Imagine that you need to place something in one place that cannot be physically placed in this place, and not only to place, but also to photograph. Well, first things first.
As a professional photographer, I was invited to take photographs of the solemn event. Photographing the presentation of gifts, the exchange of welcome speeches and congratulations. What would seem easier? Ordinary reportage photography, well, somewhat burdened by the presence of important people and nothing more. But, according to the plan of the organizers, after the end of the solemn part, before moving all the invited celebrities directly to the banquet, a group photo was supposed to be taken in the hall, against the background of symbols representing the venue of the solemn event. At a preliminary meeting, where the issue of the time of the event, the importance of those present, etc. was discussed. it became clear that it was not possible to place a group with the declared number of participants in the hall. Even if you use the placement in two rows, put the first row on chairs, and the second standing behind those sitting. The width of the group did not fit from wall to wall. The columns located in the center of the hall overlap lined up people, and if you place them in front of the columns, then the distance from the photographer to the photographed will not allow them to fit into the frame at any focal length of the lens used.
Changing the place of photography, reducing the number of photographed faces were not even discussed. The photographer has been given a task and be kind enough to complete it.
After some thought, the idea flashed through to use the elements of panoramic photography when photographing a group. I had not done such things up to this point, so I had to very carefully, in nuances, think through all the technical and organizational steps to implement the decision. In order for the sizes of people in the finished photograph not to differ from each other, it is necessary that the distance from the camera to each person in the series of photographed be the same, i.e. it was necessary to place the group in the form of a semicircle with the photographer in the center. We set up a tripod with a camera on the panoramic head, arranged the chairs in a semicircle, and carefully leveled them with a measuring rope tied to the tripod with a knot (like a compass).
Before photographing, we set the lighting evenly over the entire length of the group. In this case, when overlaying frames, the borders by illumination will not be highlighted. I installed three halogen lamps with reflective umbrellas directly from the camera. The middle lamp is directed in the center, the left and right ones are slightly deployed in the respective directions. The umbrellas created soft, enveloping light without harsh shadows. 
Since it was necessary to photograph the group in parts, and then collect the panorama in the program, the use of a panoramic head and a large number of takes (series) is necessary. We photograph people. Despite the request not to move, someone will definitely start to itch, move their hands or head. When assembling, you will have to take a segment from another series, respectively, you need the segments to match in borders and scaling. The distance to the subjects of photography is small, there are many details in the foreground. To avoid splitting the image, it is necessary to carefully install the camera. The camera must rotate around the "nodal" point located on the optical axis of the lens. Although this point needs to be determined in advance, as its location varies from lens to lens, it never hurts to check the correct setting just before taking a photo.
Ways to find the "nodal" point are described in detail on the Internet, but in short, then:
we place two small objects about one and a half meters from the camera at a distance of 50 centimeters from each other so that when looking through the camera viewfinder, the objects overlap each other;
when turning the camera on the head to the left and right, the objects should remain overlapped, if both objects appear in the frame, then the camera is shifted along the optical axis forward or backward, and corrections must be made;
the smaller the objects, the more accurate the installation is. Without a panoramic head, this effect cannot be achieved.
When photographing a group, we make at least three or four passes (series) from the left edge of the group to the right and vice versa. The panoramic head allows you to take the same number of frames per pass, without shifting, with the necessary overlap of frames, with a clear fixation in the center of the group. This eliminates the possibility that in the future it may appear that the photographer was not standing in the center of the group, but was photographing from the side.
If you follow all the nuances I have listed when taking pictures, then after assembly, the group appears almost flat against an unrealistically unfolded background.
The photograph is rather unusual. You can argue about the correctness of the chosen method of solving the problem, you can offer your own, perhaps the best way. However, you must admit that the presented photo is not quite ordinary. It has an element of surprise. The customer will definitely appreciate it. The head of the department, who was responsible for organizing the photography, was also directly involved in the process of decorating the premises where the photography took place. He liked the photo. I liked how interesting the room looks, how they positioned the group for photography. And I made a similar photograph a few more times. Those. received a paid order several times.
