

For deeper work on directing models and building portrait sessions that produce consistent results, the Portrait & Posing Guide covers posing frameworks, expression direction, and how to structure a session from brief to delivery.

Frequently asked questions about model test shoot styling

What should a model wear to a test shoot?

Neutral, well-fitting basics are the safest starting point: fitted denim, a simple tank or white shirt, and one structured outer layer like a blazer. These give the photographer range across multiple crops and moods without requiring a full wardrobe budget or stylist on set.

Do you need a stylist for a model test shoot?

Not for a basic portfolio shoot. A stylist adds real value for editorial or concept-driven work, but for building a model’s foundational portfolio, three well-chosen basics styled intentionally will produce strong results without one.

How many looks should a model test shoot include?

Three is a practical target. It’s enough to show range in the final portfolio delivery without fragmenting your shooting time across too many changes. Each look should be distinct enough that the images read as clearly different — not just the same outfit with a different accessory.

What colors work best for model test shoot clothing?

White, black, and medium-wash denim are the most reliable. They work across backdrops, read cleanly in both color and black and white, and don’t date the images the way trend-driven colors tend to. Avoid large patterns, heavy distressing, and anything with prominent logos.

Can these styling tips apply to standard portrait sessions?

Yes. The same logic applies to any portrait work where you’re advising a subject on what to wear. Neutral colors, good fit, and minimal makeup give you the most flexibility in post and keep the focus where it belongs: on the person in the frame.

• Negotiate higher prices
• Make your photos even more kick-ass by understanding the nonverbal messaging
• Get more business from networking events
• Read your client’s nonverbal to know exactly what they need
• To deal with difficult personalities, confrontations and emotional events while on the job

People say a picture is worth a thousand words. And they’re right. The lighting, the setting, the make-up; that’s what most photographers think about. But what about the nonverbal messages people send in photos? While body language is a complex science, I want to give you a few general body language rules you can use. Body language can give you an added edge. Let me show you how:

Rule #1: The Body Language of Confidence

Harvard Business School researcher Amy Cuddy discovered that there are universal power body language moves. These are essential for photographers. You not only want to use these rules yourself when at networking events and negotiating for new business, but also you want to help clients use them during shoots.

• The more physical space someone takes up with their body, the more confident they appear and feel.
• Strong body language is when the forehead and chest are pointed up and shoulders are rolled back.
• Powerful, confident people aren’t afraid to open up their body especially their torso and chest so that they are free of barriers—uncrossed arms and legs.

I did a body language shoot with the amazingly talented Maggie Hudson of Honeysuckle Photography. In these pictures you can see the more physical space I take up, the more I have my body open with my chest and head up, the more confident I look:

We know power poses are extremely impactful both for the viewer and for ourselves. Cuddy had 1 groups of participants stand in power poses (expansive, open) for 5 minutes and another stand in weak poses (contracted, closed) for 5 minutes. They then went into mock interviews. The strong power posers not only were rated as more confident and more likely to be hired by the interviewer, but they also had increased levels of testosterone (the strength hormone) and decreased levels of cortisol (the stress hormone).

This means that body language not only affects how others perceive us it also affects how we perceive ourselves.

How can you use this rule:

• Encourage your clients to power pose to have more powerful pictures and to help their with their nerves.
• Stand in powerful body language before networking events or negotiations to SHOW people your confidence and to FEEL more confident.

Rule #2: Avoid Fake Happiness

Fake happiness plagues photographers and clients alike. How many times have you looked at a picture and thought, ‘That person looks so fake.’ This usually has to do with a body language principle called: “The Microexpression.”

A microexpression is a brief involuntary facial expression that happens when someone feels an intense emotion. There are 7 universal facial expressions that people make across cultures. Here is a grid of the microexpressions that have been discovered put together by Maggie:

For now, let’s talk about the universal expression for happiness. The only true indicator of happiness is when the muscles along the sides of the eyes are activated and pulled up (crows feet). However, only 1 in 10 people can consciously activate that muscle. This is why when people are smiling during holiday cards or photo shoots they smile, but it doesn’t look real. It is because the smile isn’t reaching their eyes. Here is the difference:

Fake Happiness vs. Real Happiness:

Notice the crow’s feet on the sides of the eyes? It’s when those upper cheeks are engaged. Capturing true happiness is essential for making a picture feel genuine, warm and real. The more you can encourage your client to think of genuinely happy memories, the more they will genuinely smile. Once you see the smile reach their eyes, you know you will get the right shot.

Rule #3: Professional vs. Casual

In general, professional body language has the following:

• Less movement. Dancing, wind, or implied movement in photos gives off more casual and fun body language cues. This is because alphas, or leaders typically move less in general. Research has found that they don’t fidget as much and are less expressive. See examples below.
• Straight eye contact. Casual photos include more looking off to the side or peering at the camera through eyelashes. If you want photos to be fun and flirty you can try those body language poses. For serious shots, you want straight into the camera gazing with the head positioned at camera level. The reason for this is because when someone looks down at the camera (and therefore the viewer) this is a sign of superiority. If they are looking up in the photo, it is a sign of submission. If you are photographing someone who wants to look dominant. Try placing them slightly higher than the camera.

