 (click on photos to enlarge) There are those who might look at the images above and below and ask why I left so much space around each subject. I often shoot images where the subject - human, animal, or object - is significantly smaller than the empty space surrounding it. I define “empty space” as either the absence of everything (for example, a completely white area) or a continuation of the subject’s environment. This uninhabited area can greatly affect how the subject is perceived by the viewer. “Empty space” is not wasted space. However, I’ve heard it suggested that photographers should crop these areas from an image, thereby making the subject more important. For certain pictures, that might work well. But for lots of images, this misses the true intent of empty space. Nothingness can positively affect an image. Empty space can, for example, emphasize the picture’s location, help define the image’s mood, and lead the viewer’s eye directly to the person or object that is the true subject of the photograph. To that last point, empty space lets the viewer know precisely where their eyes should go, thus actually increasing the subject’s importance. The empty space must be set up with the same care that goes into posing the person or positioning the object. You should do one or more of the following to anything in the empty space that doesn't belong:
I’ve seen and made many pictures where the size of the subject, relative to the total area, is very small - the empty space takes up most of the image’s real estate. If done well, having the subject so small in the picture actually delivers a lot more artistic impact. It seems that as the object gets smaller, its importance can grow.  (click on photos to enlarge) I think accurate skin color is not always necessary when creating portraits. In fact, when I end up with a few hundred pictures of the subject after a typical photo shoot, I find it quite boring rendering every single one with a normal skin color. I truly believe that changing the hue often dramatically improves even the most ordinary photograph, making it far more interesting. It's one of those transformations that can make an image pop. Additionally, changing the color can change the photo's mood. For example, blue can imply coolness, sadness, melancholy, or depression; red can denote rage, danger, heat, love, or passion; yellow can symbolize sickness, glory, splendor, or power; green, to me, just seems to make the picture look weird. My color changes are almost always done in postproduction. I primarily use Adobe Camera Raw, the program included with the Adobe Photoshop subscription. Additionally, I may make a few more adjustments using a program called Nik Software. Initially, I prefer viewing the subject's normal skin color. This is usually the default hue because I've already white balanced my camera before I begin photographing. And, if I want her skin color to be more precise, I'll click on something in the picture that’s white, gray, or black, using the White Balance Tool in Adobe Camera Raw. Or, if I’ve taken a few photos of her holding a photographic gray card, I’ll click on that instead. This should produce the most precise (or close to it) color. It’s then that I may consider making changes to the subject's color. The preceding pictures are just a few of the many I've colored over the years. As you can see, the hue change on some is subtle and more extreme on others. My reasons for coloring them, as noted above, included one or more of the following:
 (Click on photos to enlarge) Regarding the model’s mother, I usually enjoy having her on set. The great mother is indispensable. She’s there to support her daughter unconditionally. That may mean pulling a dress out from under piles of clothing and quickly ironing it, braiding hair, applying makeup, wiping a runny nose, or offering encouragement. Since I customarily work without an assistant, mothers sometimes take on that role for me. I’ve had mothers happily hold light reflectors and leaf blowers (for creating wild effects with the hair), move junk out of the way, and bring snacks to their daughters. When discussing an upcoming photo session with a parent (who is usually the mother), I request that she, rather than the father, be present during the shoot. I believe that the mother will be more in tune with her daughter’s needs, being better able to provide the assistance mentioned above. Sometimes I want someone the model can react to or interact with, and mothers and fathers are perfect for that. I’ve photographed some remarkable expressions when a parent, placed out of the shot, catches their daughter’s attention with their antics. What can work well too, is having a parent or the limb of a parent physically interacting with their child. Unfortunately, there's the occasional overbearing mom who wants to control her daughter, often making unnecessary and disruptive demands of her. This attitude often involves telling the girl how she thinks I want her to pose, which frequently is incorrect. If this happens repeatedly, I’ll patiently explain to the mother what she's doing and how it’s hindering the shoot. That generally solves the problem. If it doesn’t, and if the daughter is a pre-teen or older and agreeable to this, I’ll politely ask the mother to leave the area so the girl and I can photograph alone. Usually, she'll follow my request. By the way, the top photo was posed (as were most of the other photos in this blog). People have viewed this picture and become upset that the blond woman was mocking the teenage girl. She was not. They were both acting. In fact, the woman was reluctant to pose this way. It took some persuading on my part before she agreed to do so.  