03.11.2010 12817 Feature articles 0
As you know, one of the most common types of photography is “group photography”. Group photos are everywhere, from wedding shots to picnics, parties, sports and school events, and more.
Undoubtedly, thousands of group photos are taken every day around the world - however, unfortunately, many of them, for many reasons, leave even the authors of these pictures in dismay. The most common mistakes made when taking group photos are:
- necessarily one or more people look “in the wrong direction” or in different directions (i.e. at different photographers),
- blinking (someone will definitely do it),
- someone is missing from the photo
- different moods in the group (some are smiling, some are serious, some are playing for the camera, etc.),
- the group looks too small or vice versa does not fit into the frame.
While most people continue to face these problems, you can safely use different tricks and increase the chances of getting exactly the picture you need.
1. Preparation
Often unsuccessful shots are the result of the unpreparedness of the photographer himself. People don't like to be kept waiting - so consider the following aspects of filming:
- evaluate the location of the shooting in advance
- decide how you place people - outline the boundaries of the frame
- make sure that no one is covered by the other person's head
- be sure to notify all those who you need in the frame in advance
- make sure your camera is turned on and the batteries are charged, and the settings are set.
2. Terrain
The location where you place the group is important for this type of shoot for many reasons. For novice photographers, this will help convey the semantic content of the photo - for example, a shot of a sports team on the playing field better reveals the idea than a shot of the same team against a stone wall. Another reason for meticulous terrain selection is to prevent details from appearing that could detract from the image itself.
Find a group-friendly position, with enough light for filming and no distractions in the background. Also prevent the group from being directly in front of a window - as a result, reflected light from the flash will ruin the frame.
3. Use continuous shooting
One of the best ways to avoid the "multi-eye" and blinking of your photos is to shoot continuously. Usually, the first shot is not the best, but the next shots after it will almost always show the group in more relaxed poses, and people look more natural.
Take a few shots before everyone is ready - sometimes staging a group photo can be quite original and more natural, with people advising each other where to stand and what pose to strike. If you have a zoom lens, alternate shots at wide focal lengths with tighter edges.
4. Shooting "close"
Try to shoot the group as close as possible (while being careful not to cut off the extreme "models" from the frame). The closer you can shoot, the more details you can see in the faces - this is what really enhances the quality of the frame.
If your group is small, get close and take a couple of shots up to face and shoulder level. An effective way is to ask the whole group to tilt their heads so that you can come closer to them. Another option is to move people from one line and mix positions, placing them closer or further away.
5. Composing
In most cases, your band will be able to naturally create the desired composition (we all did it once). Tall people will recede into the background, short ones - to the fore. But there is something else that can be added to the composition:
- if the production is centered around several main characters (wedding, birthday), identify them at the central focal point, placing them in the center of the entire group (you can diversify the frame by first focusing the views of the entire group on the lens, and then on the main characters)
- for formal shots, place taller participants not only in the background, but also so that they are centered, and on both sides of them place lower participants try not to “deepen” the group (i.e. keep a minimum distance between the back and front lines ). This will help keep everyone in focus. If, nevertheless, the arrangement turned out to be “deep”, adjust the aperture settings
- ask everyone to raise their chins - after filming you will be thanked for shots without double chins
6. Determining the right time to shoot
Choose your shooting time carefully. Try to choose a moment that matches the event. It is best to shoot when the group is already well rallied or when there is a moment of calm in communication.
It's also best to shoot at the start of the event, as everyone is just getting ready and looking their best. If possible, make sure that people who are under the strong influence of alcohol do not get into the frame.
7. Consider lighting
In order to get as much detail as possible in the picture, you need the perfect light. How you achieve this will depend on the situation, but remember to use flash and shoot up close to get the effect you want, especially if the group is small enough and the main light comes from behind the group.
If you're shooting on a clear sunny day and the sun is low, consider the direction of the shadow so you don't end up with a collection of shots with lopsided expressions on faces.