The image on the left is more fun with more movement, more expressiveness and looking off to the side.  The image on the right is more professional with a still pose and straight on gazing:

Body language is a powerful tool that can give you an edge both interacting with clients and in your photographs. You just have to know how to use it.

More Info and Resources

Want to join our course on Body Language for Photographers? If you’re interested in Vanessa’s Body Language for Photographers webinar: Sign-up to get on the wait list.

If there is one overarching characteristic whose importance precedes that of all the characteristics listed in this article, it’s that every image needs to have a purpose. The image should tell a story or capture a unique moment in a meaningful way. If you comb through your portfolio and find yourself wondering why you captured a particular image, then there’s a good chance it’s lacking some or all of the following characteristics.

While it is highly unlikely that a given image (even an amazing photo) will include all of these characteristics, try to combine as many as possible and always keep composition in mind.  Without any further delay, here are 10 Characteristics of Great Photos.

10 Characteristics of Great Photos

1 – A Good Photo Has a Compelling Composition

Most basic photography guides include common compositional concepts like the rule of thirds and rules of symmetry, but what other techniques can we use to create compelling compositions? Some less common techniques involve negative space, leading lines, depth of field, and framing. I mention this rule first because it doesn’t matter which particular style, technique, or rule you follow, so long as every image is thoughtfully composed. There will be times when composition takes a back seat in order to just grab the shot, but it should otherwise be considered whenever possible.

The image above uses one of the most common compositional rules, the rule of thirds, in two ways. First, the dunes occupy two-thirds of the image horizontally, leaving the sun & sky to fill the final third. Secondly, the couple has been placed near the upper left intersection of the horizontal and vertical thirds. Although the rule is commonly practiced, this image exemplifies why it is so effective, especially in this scene from Dubai.

The image above features the dynamic symmetry of continuous spiral, which is often found in both nature and architecture. There are mathematical equations concerning ratios that explain in technical terms why this is pleasing to the eye, but it’s easy enough to notice how the lines effectively lead to the subjects, who’ve been placed in the lower left third of the image. Of course, the dramatic lighting also plays a role in minimizing distractions and drawing the viewer’s focus to the brightest part of the photo.

The photo above features several compositional components, including leading lines, the rule of thirds, and unique framing. The leading lines in the scene draw the viewer’s eye to the couple, who occupy the space framed by the walls on either side of the walkway at the Disney Concert Hall in Los Angeles. In addition, the entire composition is framed using thirds, the left third where the couple resides, and the right two-thirds occupied by the wall and leading lines. The couple’s reflection in the wall on the right also adds a sense of (nearly symmetrical) balance to the image.

Framing is key in the image above, as the couple is framed inside of multiple layers of squares. They’ve also been placed at the intersection of the lower left thirds, and lighting has been used to draw focus to the couple.

In the image above, bokeh, which basically refers to the out-of-focus parts of the image, works in tandem with a shallow depth-of-field to separate the subjects from the background (and in the case of this shoot-through, the foreground as well). The subjects occupy a very narrow margin of space that remains in focus, which also happens to reside in the lower-right third of the image.

Here, we have a great showcase for the power of symmetry. The couple has been placed on the apex of the triangular rock formation in the foreground, creating the first layer of symmetry. The mountain range in the background also adds to the symmetry of the image in that it echoes the triangular shape in the foreground while also providing its own symmetrical element.

You can find more information on composition and how to combine compositional elements here.

2 – Display Of Emotion Can Create a Good Photo

As human beings, we are drawn to emotion. Whether we’re laughing or crying, emotion ties each and everyone of us together. Images that capture genuine displays of emotion often prove timeless, and these meaningful moments will always capture the audience’s attention.

The image above was captured during a Vidaai, which marks the end of the Hindu wedding ceremony and the beginning of the bride and groom’s journey as husband and wife. Vidaais can be intensely emotional as the bride’s friends and family wish her farewell (as illustrated above).

On the flipside of sad emotions, genuine happiness also effectively connects viewers to the subjects in images. Usually, the more candid and natural the capture appears (even if it was actually directed), the larger the impact of the image.

3 – Storytelling Makes a Good Photo

Some of the greatest images simply tell a story. Rather than relying on great composition or featuring other unique characteristics, they instead focus on storytelling. Some of the best storytelling images are found in the news and other sources of photojournalism. From the triumphant shout of a newly crowned sports champion to a protester standing in front of a tank in the Tiananmen Square massacre, these images capture and freeze moments in history for everyone to become a witness. Here are a few examples from weddings we’ve photographed.

You can almost feel the anticipation in the air as the bride’s father walks her down the stairs to the ceremony site at Malibu Rocky Oaks. From this unique perspective, you can see the story unfold as the bride’s family, friends, and groom-to-be anxiously await her arrival.