Elspeth’s face lit up when she caught sight of her father working outdoors. If he hadn’t been there, I doubt I could have coaxed such a wonderful expression out of someone so young. In addition, I love how her hair and window curtain both frame her eyes, nose, and mouth.  When I suggested this shot to Gretel and her mom, I assumed one or both would say “no”. Neither did. I had Gretel try several expressions. I liked this one the best. She looks utterly defeated, as if ready to accept her dismal fate.  Amelia has lots of wonderful expressions. This one says heaps. The hand belongs to her mother. I also like how Amelia pulled down her sleeves a bit to cover her own hands. Occasionally, I’ll include the entire parent in the picture if I sense her presence will benefit the photograph. Sometimes her role is as a supporting actor to her star daughter. Other times, both have equally important roles. Either way, they must work together to support one another.  It took some time to set up this mother/daughter shot. Their placement in the frame was critical. I wanted Miranda, the daughter, to slightly overlap her mother, to imply a physical connection between the two. But I did not want the crossed arms and annoyed look to be hidden. Though Miranda is off to the side, she is larger and in sharper focus than her mom, making her more important. I think their expressions as the smart-ass kid and the annoyed mother are subtle yet obvious.  Mother and daughter were dancing madly on top of a bed, causing their hair to fly out wildly. Each one’s excitement fed the other, helping to create what I hope is a dynamic image.  I find this photo REALLY creepy (in a good way, I think) for a couple of reasons. There’s something about how the girl, Elspeth, has her left arm positioned. It looks eerie and unnatural. Additionally, her head is bent backward, resulting in no clear connection with her mother. And then there’s Elspeth’s spooky blank stare. Photoshop helped too.  Here’s Elspeth and her mom once more, and again not interacting. Each seems isolated from the other. Arms are folded, and neither is trying to connect. I think both expressions are marvelous.  (Click on photos to enlarge) A portion of my business involves taking pictures for use as stock images. This type of photography involves shooting pictures and sending them off to various stock photo agencies to be displayed on their websites. When magazines, businesses, ad agencies, textbook companies, etc. need photos, they often will purchase existing images from one of these stock photo agencies. This saves them the expense of having to hire a photographer to shoot new images. When the stock photo agency sells a photo, the payment for that sale is shared between the photographer and the stock agency.  Some of my favorite places to look for stock image possibilities are in empty schools and colleges during the summer and on weekends (because I teach photography classes at these places, I'm allowed to do this). And, I especially love searching out bulletin boards. They’re usually scattered throughout the buildings, often in hallways and classrooms. Most boards are made from corkboard or, sometimes, burlap cloth, and are enclosed in a wood frame. They range in size from very tiny to huge. I've seen all sorts of things pinned to them - staff or faculty notices, announcements about upcoming events, postings by students looking for roommates, and even pieces of artwork.  Occasionally, what's attached to these bulletin boards is interesting enough to photograph. But not often. So, using one or more of the props I carry with me, and sometimes including a note I've written, I’ll try creating something that’s hopefully intriguing, humorous, and realistic enough to seem legitimate. Coming up with these phony bulletin boards is a lot of fun. I highly recommend trying it yourself. If you don't have access to a bulletin board, one can be purchased inexpensively online or at office supply stores. Or, an empty wall can work just as well, using tape instead of pins. The images above and below are a few examples of my work.         (Click on photos to enlarge) Over the years, I’ve been contacted by various magazine photo editors when they were doing stories about people living and working in my area of New England. What each editor usually wanted was an inventive and compelling portrait of the person being profiled - something to make the reader pause and actually read the article the picture accompanied. My job, therefore, was to take often ordinary-looking people and locations (mostly in and around the subject's office) and transform them into, hopefully, something more interesting.  I’ve always enjoyed these types of assignments. They’ve stirred my creative juices and given me opportunities to build my portfolio which, in turn, has led to more similar assignments.  With these portraits in mind, I decided to do a series that would be more creative and goofier than what I was being contracted for. Here's why:
 I wanted these photos to look substantially different from one another, but also thought there should be a common element in each one that would connect the series together. I searched for some unifying object and came up with the idea of using rubber ducks.  The portraits were done using friends and acquaintances. Some were fellow photographers. I began each photo session with either a general or specific idea of what I wanted. As the shoot progressed, the subject and I would bounce around posing ideas. We always came up with at least one setup that I thought worked quite well. You can view the entire series on my website at https://www.peterglass.com/duckpeople.  And that brings me to an important announcement. I’ve decided to update this series with new people, new ducks, and weirder and whackier compositions. Maybe I’ll call it Duck People, The Next Generation. But, I need subjects. This time, I’m going to limit it to women and girls (sorry, gents). If you’re interested in possibly posing and are within sixty minutes of Hartford, CT, please call or email me. Those who participate will receive high quality JPG images from the photoshoot and a nifty tote bag, emblazoned with my eye-popping logo (see top of page). Thank you.   (Click on photos to enlarge) Before beginning a stock photography shoot with a female model (they're not professional models - mostly students of mine, friends, and acquaintances), various issues have already been addressed and mostly resolved, including:
 I photographed Deborah on the roof of her apartment. As she experimented with a variety of poses, these were some of my “be sure” concerns: - Be sure her head and body are backed only by the roof - Be sure her hair is arranged well - Be sure her head is tilted up enough for skylight to illuminate her eyes - Be sure nobody on the ground wanders into the shot - Be sure any slight compositional changes I make from shot to shot don’t contain any distracting elements - Be sure she doesn't slide off the roof - Be sure I don't slide off the roof - And, of course, be sure her expressions and body positions are interesting  Here’s something I often miss. Deborah was moving around on the sofa, trying out a variety of poses. As she slid down the pillow, friction kept the back of her hair from moving with her. The result was this odd hairdo. When I do notice this problem, I’ll have the model tilt her head forward, smooth down her hair with my hand, then have her lean back to where she was originally.  Meredith was lit by two strobes bounced against the ceiling and walls behind me. Because she stood between two windows, I had to keep an eye on what was going on outdoors, being sure nothing happened out there that might hurt the shot. I also had to be careful how I positioned my camera from shot to shot so that no reflections from the strobes would be visible in the windows.  This was one of the few times I used a tripod to photograph a model. I liked the placement of the camera and knew moving it again would not be necessary while at this location. With the camera on a tripod, therefore, the composition would be set. I could then focus my attention more fully on the model and other elements in the scene. Adeline, mostly on her own, was coming up with some great poses and expressions. My concern was her placement in the frame. First, I wanted nothing but the wall behind her. Second, I didn’t want the shower caddy or hanging brush, on the right, to appear to be touching her body. Third, I wanted to control what proportion of the shower door was covering what proportion of her body. Not having to handhold the camera gave me more freedom to attend to these concerns.  It’s my palm Joanna is touching. That meant I was holding the camera and photographing with only one hand. As I shot, I kept watch on all that surrounded her, being sure that: - Her legs stayed between the toilet paper and toilet tank - A good view of her face appeared in the mirror - Her hand was positioned gracefully on my hand - The camera was held fairly level  (Click on photos to enlarge) Occasionally, students will pull out an image they've shot and ask about its exposure. Is it too light? Is it too dark? Is it the correct exposure? I’ll study the photo briefly and then ask their opinion. This way we can dive deeper into the question, since it’s usually one not easily answered. There are issues to consider when determining a photograph’s appropriate exposure. Perhaps most critical is avoiding very bright and