8. Control the process
Often there are situations when the photographer loses control over what happens to the participants. Chat with the group. It is very important to talk to people. It is important that they understand what is wanted from them, make them laugh, repeat that they look great and continue the dialogue throughout the filming. Remind people why they need to take a group photo. For example, during a wedding shoot, you can motivate guests with the following phrase: “(name of the newlyweds) asked me to take some group photos.” Or at a sporting event "let's take a group photo in honor of our victory." When you name a reason, people are more willing to pose and be filmed.
Another technique that can be used in group shooting is “if you see the camera, then it will see you too.” This is the key to success if you want every person to look into the lens.
If you are not the only photographer at the event, wait until the others have finished filming and then draw the attention of the whole group to yourself, otherwise everyone will look in different directions.
However, you shouldn't act like a dictator while filming or you'll end up with a mountain of shots of very angry people. A good photographer must be a good psychologist, knowing how to get attention, how to communicate, but especially to make sure people feel relaxed and like they're having fun.
9. For large groups
Shooting large groups can be just as challenging as shooting restless models. Arranging everyone by height, you will still come to the conclusion that you will not be able to please everyone. The solution may only be the option to "rise" on something to take a picture from above. By applying this move, you will fit many more people into the frame, and yet there will be a lot of detail in the frame (you will get a picture in which there will be more faces than bodies). It also makes it possible to get a good angle of the photo - especially if your lens has a good focal length.
10. Use a tripod
There is a long list of reasons why you should use a tripod when taking group photos. Firstly, a tripod immediately tells others that you are serious about what you are doing and can even help attract attention (you have no idea how impressive the arrangement of equipment can look). Secondly, for you, as a photographer, this is an opportunity to more freely and more enthusiastically join the process of setting up a group. Set the camera on a tripod so that it is ready to shoot at any moment (make all the necessary settings), and after you work with the group, you can just capture the moment you need (while the group is still full of energy and not tired of the process ).
11. Get yourself an assistant
An assistant will come in handy when organizing filming, as well as possible, especially when it comes to a very large group. Especially the benefit will be felt during continuous shooting (as during a wedding, when you shoot different versions of family photos). In such cases, you can ask the newlyweds to provide assistance with a family member or friend who has a list of invited guests, divided into groups to make it easier to photograph. The assistant helps to determine whether everyone who should be in the frame. If you have a family member helping you, he will not only tell you if everything is in the frame, but he will also be able to organize the arrangement process more efficiently, since he knows the guests well.
12. Smile
Yes, you should smile too! There is nothing worse than an irritable photographer. Have fun and enjoy the filming process and you will see people follow your example. I usually come home after shooting a wedding with a terrible pain in my facial muscles, because the best way to relax a couple and their family is to smile at them. It really works.
Photographers, even the most beginners, quite often have to photograph groups of people. These are friends at a party, and your own family during a field trip, and many other situations. For some, in this case, the question arises: how to organize this group beautifully, interestingly and competently. That's what we'll talk about today.
First of all, you need to know that the concept of "group portrait" is a rather capacious concept.
- This, of course, is primarily a general snapshot of a large number of people - for example, people present at a meeting or other serious event. Usually these are quite large groups, 15-20 people or more. This group should be organized, so to speak, officially.
- The second category of group shots is informal group photography.
- The third is good family relations. Dad, mom, kids, grandparents...
Now let's move on to specific examples.
1. General photo of a large group. You most likely will not be able to manage each of the entire group. It is impossible to control the posture, turn of the head, facial expressions for everyone. When shooting such groups, the main thing is to ensure that everyone can be seen, so that the magnificent hairstyle of some lady does not half overlap the neighbor's face, so that the ear of one does not take the place of the eye of another. And do not forget to pay attention to the overall composition of the existing group. In this case, it acts as a single, solid object of shooting. Take a closer look at the background. If the group is filmed against the background of some banner, pay attention to the text - its piece, torn from the general phrase, may turn out to be funny and out of place on the official photo of serious people. There may also be a portrait in the background. For example, the president ... It’s not good if the picture shows only his mouth or ear (in Soviet times, for such a picture of an “incomplete” Lenin or the Secretary General, one could get a term.