What is bride prep without a little help from the bride’s friends or family? Here, an ensemble cast of bridesmaids admire the bride’s beauty from all angles while helping her with the final touches in preparation for her big day.

For wedding photographers, the first look at the altar offers a perfect opportunity to capture the anticipation and surprise of the bride and groom seeing one another for the first time on their wedding day (depending on whether or not they did a first look earlier in the day). It’s one of the staple moments of the entire day.

4 – Elliptical Storytelling

Most images that tell a story are already worthwhile, but images that tell stories while leaving something to the viewer’s imagination are even better. You’ve probably heard people say that the book is always better than the movie because it allows us to use our imagination to create the most amazing and personalized special effects in our minds. Images that leave something to the imagination tend to do the same thing. They offer just enough information to fuel our imagination as we fill in the missing pieces.

This image was shot at a local airport during an engagement shoot. While we can’t be sure of the subjects’ identities, we’re given enough clues to imagine they’re embarking on a long-distance trip. We don’t know where they’re going or under what circumstances, but that’s also why the image works so well. The limited clues let you imagine the rest.

We’re given very few clues to determine the situation in the above image, but it’s enough to allow for creative speculation. The close proximity between the subjects implies a close relationship, and the style of the shoes and wardrobe combined with the graffitied background lend an urban feel to this untold story.

5 – Iconic Moments Make Good Photos

When capturing an iconic moment, you are capturing a moment created or modeled after meaningful moments in pop culture and/or history. Whether it is a reproduction of a scene from a classic movie or a moment based around something trendy, these shots allow the audience to feel emotionally connected to the moment within the imagery.

While James Dean never rode a motorcycle in his movies, plenty of photos exist of the star as he sits atop an old Triumph, exuding the cool guy, rebel persona he’s often associated with. In the James Dean-inspired shot above, viewers are transported back to the era of cool as we spy a glimpse of a couple in the rearview mirror, just before they ride off into the sunset.

The couples portrait above recalls the golden age of Hollywood through its use of dapper outfits, editorial posing, dramatic lighting, and on-set props (like the retro-style light, which was part of the decor in a room at the Hollywood Roosevelt Hotel).

6 – A Good Photo Often Captures Unique Moments

What’s an easy way to create an interesting image? Simple, shoot something that is unique to the respective audience. For example, while a Christian wedding may seem quite common in the United States, a traditional Hindu wedding isn’t so common and therefore is automatically more interesting to an audience in the states. Other unique moments might reveal themselves during unusual events or at one-of-a-kind locations.\

During his pre-wedding baraat, a Sikh bridegroom peeks through the strands of his Sehra to take in the sights. While baraats are quite common in Hindu and Sikh weddings, they’re unique to those who’ve never witnessed them. In addition, the ornate and colorful clothing worn by most in attendance make for unique photos.

It’s not often that you get to capture family portrait framed under a spectacular fireworks display. The image above took place outside the venue during a wedding reception and used a backlight to separate the family from the background.

You can find more tips on how to capture portraits under fireworks here.

The image above was captured at sunset just after the clouds began to clear at Malibu Rocky Oaks. By using off-camera flash to highlight the couple, we were able to capture a unique couples portrait in an environment whose look and lighting changed by the minute.

You can see how we captured the image above here.

7 – Juxtaposed/Contrasting Concepts

Some of the most interesting images juxtapose (compare) completely contrasting objects and concepts. Examples of this might include a beautiful bride in a completely white and flowing wedding dress shot in front of a background littered with trash and graffiti, thus juxtaposing beauty and purity with ugly and uncleanliness. Or perhaps a homeless person downtown sitting with all of his belongings with a glowing Merryl Lynch sign in the background, contrasting utter poverty with a symbol of wealth and power. See the images below for more examples.

You might be wondering what’s going on in this image. We’re looking out from a makeshift shanty in downtown Los Angeles. This might not be the first place one would imagine using as a backdrop for an engagement portrait, but it aligns with the urban engagement theme and presents a unique setting for lighting and framing the couple.

The image above was shot at the Long Beach Performing Arts Center against a graffiti-esque wall mural. The dapper wardrobes of the bride and groom in this editorial style shot contrasts well against the painted background.

8 – Unique Lighting and Color Can Make a Good Photo

Lighting and color is really where a lot of great images start. Great lighting can turn a mundane scene into an amazingly colorful scene full of texture and life. In nature, these types of scenes happen all the time during sunrise and sunset, and while we can’t control the lighting of those fleeting moments, if you happen to be in the right place at the right time, you just may be able to capture it (see point number six above). However, we can control and create unique lighting on our own with the proper knowledge using off camera lighting, flashes and more.

The image above was created using a whip pan technique, which can be used to add dynamic motion with shutter drags (long exposures). While the backdrop in this image was already appealing, the added light technique makes this portrait standout from others captured in this same location.