very dark areas, since that may cause clipping and, in turn, problems when displaying the picture on a monitor or when printing it. After that, and similar to other compositional elements such as framing, camera angle, focal length, depth-of-field, etc, the photographer must determine how a specific exposure will impact the look of the photo. I would assume that most photographers usually strive for a “normally” or “properly” exposed image. But intentionally over-exposing or under-exposing can create a very different dynamic-something that can make a far more interesting and exciting image. The photos below, hopefully, will help illustrate this. The first set of images shows a college cafeteria. Keep in mind that the outside illumination is significantly brighter than the inside lighting. The first photo has been exposed for the outdoor lighting, making the greenery easily recognizable. This keeps the indoor lighting dark, but in a positive way. The reflections on the tables subtly highlight them, providing just enough illumination to render their shapes pleasingly. The more brightly exposed second photo shows those same interesting reflections, but with greater intensity. And though still rather dark, the cafeteria can be seen in more detail than in the first photo. In addition, the windows become grossly overexposed with the increased exposure, hiding what's outside (which can be a good thing) and causing a wonderful eerie glow.   The second set of images was taken in a college classroom. I was drawn to the chairs’ tight, perfect alignment, as well as the starkness of the surroundings. For me, the precision of this scene is both inviting and off-putting. Dark objects, like these chairs, can open up interesting lighting possibilities. That’s because they can be photographed at a variety of brighter exposures without becoming overexposed. The first picture shows the chairs and room normally exposed. This is how the room would appear to someone standing within. The second photograph is overexposed. That’s apparent when looking at the ceiling, walls, and floor. But, again, because the chairs are made from such dark material, we’re now able to see them in much greater detail. In addition, the chairs are pleasingly framed by the bright areas of the room.   The third set of images shows a young woman smoking. The brightest object in the darker picture is her cigarette, which helps elevate its importance. When the picture is lightened, her skin and cigarette seem to blend into the background. This now makes the formerly dark eyes and hair, with smoke swirling through it, more dominant.   The fourth set of images is that of a woman holding a clear glass globe, an object often associated with fortune telling. The brighter photo works better for showing off both the dark dress and her statuesque profile. But by bringing down its intensity, the second picture becomes more dramatic and mysterious.   The fifth set of images features a girl and her mother, with the latter holding a large cross. To my mind, the difference between these two photos, compared to those previously shown, is the most extreme. The darker picture clearly and equally displays all the elements within - face, neck, hair, clothes, hand, and cross. But when the exposure is increased, a dramatic change occurs. It's her hair, eyes, lips, and cross that jump out and now dominate the image.   Barring technical problems caused by the lighting, it’s impossible to say which exposure is correct or preferable. That decision is solely within the realm of the viewer and the photographer. I don’t find one picture preferable to another. I think each one offers a different but equally interesting interpretation.  (Click on photos to enlarge) Even after I've finished setting up a shot, I'll always find something else that can be done to improve it. It may be repositioning the subject, altering the camera angle, removing a stray object, adding a prop, or switching lenses. It might be something minor or something more involved. At times, though, a mood overtakes me, and the following happens - I get lazy and don't want to fix the issue. I know this is not the best attitude to have when trying to come up with quality images, and I'm not sure why it happens. But when it does, I lose the desire to make much of an effort. So, I'll simply ignore the needed change, continue shooting, and hope some magic ensues that will save the photograph. That magic, if it is to happen, usually comes when I reevaluate the photo later at my office. I’ll examine the RAW file on my large, high-quality monitor. This gives me a much better read than the small, low-quality JPG image that appears on the camera’s monitor (Note: whether shooting in RAW or JPG, the image on the camera’s monitor is most likely a JPG). Also, my frame of mind will be different from what it was during the photo shoot. I’ll no doubt be more relaxed and able to see possibilities I previously may have missed. What I might ultimately discover is that I really like the picture. If not, I’ll search for ways to fix the problems using one of my digital editing programs. So, it’s more or less of a crap shoot. If I end up liking the photograph as is or with some post-production changes, I’ll keep it. If not, it's trashed.  