THE ART

OF sELF-
PORTRAITURE
Anna Gay’s
365 Days

a book
by Anna Gay
CON TE NTs
A note from Darren Rowse_ _____________________ 3

About the author_______________________________ 3

Credits & copyright_____________________________ 3 Chapter 3: Composition______________________ 16 Chapter 6: Inspiration________________________ 41

Introduction____________________________________ 4 The Rule of Thirds__________________________ 17 Deborah Rabinowitz_______________________ 42

Why self-portraiture?____________________________ 5 Dramatic crops_ __________________________ 18 Kat Hemrich_______________________________ 43

Utilizing props and scenery_ _______________ 20 Corey Moylan_____________________________ 44

Chapter 1: Tools_______________________________ 7
Posing and camera angles________________ 25 Eric Albee_________________________________ 45
Remotes and built-in timers_________________ 8
Ula Dee___________________________________ 46
Tripods____________________________________ 9 Chapter 4: Focus_____________________________ 30

Lenses_____________________________________ 9 Shutter speed and aperture_ ______________ 31 Chapter 7: Self-portrait projects_ _____________ 47

Lighting equipment_ ______________________ 10 Selective focus____________________________ 33 The 52 weeks project______________________ 48

365 days project__________________________ 49

Chapter 2: Lighting___________________________ 11 Chapter 5: Post-processing___________________ 35
Photo-sharing websites____________________ 50
Natural light______________________________ 12 Photo-editing software_____________________ 36

Flashes and off-camera lighting____________ 14 Exposure levels and color balance_________ 36 Conclusion: Putting it all together_ _____________ 51

Alternative lighting________________________ 15 Textures and presets_______________________ 37 Want more from DPS?__________________________ 52

A NOTE FROM DARREN ROWSE –
EDITOR OF DIG ITAL
PHOTOG RAPHY SCHOOL ABOUT THE AUTHOR cRedits & cOPyR ight
As a shy young photography Anna Gay is a freelance portrait Written by: Anna Gay
enthusiast growing up I always photographer living just outside www.annagayphotography.com
struggled to find subjects to of Atlanta, GA. Though she enjoys
Publisher: Darren Rowse
photograph. My younger sister shooting other subjects, she is
www.digital-photography-school.com
would only pose for so long and best known for her self-portraits,
friends thought it a little weird which have appeared on book Producer: Jasmin Tragas
that I kept asking to photograph covers, as album artwork for
them. So I turned to the only musicians, in magazines, and ad Graphic Design/Layout: Naomi Creek
option I had left – photographing myself. campaigns by international corporations. www.starfishblue.com.au

While that may have looked a little egotistical to In addition to photography, she designs Photoshop Version 1.0 ©Copyright 2011 Anna Gay
some – self-portraiture was certainly not an exercise actions and textures, which are available for
All photos by the author unless otherwise noted.
in self-worship – rather it was about using the most purchase through her website. When she is not
available model that I had to discover new ways of shooting or designing, she prefers to relax by playing All rights reserved.
using my camera, growing my skills and developing the ukulele, and spending time with her fiancée and
No part of this publication may be reproduced,
my technique. beloved cats.
stored or transmitted in any form or by any means,
The practice you get in photographing yourself will electronic, mechanical or otherwise, without prior
not only help grow your portrait photographic skills – written consent from the publisher, except for the
but it can also be a lot of fun, give you an avenue to inclusion of brief quotations in a review. You may
express yourself and give you some creative shots to store the pdf on your computer and backups.
use with friends and family and online. You may print one copy of this book for your own
personal use.
I’ve long admired Anna Gay’s ability to take such
wonderfully diverse and creative self-portraits and Disclaimer: The information contained in this book
couldn’t think of anyone better to teach on the topic. is based on the author’s experience, knowledge
and opinions. The author and publisher will not be
I hope as you read about Anna’s journey and the
held liable for the use or misuse of the information
useful tips that she shares, you’ll be inspired to begin,
in this book.
or re-visit an exploration into self-portraiture.
 I photographed myself every day for a year. After
about six months of photographing only myself,
I had my first professional shoot with another person
as the subject. I was terrified! I knew how to use
my camera, and how to edit my photos, but I was
afraid I would not be able to apply that knowledge
to photographing another individual, as opposed
to myself. Was the shoot successful? Based on my
People often suggest I’m being melodramatic when
knowledge of photography at the time, yes, it was
I say that my 365 project of self-portraits changed
successful. I believe that had I not spent so much
my life, but it’s true. 365 is a project that involves
time practicing self-portraits, I would not have done
taking one photo a day for an entire year, and can
as well with the shoot as I did. These days, shooting
be centered around a theme, such as self-portraits,

INtRODUCTION
other individuals, events, and locations is no longer
or it can be a general, photo-journal type project
intimidating to me. Through self-portraiture, I’ve
to document an entire year. Anyone who begins a
gained a much greater understanding of the
365 does so for their own reasons. My main reason
principles of photography, so the opportunity
When I first picked up a camera, I never intended was that I wanted practice. I was very new to
to photograph new subject matter is always a
to take a self-portrait – I was fascinated by the world photography, and knew that if I was given the task
pleasure for me, never a source of stress.
around me and wanted to capture my tiny corner of taking a photo every day, I would learn a lot in the
of that world through the lens. My first self-portrait process. Also, at the time, there was a subconscious Self-portraiture, like any other endeavor, gradually
was taken months after I developed a love for part of me that was seeking new self-awareness. becomes more and more rewarding the more you
photography. And at first, photographing myself felt practice. Once you take that first step and turn the
a bit unnatural, but I quickly and easily overcame One of the most wonderful aspects of self-
lens on yourself, the most difficult part of the journey
any feeling of awkwardness. portraiture is that it offers you monumental
is behind you. Every step after this involves learning
amounts of practice with your camera, and quickly
the technical aspects of self-portraiture, and
When I look at my very first self-portrait, I am develops your eye for composition. Working alone,
developing your own artistry within the process.
reminded of how far I have come. I had no idea composing your shot, and fine-tuning it in your
how to go about photographing myself, but thought post-processing may only take an hour or so of your
it might be fun to try. So I stood in my bathroom time, but if you are photographing yourself regularly,
and photographed myself in the mirror – camera these hours of practice add up rapidly. The skills
and all in the frame – because I didn’t know how to you’ll acquire during these hours of practice are
use a tripod at the time! Now with no knowledge of invaluable, because they are applicable to the rest
how to use a tripod, imagine how little I knew about of your photography. Whether you are a hobbyist
shutter speed, white balance, or the Rule of Thirds. or a professional, the techniques you learn while
I had never even given a second thought to the photographing yourself can be applied to how you
difference between the Auto and Manual modes photograph other individuals.
on my camera.
why self-PORtRAituRe?
The art of self-portraiture has been alive as Self-portraiture also offers the chance to practice in Beyond the practical and technical advantages
long as there have been artists. Since the Early a convenient setting. When you are unable to find a to self-portraiture, there is a very emotional side
Renaissance, masters such as Rembrandt, all the friend or family member to model for you, you can to the process for you, the photographer, and
way through the centuries to Van Gogh and Frida hone your portrait photography skills at any time by also for those who view your work. Since I began
Kahlo, have painted themselves by referencing photographing yourself. Through self-portraiture, photographing myself, I’ve met many other self-
either a reflection in a mirror, or a photograph. you will quickly learn about light – whether you are portrait photographers, some of whom have
These great artists instinctively knew that they could manipulating natural light, off-camera light sources become close friends. Through our conversations
find inspiration in self-portraiture. designed specifically for photography, or found light about self-portraiture, it has become clear that
such as desk lamps – you’ll soon find that, when every one of us has our unique, and sometimes very
The truth is, self-portraiture allows us the opportunity
you walk into a room, you’ll instinctively know personal, reasons for producing self-portraits. The
to have complete control of the camera and our
how best to use the light available to achieve your common denominator I’ve found with each of us
surroundings, and thus to express ourselves as
self-portrait. is that yes, self-portraiture has helped us develop
individuals in a way that is more genuine and
our skills as a photographer, but there is something
expressive than if someone else were pressing In addition to learning how to be creative
more abstract lying beneath the surface.
the shutter release. Self-portraiture also gives with lighting, you will soon have a thorough
us the power to exercise our imagination. The understanding of your camera and its functions.
renowned self-portrait artist, Cindy Sherman, began And, most likely, once you know all the ins and outs
photographing herself in the 1970s – not to display of your camera, and have become comfortable
her own appearance, but to portray hundreds of with manipulating light to achieve your desired
characters that she invented. Sherman is a perfect results, you will start looking for new and unusual
example of an artist who uses self-portraiture to ways to set up your self-portraits. The knowledge
reveal not only aspects of her own imagination, but you’re likely to gain from photographing yourself
the way in which she views the world. regularly will also transfer to any other type of
photography at which you try your hand. Whether it
is portraits, weddings, landscapes, or just snapshots
at a family gathering, the skills that you’ve acquired
through practicing self-portraiture will begin to
enhance the quality of your photography as a whole.
The moment you become even remotely For a lot of us, myself included, taking self-portraits
comfortable in front of the camera, your individual can feel very awkward, especially if you are taking
personality begins to shine through the self- them in public and people are watching you.
conscious façade of “I am posing for a picture now.” I never used to take self-portraits in front of others,
Before you know it, aspects of your character begin but I finally began to care less and less what
to emerge that, had it not been for self-portraiture, people thought. I could push through any self-
you may never have known existed. Again, consciousness I felt, because my desire to take
everyone experiences this catharsis on a different self-portraits outweighed it.
level. I know people who have used self-portraiture
With all of this in mind, it’s time to try some self-
to cope with grief, loneliness, and disappointment.
portraits of your own. You are about to embark on
On the other hand, I know of many others who
a creative journey that centers on your unique and
attempt self-portraiture strictly to become better
personal experiences with photography, and every
photographers. But whether they fall into the former
time you get in front of your lens, you’ll find yourself
or the latter category, when I ask any of them, “Why
learning something new. Whether you discover a
do you continue to take self-portraits on a regular
new lighting trick, a post-processing technique, or
basis?”, they tell me that there is a certain amount
an emotional aspect of yourself that you never knew
of personal discovery and self-expression that draws
you possessed, something within you will shift on a
them to keep exploring self-portraiture.
regular basis. You will continually find yourself at the
juncture of what you have learned along the way
and the goals that you’ll begin to set for yourself,
both technically and personally.
CHAPTER 1 In the realm of photography equipment, the possibilities are truly
endless. If you are new to self-portraiture, you may want to consider
keeping your equipment to a minimum in order to focus on the basic