By lowering the ambient exposure in-camera and illuminating the couple with off-camera flash, we were able to capture this unique couples portrait under the beautiful Arizona sky.

Silhouettes are backlit images that are easy to capture and can help you create a good photo. In the image above, captured in the dunes outside of Dubai, we placed the subjects directly in front of the setting sun and lowered our exposure to reveal the outline of the couple riding a camel across the sand. White balance also plays an important role in this image as it adds a desert feel with the bright orange sky.

9 – Attention To Detail

In our time and society where everything is about speed and efficiency, images that capture overlooked detail can be enough to make someone stop to smell the roses. While pictures of unique and unseen detail is amazing and breathtaking, you can often get the same reaction out of your audience by simply shooting the detail in everyday life.

This detail image of a bride’s shoes was captured on a hotel tabletop during a wedding in Huntington Beach. The dramatic lighting and reflective surface elevate this photo to a product shot you might expect to see in an ad for the shoes.

While they’re often used to photograph flowers and insects, macro lenses open up a world of possibilities for photographing all kinds of tiny objects, including wedding rings (as seen in the image above). The best part is, aside from purchasing a macro lens, you can use inexpensive lighting to get your desired look.

In the image above, an Indian bride takes a brief pause before heading out to the ceremony site. The ornate dress and accessories, as well as the henna on the bride’s hands and arms, are packed with detail and deserving of a closer look.  A good photo is sometimes one that’s zoomed in tight on the details.

For more information on how to photograph details like those featured above, see our Photographing the Groom and Photographing the Bride wedding workshops.

10 – Unique Perspective

Most of us live our lives viewing the world with relatively the same perspective. This is what makes unique perspectives so interesting to the audience. Instead of shooting a child from an adult’s perspective, why not get down low and shoot them from the child’s perspective. Very low bottom-up and higher top-down can often create a much more unique and interesting image.

This image was shot during an event as some of the kids were having a little party of their own. What better way to shoot kids, then to shoot it from their perspective. You can imagine how this shot wouldn’t be nearly as special were it shot from a standing (grown up) perspective.

No drone was needed for this overhead photo of a bride and groom dancing in the rotunda at the Monarch Beach Resort. Whether you have to use a drone, balcony, or even an extended monopod, capturing your image from a higher perspective can elevate your image and help you create a good photo.

The image above was shot from a low angle to capture this unique perspective and show the beautiful background above the couple. Remember that backgrounds can be above or below you!

In this portrait taken at the Bonneville Salt Flats in Utah, we’ve used a wide aperture panoramic stitching technique called the Brenizer Method to showcase the couple. Without using this technique, it would be difficult to capture this large of a frame with such shallow depth of field.

We discuss this technique more in-depth in our Panoramic Stitching Workshop.

Conclusion

We hope you enjoyed this article! If so, please share this article to show us your love! Also, please add your additional ideas on creating great images in the comments below.

Today’s Tamron 35-100mm f/2.8 review is exactly that; something unprecedented, but in a modest way that is within reach of most photographers. It’s a professional quality lens, yet with a massive savings compared to the average professional f/2.8 zoom lens in this range. We’ve already seen so many unique zooms already that buck the trends of traditional zooms. We’ve seen quite a few totally unique ultra-wide lenses lately, such as the Tamron 16-30mm f/2.8 G2, the 20-40mm f/2.8, and the 17-50mm f/4. Simply put, across the board, nobody else is making lenses like these.

The thing is, with so many excellent zoom lenses on the market now, how do you know if this exact focal range is right for you? Read this review and I promise you’ll find out… I’m not an influencer, though, so don’t let my bold “clickbait” type statement trick you; instead, check out these sample photos and decide for yourself.

What I do have to offer you is, my 20+ years of experience as a photographer, including professional weddings and portraits, but also countless other types of professional work, plus more hobby / amateur subjects than I can count. That is to say, whatever type of imagery you create, I’ll probably be able to advise you on whether or not the Tamron 35-100mm f/2.8 Di III VXD lens is right for you.

Tamron 35-100mm f/2.8 Di III VXD | Specifications

• FOCAL LENGTH & ANGLE OF VIEW: 35-100mm (63° to 24°)
• LENS MOUNT(S): Sony E (FE full-frame), Nikon Z (FX full-frame)
• APERTURE & RANGE: f/2.8 (constant), minimum f/22 rounded 9-blade diaphragm
• STABILIZATION: No
• AUTOFOCUS: VXD linear motor, near-silent
• MANUAL FOCUS: digitally controlled, dedicated focus ring, “custom function” switch
• OPTICAL CONSTRUCTION: 15 elements in 13 groups, 2 aspherical, 1 low-dispersion aspherical, 1 low-dispersion, 1 XLD (extra-low dispersion)
• MECHANICAL BUILD: metal barrel & mount, weather-sealed, USB port
• MAGNIFICATION & FOCUS DISTANCE: 0.3x magnification, 8.66” (0.22m) close focusing
• FILTER THREADS & HOOD: 67mm, 1-piece hood included
• SIZE: 3.2 x 4.7″ (80.6 x 119.2 mm)
• WEIGHT: 1.2 lb (565g)
• PRICE: $899

Tamron 35-100mm f/2.8 Di III VXD Review | Who Should Buy It?