2. Another example of a photograph in a similar style is a large group of people standing in full growth. Pupils of the school class, students of the same group, a general photo of the enterprise's team ... Here the advice is the same as in the first paragraph. The main thing is that everyone can be seen, and that the group looks like an integral object, naturally and organically. There is such a thing - "ladder of fools." This is when every right is higher than the left and so on. Try to get away from it. How? Yes, at least by putting the taller ones in the second row.
3. If it is possible to shoot from the top point - do not be afraid and do not be embarrassed. The pictures will be very interesting. It's so good to take wedding photos.
4. An example for shooting a group that has a clear leader. This is a team led by a leader, and a school class with a teacher, and a musical group with its soloist. We put the leader in front. And all the rest - as if against its background. So you can shoot a group of those present at the wedding. The leaders are, of course, the bride and groom. Everything else is a background that only emphasizes their beauty and significance.
5. The easiest, but at the same time interesting way to shoot three friends. One, standing in the center, hugs the shoulders of two who are on either side of him.
6. A method similar to that described above. But friends stand even closer to each other and their heads are slightly tilted towards the center of the composition. Photos are beautiful.
7. Unusual and funny example. The photographer lies on his back on the floor or grass, and a group of friends form a circle above him. Amazing!
8. The leader or simply the one who is bigger, more impressive than the others, stands in front / in the center. And all the rest, as it were, lean on him, look out both because of this “block” and because of their neighbors standing nearby. Here you can laugh, and hug, and build all sorts of grimaces ... Everything is possible. To have fun.
9. Almost the same as in paragraph 8. Only those taking pictures do not pile on one in a crowd, but simply look out from behind him. Here you can work with the depth of the sharply depicted space. And for this - shoot with a different aperture.
10. A very interesting and fun way to photograph a group of friends. Friends take each other's hands and run merrily towards the photographer, while laughing and fooling around!
11. An unusual, and therefore an interesting solution to the composition of a group shot of comrades. Take a close-up photo of them side by side. The profile of each slightly overlaps the neighbor. It will be good if you take this picture with a wide open aperture, and then those profiles that are further away will be slightly blurred. It is very interesting. And if one of the friends does not want to be unsharp, shoot the group again, putting the offended last one in the foreground.
The third and last type of groups. Group portrait of a family.
12. First of all - the easiest way, which can be called a classic. This method is old, invented a long time ago, but works great to this day. If it is applied correctly, you will get a very good family photo. It consists in the following: the oldest member of the family (well, or the most respected and deserved) sits in the center. And around him or even on his knees - grandchildren and great-grandchildren ... Adult children stand behind or on the sides. Well, if the main person in this photo will be "at the parade" - with medals, for example, in a military uniform ... This will serve as a kind of dominant. It is important here that unnecessary objects do not get into the field of the frame - different cabinets, chairs, funny pictures on the wall ... The main thing in this picture is the family itself. Focus on exactly that.
13. Option for shooting a family during a summer outing. All its members are sitting on the lawn with their legs tucked under them. As they say, in Turkish. And they hug each other by the shoulders. Here you need to take into account a small nuance. When photographing people sitting on the ground, the camera should be at eye level.
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14. The whole family lies on the ground and looks carelessly into the camera lens with happy faces. Such a picture can be taken both in nature, on the grass, and at home, on the carpet. Young parents and children aged 10-13 are especially good here.
15. Dad lies on the floor, on a wide bed, or on the ground. And on it in a crowd all the other members of the family. And the more kids the better! Here it is, real, genuine family happiness!
16. Dad sits on a large sofa or sits back in a comfortable chair, and on the sides are mom and children. The photo is warm and family-friendly.
17. Children on the shoulders of their parents. Fun and carefree. Such a picture can be taken both in nature and in the apartment.
18. Family portrait in full growth. Behind - dad hugging mom in front. Mom, in turn, put her hands on the chest of the child standing in front of her.