The high-angle position of the camera works well. The elements of the shot I wanted to emphasize are clearly visible - the model, sign, various locks, and the disproportionately large door. Initially, I planned to remove the extension cord, which was powering my strobes. However, laziness won out. Luckily, after viewing the image in my office later on, I realized how much I liked the cord snaking around under her. I think it’s an attractive design element.  Deborah was sitting behind a wall smoking, as if trying to stay out of view. I wanted to position myself a few inches to my left so that more of her face would be visible. As in the previous picture, I was too lazy to move. But, I’m glad I stayed where I was. I feel what’s shown is perfect. In fact, seeing more of her face might have taken the emphasis off both her cigarette and the dramatic bend of her wrist.  I love photographing dolls. I'd been working with a variety of them and was almost done for the day. Without giving much thought to this setup, I dropped the doll into some fairly tall grass and took a shot. I was tired and my mind had drifted to the meal I was planning to cook that evening and not so much on what was to be the last shot of the day. But looking at the image later on in my office, I was pleased with what I saw. I was very happy with how the grass covered sections of the body while leaving parts of it and the eyes unobstructed. I think the foreground's shallow depth-of-field quickly moves the viewer's eye to the doll's eyes. I also think that the positioning of her arm makes it look as if she's casually greeting someone.  Wally was wearing a hat that I didn't want in this setup. I asked that he remove it and put it somewhere out-of-frame. However, other than placing it on the dusty ground, there was nowhere else nearby to stow it. I could have put it in my car, which wasn't that far away but, true to the theme of this blog, I didn't. So I stuck it on the tree and hoped for the best. And it worked out. I realized that I liked how the brim of the hat seems to point towards Wally's head. And, for no reason I can explain, it just seems to fit in. Now, when I mentally remove the hat, the photo seems incomplete.  I noticed the lopsided blinds on the left window and said to myself, “Oh, I should straighten them before I shoot.” And again, I did not make the effort. And again, after viewing the picture a day later, I was happy I didn’t. The tilt of the blinds adds to whatever else is “off” in the picture - the darkness of the young woman, the slight angling of the camera, the extreme headroom, and the fact that she's wearing sunglasses indoors.  (Click on photos to enlarge) In a very, very general way, I think I can divide my portrait photography into four types: 1 - Portraits that look posed and that were posed 2 - Portraits that do not look posed but that were posed 3 - Portraits that do not look posed and that were not posed 4 - Portraits that do not look posed but that were a combination of posed and not posed I hope that made sense. What I want to address in this blog are the "portraits that do not look posed" (types 2, 3, and 4 above). For a picture to appear not posed, it should look as if the photographer caught the model in the midst of performing some task - as if the photographer just happened by with their camera and quickly snapped a picture. Let's address #2 above. This could be challenging for the model to achieve for two reasons: 1 - It may be difficult for the photographer to convey the look they want to the model. 2 - It may be difficult for the model to come up with a believable pose, even if they understand what it is the photographer wants. Let's look at #3 above. The photographer can keep an eye on the model throughout the photo shoot, hoping they will do something that will result in an interesting non-posed look. The problem is that there's no guarantee this will ever happen. So, let's go to #4 above. This offers the photographer the best chance of getting quality portraits that do not look posed. What I’ll do is to give the model a specific physical task to perform - something that requires them to move their body and, hopefully, vary their expressions. Because a real chore is being undertaken, their actions generally will appear more normal and realistic. And since I usually use strobes for illumination, and if their actions aren't too quick, the photos can be taken while they're moving. In addition, I can have them repeat what they're doing a few times, perhaps suggesting a slight modification for each repetition, until I end up with the images I want. This is an excellent technique for both the photographer and the model. It allows the photographer to shoot and the model to act continually, with only minor interruptions, for at least a little while. And it can be a nice change of pace, even if not done for the reason discussed above. Both get a break from having to move from static pose to static pose, normally the de rigueur of portrait photography.  