The Truth Is…
My confidence and understanding of how best to direct people through the lens have taken some years to feel comfortable doing. A contributing factor, without a doubt, has been the added experience I gained from shooting weekend weddings, alongside my interior photography work. Honestly, I know that every one of us can identify with those anxious feelings of awkwardness when we're suddenly asked to stand on the other side of the camera. Being organised, together with having the confidence to gently direct people into relaxed, everyday poses and nailing composition in a single moment, is indeed the challenge!
"People are at their best when they can be natural. And that is the hardest thing as a photographer."
~Platon
The Trend
I've noticed a leaning, particularly in the last few years, to include a human presence within interior and architectural spaces, which, when done well, can be really effective. That being said, it is human nature to explore, influence, and refine ways to entice and extend the viewer to linger that little bit longer on a picture. After all, architecture and interiors are designed for people to dwell and enjoy—to live, work, and play in. Including characters in photographs offers a positive involvement between us all and our environment.
The Target
It's obvious, I know, to point out that every interior or building serves a different purpose, with different motivations. We're all living and breathing stories within our habitats, and how we live is the most captivating and viewer-relatable experience we have in common. The directed photographs we attempt to masterfully create are 'part art, part marketing' in lesser or greater degrees. The result is the amazing impact a photograph can have on our dreams and lifestyle aspirations.
"What good is a dream home if you haven't got a dream?"
Julius Shulman
Let’s Dig Deeper
Nuts and bolts! Here are just a few practical reasons why photographers often choose to include people and animals in their photographs:
- Adds human scale
- Depicts how real people and animals experience and move within the space
- People and their animals make a space look livelier and showcase enjoyment
- Offers intrigue and has the effect of inviting the viewer to imagine themselves in the space
- Adding people can be a way of improving the overall composition by enhancing things such as negative space
- People help to highlight certain areas and how the space is used
- It tells a story rather than simply exhibits a space
Tips & Techniques
Be Organized
- Before introducing people into the frame, it's essential to have your composition, camera setup, and lighting exactly how you want it and ready to go.
- If you're still moving things around a centimeter here and there, you'll seem disorganized and draw unnecessary attention.
- Children, especially, can be easily distracted if you change your mind and a piece of furniture needs repositioning, or a cushion needs re-fluffing!
Show Them The Way
- Often, it's quicker and more effective to demonstrate where you want your models to look or how to stand than it is to explain. Mimicking is easier, more fun, and less awkward for people, especially if you goof around a little. So rather than just telling them what you’d like, show them.
- The best direction you can give is towards natural everyday movements and activities. Seeing someone looking towards a beautiful view in a photograph can definitely add to the sense of wonder we feel, and therefore their gaze directs ours! Consider how the space is normally used, and use that to guide your direction.
- It's more authentic when you can find the balance between spontaneity and guidance with the personalities you're working with. Each model will be slightly different.
Sculpting a Pose!
- First things first — break the ice, be genuine and get into casual conversation. Ask about the person's day or the best thing that happened this week, and build on the previous conversation with follow-up questions. This will establish trust from the get-go.
- Offer specific directions that make sense and will help them to feel comfortable. Asking a person to point their nose towards an object works much better than saying, "turn your head 20° to the right".
- Start by positioning your subject/s roughly where you want them to stand or sit. Unless they’re professional actors or models, they won't know how to stand, where to look or how to place their hands.
- It's always easier if you direct your model/s to perform an ordinary, everyday activity. The simpler, the better. Consider things that appear effortless — like gazing out at the vista, stepping into a doorway, or reading a book.
- Posture problems can easily be corrected by simply straightening the spine. Posture is the foundation and structure of a house, so to speak. It holds everything together and is what distributes and balances bodyweight in a flattering way.
- Body shape is much better if the model/s weight is transferred to the leg furthest away from your camera.
- Make sure that your model/s shoulders are down and relaxed, whether standing, sitting, or lying down.
- The body looks more flattering and more natural when arms and legs are lifted, and there is space and separation from the body. For example, the leg stride when walking or an arm reaching out to open a door or bent on the hip. A general rule of thumb is if it bends, bend it!
- Don't forget the hands and fingers. Give your models something to hold or an object to interact with, or find other ways to engage them (never let them dangle). Notice fingers too; generally speaking, they should be relaxed, slightly bent, and always together.
- Now for the heads and shoulders! Always offer the person a line of sight. Ask or point to an object you want them to look at. I know it sounds strange, but ask your model/s to push their ears forward a little. This will create separation between the head and neck. Lastly, shoulders are more flattering when turned at a slight angle.
- In unusual circumstances, when the model is closer than normal to the camera, turn the face so their nose is slightly off centre, pointing somewhat to the left or the right. This gives it shape and definition without making it the focus. In other words, try not to let the nose break the natural line of the face as it tends to lengthen the nose proportionally.
Motion Blur or Sharp
Consider if you want motion blur or a static appearance! Motion blur may be better suited for some interiors and a sharp scene for others, depending on the brief.
- For motion blur, set the shutter speed between 1/15 and 1/60 sec, depending on preference and your subject's speed.
- Alternatively, to freeze motion, an idea is to treat your model/s as a 'light painted layer' and blend with your other light layers in post. Be mindful of photographing people with a broader mask, as this will avoid situations where the mask becomes too complex for each person if there are many.
- Don't be discouraged if you have to shoot ten or more frames before getting the result you're looking for.
Shapes & Framing
- Look for shapes to frame your models/s cleanly within an area.
- Effective framing offers more individuality, and your photographs can have more impact.
- Obvious ways to frame your subject/s are by using a door, a window, an architectural feature, colour shapes, contrasting areas or negative space.
Negative Space
- Identifying negative space is a useful visual differential to improve your composition and help draw fascination to a person's activity, posture or expression.
- When you've roughly identified the backbone features of your composition, look carefully at the surrounding areas in your image. Tweaking your tripod position and placing someone in a dead space can add balance to the overall picture and occupy an otherwise uninteresting composition.
- By choosing particular camera perspectives, you may be able to create separation for your subjects. Tune in to particular spaces with tonal contrast, framing possibilities, or shapes formed by the architecture to place your model/s naturally in their surroundings.
- Use negative space to your best advantage by adhering to the lead room or nose room principle. To do this, always orientate the model/s to look or move toward the negative space and not away from it. Viewing can be uncomfortable when the subject is looking towards the empty space and towards the edge of the frame.
To Conclude
I'm sure you'll agree that this topic is seemingly vast and where subjective viewing experiences are always up for a lively discussion. I hope you've enjoyed reading some of my methods and ideas on how to go about including a human presence within your interior portfolios. Adding people is fun and adds a whole other layer of charm and intrigue! More often than not in life, grabbing a few friends, jumping in, and giving it a go could give you just the results you’ve been wishing for!
About The Author...
Sue is a Devon-based freelance photographer of residential and commercial interiors, architecture, and portraiture. She works with interior designers, architects, holiday rental agencies, developers, and private owners with a keen eye for detail and a focus on staging and styling each space to convey story and emotion with her combined passion for photography and design.
Website: www.suevaughton.com
IG: www.instagram.com/suevaughton