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Taking Really Candid Candids Shooting strategies that will take you well beyond those "say cheese" snapshots From "The Whole Picture" episode DTWP-210

Do you hate fake or forced-looking smiles in photographs? Do your photos of friends and family sometimes look painfully set up? Ever wished your photo album was filled with pictures of people acting naturally--not posing sheepishly or hamming it up for the camera?

And think of the many "great" photos of people you've seen--humorous, touching or poignant shots like those you might see in a gallery exhibition or an old issue of Life magazine. With the exception of portraits, seldom are the subjects of those photos posing for the camera. Instead, the people in the picture are typically just caught "doing what they do," enjoying or experiencing life as it happens.

Professional photographer Erin Manning offers some advice and techniques for capturing those real and spontaneous moments that truly are the essence of life. Read on for some pro tips that will help your photos have a truly natural quality and genuine feel.

A genuine smile is always preferable to a forced one.

The key word for really effective candids: spontaneity.

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Strive for photos in which your subject's reaction and body language looks natural, not posed.

Materials:

digital camera with a self timer
tripod
computer with photo-editing software

Overview

• Erin teaches how to "become invisible"--remaining inobtrusive as a photographer so that you can capture natural behaviors and reactions in your subjects.
  
• She also discusses how to getting the best angle without becoming a distraction or making your subject self-conscious.
  
• She discusses how using the "rule of thirds" helps ensure your candid shots have strong composition.
  
• She also covers an issue that's a common challenge in digital photography--shutter lag--and some strategies for getting around it.
  
• Finally, in the "digital darkroom", Erin goes through the steps for getting the most of your candid pictures by using photo-editing software to enhance composition and focal point.

	Shooting from a discrete distance and inconspicuous location, you may be able to get candid shots without your subject being aware of it.

Discrete Camera Angles

Sometimes getting good shots of people, that look natural and un-posed, requires a little stealth. First, always remember that taking photographs is not all about you, it's about what you see in your viewfinder. Keep your attention focused away from you, the photographer, so that you can discover those magical moments digitally with your camera. Here are some tips:

• The you don't need to break out the camo gear, you and your camera want to avoid being overly noticeable. If you want to blend into the background, wearing bright colors is probably not the way to go. Find a place to sit or stand where you'll be inconspicuous.

• Look for people who are just going about their business. Notice where the action is directed so that you can frame accordingly when you're ready to take your picture.

• To remain inconspicuous, keep the camera out of your subject's eye line. Make the most of the lens on your camera and "shoot from the hip"--where people don't expect you to be taking pictures. First zoom in all the way, then point the camera in the direction of the subject with the camera at waist level--and fire.

• One of the cool things about digital cameras is the LCD screen. This kind of display is ideally suited to candid photography. You can look at the display without holding the camera to your face and attracting attention. For example, if you're sitting at a table, try keeping the camera low, at table height.

• Be sure to follow one of the basics of good composition: the rule of thirds. If your camera has a grid of thirds, turn it on. If not, simply imagine four lines dividing the image into thirds both horizontally and vertically, and place important elements of your composition where these lines intersect.

• If there is an action happening or about to happen in the photograph, position your subject at one of the intersections of the lines in a way that will lead the eye from the subject to what is about to happen next. Let the subject's position be the launch pad for the direction of action he is involved in.

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