Today's post focuses on a few portraits that I took while in London. I'm always trying to work on my portraiture...I think it is an important skill to have in the photographer's handbag. Many of the most iconic and emotional photos ever taken have been of a simple, solitary individual. Maintaining a crisp image of the subject while at the same time creating enough bokeh (background blur) to make your subject "pop" has alluded me for quite some time. Similarly, your frame composition must be spot-on in order to make sure the viewer focuses on what you want them to. A stray figure in the background can help your composition, but if they are too obvious, or positioned in a weird manner, it can actually detract from the photograph. I gained a bit more of a grasp on the techniques needed to make proper portraits while practicing and taking the photos at Steve and Misha's wedding. I found that one of, if not
the the most important tool was a decent prime (fixed, non-zooming) lens. Next in the line of importance would be a strong grasp of aperture and focal length manipulation, and finally lighting and proper shot composition. I got my hands on a sweet 50mm f/1.4 a few months ago, and took most of the following images with this really nice Nikon lens.
Within the birch trees outside the Tate Modern
Liz in a doorway in Oxford.
Beefeater at the Tower of London
Liz at a tube stop just outside of Harrods, London
Liz and daffodils, St. James's Park
Liz and some nice bokeh provided by car lights and traffic signals.
Today's post focuses on a few portraits that I took while in London. I'm always trying to work on my portraiture...I think it is an important skill to have in the photographer's handbag. Many of the most iconic and emotional photos ever taken have been of a simple, solitary individual. Maintaining a crisp image of the subject while at the same time creating enough bokeh (background blur) to make your subject "pop" has alluded me for quite some time. Similarly, your frame composition must be spot-on in order to make sure the viewer focuses on what you want them to. A stray figure in the background can help your composition, but if they are too obvious, or positioned in a weird manner, it can actually detract from the photograph. I gained a bit more of a grasp on the techniques needed to make proper portraits while practicing and taking the photos at Steve and Misha's wedding. I found that one of, if not the the most important tool was a decent prime (fixed, non-zooming) lens. Next in the line of importance would be a strong grasp of aperture and focal length manipulation, and finally lighting and proper shot composition. I got my hands on a sweet 50mm f/1.4 a few months ago, and took most of the following images with this really nice Nikon lens. 
Within the birch trees outside the Tate Modern
Liz in a doorway in Oxford. 
Beefeater at the Tower of London
Liz at a tube stop just outside of Harrods, London
Liz and daffodils, St. James's Park
Liz and some nice bokeh provided by car lights and traffic signals.
I'm amazed at the depth of focus you got with the birch trees. Reminds me of standing between two mirrors. That whole "infinite" impression.
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