Jennifer and I first worked out her positioning on the bed. I then asked that she pretend to be discouraging whoever it was that wanted to join her there. Her actions were quite forceful and convincing, leaving no doubt that she wanted to be left alone.  Gretel was high-energy and very entertaining even without the microphone. But with it, she was at a whole other level. The only direction I gave was, "You're a rock star!".  Similar to the previous photo, I merely asked this young couple to behave how they would if alone together on their bed. They had no problem with this direction. Things quickly heated up. I reminded them that I was still in the room and taking pictures that would be seen by lots of people. Not knowing how far they intended to go, and having already shot some wonderful images, I ended the session.  I asked Esther to put her jacket on slowly and then take it off. She repeated this a few times, enabling me to shoot about six photos on each occasion. The twisting of her body, enhanced by her lean figure and flung-out arm, formed a beautiful dynamic pose. The bright sun added shadows, which produced definition and contrast in her clothing. Her head aimed at the sun meant her face was lit well and had no harsh shadows.  These two college students shared an apartment but were not a couple. They did, however, appear to be close friends. I had the idea of them pretending to have tired of each other. Further, I suggested their bathroom as a place where they both just happen to end up together one day and where their annoyance and boredom with one another come through.  (Click on photos to enlarge) I’ll sometimes return to a location I’ve previously photographed and discover it has irrevocably changed. What I mean is that what I had shot is no longer there. That sometimes makes me a little sad. Something I thought was worth photographing - something others should have had a chance to see or photograph - is now no more. What makes me happy, on the other hand, is knowing that at least I have pictures of what was once there and that others, hopefully, will get to see them.  This brings back memories of the flying monkeys from the film, The Wizard of Oz. The sign, now gone, was located on Main Street in Glastonbury, Connecticut, USA. It was positioned between the sidewalk's end and the beginning of a wooded area. It advertised the Flying Monkey Farm in Glastonbury. I suspect that those familiar with the film and who saw the sign for the first time must have done a serious double take.  Since this museum gallery was being refurbished, all its paintings had been removed and placed into temporary storage. Viewing the room this way puts the emphasis on it rather than the artwork that normally hangs on its walls. To me, this image shows that even an empty space can have its own beauty. I found myself wishing the room would remain as it is, bereft of any paintings. I truly enjoyed seeing this portion of the museum in its raw state. Note: This picture was shot with a wide-angle lens and an intentional slight blur.  This was taken inside a theater that had been abandoned for decades. It seemed that wonderful shot possibilities popped up no matter where I pointed my camera. I spent hours happily wandering and photographing, though carefully avoiding falling ceilings, sizable gaps in the floor that could drop you down twenty feet or more, and exposed wiring that wasn't supposed to be live but sure didn't look it. To my disappointment, but to the new owner's delight, the theater was finally renovated. I do have to admit that it now looks glorious.  I was photographing in a skate park that also included walls of beautiful graffiti paintings (I think the city actually encouraged the graffiti). Seeing these Art Deco-type numbers on the colored squares made me want to photograph them. I also thought that adding a human element might add more interest, so I made sure my legs and feet would be visible in the shot. Returning to the skate park some months later, I was dismayed to discover that this entire section had been completely painted over.  I suspect few people are wanting to see this sight again. Normally, the sign indicates to walking pedestrians where to cross the street. However, after days of relentless rain, the entire area flooded, creating this glum but amusing scene. I felt a bit guilty taking the photo, but the weirdness of the sign/water combination made me want to capture it. Returning a few weeks later, I was relieved to find that all was as it was, with no indication of what had recently happened.  Unlike the previous images, what you see in this photograph (at least as of this writing) still exists. What does not exist is the era that this picture hopefully represents - the 1930s or 1940s. With a bit of Photoshop finagling, I think I gave the image the appearance of a long-gone America. |
All Images © 2026 by Peter Glass. All Rights Reserved.