19. Mom, dad and children, holding hands, walk towards the photographer. Very beautiful and symbolic. Especially if dad has another baby in his arms. The hand of a child in the hand of an adult is a symbol of fidelity and family.
Good luck with your creativity!
Modern cameras from phones to high-end DSLRs are designed to make decisions for us. And for the most part, they do the job pretty well. Set your camera to Auto, and more often than not, you'll get fairly sharp, well-exposed photos. If you just want to document the world around you, then do it, switch. The disadvantage of such images is that they look similar to each other - with a uniform depth of field and exposure. If you want to go beyond the automatic settings, you must have a good understanding of your camera, how to use it, and most importantly, what effect the changed settings will have on the final image. Here are five of the most important camera settings and how they affect photography.
ISO
First off, the acronym ISO is terrible, it basically doesn't make sense in terms of photography. It stands for "International Standards Organization" - a European non-governmental organization that ensures that industries use the same standards. As for photography, they guarantee that 800 ISO on Canon is the same as on Nikon, Sony or Fuji. If this standard did not exist, then the settings could not be applied to all brands. So if I took an image with my Canon camera at 1/100 sec. at f/2.8 and ISO 400 and you set the same settings to your Nikon, we wouldn't get the same exposure. Fortunately, all major manufacturers adhere to ISO standards.
This night image required a fast shutter speed to keep details in the fire, so I had to use a highISO(3200). In the next detailed shot you can see the noise in the original fileRAW. (By the way, this photo shows what happens when you release methane from a bubble in the ice of a frozen pond in the northern forests, and then set it on fire).
Yes, yes, but what is ISO? This is a measure of the sensitivity of a digital camera sensor to light. The lower the number, the lower the sensitivity. The higher the number, the greater the sensitivity. If you are photographing in low light conditions, say a dimly lit room or at dusk, an ISO value of 100 will require more light to enter the sensor, as if using a value of 400, 800, or 1600.
Notice the noise in the details of the person's clothing and the dark areas.
Flaws high valuesISO
So why not shoot at a high ISO all the time? There are two reasons: 1. High ISO often creates digital noise in the image (although camera sensors are getting better and better) and 2. Sometimes you need to use a slow shutter speed, in which case you need less sensitivity to light. This may be the case when you want to capture motion blur such as flowing water, wind movement, or create a nice blur in sports photography.
- High ISOs often create digital noise in the image (although camera sensors are getting better and better).
- Sometimes you need to use a slow shutter speed, in which case you need a lower sensitivity to light. This may be the case when you want to capture motion blur such as flowing water, wind movement, or create a nice blur in sports photography.
In short, ISO is one of three tools at your disposal that give you control over exposure.
Excerpt
The length of time the camera's sensor is exposed to light is called exposure. Many cameras have a mechanical shutter that opens and closes to allow light to hit the sensor, others use a digital shutter that simply rotates the sensor for a set amount of time. Exposure has a huge impact on the final image. A slow shutter speed will blur moving objects. As a landscape photographer, I often use slow shutter speeds to blur the movement of water, expose starlight, or convey the movement of wind.
For this image, I used a shutter speed of 0.5 seconds to blur the waves a little, but keep the details.
A 30 second exposure to blur the Yukon River to make the surface look like a mirror.
A fast shutter speed has the effect of freezing motion. Use a shutter speed of 1/2000 second to capture the movement of a runner or cyclist clearly.
This image of a bicycle was taken with a shutter speed of 1/500 second. It was just enough to keep the sharpness at the same time as the feeling of movement in the area of the wheels.
The use of shutter speed must be deliberate in order to create a good image. Think about what kind of photo you want to take. Does it have blurry components or should it be crisp? Do you want to capture or convey a sense of movement? Think, experiment, and then decide on your shutter speed.