TOOLS
elements of your shot, such as composition and the emotions that
you’d like to convey to the viewer, rather than worrying too much about
lighting equipment, backdrops, and items of that nature. By the same
token, we may often have a certain type of self-portrait in mind, but the
equipment we need to achieve that type of photograph may not be
immediately available to us. The points discussed in this chapter will
help you expand your horizons and become more creative with your
self-portraits by offering you ideas on how to use effectively the tools
that are to hand.

The equipment you require depends entirely on the type of self-portraits

you wish to take. If you’re going for simple, basic self-portraits shot in
natural light, you will need little more than a point-and-shoot camera.
If, however, you want to photograph yourself in unique locations with
creative lighting and focus, you should definitely consider investing in
a DSLR (Digital Single Lens Reflex) and compact flash.

In my case, I started with a basic point-and-shoot camera, and that

is all. No extra lenses or off-camera lighting – just natural light. After
four months I purchased a DSLR, and for nearly a year I used nothing
but the 18–55mm zoom lens that came with my camera. Eventually,
I acquired a 50mm lens, a flash that I can use either on-camera or
trigger off-camera, and a small reflector umbrella. I found that this
amount of equipment was more than enough for me, but the amount
of equipment you use depends entirely on the type of self-portraits you
are interested in creating.
 Chapter 1 – Tools

remoteS and
built- in ti mers
Most digital cameras, including
point-and-shoots, have a built-in
timer, the most common being
for a ten-second delay. Most DSLR
cameras are compatible with remotes
that are specifically designed for
that particular camera model. For
example, some models of DSLRs
require remotes that are triggered
electronically through a cable release
that runs from the remote to the
camera, while others are triggered
by an IR (infrared) signal that is sent
from the remote itself to the camera,
with no cables attached. The key is
to find if your camera is compatible
with a remote, and go about finding
the remote that works for you and
your camera. In the beginning, I
used my camera’s timer, but quickly
found it much easier to focus with a
remote – the hassle of running back
and forth on a ten-second timer was
eliminated, and I was able to achieve
a precise focus every time. If your camera is compatible with remotes, you will be able to focus your shots a little more easily. Depending on your camera, the remotes come
in a range of prices. Mine is a basic Nikon IR remote, and they can be found online for very reasonable prices.
For some cameras, a remote is not
an option, in which case you will be The most reliable method I have method works for a lot of people. yourself as close to the focal point as
working with the camera’s timer. found of focusing the camera on a Any object will suffice, though: a you can. This method is one that takes
This can be tricky – you’ll be moving timer is to have an object in the exact chair, a broom, a stack of books, practice, but once you find a method
back and forth in front of the camera, spot where you will be in the shot. pillows, anything that will reach the that works for you, you’ll be able to
and this may cause some difficulties Some photographers go to the extent height of where you want to focus. set up your shot and focus without
in getting the perfect focus, but you of constructing a dummy to focus on, Once you have the shot focused, difficulty.
can still use a timer successfully. which may sound ridiculous, but this press the shutter and try to place

8
 Chapter 1 – Tools

tripods lenses
One of the items self-portrait When choosing your tripod, you may As with any type of photography, Overall, you will need to consider the
photographers cannot live without find something very basic sufficient having a range of focal lengths and spaces in which you are shooting,
is their tripod. Once you grow in the beginning, but once you are apertures is helpful in self-portraiture. and the type of look you want to
accustomed to having your tripod more practiced in setting up your In terms of self-portraits, a wide-angle achieve. For example, if you are
at hand, you’ll wonder how you ever shots, a tripod that offers you a wider lens is a great thing to have because primarily shooting in a cozy studio
lived without one. This simple piece range of angles will be helpful in it gives you the option of including apartment, a fixed focal length of
of equipment will minimize your setup giving you ideas for creative framing. your surroundings in your self-portraits, 105mm will probably be difficult to
time by giving you a place to set your As you photograph yourself regularly, and oftentimes your surroundings focus in such a small space because
camera without having to create a you’ll develop an idea of what you bring everything together to make the focal length is so long that the
makeshift tripod out of found objects, really need in terms of tripods. I use your self-portrait click. A wide-angle camera will be unable to focus. So if
such as a pile of books. Another a lightweight but sturdy tripod. I lens can also make focusing a lot you primarily shoot in a small interior
advantage to having a tripod is that it don’t want to carry a heavy tripod easier, but if you are thinking about space, try a 35mm or 50mm lens. On
eliminates having to hold the camera everywhere, but I do need one that doing a lot of close-ups, take into the other hand, if you are interested in
yourself, which will help you avoid can stand up to rough treatment. consideration that if you get too close close-ups, a wide-angle lens will not
having unwanted blurring as a result with a wide-angle lens, you often be ideal due to the distortion created
If you’re going to be shooting
of camera shake. run into unflattering lens distortion. if you are too close to the lens. This
outdoors on a regular basis, you
A couple of fixed focal length lenses distortion is exemplified at its extreme
may find some sort of rubber traction
that are widely used among self- by the fish-eye lens, where the head
device at the bottom of the legs of the
portrait photographers for more appears enlarged, with the rest of
tripod to be beneficial in preventing
close-up detail are the 50mm and the your body looking quite small.
it from slipping. Another feature that I
85mm lenses. These lenses offer the
find particularly valuable in a tripod is Starting out, the best thing to do is to
chance to get closer to the subject
some sort of leveling device to ensure work with what you have, and as you
without the distortion associated with
that my shot is not crooked. become more involved with your self-
wide-angle lenses. They also tend to
portraits, consider adding lenses that
have higher apertures, which create

A less costly
will fit your vision.
the dreamy, soft-focused (or bokeh)
effect on the background, an effect A less costly alternative to investing
that tends to be very pleasing to the in lenses is to purchase filters to help
alternative to investing eye in portraiture. you achieve a desired effect. I do
not own a macro lens, but I have a
in lenses Is to purchase set of macro filters that I put on my

filters to help you

35mm lens for close-ups to prevent
distortion. Lenses are a very broad
and important topic, so we will discuss
achieve a desired effect. them further in Chapter 4.

9
 Chapter 1 – Tools

LIGHTI NG EQU I PMENT

Prior to experimenting with any
off-camera strobes, begin by
experimenting with natural light.
This will minimize your setup time,
and give you an opportunity to
concentrate on the composition of
your photo. As a starting point, a
small silver reflector is always a good
investment – if the natural light source
is coming from the side or behind you,
a reflector will help to direct fill-light to
your face to prevent harsh shadows
and call attention to your face as a
whole, rather than just parts of it. You
can find these in any price range, and
you can even construct one yourself
with found materials such as foil.

If you have reached an intermediate fill-light to prevent shadows, but a brief Left: This is my SB-600 flash and reflector
umbrella. As you can see, I sometimes enjoy
level and are comfortable with word of warning – the built-in flash
incorporating my equipment into my shots.
strobes, a small flash or monolight is a can be limiting because you cannot
good investment. These can be used adjust the direction of the light, Above: If you do use off-camera lighting,
there are thousands of options in a range
for basic lighting, but are also fun to and as it is often undiffused, it can
of prices. Experiment to find unique ways of
experiment with for effects that are become harsh. using your equipment, even if it is visible in
more dramatic. Most DSLRs come with your shot.
Just like lenses, the subject of lighting
a built-in flash component which can
has many facets, and we will explore
be useful in supplying just enough
those more in the next chapter.

10
 CHAPTER 2

lighti Ng
Arguably the most important element of
photography, sufficient lighting is crucial for
achieving a successful self-portrait. Attaining
the desired amount and quality of light for
your self-portrait can be a challenge, but
through trial and error, you will learn how to
set up your shot instinctively based on the
lighting available.
 Chapter 2 – Lighting

In my own experience, I have had great success with window light.