Let’s dive right in and talk about why this lens even exists, then we’ll talk about who should consider it. Simply put, you probably already know that the most common zoom range is 24-70mm. Such lenses seem to pop up like weeds, and most of them are pretty good!

Honestly, though? Right off the bat, I will say that as a portrait and wedding photographer, I never liked that exact zoom range. Especially for almost all types of portraits except maybe large groups, I never spent much time at 24mm, and I always wished for a little bit more than 70mm.

Therefore, for portraits (and weddings) in particular, I actually find myself wondering, …where was this exact focal length 20 years ago? It’s actually perfect for so many different types of portraits. Whether I’m doing engagement portraits of a couple, or newborn / maternity portraits, or headshots, high school senior portraits, graduation portraits, …but I’m getting ahead of myself now. The bottom line is this: If you take pictures of people, and if you value bokeh (background blur) …then you should really consider making this your go-to standard, mid-range zoom, instead of a common 24-70mm.

Portrait & Wedding Photography

I’ve already set the stage for which types of photographers I’m going to recommend this lens to, so, here I will just rattle off a list of all the different types of (people) photography that I’ve done, and whether or not I think this a good lens…

This Lens Is Perfect For:

• Engagements / Couples
• Individual headshots (corporate, graduation)
• Maternity & newborns
• Editorial & fashion
• Candid street photography
• Detail shots AKA “food portraits” etc
• Concerts, theater, stage etc

I Might Prefer a 24-70mm or 28-75mm for:

• Up-close photojournalism & indoor weddings
• Large groups of families, corporate teams, etc
• Environmental portraits, elopements, etc

Vloggers & Content Creators (Video)

This is where things get complicated, especially since many cameras apply a crop factor depending on which exact video settings you’re using. There is, however, one thing I wanted to point out where this lens might feel truly perfect for you!

I imagine that there are a lot of video shooters of all types who previously used a 24-70mm f/2.8 lens. However, in the past a lot of cameras applied a crop factor when switching from photo to video, and they got used to that.

Now, more and more cameras are offering “full-width” video capture, meaning there is no longer a crop applied! Suddenly, your 24-70mm might feel “too wide”. In this specific instance, you might absolutely love the arrival of this 35-100mm.

Of course, the same logic applies to all video shooters past and present. When deciding which mid-range zoom is best for you, consider your current camera’s crop factor, (1.2x, 1.5x, etc) …and also consider what camera you might eventually upgrade to! You might decide that this lens isn’t right for you, and maybe the Tamron 28-75mm f/2.8 is a better choice. Ultimately, this decision is a complicated one because there are both creative and technical factors, so, give it a lot of thought.

Action Sports & Wildlife Photography

Both of these types of subjects often benefit from “a little extra reach”, so, again I will strongly recommend checking out the Tamron 35-100mm f/2.8. Maybe you’re photographing your kid’s gymnastics, theater, or music recital. Maybe you’re sitting in a blind waiting for wildlife to pass by. Either way, obviously your primary lens is going to be a much bigger telephoto option, but this mid-range zoom makes a much better complement to add to your camera bag.

Landscape & Nightscape Photography

Last but not least, here we have a mixed bag of suggestions that I’ll make. Simply put, I could see this lens being a great mid-range zoom if your bread-and-butter lenses are a 16-35mm and a 100-400mm. Obviously, the 35-100mm literally fits perfectly between two such lenses!

On the other hand, if I had to pick just one mid-range lens for either landscapes or nightscapes, I have to admit that it would be a good 24-70mm f/2.8.

On the other (third?) hand, honestly? I really like how much more lightweight, compact, and affordable this 35-100mm lens is. So, I come full-circle back to my initial advice: If your main landscape/nightscape lens is a 16-35mm, this is a perfect supplement. On the other hand, if your go-to is a 14-24mm or a 12-24mm, then yes, you ought to consider a mid-range zoom that is slightly wider.

Tamron 35-100mm f/2.8 Review | Pros & Cons

I’m going to be as brief as I can be in this section, because I want the photos to really speak for themselves. I’ll sum up this entire section for you right here: The Tamron 35-100mm f/2.8 Di III VXD delivers excellent image quality, is built to feel professional and rugged, yet fits into a decently compact package compared to “exotic flagship” glass.

Image Quality

As you’ll see, whether it’s the clinical sharpness or the subtle bokeh, I’m impressed with the results. Especially for a lens that is likely oriented towards portraits, it is important to find a balance between technical perfection and the “character” of an image. In each instance, I think Tamron has done a very good job.

