people

How to be brave and photograph people

How to be brave and photograph people

We're taught how to make our portrait subjects relax and act naturally in front of the camera, but how can photographers feel more confident when they're photographing people?

Standing out in the crowd - or how to take meaningful photos among lots of people

'Tis the summer (here in the northern hemisphere). 'Tis the season for festivals and fairs and fetes. 'Tis the season when people might want to capture crowd scenes with their cameras. Shooting crowd scenes is easy, yes? There's so much going on that all you have to do is raise your camera, point it in the right direction, and shoot to produce an interesting photo, yes? Ehm... no. Anyone who's ever tried to take a compelling crowd scene photo will appreciate that it's far harder to get it right than it is to get it wrong. Frequently, crowd photos emerge as amorphous collections of strangers with no clear narrative or obvious focal point. Anyone whose attention doesn't wander irretrievably will be left asking 'So it's a photo of what?' But mostly the eye will scan over an ordinary crowd scene shot, fail to find anything of interest and be drawn into the story, and move on to the next shiny thing. Your audience is gone.

It's a crowd. And a large one. But where is it going? What is it doing?

What makes crowd photos so difficult? The very fact that there is so much going on in these scenes is usually their undoing. Every photo must tell a story. (Along with 'Get closer!' and 'Just because it's on the Intergoogles, it doesn't mean it's free to use!' it forms the third edge of the Photocritic mantra triumvirate.) Rather than expecting your audience to determine what the story might be among the tens, maybe even hundreds, of people, you have to set about deciding on what the story is and composing an image that conveys that.

When you're thrust amongst a crowd, or are perhaps looking down upon one, ask yourself: 'What am I trying to relate here? What's the story?'

Sunday. Corner of Brick Lane and Hanbury Street. It's always crowded. Look for the lull, the change, the aberration. The guy leaning, and watching, and waiting.

Perhaps it's the sheer number of people? Maybe it's the focus of thousands of individuals on one figure on a stage? Is it a solitary red shirt in a sea of blue? Sometimes it's a case of waiting patiently for that moment: a sting of eye contact, a dropped doll, a wearied pause. Define the story and you're halfway to creating a compelling image.

Finchingfield, July 2014, waiting for the Tour de France. The village was heaving and when people are sitting a-top fingerposts, you know it's crowded.

Now, ask yourself: 'What can I do to convey this?' How you compose and expose your photo will ensure that your audience can grasp what you're trying to say and will help them to connect with it.

Tamil protestors, London, February 2009. The crush behind the barrier, the emptiness before the barrier, and the 'Stop' sign.

When you're trying to express numbers, find a point of juxtaposition to emphasise them: look for something small or noticeable that stands out and contrasts against the heaving mass. When a horde is focused on one thing, use lines to direct the viewers' eyes and channel them into the moment. For an aberration in the flow of things, try to isolate the rogue figure and plant it amongst the norm.

Rather than point and shoot, hoping that you'll produce an image that people will find interesting, draw on your compositional skills—the rule of thirds, leading lines, colour theory, pattern and repetition—together with your technical knowledge—focal length, aperture, shutter speed, and metering—to tell a story. Then you'll capture the crowd.