You can have beautiful light, an interesting location and a technically sound photograph, yet the person you’re photographing looks as though they’re waiting for permission to move.
They’re standing exactly where you asked them to stand, looking in the direction you suggested and trying very hard to do everything correctly. Unfortunately, they also look rather uncomfortable.
It’s something I see quite often with photographers who are beginning to work more seriously with people. They’ve learned how to operate the camera and are becoming more confident with lighting and composition, but directing someone can still feel unfamiliar.
The temptation is to look for a collection of reliable poses. Where should the hands go? Which way should the shoulders turn? Should the person smile, look away or stare directly into the lens?
There’s certainly a place for understanding posing, and a small change in body position can make a substantial difference to a photograph. But I’ve never been particularly interested in working through a long sequence of prescribed poses.
I prefer to get someone comfortable in the space, establish a connection and allow the portrait to develop through a combination of guidance, observation and timing.
The way you approach the person has a considerable influence on the photograph you eventually make.
Understanding the Person You’re Photographing
Begin with the person in front of you
Photographing a professional model is a very different experience from photographing someone who rarely finds themselves in front of a camera.
A model may be comfortable moving between positions, responding to lighting changes and interpreting your direction. Someone who isn’t accustomed to being photographed may have no idea what you’re expecting them to do.
They might be worried about how they look, whether they’re standing correctly or what you’re thinking as you examine the photographs.
The photographer needs to recognise those differences and adapt.
I like to approach portrait photography as a conversation. Sometimes that conversation is quite animated, particularly when someone is naturally outgoing. At other times, a quieter approach produces a much better connection.
There’s no reason to turn every portrait session into a comedy routine to make the person smile. A thoughtful, serious portrait may suit the subject far better than a forced expression.
What matters is paying attention to the person, understanding how comfortable they are and giving them enough space to behave naturally.
If somebody is uncomfortable, repeatedly telling them to relax doesn’t usually help. They need to feel that they’re in good hands and that you know what you’re doing.
That confidence begins with the way you conduct the session.
Do your thinking before the subject steps into the frame
One of the things I emphasise during our Portrait Photography Workshops is the importance of getting the technical decisions out of the way before becoming too involved in photographing the subject.
Look at the location. Decide where the light is coming from, what background you want to include and where the person might be positioned.
Choose your lens and establish a sensible exposure. Take a test photograph if you need to.
Once those things are reasonably settled, you can give the person your attention.
Imagine asking someone to stand beside a window while you work out the exposure, change lenses, move the camera, reconsider the background and search through the menus for a focusing option.
From their perspective, they’re standing there waiting, possibly wondering whether they’re doing something wrong.
There’s nothing particularly relaxing about that.
Of course, photography doesn’t always allow you to prepare everything in advance. Locations change, people move and unexpected opportunities appear. Being comfortable with your equipment helps you adapt without losing the connection you’ve established.
But when you have the opportunity to prepare, use it.
I find that once the camera and lighting are under control, I can concentrate much more fully on the person. I’m looking at how they’re standing, how they’re responding to the situation and whether something interesting is beginning to happen.
That’s when portrait photography becomes much more enjoyable.
Directing People Without Relying on Preset Poses
Give people guidance they can understand
If you ask someone to look natural, there’s a reasonable chance they’ll become even more conscious of how unnatural they feel.
It’s a vague instruction. They don’t know what you’re looking for or what they should change.
I prefer to work through small, practical adjustments.
You might ask someone to turn their shoulders slightly towards the window, shift their weight onto one leg or bring their chin forward a little. Give them a moment to settle into the position, then see how it looks.
Often, one adjustment is enough. You don’t need to change their entire stance because you’ve noticed something that could be improved.
There’s also value in explaining what you’re trying to achieve. If you ask someone to turn towards the light, they may find it easier to understand the direction when you explain that it brings more illumination onto the face.
The same applies when something doesn’t feel comfortable.
A position may look promising from the camera but feel awkward to the person holding it. Rather than insisting they maintain it, try something else. A portrait rarely benefits from someone spending the whole session concentrating on an uncomfortable position.
When I’m directing, I want to provide enough guidance to help the person without overwhelming them.
That approach works whether I’m photographing a professional model or somebody who’s never had a portrait made before.
Pay attention to the moments between your instructions
Some of the most interesting expressions appear when the person stops thinking quite so hard about being photographed.
They might laugh at something you’ve said, glance towards someone outside the frame or shift into a more comfortable position. A small change in their expression can alter the character of the photograph.
Those moments can disappear very quickly.