Technical factors such as vignetting, distortion, and chromatic aberrations are minimal, or at least they seem to be. This is likely thanks to built-in lens profiles that correct (hide) some amount of vignetting and distortion. However, this is par for the course in virtually all modern mirrorless lenses, and what really matters is the end result: Not only do you get excellent final images, but you also don’t have to lug around a massive piece of glass to get those results.

I do wish that this particular lens could focus just a little more close-up. The particular zoom range could lend itself to being an excellent “semi-macro” lens, and therefore I do wish that the magnification had been capable of 0.5x compared to 0.3x. With that being said, the close-up images are indeed stunning and I’m very happy with what I can get from this Tamron.

Build Quality, Ergonomics, & Portability

The Tamron 35-100mm f/2.8 Di III VXD joins a growing arsenal in Tamron’s lineup, one that offers both professional quality yet also compact portability. We’ve seen this trend already; Tamron’s lenses getting smaller and lighter while offering different zoom ranges. Years ago, we started with lenses like the Tamron 17-28mm f/2.8 and 28-75mm f/2.8, both of which were significantly more compact and lightweight versus traditional flagship lenses.

More recently, we’ve seen options such as the Tamron 20-40mm f/2.8, and the 28-75mm f/2.8 Di III VXD G2. Across the board, there’s been a common theme: durable, professional quality, with significant weight (and price) savings.

For this particular 35-100mm f/2.8 lens, the theme is similar: It’s lighter and smaller than a 24-70mm f/2.8, and yet it feels solid and professional.

Honestly, I was expecting something even more lightweight and compact when I first heard this lens announcement. I think, maybe, I have been spoiled by such ultra-light lenses as the Tamron 20-40mm f/2.8, (365g) the Tamron 16-30mm f/2.8, (440g) or the APS-C crop sensor Tamron 17-70mm f/2.8. (530g) I think, however, that this 35-100mm f/2.8 lens is just a touch heavier than those because it is very difficult for any lens to bridge the gap between “normal”, AKA ~50mm.

Simply put, there’s no other f/2.8 zoom on the market which offers this exact zoom range, and this Tamron does it in a relatively compact package with just a tiny bit more heft than, shall we say, “weighing almost nothing”.

Autofocus Performance, Manual Focus, Focus Breathing

Compared to the older types of autofocus, Tamron’s latest VXD AF lenses are excellent. They’re virtually silent, fast, and accurate. I had no trouble nailing focus with this lens, even in low light and even with tricky subjects.

Of course, this may depend on the exact camera body you’re using; older mirrorless camera bodies don’t have the same AF chops as, say, Sony or Nikon’s latest-gen AF algorithms that use AI to help detect and track all manner of subjects.

All in all, I’m very happy, and I think anyone else considering this lens will be impressed as well. Whether you’re doing precise manual focus work for landscapes & astrophotography, or you’re pulling focus for video work, there’s nothing negative to note here.

Features & Customizations

I’m delighted to see Tamron begin to include an AF/MF switch on their newer lenses. Well, this isn’t a dedicated AF/MF switch, it’s a 1/2/3 position custom function switch, but of course you can use it to switch between autofocus and manual focus.

There is also a custom function button, which I personally don’t use very often but it’s a nice professional feature for those who want it.

Last but not least, there’s a USB port for customizing the lens and updating its firmware, and apparently this USB-C port is weather-proof.

Tamron 35-100mm f/2.8 Review | Value & The Competition

Here’s what you need to know: There’s no other 35-100mm f/2.8 zoom on the market, period. If you want this exact zoom range, this is your only option. (It’s an excellent range too, in my opinion!)
Having said that, there are still alternatives, if you’re flexible. Multiple 28-70mm or 28-75mm options exist, and some of them are more lightweight & compact while others are a bit heavier. Or, if you’re looking for the most traditional option, tons of 24-70mm f/2.8’s exist.

I do want to note that Tamron themselves have yet to release a 24-70mm f/2.8 lens for mirrorless cameras. They have a phenomenal “SP” DSLR-made 24-70mm f/2.8, but so far in the mirrorless realm they have focused on alternatives that are a slightly different focal range, and much more portable. In my opinion, this was a very smart move, but it’s worth noting that if what you really want is a 24-70mm f/2.8, maybe Tamron will offer one someday.

With all of that said, here’s the bottom line: For under $900, this Tamron is in a class of its own. The flagship 24-70mm f/2.8’s start around $1400, and easily get up to $2400. Any other option in a similar ~$900 price range is going to be a significantly different offering; not just the zoom range but also the image quality, autofocus reliability, etc.

In summary, if you like this zoom range, this isn’t just your best choice by default, it is truly an excellent lens that beats any “close but not quite” alternative.

Tamron 35-100mm f/2.8 Review | Conclusion

I hope you now have a better idea of whether or not the Tamron 35-100mm f/2.8 Di III VXD lens is right for you! It’s not for everyone, however, there is definitely a huge group of both photographers and video creators who should strongly consider it.

If you photograph portraits or people in general, you should consider this lens before you think about a standard mid-range zoom. If you photograph people or animals in action, …same! To my own surprise, I’m even extending my recommendation to landscape and nightscape photographers, depending on which exact ultra-wide zoom you are using.