Diaphragm
Aperture or f-number can be the most confusing aspect of photography for many photographers because it affects images in unexpected ways. Essentially, aperture refers to the size of the hole in the lens. The smaller the hole, the less light will get inside; the larger the hole, the more light will pass through it. Often people are confused by the numbering system: the lower the number, the larger the hole. So, at f / 2.8, the opening is larger than at f / 4, f / 5.6, f / 8, f / 11, etc. Lenses with the largest possible aperture (small number, like f/2) are considered "fast", meaning they can let in more light.
diaphragmsf/11at 17 mm was enough, to do Everybody image from most the edges before rocks far away sharp.
But it's not just about the light, and how wide the lens can be opened. The aperture also affects the sharpness of the image. Most lenses (dare I say all?) are sharper a few steps down (this is called "sweet spot"). A lens with a maximum aperture of f/2.8 will produce a sharper image at f/8 than at f/2.8. The better the quality of the lens, the less it matters, but it is noticeable with most lenses.
Highly small depth sharpness in this image does bird, hiding in bushes, in focus, a Environment Wednesday from branches blurred in haze.
Depth sharpness and application
Further, the aperture also controls the depth of field. This is the amount of the image that is in focus. When the lens is wide open, such as f/2.8, the image will have a shallower depth of field than at f/11.
As with shutter speed, your use of aperture should be deliberate. Want to get a landscape image that has everything in focus from front to back? Then you'd better choose a high f-number (like f/11). How about a portrait where you want a clean, soft background but a very sharp look? Then use a very small f-number (like f/2.8 or f/4) and keep an eye on the focus point.
Aperture has a direct effect on shutter speed. A large f-number will require the use of a slower shutter speed to ensure adequate exposure. A smaller f-number will allow you to use a fast shutter speed. These two parameters are completely interrelated, there is no way to avoid it, so you MUST understand both.
Balance White
White balance, like ISO, is related to the sensor, but in this case, it has more to do with the color of the light than its intensity.
Different light sources have different shades. Our eyes often can't tell the difference, but you can bet the camera does. Have you ever seen a photo of a home interior lit with soft white lamps as well as a window? Usually, the interior of the room looks natural when the light from the window is artificially blue. This is white balance. The camera (or photographer) uses room light (warm-colored lamps) as a neutral color, and then natural light from a window looks blue.
When the White Balance is set incorrectly, colors are distorted. They look too yellow, blue or orange. When the White Balance is correct, everything looks natural or as our eyes see.
This is the camera's automatic White Balance setting. The colors of the northern lights seem too purple and yellow
In this version, using the same exposure settings in post-processing, I set the White Balance to a bluer range, thereby making the colors more natural and pleasing.
How about auto white balance?
I have to make a confession. I almost always use the automatic white balance mode. The cameras are quite good at distinguishing shades and choose the right White Balance. When it is detected incorrectly, I check the image on the screen and make changes for the next shot. Secondly, I only shoot in RAW, which means I can make adjustments on the computer. I trust the image on the computer monitor more than on the small screen of the camera.
However, there are times when the White Balance needs to be adjusted. First, if you shoot in JPEG. This format will not allow you to adjust the White Balance later, so it must be correct initially. Secondly, in the case of combining images for high-contrast scenes or panoramas. Slightly changing the hue when combining HDR shots or panoramas will make this more difficult or impossible. You can use White Balance when you intentionally want to take a picture in cool or warm tones, or when using artificial lighting. (Now THIS topic warrants a separate article...)
Be mindful of white balance, learn what it means and how it affects your images, and then decide how to use it.
Compensation exposure
Here I've used Exposure Compensation to make sure the image is bright enough to show the details in the foreground and the bright sunset in the background doesn't get overexposed.
These two images show how useful Exposure Compensation can be. The image below was taken in bright sunlight but deliberately underexposed by three stops, turning the mountains black but retaining detail in the sky area, thus creating a surreal image.
Get to know your camera well
Exposure compensation is a tool that you should be able to adjust without even looking at the camera. Exposure compensation allows you to very quickly add or reduce the amount of light in an image. Too dark? Use Exposure Compensation to add light. Too light? Exposure compensation will quickly reduce exposure. Its setting depends on your camera.