Most of my naturally lit photos have been taken in front of the same window.
Shades and curtains that are sheer or white filter the light perfectly, avoiding harsh shadows.
Both of these photos were taken in the same spot; the first on a sunny day, the other on a
cloudy day. Shooting with the light of the same window over and over will in no way limit the
look of your photos; depending on the weather, your shots can take on a totally different feel.

natural light
As I mentioned earlier, I used no When working with natural light, The lower the f-stop number, the more Window light can work wonders
lighting equipment during my first you’ll find that shutter speed and light that will enter the camera. For when working indoors, especially if
365 project. It may seem daunting aperture are important in properly example, f/1.2 will let in the maximum it is filtered through blinds or drapes.
to photograph yourself for an entire exposing your self-portrait. If you’re amount of light, causing a very Overcast days are great for outdoor
year without so much as a flash or a using your camera’s Automatic shallow depth of field with everything photography, because they allow
monolight, but it is entirely possible; mode, the camera will do the work but the subject out of focus, whereas filtered light, minimizing unflattering
in fact, there is no end to the creative for you. However, if you choose to f/22 will let in very little light at all, harsh shadows. Sunrises and sunsets
ways in which natural light can be shoot in Manual or Aperture priority, causing everything in the frame to provide beautiful warm tones, and
used. The possibilities range from a basic knowledge of shutter speed be in focus. The shutter speed simply offer a certain amount of ambiance
employing even lighting, or achieving and aperture will come in handy. refers to how quickly the shutter that cannot be achieved with artificial
more drama with great contrast We will discuss the difference moves back and forth. So, a shutter lighting. Not all natural lighting is
between light and dark, such as with between the two in Chapter 4 when speed of 1/200 is slower than a shutter created equal, though – try to avoid
a chiaroscuro effect. we look at the subject of focus. speed of 1/2500. severe overhead lighting at high
For now, keep in mind that aperture noon.
determines how much light will be
allowed into the camera.

12
 Chapter 2 – Lighting

You have to work with what nature gives you when it comes to the time of day you are shooting.
I sometimes find myself shooting late in the afternoon, and in this photo, the sun was setting.
Rather than using a slow shutter speed to achieve a decent exposure on myself while
overexposing the sky, I chose to make the sun the focal point. So I bumped up my aperture
to f/22 to better expose the sky, leaving myself in silhouette.

Overcast days are a blessing in terms of

even light. I photographed myself in front of
this cornfield on an extremely overcast day,
moments before it began to rain. This shot
required no post-processing, because the
light was so even. I used an f-stop of 5.6 in
order to put myself, as well as the cornfield,
This is a classic example of what can in focus. I also used a quick shutter speed
happen if you photograph yourself at high because the wind was blowing heavily and
noon with no off-camera lighting. As you the corn had a lot of movement. The same
can see, the buildings are well-lit, but there circumstances applied to the shot on the
is a shadow directly on my face, as the train tracks, in which you can see that the
sun was very high at that moment. Such shadows are very minimal.
shadows can be avoided by using a fill
flash or a reflector. If you lack either of those
equipment pieces or can only shoot at high
noon, pose yourself in such a way to create
minimal shadow, especially on your face.

13
 Chapter 2 – Lighting

Flashes and
off-camera
lighting
If you’re photographing yourself on
a regular basis and your lighting
conditions are not always conducive
to a decent exposure, a compact For this shot, I had an SB-600 flash mounted
flash or off-camera monolight can directly on my camera. Since I was against
a white wall and didn’t want too many
be very useful. If you choose to
shadows behind me, I aimed the flash at
experiment with strobes, definitely a 45-degree angle so that the light would
invest in a flash diffuser, such as hit the wall and part of the ceiling behind
a reflector umbrella or a softbox. me, about five feet above my head. While
reflector umbrellas and softboxes are very
You can find diffusers in all different
useful, you can easily use walls, especially
shapes, sizes, and prices. Consider if they are white, to reflect and diffuse light.
whether you want dramatic,
directional light, or a softer, more
diffused light that does not create
shadows. The choice is yours, and
depends entirely on the style of
lighting you are curious to explore.

Using an umbrella with your flash can help

you achieve more even light than mounting
your flash directly on your camera with no
diffuser. In this shot, my flash was mounted
on a 36” reflector umbrella camera left, level
with my face, about 4 feet away. Since I
shoot mostly with natural light, I have a very
basic flash setup. Light stands and umbrellas
are available in a range of prices, but I use
some of the least expensive on the market.

14
 Chapter 2 – Lighting

Alternative
lighting
Perhaps you’re not ready to invest in
name-brand lighting equipment?
Maybe you just enjoy building things
yourself? Well, now is your chance
to get creative, and look for found
objects that can double as lighting
accessories. My first reflector umbrella This shot was taken using a black umbrella
that I spray-painted silver on the inside. This
was a black umbrella which I
cost me a grand total of five dollars, and I
purchased at a thrift store and spray- used it for quite a while before I purchased a
painted the inside silver. It was not reflector umbrella to attach to a light stand.
exactly cosmetically pleasing, but it
did the job!

Work lights also make great

moonlights, and can be easily
found at your local hardware store.
Experiment with different colored
light bulbs, or even unique
lampshades to add a color filter to
your light. I know someone who shines
a work light through a red paper
parasol as a filter. In some cases, the only light source you
My light source for this shot was a combination of artificial and natural. There was a window have may be a small desk lamp. If you
camera-right, but it didn’t provide enough light to illuminate the camera-left side of my face find yourself in this situation, try not to be
away from the window, so I used a table lamp with the shade removed to balance out the frustrated. There are plenty of self-portrait
shadows on the unlit side of my face. Depending on the strength of your bulb, you will need photographers out there who manage to
to experiment with how close to your face it must be, but in this instance, I was holding the produce compelling shots with this type of
bulb about 18” from my face. lighting, but the key is to experiment – there is
a fine line between having the light too close
to you and too far away. In this particular

i know someone who shines a shot, I had reached my wits’ end trying to
pinpoint the proper exposure on my face, so

work light through a red

I decided to incorporate the lamp into the
shot. Sometimes you just have to go with the

paper parasol as a filter.

flow and accept the fact that there’s only so
much you can achieve with a desk lamp, but
it is still possible to have fun in the process.

15
CHAPTER 3

COM POSITION
As with any type of portraiture, the
composition of your self-portrait
is entirely up to you and how you
envision the end result. Sometimes,
though, you may have a shot
in mind, and the end result is
completely different than what you
intended. If this happens, don’t be
discouraged – see it as a learning
experience, which is a large part
of the fun of self-portraiture.

Let’s have a look at a few methods

that will go a long way to help you
achieve what you envision.
 Chapter 3 – Composition

the rule of thirds

One of the most rudimentary
principles of painting, the Rule of
Thirds, also applies to photography.
This long-practiced compositional
theory is based on the idea that a
photograph should be divided into
nine equal squares by two horizontal
For both of these shots, I applied the Rule
lines and two vertical lines. The of Thirds. As you can see, they are both
key elements of a composition are minimal in terms of compositional elements,
placed along these horizontal and especially the sock photo. If you visualize
the nine squares that we discussed above,
vertical lines, or relatively close to their
with points of interest placed on or near the
intersections. intersecting lines, you can see how the Rule
of Thirds is applied.
Photographers who practice this rule
contend that placing compositional
elements along these lines creates
a certain amount of tension in the
photograph. By the same token,
completely abandoning this rule
can make for an equally interesting
composition, but I suggest you Pick up your camera and practice
master this rule, and go from there in the Rule of Thirds. Take two photos of
yourself in three simple, yet different
your experimentation. Having a firm
compositions. You can compose
understanding of the basic principles yourself in the shot any way you like –
of composition will help you avoid sitting in a chair, standing in your living
unnecessary frustration as you set out room, even leaning against a blank
wall. Just make sure it is something
to achieve the type of images you simple that you can photograph twice,
want to produce. from different perspectives. Once you
have your composition in mind, take
the photo with yourself in the middle
of the shot. Then, photograph yourself
more to the right or left side of the
frame. Compare the photos. Which of
them holds more visual interest for you?

17
 Chapter 3 – Composition

dramatic crops
While having your entire face or body
in the frame is a classic mode of
portraiture, cropping your photo in
a dramatic way to highlight certain
parts of your face is also effective in
communicating strong emotion to
your viewer.

Have you ever noticed that one side

of your face is slightly different than
the other? You’ll be amazed by this
experiment: Photograph yourself
looking directly at the camera, and
in your post-processing, crop down
the center of your face on one side,
then again separately on the other
side. Showing only half your face also
creates a certain amount of mystery
for the viewer, making the photo even
more interesting.

With this idea of mystery in mind,

another effective cropping method is
to remove your eyes from the photo.
For example, cropping your face
from the mouth down, leaving only
the hint of a Mona Lisa smile, can
sometimes be even more powerful
than including your eyes in the frame. I was having a difficult time photographing myself on the day I shot this particular photo. It seemed as though I was expressionless in every shot,
Experiment with this technique using but I soon realized that I was tired, and my eyes were giving off little emotion. So, I decided to photograph just my mouth with a hint of a smile,
a range of facial expressions, even because even though I was smiling in the full crop, my eyes were not matching the emotion that I wanted to portray. Cropping down to my mouth
gave the shot an entirely different feel than the crop that included my eyes.
the most subtle, and you’ll quickly
see your photos take on a completely
different feeling in the dramatic crop
compared to the full frame.

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 Chapter 3 – Composition

When I originally photographed this shot it included my full face, but I cropped it in post- Cropping your shots can not only add drama and intrigue, but also, especially in post-
processing because the dramatic crop drew my eyes towards the shallow depth of field and processing, fix compositional flaws. Trust me, at some point you’ll photograph yourself in a way
the light hitting my necklace. Before the crop, the necklace seemed like a distraction, but after that is completely unflattering, yet there’ll be aspects of that very same photo you absolutely
the crop, my eye and the necklace became more of a focal point. The final crop had a sense love. In this shot, I was literally hitting my head against the ceiling (that’s what I get for jumping
of movement that I felt the original was lacking. I also added a filter in my post-processing to on the bed, but I digress) and had the most ridiculous look on my face, but I loved that the shot
give the shot a warmer feel. made me look as if I was jumping really high, and my flexed hands were fun. Even had I not
been making the terrible face, I think this shot would have been better cropped this way.