It’s worth remembering that a relaxed-looking photograph doesn’t necessarily happen by accident. As photographers, we can create the conditions that allow natural expressions to emerge, even when the location, lighting and composition have been carefully arranged.
I might establish a frame, give the subject a little direction and then allow them to move within that arrangement. Rather than asking for a completely new pose after every photograph, I’ll observe what’s happening and respond to the expressions or gestures that interest me.
Sometimes I want the person looking directly at the camera. At other times, a glance away or a thoughtful expression tells me more about them.
There isn’t a universal expression that makes a portrait successful.
And there’s no obligation to keep talking throughout the session. If you’re trying to make a quiet, reflective photograph, filling every moment with conversation may work against what you’re trying to achieve.
The challenge is recognising what the particular portrait needs.
Don’t let the camera interrupt the conversation
Digital photography makes it very tempting to examine every photograph immediately after taking it.
You press the shutter, lower the camera, look at the screen and decide whether the image worked. Then you raise the camera again and repeat the process.
That’s useful when you’re establishing exposure or checking a technical issue, but constant reviewing can interrupt the relationship with your subject.
Just as the person begins to relax, the conversation stops while you inspect the latest frame.
I generally prefer to establish the technical side of the photograph, take a few test images and then work through a short sequence without continually interrupting the process.
That gives both the photographer and subject an opportunity to settle into a rhythm.
You may notice a subtle change in expression, a gesture worth following or a moment that would have disappeared while you were looking at the rear screen.
After a sequence, I’ll review the photographs and decide what needs adjusting. Perhaps the framing needs a little more space, the person could turn further towards the light or there’s a particular expression I’d like to pursue.
Sometimes I’ll show the subject one of the photographs. It can help them understand what we’re working towards and become more involved in the process.
The screen is a useful tool, but it shouldn’t take all your attention away from the person you’re photographing.
Creating Portraits That Reflect the Person
A portrait should still feel like the person
One of the things I enjoy about portrait photography is the variety of people you encounter.
Some people are naturally expressive, while others are reserved. Some enjoy being photographed, and others would probably prefer to be doing almost anything else.
Those differences are part of what makes photographing people interesting.
A confident expression may suit one person beautifully, while someone else may appear more comfortable and convincing in a quieter moment. Trying to direct everyone into the same collection of poses can make your portraits feel repetitive.
It’s worth considering what you want the photograph to say about the person and whether the way you’re directing them supports that.
For an environmental portrait, their surroundings may also play an important role. A person photographed in their own working space, for example, may interact naturally with familiar objects or settle into positions they would never adopt in a studio.
You don’t need to choreograph every movement to make use of those opportunities.
Sometimes the best direction is to give someone something comfortable and familiar to do, then observe how they respond.
You can still refine the light, composition and camera position. Those decisions remain important, but they’re working in support of the person rather than becoming the entire point of the photograph.
An Exercise in Photographing People More Naturally
A useful way to practise this approach is to spend some time photographing someone you already know.
Choose a location where they’ll feel comfortable and where you have reasonably consistent light. A chair beside a window or a shaded outdoor area can work well.
Before asking them to pose, establish your camera position, composition and exposure. Get the technical side sorted so you’re not constantly interrupting the session to adjust the camera.
Begin with a few straightforward portraits, giving only the direction you think is necessary. Ask them to sit or stand comfortably, then make small adjustments rather than trying to create a complicated pose.
Spend the next few minutes talking with them while you photograph. Pay attention to how their expressions change during the conversation.
You might find that their face becomes more animated when discussing something they’re interested in, or that a quieter expression suits them better.
Try making a short sequence without stopping to review every frame. Then examine the photographs together and consider which expressions feel most natural.
Repeat the exercise with a slightly different approach. Perhaps change the subject’s position, give them more space to move or spend less time directing.
When you compare the photographs afterwards, look beyond focus and exposure. Consider how comfortable the person appears, whether their expression suits the portrait and how your interaction may have influenced the result.
You may discover that the most successful photograph wasn’t the one where you gave the most direction.
Learning to Photograph People at Sydney Photographic Workshops
During our Portrait Photography Workshop, students work with professional models in different locations while exploring available light, composition, subject direction and lighting techniques.
A large part of the day involves understanding how to work with the person in front of the camera. Students can observe demonstrations, practise giving direction and see how relatively small changes in body position, expression and communication affect the photographs.
It’s an opportunity to become more comfortable directing people while developing an approach that suits your own style of portrait photography. For more information, call Sydney Photographic Workshops on (02) 9699 4255 or submit an enquiry through our online contact form.