I often use the Aperture Priority mode. This means that I choose the aperture and the camera determines the shutter speed. If I set Exposure Compensation, the camera will save the selected aperture and simply recalculate the shutter speed. If I were to use Shutter Priority, as I sometimes do, the camera would set the aperture. In Auto mode, the camera makes these decisions for me.
I use Exposure Compensation all the time. This is my usual way of fine-tuning exposure while shooting. On my Canon DSLR, I can do this with a simple turn of the wheel. On other cameras Exposure compensation is set on the front panel, the dial next to the shutter button, or the same button system on the rear panel. Learn how your camera works and learn how to set it up quickly and efficiently. Understanding these important tools means you won't miss the chance to get a good shot, whether you're outdoors or in the studio.
Conclusion
These five settings are the most important for understanding the camera. Experiment with them to know how they affect the final image and how to change them quickly and without too much fuss. Once you've done that, you're on your way to creating thoughtful images.
How to photograph a group of people and take group shots.
Photo circle
« World in lens »
MKOU Zavodskaya secondary school
Prigorodny settlement
2016
Friends, all these examples can be used right now. Spring is on the street and you will surely get bright and colorful pictures in nature or at home.
When you're working with a large group of people, you probably won't be able to control every single person. His posture, facial expression, etc. The only thing to make sure is that all members of the group are clearly visible. Also, pay attention to the overall composition. Imagine that the whole group is a single object. And already with respect to this, you build your picture.
The example given is the easiest and most common way to take such a photo. However, it works and, if done right, makes for a great family photo.
« Photography is the only language that can be understood anywhere in the world.”
Bruno Barbet.
Family photo secrets
Plant the head of the family or its oldest member in the center, surround with children, grandchildren. And let the adults stand on the side or behind. In my opinion,main secret like this: try toas few foreign objects as possible fit into the photo , which are in the apartment: clocks, TVs, furniture etc. We focus on the family and everything should turn out fine.
Now it's spring, the whole family can go to nature, sit on the lawn and take such a photo. The main thing to remember is that if you are photographing people sitting on the ground, the level of the camera should be at the level of their eyes.
Another option for shooting outdoors or at home, on the floor.
The next option works great on, say, a large bed. Dad is lying and the whole family perched on top. Suitable for any number of children.
Examples of photos with a comfortable sofa or large armchair. The pose in the bottom photo is warm and cozy, while the other two use the back of the sofa to make the photo look out of the ordinary and interesting.
A great composition for a family photo - ask the children to climb on their shoulders. It will turn out very cool!
An excellent composition for a full-length family portrait. Suitable for any number of people
And finally, if you are photographing a family, do not forget to take a photo, in motion, when dad, mom and kids are holding hands. After all, this is the most important symbol of strength and love.
Be creative. Get creative with the photography process and you will get great group photos!
« What I love about photography is that it captures a moment that is gone forever, that cannot be reproduced. »
Karl Lagerfeld.
There is such a subtle reality in photography that it becomes more and more real than reality itself. »
Alfred Stieglitz.
« The best images are those that retain their power and influence over the years, no matter how many times they are viewed.”
Anne Geddes.
« There are no rules for good photos, there are only good photos.”
Ansel Adams.
« Beauty can be seen in everything, seeing and composing beauty is what separates a shot from a photograph. »
Matt Hardy.
« For me, photography is the art of observation. It's about looking for something interesting in an ordinary place... I found that it had little to do with what you see and anything to do with how you see."
« A photograph can only represent the present. Once you take a picture of it, it becomes part of the past.”
Berenice Abbott.
« If you shoot in color, you show the color of the clothes, and if you shoot in black and white, you show the color of the soul. »
« Photos are open doors to the past, but they allow a glimpse into the future. »
« A good shot freezes a fleeting moment.”
Eudora Welty.
« Photography picks up a fact from life and it will live forever.”
« The photographer strives to be fully aware of every moment, and every moment to be with everyone else. »
« When you photograph a face... you photograph the soul behind it. »
Jean-Luc Godard.
Shalneva
Elena Pavlovna
I KK, geography teacher
MKOU Zavodskaya secondary school