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 Chapter 3 – Composition

Utiliz ing props

and scenery
For this exercise, I recommend having
If you are at all uneasy about
your camera on a timer, so that you
attempting self-portraits, the have a moment to situate yourself and
following exercises are likely to help concentrate on the object before the
you tremendously. Something as shutter fires. Once the timer is set and
you press the shutter release button,
simple as focusing on a small prop, position yourself and concentrate on
or incorporating yourself into the the object. How does it feel in your
environment around you, can help hand? How does it make you feel?
What thoughts or memories does it
you momentarily forget about the
conjure?
camera, and relax enough to capture
a genuine emotional reaction. While you think about these things, do
your best to forget about the camera –
The following exercise is similar to the the less you acknowledge the camera
in this situation the more genuine your
process that some method actors use
reaction to the object will be. Try not
in order to prepare for a scene. The to look at the playback immediately,
idea is to find an object that elicits and consider taking three or four shots
This is one of my very first self-portraits. I tapped into one of my childhood memories, sock
emotion from you, and concentrate before you look at them on your screen.
puppets, in order to bring out a certain amount of whimsy. It is impossible for me to look at a
Accept the photos for what they are
on that object as you photograph – this exercise is not about technical
sock puppet without laughing, and I’m sure that’s the case for most people! In the beginning,
yourself. The object can be anything being silly in front of the camera helped me open up more. I found that if I just let go of feeling
perfection, but becoming comfortable
weird or awkward and let myself be a little bit silly and whimsical, taking more serious and
– a family heirloom, a piece of jewelry, with allowing vulnerability in front of the
evocative self-portraits became easier and easier.
camera.
or even a book – as long as it’s
something that holds meaning to you
on a personal level.
Now, I understand that this exercise is
not for everyone, but I do urge you to
try it at least once. I also recommend
doing this when you have some
time alone. You may feel a bit silly
practicing this technique, but do your
best to relax and put your self-doubts
aside. No one has to see the outcome

accept the photos

of the photo. This one is specifically for
your own benefit.

for what they are.

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 Chapter 3 – Composition

I have a neon-blue wig that I use in

many of my self-portraits. To me, the
wig is quite ridiculous; I’d never wear
it in public, because that’s just not
my nature. But there is a part of me
that absolutely loves to wear it! Some
of my most honest and revealing
self-portraits have been taken in that
blue wig. It gives me the opportunity
to explore a part of my personality
that I may have never seen, had it not
been for getting in front of my camera
wearing the wig.

I’m not suggesting you go out and

buy a blue wig, but consider a prop
or an article of clothing that you
may secretly love but would never
been seen with in public. Maybe
it’s a fun hat, or a unique scarf, or
a pair of zany socks. If you browse
through the self-portraits on photo-
sharing websites, you’ll find a lot of
people with unusual clothes and
props. It seems to be a universal
fact that such props and clothing
bring out facets of our personality
I know I look cartoonish in the blue wig, but that’s part of the reason I love it. Sometimes it’s that otherwise go undetected in our
difficult to portray the fun side of me from my day-to-day life via a photograph, but the blue wig day-to-day routines. And that is part
helps me take myself a little less seriously in front of the camera. I taped some comic strips to
of the allure of self-portraiture – not
my wall for added emphasis on the comical nature of the wig. I have many props that I use in my self-
only to advance technically with portraits, one of my favorites being my blue
photography, but also to grow on a feather. A great exercise to generate a flow
of ideas for your self-portraits is to find a
personal level.
small prop that you like, and see how many
different ways you can photograph it. Even if
you merely place the prop in a different part
of the frame for each shot, or change your
lighting conditions, you’ll find that props add
a whole new element to your self-portraits.

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 Chapter 3 – Composition

As soon as you feel comfortable

photographing yourself in your
own private space, venture into
the world around you! Any location
can become a scene for a
compelling self-portrait. Whether it’s
a park bench, a field, a fence, an
abandoned house, a wall of graffiti,
or even a coffee shop, you’ll find that
the places you may otherwise pass Just walking around your city or town will
by without noticing can become an grant you great locations for self-portraits.
integral part of the composition of I found this alleyway behind a restaurant in
the city where I live; I just picked up a few
your self-portraits.
of the random objects I saw lying around
and made a composition out of them.
One word of caution on Use architecture and found props to your
photographing yourself in public is advantage, keeping in mind the Rule of
that, beyond being considerate of Thirds, and you’ll have a great composition
before you know it.
others, don’t be overly self-conscious.
There will always be at least one
person who looks at you as though

location
you have lost your mind. I used to
loathe photographing myself in any
public for that very reason, but have
become used to people staring. Most can become
of the time they are just curious, and
if you talk to them and tell them what a scene for a
compelling
you’re doing, they usually find it very
interesting.

self-portrait.
Some of my favorite locations for self-portraits
are historic buildings. They offer so many
lines, textures, and unusual light. I loved the
two windows on either side of the room in this
shot, and I wanted them to be the focus, so
I placed myself between them and faced
away from the camera. This light is natural,
from an overcast day.

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 Chapter 3 – Composition

If you have pets, try incorporating them into

your self-portraits. Most of the time they will
end up stealing the show, but that is part of
the fun! They’re so unpredictable, and this
can help you relax and have fun with your
process. I have two cats, and nine times out
of ten, they walk into my shot whether I want
them to or not. So I have reached the “if you
can’t beat them, join them” juncture, and
some of my favorite shots involve my cats.

If you want a very dynamic shot, try the opposite of blending into your surroundings – do something that will make you stand out, or that has
nothing to do with the location at all! Juxtaposition creates interest in a shot, so look for ways to surprise the viewer. I like to jump in a lot of my
shots, but there are plenty of other ways to shake things up. Something as simple as walking towards the camera to create movement and
purpose in your shot will do the trick. Or, if you’re in a decrepit old building, wear a nice dress or suit. Whatever your location, ask yourself,
“What is the opposite feeling or emotion of this particular location?” and then develop your composition from that thought.

23
 Chapter 3 – Composition

The goal of using props and scenery

is to become more self-aware and
natural in front of the lens. Even if
these methods are not your style,
give them a try, and you may be
surprised at the outcome.

I have found that incorporating my hobbies and interests into my self-portraits can be a good outlet for ideas. I enjoy painting, so one day
I decided to incorporate paint into my self-portrait, and the shot above left was born in front of my bathroom mirror. You do not necessarily
have to get this dirty to incorporate your hobbies into the shot! Something as simple as a photograph of you painting, drawing, knitting, model
shipbuilding, bird-watching – whatever your hobby may be – can become an interesting and very personal self-portrait. I also enjoy growing
orchids, and every so often will photograph myself with one of them.

24
 Chapter 3 – Composition

I love using mirror reflections when I

Posing and photograph myself in hats. If you’re
experimenting with a hat as your prop, try
camera angles shooting yourself near a mirror so that you
can capture different angles on the hat.
Once you have your composition in Reflection shots, no matter what prop you’re
using, are always a fun exercise in placing
mind and have become comfortable
the camera at different angles to try not to
in front of your camera, begin thinking get the camera in the shot.
of how to incorporate yourself into the
shot, and dynamic ways of framing.
Steering away from traditional poses
can add interest to your self-portrait,
and make things more fun for you.
I’ll describe a few poses and camera
angles that work successfully for me
as well as others, so see how you can
tailor them to make them your own.

The first type of pose relates to your

props and scenery exercise. If you’re
My fedora makes a lot of appearances in my 365 project, and sometimes becomes the focal
using a prop, make it central to
point of my shot. This photo was taken with a 50mm lens mounted on my tripod, which was fully
your pose, with you becoming the extended above my head. I used a black backdrop to match the fedora and to make the blue
secondary subject. For example, if wig pop against the backdrop. My black backdrop is just a piece of fabric I picked up at a
you’re using a hat, try posing with craft store.

your face down so that the shadows

obscure a portion of it, with the focus
being on the brim of the hat. Another
idea is the classic bouquet-of-flowers
prop, with which the possibilities
are endless! Try extending your arm
Flowers can be very helpful in stimulating
towards the camera and focusing the ideas for shots, but they almost always end
lens on the flowers, with your face out up being the focal point. We tend to think of
of focus in the background. The key flowers as being delicate, but as you can see
in the black-and-white shot, flowers can give
is to have fun, experiment, and play your shot a powerful feel, too. Play around
with different props. with the light, and manipulate the tones in
your post-processing. Often the props that
you think can only convey a certain emotion
end up being wildly different than you’d
imagine, depending on variables such as
light, focus, and color tones.

25
 Chapter 3 – Composition

When posing with scenery, find a

unique way to incorporate yourself
into the environment. If you’re in a
park, try climbing a tree or even just
hanging from a limb. Pose yourself
standing on a bench, or anything
that will hold your weight – this
simple action gives you purpose
and meaning in the shot. By standing
on something, you are claiming it as
your own, thereby exuding a certain
sense of belonging to the scenery
around you.

Even something as simple as having your Park benches offer great scenery for self-
hand on the object can tie you into the portraits. Not only do they offer interesting
composition without as much as showing lines, textures and colors, but also the added
your face. Our hands are so important in bonus of natural light.
evaluating the world around us, and just
touching an object can be enough of a
gesture to give the photo impact.