Currently, the Tamron 35-100mm f/2.8 DI III VXD sells for $899 on the Sony E mount, or $929 on the Nikon Z mount. From time to time you might see a $50 or $100 savings offered, as is common for many lenses, but for now (spring 2026) it’s a rather new, popular item so you’ll be fortunate if it’s in stock!

In this article, we’re going to show you six of my favorite techniques for creating better images, regardless of the camera you’re using or the scene in which you’re working.

You can watch the video for these 6 tips below:

Okay, let’s dive in!

Technique #1: Place Subjects in the Brightest Part of Your Scene

Our focus is naturally drawn to the brightest part of the photograph. Therefore, when we place our subjects in the brightest part of the scene and let everything else create a natural vignette around our intended point of focus, our eyes are drawn right into the subject. Looking at the sample image above, you can see this technique in practice. To capture this scene, I lowered my stance a bit and place the subject (Dylan) right above the tree line and used the treetops to create leading lines right into Dylan. His head has been placed in the area of the sky that’s brightest. In post, we would just brighten the image slightly and use a radial burn to enhance the natural vignette that’s already present. See the image below for another example.

Bonus Tip: This technique also works for shooting close-ups.

Because I shot this close up using a wide-angle lens, I kept the subject (Shivani) in the center of the frame to minimize lens distortion, or at least use it to our advantage. When you shoot at a wide-open aperture on a prime (or other) lens (such as the Sigma 24mm lens I used in the image above), the lens automatically creates a natural vignette in the frame, which you can use to further direct the focus to your subject. When you use lens characteristics such as distortion and vignetting to your advantage, you can create a better image.

Technique #2: Narrow Your Crop

Sure, when you’re shooting in a beautiful location with perfect backdrops, you can shoot wide and let the environment play a key role in the portrait. What happens when you find yourself in the middle of a parking lot or street, however, in a less-than-ideal location? The best solution is to focus on the areas of the background that actually look good. Case in point: check out the image above. We captured this image on a sidewalk only a few feet over from a moving truck, which you can see in the behind-the-scenes image below:

Using lens choice and framing to selectively crop out what you don’t want to see in the image can go a long way toward creating a better photo. See the image below for another example:

The above image was created in a parking lot using a hedge that surrounded a power box. We simply chose an angle and focal length that allowed us to narrow our crop and reveal only the best parts of the scene. You can see the behind-the-scenes image of the parking lot photo below:

We used the same technique in the image below to crop out a rope and other elements of the scene that we wanted to conceal. We made sure to shoot tight and place them in a position so that they’d be backlit by the sun. For added effect, we shoot a tree branch to include falling particles in the foreground, which gave the image more depth.

Technique #3: Create Reflections to Conceal

Reflections can be used to enhance OR conceal elements in a frame to create a better photograph. Take the image above, which was also captured in our parking lot. We used a phone and an office window to create a reflection that in turn concealed the areas of the background that I felt weakened the frame. The model’s “second” reflection also creates a more compelling photo and makes creative use of the negative space in the frame. See the image below for a behind-the-scenes capture:

Here’s another example of this technique in practice, this time taken during a recent wedding I photographed. In this image, we photographed the bride while she was having henna applied. The background was pleasant enough, but I didn’t want to include too much of the ground and instead wanted to focus on the bride and the henna being applied to her arm, which can be seen in the frame. To add a creative flare to the photo, I used a mirror and placed it next to the lens and angled it to see the bride’s face in the reflection.

In the following example, I used this technique to simply enhance an already beautiful location. As you can see in the environmental shot below, the wedding ceremony site was beautiful on its own. Thanks to the incredible work put in by talented vendors, there was no real need to “conceal” anything.

However, we didn’t love the carpet in the room, so we wanted to capture the beauty of the room without having to feature the floor. To do this, I placed my camera lens just over my phone to take advantage of its reflective surface and highlight other elements in the room while also concealing the carpet. See the images below, which feature reflections I created using the phone.

Incorporating techniques like this into your professional shoots can make everyone look better, including all of the vendors you work alongside.

Technique #4: Show Motion

This is a technique that I feel photographers often forget to use. You don’t always need to freeze everything to get a tack-sharp or worthwhile image. Sometimes, showing motion can add a special quality to a photograph and make it better.

In order to create a shot like the one above, you’ll need to slow your shutter speed to somewhere between 1/5th and 1/20th of a second. For this image, I placed my camera on a tripod and directed the couple to walk into the center of the crosswalk and pose as soon as the light changed. Then, while standing in a safe spot away from the couple, I waited for the bus to go through the frame and I captured the photo. The couple had to stand very still and hold their pose in order to achieve this effect against the busy background.

The above photo uses a similar technique, but this time was created by blending together multiple photos. Because the crowd doesn’t always line up in just the right place at just the right time, I placed the camera on a tripod and took several long exposure photos as people passed by, which I later edited together as a composite using Photoshop.

