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If you have had difficulty in getting your voice heard amongst family, friends or workmates, photographing them in a group is one way of being able to acquire that certain voice of authority you have been lacking. Because that is what it really needs when shooting groups as opposed to singular people shots. Like the wedding photographer, someone has to be in control at all times.
Another thing, have some predetermined idea of how you will go about the task and where it will all happen and stick to your plan.
Let me tell you about my first group assignment.
It was at the birthday party of an eighty year old lady, who had her children, grand children and great grand children all attending and I new at some time or other I was going to have to do a very large group photo. So I let the MC know of my intentions, but to allow me time to just go about taking some posed and some candid photos of individuals, whilst I looked for the ideal setting for the group photo. I found an area that had a reasonable background with no visible distractions and taking into consideration, that due to all those people, I was going to need a high vantage point to get everyone in shot and luckily, there was a park bench that I could use to stand on. As I brought a few different lenses with me, I selected my old non-digital 17-35mm wide angle. Wide open it gave me a maximum digital equivalent of about 52mm. I assumed this would be acceptable for the size of the group and from where I would be standing. Of course I will have my flash attachment fitted too. I noticed also, as my planned time for the shoot would be about 3 pm, the sun would be behind the group and off to the left, so I wouldn't have a problem with back lighting and my flash unit would balance the scene anyway.
Once I had all the main coordinates fathomed out I then conferred with the party MC that I would be ready for the group shot in about ten minutes and would she let everyone know. This gave me a bit more leeway and by going around the family taking single subject photos and small group shots, I was getting more and more relaxed with them and no doubt them with me.
When the time finally came around for the big one, I thought, ‘Well, this is it - do or die.’
I walked over to the MC and asked her, would she now let everyone know that I was ready for the big family shot. When they were all brought to attention and informed what was happening, I then took control and asked them all if they would follow me to a the spot I had chosen.
It’s strange, but I didn’t have to do much sorting. I just asked them all to form into a tight group and stand with whoever you want to stand with. Of course Great Grandma took pride of place up front and they all soon settled into their positions behind her - all smiling with great anticipation.
I let them all know that I intended to take several shots and would they please not disperse until I gave the OK.
Well, it all just seemed to go like clockwork. Everyone had a great time and couldn’t say enough about the resulting photos. But I am sure the whole secret to it being such a success, was the planning, knowing full well that even the best of plans can go awry, but fortunately, for me, on that day anyway, they never did.
There will be many situations in life where you will find the need to take control and if you have full confidence in yourself and in what you are doing, half the battle is won. Makes no is no difference if you are driving a car, flying an aeroplane or simply operating a camera.
They say a picture speaks a thousand words, but I also think, that a good subject is worth a thousand pictures. And if you have a subject worth shooting, it’s definitely worth giving it all you’ve got at the time or, if not, come back tomorrow or another day, when the light or time is better and plan to take as many shots of it as you can.
For the novice, when a subject first catches the eye, you think to yourself, ’Wow, gotta get a shot of that.’ You will invariably take one shot from the same angle you first saw it at and then move on. Even the most experienced of photographers never think for one minute that they are clever enough to only need one shot!
If you are shooting a bird or an animal, you will want to get in as close as you possibly can and one shot maybe all you can manage, before they take flight. Of course, one shot may be all you need for a record of the event, but if there is a chance of a second shot, you may decide to wait for a moment when the subject is in a better light or perhaps a different viewpoint might eliminate background distractions or if there is a chance you can move another couple of steps closer.
Always try to think outside the square and really put your camera to the test. Give it all you have got and use wisely whatever light you have at your disposal. It is no use after the event, when you get your shots up on the PC, thinking you wish you had done this or that, because you may never get the chance again to return to that same scene.
An excellent way to practice this is to go out into your garden with your camera. Shoot the first bright, colourful object that catches your eye. Let’s assume this is a flower.
Photograph this flower from your normal height and from wherever you are standing at the time, then take a couple of steps closer and whilst focusing on your target, move from side to side or crouch down on one knee, till you get your background and viewpoint right. Also check the background for any bright spots or distractions. Use your zoom. Try holding the camera vertically as well as horizontally. When you feel you have it right, get another shot in. Then go through the entire process again for a possible third shot.
When out in the wilds you are confronted by a bird or animal, you never really know what they consider is a safe and comfortable distance from you, so you must try to be very quiet, but get in your first shot as quickly as possible from where you are standing and treat this simply as a record shot.
Then, remembering the steps of the above exercise and how important it is that you get in as close as possible, if there is a chance of a second shot, go through all of those things again in your mind and try to get in as many shots as you can until you are completely satisfied that what you have will be sure to offer at least some good results.
In most cases Still Life photography is not too far removed from food photography and like food photography, it is best done indoors under natural light, either from a window or open doorway. And unlike food, your subject is not likely to go all stale and withered looking on you.
But like food, it gives as good opportunity to learn more about subject lighting and composition.
Equipment
You need a camera with a lens that will allow you to get in close to your subject, depending of course on how small your subject is.
Here you are using slower shutter speeds, which means longer exposures and a tripod is a must. Also a remote or cable shutter release would be an asset, but not absolutely essential. You can use the on-camera timer facility to restrict camera movement
There are many different coloured backgrounds you could use, but you need to be careful here as the wrong background will no doubt be in detriment to your subject, so I would advise you to start with a piece of black velvet and get enough to stand your subject on and to use as a backdrop. Black velvet is best to start with as it does not reflect light. And the last thing you want is reflections in your Still Life. It will also help to give your subjects that 3D appearance.
So, we are using natural, but not direct, sunlight from a window or open doorway. You will probably want to fashion yourself a white card or reflector of some sort to bounce light back into the shaded side of your subject, otherwise the camera could expose the shots with dark featureless shadows. This may even be a feature you can use, but at least be aware of it. Avoid using on-camera flash if you can, it is far better to use natural light as it gives better controllability. If you have an external, swivel type, flash unit, you could probably try bouncing the light from that off a whitish wall or ceiling.
Composition
This is where your artistic side comes to the fore and you are really only limited by your own imagination. Try one item only at first till you get your camera and the light and the distance right. Then you can start to add other items and mix and match and create a story with your subjects.
You might like to add some things that belonged to a deceased member of the family or a family pet that had to be laid to rest.
Think about the colour, shapes, form and surface textures of the items you are photographing. If they include glass items, another reason not to use on-camera flash, due to the reflections. The possibilities here are almost endless and as I said, you are only governed by the limits of your own imagination.
View point
It is up to you how you approach your subject, but to start with I would suggest a position just above the height of your items and at an angle of say, 90 degrees to the angle of the ambient light and position your light reflector on the shaded side of the object/s or in the manner in which it will provide you with the best secondary light.
Treat this merely as a suggestion, but once you have gained your confidence, then you can begin to get adventurous and try various angles and viewpoints and different lighting angles and strengths.
At times you will find Still Life photography very frustrating, when things won’t go right, but it can also be very stimulating so don’t give up on it too easily.