If you can, sitting and standing on objects

in your composition adds interest. Just be
careful. A lot of the things I choose to sit or
stand on are old, but I do have a fascination
with history!

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 Chapter 3 – Composition

If you choose to go with a simpler, I was going for a more flattering angle in
this shot, so I chose to place my camera
cleaner self-portrait, such as shooting
above my head. I also set my aperture to f/2
against a bare wall, experiment with so that my face would be in focus, but the
different camera angles. Placing the rest of my body slightly out of focus. Using a
camera above your head so that wide aperture to have sharp focus on your
face, with the rest of you blurred, will help
you look up into the lens not only
draw attention to your features. We’ll discuss
makes for an energetic angle, but is shutter speed and aperture in more depth in
flattering to almost any shape of face the next chapter.
and body. On the flipside, if you place
the camera beneath you the angle
is sometimes not quite as flattering,
but it does give the photo a sense of
upwards motion.

I did just the opposite for this shot – I placed

the camera several inches off the floor
beneath me. As you can see, this angle is
not as aesthetically pleasing as having the
camera above you, but it creates a dynamic
feel.

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 Chapter 3 – Composition

Consider movement in your

shot. Don’t limit yourself to being
completely stationary for all your
shots; experimenting with motion
is exciting, and will teach you a lot
about shutter speed and aperture
in the process.

Try jumping in front of your camera,

shooting your jump from ground level.
Hair flips are always fun if you have
long hair; if you have enough light to
shoot with a fast shutter speed, the
detail in the movement of the hair If you have long hair – or a long wig – hair
can be stunning. And an action as flips are a great way to show motion in your
shot. I photographed myself at night for this
simple as walking can add an entirely example, so I had my flash set up camera
new dimension to your shot. Imagine left, at full power, diffused by a white 36”
the difference in mood between a umbrella. Again, you need to use a fast
shutter speed to capture the movement of
photograph of someone walking
your hair without blurring, so a flash can be
towards the camera, and someone very helpful.
walking away from the camera.

experimenting
with motion
is exciting.

I am definitely not alone when it comes to employing jumping in my self-portraits. You’ll find
many self-portraits online of photographers jumping for their cameras. The fun part is that
everyone has their own style of jumping! Try to jump in a way that will bring your composition
together. In this shot, I made sure to jump in the spot with the most light, allowing me to use
a fast shutter speed in order to prevent motion blurs. I also tried to position myself in a very
angular way, to match the lines from the bricks, power lines, and shutters in the alley.

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 Chapter 3 – Composition

In the end, the goal is for self-

portraiture to be a rewarding learning
process. In most cases self-portraiture
is an isolated experience, so you
need to check in with yourself
regularly to ask yourself the question,
“Am I growing, or have I become
stagnant?” Just as you would with
any learning process, you’ll reach
a plateau every now and then,
and that’s when you need to try
something new.

I often find myself in the proverbial

creative rut, and have come to realize
that’s when I need to take a look at
my work. If I study my photos and
see that I’ve been using the same
lighting, poses, and post-processing
techniques for a solid month, I try
to find ways to experiment with
something new, even something as
simple as shooting in a new location.

If you feel disinclined to do a lot of moving around for your self-portraits, you can often count on your surroundings for movement. I stood in the
ocean as the waves were going in and out, and set my shutter to a slow speed of 1/5 and my aperture to f/22 so that the water would appear soft
and blurry as it moved. You could even try this shot with leaves blowing in the trees.

29
 CHAPTER 4

FOCUs
With your lighting set up and basic idea for
composition in mind, you can now concentrate
on focus. Focus plays one of the most important
roles in photography, and nowhere more than
in portraiture. Consider whether you want to
go with a traditional approach, such as having
your entire face sharp and your background
slightly out of focus, or if it might be interesting
to explore something less traditional.

For anyone new to photography and SLRs,

the subjects of shutter speed and aperture
may seem to be complicated but once you
understand them they will benefit you greatly
– not just with self-portraits, but with all your
photography. The concept is simple – once
you understand the two, you’ll be able to
manipulate and control light through your lens.
 Chapter 4 – Focus

Shutter speed
and aperture
The shutter speed determines how
much light is allowed into the camera
per shot. The shutter itself prevents
light from entering the camera until
you press the shutter release, when
the shutter moves up and down,
letting in the desired amount of light.
The slower the shutter speed, the
more light that will enter the camera.
A shutter speed of 1 second, then, is
longer and allows in twice the light
of a shutter speed of 1/2 second;
1/15, 1/60 second, and so on allow
progressively less light.

For most portraits, especially for self-

portraits for which you are setting a
timer or even operating on a remote,
being completely still can be tricky
after quickly positioning yourself in
front of the camera, so I usually try to
have my shutter speed at or above
1/60. Experiment with different speeds
to find what works best for your needs.
I wanted the walls of the canyon and all the water to be in focus for this shot, so I set my aperture at f/5.6. The light was fairly low in this area, so
For most of us, 1/30 tends to be the
to compensate for the aperture of 5.6 making my shot too dark, I had to reduce my shutter speed to 1/40. But, as you can see, I managed to get
slowest shutter speed possible for everything in focus.
hand-held shots without risking blur,
but that may also depend on how Now, the aperture of your lens is also (or high) aperture lets light into the maximum apertures between f/1.4
steady your hand is. If you’re trying to very important. The best analogy camera. The aperture varies from lens and f/1.8, with some going as high
catch yourself in motion, for example for the lens aperture is the pupil of to lens, but common high-aperture as f/1.2. And the range of apertures
mid-jump, you’ll need a shutter speed the eye: the pupil dilates to let light (often referred to as “fast” lenses, goes down from there, usually to a
of 1/1000 or higher in order to capture in, but constricts in order to keep as they can capture an image at minimum aperture of around f/22.
details without blurring. light out. A closed (or low) aperture a fast shutter speed by letting in as
blocks out light, whereas an open much light as possible) lenses have

31
 Chapter 4 – Focus

You have to find a balance between shooting in “Manual” mode as often

the shutter speed and aperture. as possible, so that you can become
For example, if you set a slow shutter proficient in knowing how to balance
speed of, say, 1/10, and a wide the two on your own. While Automatic
aperture of f/2.8, your photo will most mode has its many advantages,
likely be overexposed unless you’re in shooting in Manual mode can give
a very dark room. And if you are in a you the opportunity to adjust the
dimly lit room and you use a shutter amount of light in your shot to suit
speed of 1/500 with an aperture your vision. While Automatic mode
of f/11, your photo will probably be will balance the light as evenly as
underexposed. possible, you may want to go for a
more dramatic look by manually
The more you experiment with
under- or overexposing your shot.
balancing shutter speed and
aperture, the more proficient you will At the start, keep things simple with
become at looking at a scene and your aperture – stay in the vicinity of
instinctively knowing what settings f/3.5 to f/5.6 so that most of the depth
your camera needs. All digital of your subject will be in focus, but
cameras come with an “Automatic” you still have a fast enough shutter
mode that balances shutter and speed to prevent any motion blurs.
aperture for you, but I recommend

In this shot, I wanted only my face to be in focus, with the background out of focus. I was
shooting in natural light, and the background is actually a farm truck carrying cotton. My
aperture in this case was f/2.2, which is relatively high, and lets in a lot of light. In order to keep
the exposure balanced, I bumped up my shutter speed to 1/1250, resulting in proper exposure,
with the background out of focus and my face in focus.

go for a more dramatic look

by manually under- or
overexposing your shot.
32
 Chapter 4 – Focus

Selective focus
Once you’ve mastered focus on a
wide angle, begin experimenting with
more selectively focused self-portraits
on a shorter focal length, with an
emphasis on the smaller details that
might go unnoticed on a wide-angle
shot, in which the focus is on both the
subject and the background.

When in doubt, focus on your eyes.

They are one of the most compelling
tools with which to convey you, the
photographer, to the camera. Your
eyes are a constant well of emotion,
and tell a large portion of your story.
Find unique ways to pose so that your
eyes remain the focus.

Try turning to the side, and focusing

as closely on your eye as possible.
Or situate yourself in natural light so
that the light beams directly onto your
face (being careful not to hurt your
retinas – it happened to me once).
A good remedy for sun in your eyes in
such a situation is to leave your eyes
closed until a split second before the
shutter releases. That way, your pupils
are still nice and dilated for the shot,
but you will not be uncomfortable.
When focusing on your eyes for
a shot, every tiny emotion will be
noticeable in them, so no need to
feet, and, tying back into the Props I wanted my feather and my hand to be the focal point for this shot, so I made sure that the
show pain when you can avoid it! feather was in the best possible light (natural light, in this instance), with the rest of me in
and Scenery section, focusing on
shadow. I also set the aperture at f/1.8 to ensure that only the feather and my hand would be
A few other great ideas for selective props or articles of dress are always in focus.
focus in your self-portraits are hands, fun explorations of selective focus.

33
 Chapter 4 – Focus

The key is to ask yourself, “What do I

want to convey in this photo?” and
find a simple way of achieving it
with focus. Also, using the Rule of
Now, grab your camera and try the
Thirds can help you tremendously in same composition with several different
composing a shot with very specific apertures, making the depth of field
focus. The key to mastering focus, smaller with each shot, and then
compare the results. This will be easiest
though, is trial and error.
with an SLR camera, since you can
easily adjust your shutter speed and
aperture.