[Related Reading: Create Amazing Composite Portraits in 7 Steps]

Technique #5: Cue the Action

Sometimes, it helps to cue the action. In addition to helping you capture great expressions, cueing the action can also allow you to freeze and incorporate other interesting elements into the moment. In the image above, for example, I asked dad to pull his daughters in tight, which elicited these beautiful, candid reactions and made for a special moment. The dynamic nature of the moment is more compelling than it would’ve been if the family was sitting still and simply smiling into the camera. There’s a place for those images as well, but this photo is more interesting to look at.

In the above image, I cued the action to capture a photo of my kids. Before I snapped the photo, I laid out some bread to get the birds grouped in a centralized location. Then, I asked the kids to run across the beach toward the birds, who quickly took off and created a frame around the kids while also adding more motion to the image. We did this a couple of times and the kids had a great time creating a collection of fun shots. Because of the circumstances of the shoot (we were kayaking along the beach and I only had my camera body and a 24-70mm lens), I wasn’t able to rely on bokeh or many of the tools & techniques I might normally use to create an interesting image. It goes to show that capturing compelling images is not about the gear, but more about the techniques you use to capture the moment.

Technique #6: Add Light and Color

I love adding light to a scene, and more specifically coloring the added light for creative effect. As you can see in the behind-the-scene image below, we were able to use a gel and two lights to add interest to an otherwise lackluster scene. We placed a red MagMod gel to the light that we used to light the background, which in this case happened to be a Profoto flash (you should be able to use whichever brand of flash and modifier you have to achieve a similar effect). We’re also using a second, un-gelled light in the front to illuminate our subject.

[Related Reading: Turn Any Boring Background into a Creative Portrait Using a Gel and Two Flashes]

We can also add light and color to enhance the existing color. For the photo above (which comes from our Lighting 101 workshop), we added a warm CTO gel to a standard on-camera flash and bounced the light off a reflector for more directional lighting. Then, when we cooled the white balance in post to adjust for the model’s skin tone, the blue hues in the scene took on an even deeper, richer shade of blue.

Conclusion

All six of these techniques can be incorporated immediately, regardless of the gear you’re using. In fact, the first five of these six techniques can be used with just your mobile phone. That’s what makes these techniques so fun and valuable. 

Couples Poses Video

Let’s start with the full couples poses video that we created for Adorama TV.

First 5 Couples Poses You Should Learn

We created this Foundation Posing Framework for 4 very important reasons: simplicity, framework, client comfort, and consistency. If you’re new to posing and couples photography you’ll want to develop a good system of Foundation Poses so you can avoid making your couples look uncomfortable or unnatural in front of the camera. This is a two-part series so stay tuned for next week to see the next episode! Let’s start with our first pose, the V-up.

Couples Pose #1: V-Up

Description: The subjects’ shoulders are hinged on the back and their bodies form the shape of a V; facing toward each other. This is the first and most basic pose in the framework simply because it is a standard and universal way for a couple to pose, similar to what you see on red carpets or casual portraits.

Direction: “Pretend that the area where your shoulders are touching is like the hinge on a door.” Have their feet face slightly in towards each other and their arms wrapped around each others’ backs. Then when you give your subjects directions like, “open up” or “close the door,” they can easily understand and follow what you want them to do.

REWIND: Official Couples Posing Guide – Tips, Cues, & More!

Couples Pose #2: Closed Pose

Description: Couple is facing in towards each other with their chest and feet are facing in at each other. We call this the closed pose because their chests are closed and away from the camera.

Direction: “Go ahead and close the door and face in towards each other, chest to chest.”

Couples Pose #3: Open Pose

Description: The couple is open to the camera with their chest, feet, and hips all facing towards the lens. This is a great pose to set up before you direct your couple to start casually walking. This is also a great pose to show off their outfits and body shapes.

Direction: “Go ahead and open the door and face towards the camera and have your feet and hips follow.”

Couples Pose #4: Reversed Pose

Description: One person is facing one direction away from the camera, while the other person is facing the camera. It’s a great pose to get implied shots of just one person.

Direction: Have one subject turn their back to the camera while the other turns towards the camera.

Couples Pose #5: Stacked Pose

Description: One person is standing in front of the other; he is behind her, while her feet are stacked against his. This is similar to a prom pose but… elevated. We want to avoid having one subject hidden by the other so make sure to stagger the stance a bit so both faces are visible. Also, avoid having hands placed around her belly (unless this is a maternity shoot) because it could imply an entirely different meaning.

Direction: “Go ahead and stack your feet behind her/him.”

Conclusion

And there you have it, 5 simple poses that will give you the foundation to capture genuine and authentic moments with your couples. Remember, if your client feels uncomfortable, it will likely be seen in the photos. For more information on couples posing and directing make sure you check our SLR Lounge Premium. Tune in next week to watch the second part two this posing tutorial only on Adorama’s YouTube channel!