For example, place your hand about

12 inches in front of a stationary object
such as a candle, a vase of flowers,
even your TV set. Take a simple photo
of your hand in front of your chosen
object, with the maximum aperture
selected on your lens. For example,
if your maximum aperture is f/3.5,
take the first photo with that aperture.
Then, gradually reduce the aperture
through four more shots:

f/3.5

f/4.5

f/5.6

f/6.3

You don’t necessarily have to use

those exact apertures, since the actual
numbers will vary from lens to lens.
Just take several different photos, with
Sometimes I like to use
the aperture gradually decreasing.
selective focus a little more subtly,
Also, don’t forget to adjust your shutter
in which case I usually set my aperture
speed to compensate for the adjusted
between f/2.2 and 2.8 to allow more of
aperture. As the actual aperture
the background to be in focus than if my
number gets smaller, the larger your
aperture was set at f/1.8, as in the previous
shutter speed number must be.
example. Here, I wanted my face and eyes
close to being in focus, but with the flowers
as the focal point. Again, this was shot with
natural light. I find selective focus to be much
more achievable if I’m using bright, filtered,
natural light.

34
 CHAPTER 5

POST-PROCESSING
The topic of post-processing is extensive, and everyone has their opinion about how
much a photo should, or should not, be processed. Some self-portrait photographers
create elaborate, conceptual photo manipulations, while others prefer their self-
portraits straightforward, with little or no editing. The choice is yours.
 Chapter 5 – Post-processing

Photo -editing Exposure levels

software and color balance
There is a wide range of photo-editing to download. You can even find Most editing software will have some
programs, from software that costs books on photo-editing software version of an auto-adjustment feature
thousands of dollars to programs that at your local library. You will find a for exposure levels and color balance.
are free for download on the internet. broad array of books on the type of If you’re shooting your self-portraits
I have seen as many great self- editing software you are using, from in manual mode, which I highly
portraits edited with free programs Photoshop to GIMP. recommend, you may sometimes
as I have from the latest version of want to tweak the photo a bit in
Here are several links to free editing-
Lightroom and Photoshop. Depending your post-processing. Always try the
software downloads:
on how extensively you choose to edit auto-adjustment feature first, but if
your self-portraits, there are plenty Picasa the exposure looks a little too high,
of programs that will suit your needs www.picasa.google.com or if the temperature of the photo is

if you are new to

and budget. too warm or too cool, you’ll be able
GIMP to manually adjust the levels and

photo editing,
If you are new to photo editing, it www.gimp.org/downloads/ color balance until you’re satisfied
may be a good start to try one of
with the result. Be sure to play around
the free programs. Gimp, Picasa, Photoscape
it may be a good
with the sliders when making your
and Photoscape are all popular, free www.photoscape.org
adjustments. Sometimes you’ll find a

try
programs that can be downloaded
start to
new set of color tones that you really
online. They are a good introduction On the other hand, you may prefer
enjoy, just by moving the sliders a bit.

one of the free

to editing software; really, most to explore the more mainstream
editing software deals with the same editing programs that are available
basic features: exposure levels, to purchase. Photoshop and
color curves, red-eye reduction, and Lightroom are staples of photo- programs.
removing unwanted elements, also editing programs. Lightroom gives
known as “cloning”. Browse the free you the ability to quickly and easily
downloads, and find which one works adjust curves and color tones, while
best for you. The interface will differ Photoshop lets you get down to the
slightly between all of them, and you’ll finer details and edit pixels. Again,
find that you’re more comfortable decide how much editing you intend
with some than others. Also, be sure to do on your self-portraits, and
to search the internet for tutorials on choose your software based on
how to use the program you choose your needs.

36
 Chapter 5 – Post-processing

Textures
and presets
Just a few of the thousands of photo Here are links to some of the most Here are several Flickr groups with Both Deviant Art and Flickr offer
manipulation techniques include useful preset websites that I’ve found: active discussion boards: thousands of textures, some for free
presets and textures. Presets, or and others to purchase – you simply
Presets Heaven Post Processing Addicts
actions, are a series of steps that are need to conduct a search for them
www.presetsheaven.com www.flickr.com/groups/post_
combined to add a predetermined through those websites’ search tools.
processing_addicts
formula of various effects to your This website is almost entirely Also, make sure to read the Terms of
photo. Presets and actions are Lightroom presets, so if you’re using Photoshop Support Group Use for each texture, because many
available online. There are even Lightroom, you’ll really enjoy this www.flickr.com/groups/ of the photographers who created
ways to create your own presets site. They also have a great Tutorials photoshopsupport the free textures for download
within your photo-editing software. section that will help you out if you’re simply want a link back to the
GIMP Users original texture. It’s a fair exchange,
new to using presets.
One of the many great things about www.flickr.com/groups/gimpusers considering they’re letting you use
presets is that they give you the Deviant Art their texture for free!
opportunity to try something new, but www.deviantart.com Textures are another straightforward
also to play around with; they can Here are two more sites that provide
means to giving your photos an
be combined in different ways for a This website has thousands of presets free textures:
extra element of light and color.
multitude of effects. My only word of and actions; all you need to do is
Take a single photo of something CG Textures
caution is to avoid finding yourself in search their site using the keywords
very simple – a piece of cracked www.cgtextures.com
a situation where all you do is throw “presets” or “actions” plus the name
glass, aging paper, lace, peeling
a preset onto all your self-portraits. of the editing program you’re currently
paint – with a distinct texture pattern, Mayang’s Free Textures
If that happens, you can quickly fall using. Deviant Art is also a great
and place the photo over your self- www.mayang.com/textures
into the trap of editing all your work in resource for photo-sharing, and a
portrait. Using your photo-editing
the same fashion, and that can halt wonderful site to browse for inspiration.
software, blend the texture with your
your learning process.
Flickr original self-portrait to change the
www.flickr.com overall look. Adding a texture can
brighten or darken your photo, as
In this great photo-sharing website,
well as add vignettes and different
you’ll also find loads of presets and
color tones. Textures are a popular
tutorials in the discussion forums.
editing technique, primarily because
There are hundred of groups
there are thousands of them for free
dedicated to post-processing.
download online, or, even better,
you can create your own.

37
 Chapter 5 – Post-processing

Now, the realm of post-processing As you can see in the before shot, the colors
do not pop nearly as much as they do in
techniques provides endless
the after shot, and the before shot is slightly
opportunities to express yourself underexposed. The amount of saturation you
even more through your self-portraits. use in your self-portraits is entirely personal
Below are several very basic editing preference, but for this shot, I chose to go
with a more saturated look to bring out the
techniques illustrated by before-and-
sky, sunflowers and color of my dress.
after shots, as well as a few pointers to
help you develop your own methods First of all, I upped the exposure levels.
Depending on what software you’re using,
of editing.
you will increase exposure using different
settings. I like to start off by overexposing in
post-processing, and taking the exposure
levels down from there.

Also, for shots that involve a lot of sky, I

almost always add a vignette or a gradient
to make the blue stand out. As you can
see here, the upper edges of the sky are a
deeper blue than the rest of it. I achieved
this by selecting only that part of the sky, and
BEFORE tinkering with the blue slider under my color
balance settings. To lighten the exposure
even more, I also added a white sphere
gradient in the center of my photo.

AFTER

38
 Chapter 5 – Post-processing

I achieved the look of this photo by layering

the original photo over a sepia-toned version
of the same shot. I found the color of the
foliage to be a bit distracting in the original
shot, and chose to desaturate the overall
tones. I didn’t want to go to a fully sepia shot,
so I adjusted the opacity of the sepia layer
over the original until I was happy with the
tones.

Finally, I added a lighting effect to brighten

up my face. Again, the way in which you go
about this depends entirely on your editing
software, but here’s a quick rundown of how
I add lighting effect using Adobe CS4.
These steps can be followed in a similar
way in most other editing software.

1. Duplicate the layer by right-clicking and

selecting “Duplicate Layer”.

2. In the toolbar on top, go to Filter, Render,

Lighting Effects.

BEFORE 3. On the scrolldown menu next to Light

Type, select “Omni”.

4. Adjust the exposure until you have the

desired amount of light, then press “OK”.

5. Now, on your left-hand toolbar, select the

Eraser brush. Erase all of the duplicated
layer except the lighting effects, so that
the image looks the same as the original,
just with more exposure on the area to
which you added the lighting effects.

AFTER

39
 Chapter 5 – Post-processing

This is an example of what a basic texture These are only a few of many different
can add to your shot. First, I used the “Auto
Tone” and “Auto Color” functions in CS4.
possibilities for editing your self-
Next, I added a tiny bit more blue to my portraits. Whatever your idea of how
shot under the Color Balance function by your self-portraits should look, try
selecting “Midtones” and adding a little
not to get frustrated if you are new
more cyan to the shot. Then, I desaturated
the entire photo. to editing, and your final result isn’t
exactly what you envisioned. Self-
After that, I added a texture by dragging and
portraiture gives you the opportunity
dropping the texture layer onto the original
photo. The blending mode that you choose to learn many things about using your
to use on your shots will probably vary from camera, but also the chance to learn
photo to photo, and also according to your about post-processing. So keeping in
personal preference. For this shot, I used
“Soft Light” as my blending mode in CS4.
mind the idea that taking a concept
Then, I used the same Eraser tool that we and materializing it through editing
discussed in the previous example, but only is a constant learning process,
erased on my dress and body, leaving the
experiment and, most of all, have fun
textured part of the photo everywhere else.
learning!
Finally, I added a glow to my skin. This can
be achieved in Photoshop by following these BEFORE
steps:

1. On the top menu, go to Filter, Distort,

Diffuse Glow.

2. I left the Graininess setting at 0, the

Glow Amount at 1, and the Clear
Amount around 15.

Play around with the Glow Amount and

Clear Amount, but keep in mind that, in most
cases, less is more! Skin retouching can be
a blessing in self-portraits, but it’s all too easy
to go overboard and look unnatural. We all
have our insecurities about our appearance,
but part of the joy of self-portraits is being
yourself in front of the camera, not using
Photoshop to conceal every imperfection.
However, a little retouching can boost your
confidence and make the photo look more
polished. AFTER

40
 A very important aspect of my journey as a
CHAPTER 6 self-portrait photographer has been connecting
with others who are likewise interested in self-

I NsPIRATION
portraiture. I love watching them grow into their
own style, and I take inspiration from their work.
If I feel low on inspiration, I know I can visit
their Flickr sites or blogs, and always take away
something to help me develop my own ideas for
my next self-portrait. Honestly, I am more inspired
by these individuals than I am by any world-
renowned photographer.

In addition to looking to other photographers

for inspiration, I’ve found that connecting with
them on a personal level has helped me grow
tremendously. I know that if I have a question
about something technical, or if I need an
opinion on a shot, these photographers will help
me out without fail.

So I urge you to have a look at their photographs

that follow, and, most likely, you will find
something about their work that strikes you. Try
to identify that special something that draws you
into their self-portrait – is it their expression, the
light, the tones, or just the overall feel? The more
you can identify what you appreciate about
someone else’s self-portraits, the more ideas you
will generate for your own work.
 Chapter 6 – Inspiration

Deborah
Rabinowitz
www.flickr.com/photos/47932340@N06

Effects with lighting can be a powerful way to

portray feelings. By using a basic desk lamp,
placed to one side of me, I created a deep
shadow on the wall behind me. Together
with the use of a hat as a prop, but pulling
the brim over half of my face, the result is
to convey the journey from darkness into
light, as the self-portrait process moves one
towards a deeper understanding of oneself.

Props and objects can become a huge part of the self-portrait journey. Sometimes they can be a way of making a connection between our
present and our past. In this case, the banjo was my father’s, and it is one of the few possessions I have of his, since he passed away when I was
a young girl. Holding it, sitting with it, was very emotional for me, and I think those feelings come through in the image. I positioned the chair in a
patch of sunlight in an otherwise darkened room, using the light and shadow to convey my feelings.

42
 Chapter 6 – Inspiration

Kat Hem rich

www.flickr.com/photos/kathemrich

This has to be one of my favorite shots.

It may not be technically perfect but I like
it because it captured how I felt at the
moment.

The camera can be a very safe medium to

allow yourself to emote, and that is what I did
that day. I remember this shot because I felt
pretty torn up and a bit crazy over another
failed relationship, and I wanted the camera
to capture that – without necessarily blaming
anyone, if that makes sense. Just witnessing
what I felt – no judgment, just letting me
release. Not too many people can just look
and listen. The camera can, though.

I also knew I did not have to show anyone

these shots if I didn’t want to. No one except
me and my camera would know what I felt
if I wanted to keep it that way, and that was
very healing and safe.

So, I just let it out – this shot I originally called

“Crazy”, because that’s kind of how it looks,
but really it’s more about feeling pulled apart It is difficult to get the focus dot on you unless you have something to stand in for you, like a
and not being crazy per se but feeling it. broom or another person. I had nothing to use as a stand-in, so I just tried to focus the dot
And then? Letting it go. where I thought I would be. The aperture was 2.8 because I wanted to get a shallow depth of
field, and I wanted the focus on my eyes with everything else blurred.
And that’s the beauty of photography: it can
capture what you feel and, in a way, exorcise I often say to myself, “If you were shooting someone else, how would you place the camera
it out of you and into the lens. So, again, it’s in your hands?” For example, if the person were on the ground, I would probably shoot from
healing and cleansing. above but angle the camera down low, and that is what I did with the tripod in this shot.

I wanted to create a shot that said something akin to “stay back” but with the camera almost
acting as a stalker of sorts, kind of akin to a paparazzi chasing you! When I shoot and I’m the
model, I try to conjure up a mood of sorts – a feeling of how the camera is getting you to a
degree, maybe at times against your will, other times I just have fun and laugh and go with it.
What’s really cool is what comes out; if you are comfortable with yourself the camera will catch
that, and if you are not, the camera will catch that, too. Often the camera serves as a mirror
for us – it doesn’t lie, and what you can see often are parts of you that you may not have seen
before, which is truly a gift.

43
 Chapter 6 – Inspiration

Corey Moylan
www.flickr.com/photos/facenorth

This is a favorite location of mine, and I am always going back looking for things I have missed. For this shot, I had won a trip through work to Costa Rica, and had to buy a new suit. I needed
This time I set out for the purpose of getting a self-portrait in before old man winter covered the to try it on before we left, so I thought I would use the opportunity to goof around with it. Before
truck completely with snow. I love the outdoors; when things get too hectic, the fresh air and I started self-portraits, I wasn’t exactly comfortable in front of the camera, but this process has
quiet bring me a certain amount of peace. I wanted this shot to portray that, so I thought the helped change that. With that being said, I am a bit of a clown, so I went with it! I also used
pose would work perfectly for the mood I was trying to create. the opportunity to experiment with my 420ex flash, moving it at different angles, to see different
outcomes.

44
 Chapter 6 – Inspiration

Eric Albee
www.flickr.com/photos/ericalbee

In this photo I wanted the suggestion of isolation, I wanted there to be a perspective that Originally, this was going to be a photo to display the idea of insecurity and being alone as
invoked a sense of depth. I also wanted the viewer to be familiar with the surroundings like the world flowed on around me, but it changed dramatically when I stepped on a nail. This
nothing were new; you can obviously see the whole picture and you know that the whole was actually me standing up after I had already stepped on the nail and my 10-second timer
area in front of the camera is water. This makes the photo easy to look at and not stir as many took ten pictures of me in sequence walking across the creek to my fate. When I got home to
subconscious thoughts about the location. This photo also shows comfort steadily, along with observe my cut, I realized that the whole idea of the photo had completely changed. It was
the feelings of isolation. I achieved this perspective with an f/1.4, 1/6 second exposure time, supposed to be themed around insecurity, but it reversed itself and it seemed to show the
and a high ISO of 800 because it was getting dark. strength of someone who had fallen but was getting back up to their feet.

The biggest thing I’ve learned about self-portrait photography is that if you do not do anything I honestly feel that getting outside into the natural world has completely changed not only
risky in your photos, then anyone could do them. I do not mean go into dangerous situations, my photography, but me as a person. I am no longer shy, I feel more comfortable with my
but just because it is cold does not mean you can’t take photos! It is when you actually deal body, and I feel that nature always amplifies what I am trying to portray in my photos.
with a difficult condition that your photography advances. For example, in this photo I was When I was inside taking photos, I had to create the whole image and start from scratch.
freezing cold and the wind made my face completely red. Every day that I go out and take By working outside, I get more complex backgrounds and I can actually show much more
photos, I deal with some condition, whether it is sharp thorns, thick mud, itching plants, or emotion in a photo.
weather conditions. My suggestion is to make no excuses and just get out and shoot!

45
 Chapter 6 – Inspiration

Ula Dee
www.flickr.com/photos/uneduex

Self-portraiture has always been a means

of expression for me, a way to document,
to purge emotions and deal with what
is happening in my head in the most
straightforward way possible. “Click.
Document. Purge” – that has always been
my motto.

For this shot, I was feeling rather sad and

invisible that day, I felt as though no one
could possibly understand what I was going
through at that particular time. I wanted
to be seen. I wanted to feel as though
someone out there was experiencing what I
was feeling, and I wanted to share with that
person in the only way I know how – through
images.

I am not a super technical photographer.

My shots are simply set up, using a tripod, a
self-timer, and natural, late-afternoon light.
The wall behind me was dark, giving a nice
effect to the natural light hitting my face.
I used a shutter speed of 15 and aperture set
to 3.5. The parasol was used to help diffuse
the light – how I wanted it to hit my face
and body.

46
CHAPTER 7

SElf-PORTRAIT
Spend only a short time browsing
online photo-sharing sites, and you
will find a multitude of individuals
who are participating in ongoing
self-portrait projects. Some choose

PROJECTS
to photograph themselves every
day for an entire year; others
prefer a 52 weeks project. Some
photographers choose not to
constrain themselves to a time
period for their self-portrait
project, but rather photograph
themselves at their leisure, with
certain themes in mind. Such
projects offer consistency, and
the opportunity to increase your
knowledge as a photographer
on a daily or weekly basis.

Following are just a few ideas

to launch you on a self-portrait
project, but the truth of the matter
is that an entire book could be
written on this topic alone.
 Chapter 7 – Self-portrait projects

The 52 weeks
project
Face it, we are all busy. Daily life The key to sustaining yourself through
consistently has its ups and downs, any type of on-going self-portrait
so if you are new to self-portraits project is to find ideas and themes
and are not quite ready to take on that will hold your interest for an
the daily task of a 365 days project, extended period of time. Once
consider the 52 weeks project. With you have a theme in mind, begin
this project, you’ll have plenty of time experimenting with different camera
during the week to think of new ideas angles and post-processing. Do
and concepts for your self-portrait. some research to find processing
And you don’t necessarily have to techniques of interest to you, and
take your photo on the same day of even something as simple as looking
every week, which offers even more through a book of photos from your
flexibility for you to take your time and favorite photographer can inspire
really think about your self-portraits. new ideas. For most people, a point is
As long as you stick to your goal of reached at which it becomes difficult
taking one photo every week, you’ll to take one, and only one, self-portrait
soon begin to see progress. a week because the process is so
rewarding.
Choosing a theme for your project
can help generate ideas. For
example, it could be 52 weeks of
black and white, if you’re interested
in mastering the art of monotone
photos. Many people choose to
highlight their favorite things in
life through this project, and with
each self-portrait they incorporate One of my favorite themes for self-portraits is cloning, or multiplicity. For this shot, I combined
two different images in order to achieve the illusion that both me and my reflection were
something they love: their family, their
looking at the camera. Multiplicity shots can be quite fun because you get a chance to
pets, the city in which they live, their exercise your creativity and try something a bit quirky and surreal.
favorite coffee, hobbies, anything with
which they feel a connection.

48
 Chapter 7 – Self-portrait projects

365 days project

Are you feeling adventurous and up begin criticizing yourself too much, The same tips on the 52 weeks project Finally, try to develop the mindset
for the Project 365 challenge? That’s your growth will become stagnant, can be applied to Project 365, as well. that this is your project, and you can
great! Whether you make it through and that defeats the purpose of Set a certain period of time aside work with it in any way that you find
the entire project or, halfway through, this project. However, it is healthy to – a week, a month – and explore a suitable. Set goals for yourself, and
you feel that it is best to move on to set goals for your self-portraits and theme. For starters, try something achieve them in your own time. If
something new, I have some tips and have ideas of what you want to simple, like the color red, or you miss a day in your 365, which
tricks that will aid you in making the accomplish. Work with what you have, photograph yourself in the same chair sometimes happens, don’t fret. You
most of the project – and a few words and never feel as though your work is every day, finding a new approach can either make up for the lost day
of caution as well. inferior based on your resources. If you with each photograph. Employ some the next time you take a self-portrait,
have a point and shoot camera, a of the methods we discussed in the or you can skip a day altogether.
Photographing yourself every day
desk lamp for lighting, and no editing Props and Scenery section. Having
for a year is a popular concept for I do not encourage doing this
software, do not let that discourage a box of props on hand will help you
many reasons. First and foremost, you regularly, though. I have seen people
you. A point-and-shoot camera in the come up with ideas, and always look
are presented with the prospect of who will go two weeks without taking
hands of someone who is willing to be for new ways to use the props in your
exercising your creativity on a daily a self-portrait, and will then take 14
creative and branch out is far more self-portraits.
basis. Creativity is like a muscle – photos in one day to “make up”.
valuable than a mound of expensive
the more you exercise it, the more it With Project 365, lighting can From what I have seen, that method
equipment and editing software in the
develops. You will often reach points sometimes be tricky if you do not have is somewhat counter-productive and
hands of someone who has no desire
where you feel as though growth a consistent, go-to lighting source defeats the idea of a 365 project,
to grow.
has ceased, but before you know it, such as a flash. But, if you do not have which is to concentrate on producing
you are growing in new directions, Also, keep in mind that, while a flash, find places you can go, or one image per day, so that the
and that is a very rewarding feeling. ongoing self-portrait projects will found lighting you can use, that will photograph gets your full attention.
This new level of creativity will then increase your technical knowledge always be dependable. Life happens,
However, there are no rules except
manifest itself in the rest of your as a photographer, most likely you and you will sometimes find yourself
the ones that you make for yourself.
photography, and help you see the will begin to develop a certain self- pressed for time, and not fully able to
There are no 365 police that will come
world in a new way through your lens. awareness that you did not have devote an extended period of time
around and throw you in jail! So, as
before taking on the project. I have to get your shot for the day. Having a
Secondly, Project 365 is what you long as you feel you are growing in
spoken with many photographers reliable light source will minimize your
make of it. You, alone, determine one way or another, do what
who have either completed a self- frustration level when you find yourself
how you want to go about the is best for you.
portrait project, or are in the middle running out of time. And, if all else
process, and how much you learn
of one, and the general consensus fails, use the opportunity to play with
throughout the year. My advice is to
seems to be that, at a certain point, long exposure!
push yourself as hard as you can, but
their journey becomes as much
never to the point of being unhappy
about self-discovery as the pursuit
with your work. The moment you
of technical knowledge.

49
 Chapter 7 – Self-portrait projects

Photo -sharing
websites
If you are comfortable sharing your
self-portraits with other photographers,
work from time to time, if you feel
comfortable doing so. Sure, they may
many of thephotographers i have
encountered online have become my
I encourage you to explore some of the find it a little odd initially that you are
online photo-sharing websites. These photographing yourself so much

closest friends.
sites offer you not only the chance to (I know my friends and family thought
be inspired by your fellow self-portrait I had lost my mind at first), but when
photographers, but also the sense of they see the skills you’re developing
community that lies within. as a photographer, and notice your
newfound self-awareness, they will
As humans, we are social by nature;
support you in their own unique way.
having a group of people who
support us – even if it is only two The positive aspects of sharing your
or three individuals – can truly aid photos online are endless, but there
us in pushing ourselves further. are a few negatives to consider. If you
Becoming part of an online group spend a lot of time on photo-sharing
of photographers who are pursuing sites, you’ll begin to see patterns –
self-portrait projects is terrific a lot of the self-portraits may begin
inspiration, and, if you are trying to look alike. I’ve found myself in the
something as monumental as a proverbial rut many times, my mind
365, the accountability is priceless. saturated with the hundreds of
If such a situation arises, the best
Through them, you’ll find constant self-portraits I see on a daily basis.
thing you can do is ignore it, learn
support; if you become discouraged Be inspired by what you see, but do
from it, develop a thicker skin, and
or uninspired, you can talk to them your best to keep your work as fresh
mission to attack you, both as a move on. This seems easier said than
and, most likely, they’ll be able to give and original as possible, because
photographer and as an individual. done, I know, because I’ve been
you enough moral support to keep digging yourself out of a rut can be
Almost anyone who has spent an in this situation myself, but as long
pushing yourself onwards. a difficult process.
extended amount of time on a as you’re true to your photography,
In my own experience, many of the Also, take into consideration that, photo-sharing website will tell you this, you’re on the right track, so put the
photographers I have encountered while the vast majority of the because when you put your images negativity of one or two individuals
online have become my closest photographers you find online are and thoughts on display in a public out of thousands as far from your
friends that I catch up with on a supportive and willing to offer you forum, you’re bound to come into mind as possible. You’ll find so much
regular basis in real life. And, while constructive criticism in a tactful contact with individuals who want to support on photo-sharing websites
the journey is a personal one, let manner, you may run into a few harm your confidence in your work that the positives will outweigh the
your friends and family see your who seem to make it their personal and yourself. negatives by a long shot.

50
 Putting it all together

Putting it
all together
Now that you have a basic Now that I’m more than halfway
knowledge of self-portraiture, through my second year of 365, I
what is stopping you? can step away from the process, and

If there’s any part of you that is

look at it objectively. I see so many 52 Self- Portrait The mes
other photographers reach the same
drawn to try an ongoing self-portrait If you are ever feeling short of ideas, here is a list of themes that will help get your
point of frustration that I’ve reached, imagination working! If you are doing a 52 weeks project, or even a 365 project,
project, stop thinking about it,
but if they keep pushing onwards, this list will come in handy to help you come up with new ideas – you could even
and get to work! There’s no better
they reach an entirely new level of do an entire week, or month, based on one of these ideas.
time than the present, and taking
technical achievement.
that first photograph is by far the 1. Mood 19. Boudoir 36. Surreal

biggest hurdle. Once you seize the The skills that you acquire through 2. Lighting 20. Pets 37. Photomanipulation
opportunity and jump in, you’ll grow self-portraiture will become invaluable
3. Emotion 21. Hobbies 38. Clones/multiplicity
in ways that you never dreamed to your entire body of work as a
you could. photographer. So, whether you’re 4. Close-up 22. Pet peeves 39. Sports
keen to learn how to use your 5. Full body 23. In your house 40. Dancing
My first self-portraits were not part
camera and edit photos, or your aim
of a particular project, but I simply 6. Props 24. In public 41. Motion blur
is to become more self-aware and
photographed myself because I 7. Sitting 25. Long exposure 42. Movie star inspired
comfortable in front of the camera,
wanted a little bit of practice. Then,
give one of these projects a try! 8. Standing 26. Multiple exposure 43. Avante garde
before I knew it, I had embarked on
my own Project 365. It was a tough Whether you decide to undertake 9. Lying down 27. Low key 44. Camera phone
year for me, with many changes in my an ongoing project, or to simply
10. Jumping 28. Hair flip 45. Politics
personal life; there were times where experiment with self-portraits on a
I nearly gave up, assuming that my regular basis, I’m certain that your 11. Monotone 29. Makeup 46. Travel

learning had stopped. But every time experience will be positive, and that 12. High key 30. Costume 47. Food/drink
I said to myself, “I’m through with this you will grow as a photographer.
13. Color 31. Phobias 48. Focus
endeavor,” something would always Beyond the realm of honing your
shift within me – I’d begin to see light technical abilities, you’ll find that 14. Urban 32. Au naturale 49. Faux film
in a new way, develop a desire to try you are growing on a personal level 15. Rural 33. Fantasy 50. Transportation
a new lens, or feel curiosity about a as well.
16. Eyes 34. Create your own 51. Reflections
certain post-processing technique. superhero
So, take that first step, get in front of 17. Hands 52. Dreams
your camera, and give it a try. I wish 35. Masks
18. Vintage
you good luck, and happy shooting!

51
 share the love WANT MORE?
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