The Self Sufficient Selfie

The Self Sufficient Selfie A Series of Notes And Annotations

By Nadia Batchelor

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INTRO Hello, my Name is Nadia Batchelor. I am a photographer and graphic designer and self proclaimed selfie enthusiast the purpose of this book would be to teach people how to make their own photographic content. During the pandemic, many businesses closed down including portrait studios people could no longer hire photographers for portraits. Because of this phenomenon, there has been increased self-made content creation on social media. I want this book to work as a guide you can carry around and refer to while doing photoshoots.

This guide is meant to teach the reader how to take their own photographs.

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I want this book to be used as a guide for photographers, content creators and people like me who love to take their own pictures. In an increasingly digital world content creations has become increasingly hat I wont be doing in this book is actively telling you what you should and should not do with your art. Instead of telling what not to do with your portraiture. I shall tell you the consequences that come with the division making skill of being a photographer.

That way you can decide which tips are best suited for your own art.

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SETTING UP Whether shooting portraits on an Apple iPhone, or a Canon, Nikon or Sony digital camera, the most important gear will be the camera that you use and its corresponding lens. If your already know the basics of using your camera and lens, then I suggest you move on to the color section of this book. If not, I will spend some time instructing you on the basics of getting the most out of your camera and lens.

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The first thing you should pay attention to is the focal length of your lens. The focal length of a lens is the distance between the lens and the image sensor in the camera. When an object is in focus, it is usually stated in millimeters (e.g., 28 mm, 50 mm, or 100 mm).

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24 mm The shorter the focal length, the larger will be your field of view (how much of a scene you can see). Shorter focal length lenses are also called wide-angle lenses for this reason.

70 mm Lenses with long focal lengths allow for a smaller field of view and are also called telephoto lenses. So, if you want to get a close-up photograph of an object that is far away, it’s best to use a lens with a longer focal length.

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50 mm If you are taking photos of yourself at home in an enclosed area, like a room, you may want to consider using a lens with a shorter focal length.

A limitation of using a lens with a smaller focal length is that close-up photographs may look distorted or warped.

200 mm Lenses with smaller focal lengths can make objects that are close to the lens appear larger that objects further away. These lenses are also called “wide-angle lenses” and the effect they give is commonly referred to as a “fisheye effect”.

Such lenses are often used for more stylized self-portraits, as they can exaggerate and warp facial features, thereby producing an “alien-like” or other-worldly feel to the photo .

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In summary, with focal length there is a tradeoff between your subject and the surrounding background. If you are going for that fisheye distorted look and plan or taking self-portraits indoors, opt for a wider-angle lens with a shorter focal length.

There are some accessories for your camera that you will typically need for self-portraiture.

I suggest a tripod to hold your camera (or cellular phone), so that you can keep camera sturdy and adjust your composition with ease.

I also suggest purchasing a remote for our camera. This way you won’t have to walk toward your camera in between shots to take multiple photos. These investments can save time. If you really want to go all out, you can also invest in back drops and backdrop stands. Lights, props and backdrops can be useful for indoor photography; however, they are not mandatory, hence the name accessories.

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Aperture, Shutter Speed And ISO The other key elements for camera settings include aperture, shutter speed and ISO. The aperture of a lens determines how much light enters it. Aperture is measured in f-stops.

A high f-stop (f/22) refers to a small shutter aperture and a low f-stop means a more wideopen shutter aperture (f/3.5). The shutter speed, measured in seconds, refers to the duration of time that the shutter is open to allow light to enter your camera. Longer shutter speeds allow for brighter pictures. Finally, the ISO of a camera uses software to adjust light sensitivity.

A high ISO (1600) will create a brighter picture than a lower ISO (100), however, increasing the ISO may also make the picture look “grainy”.

An easy way to understand these camera settings is by thinking of your lens as an eye. Shutter speed is like the act of blinking. If you stare at a bright object without blinking, you take in too much light and must squint. However, if you keep your eyes closed and open them for only a split second, this makes the bright light more bearable as less light hits your retina. Similarly, the longer the shutter speed on a camera, the more light that is exposed in a photo. This may help brighten the photo, but longer shutter speeds also make photos more prone to blurring.

Therefore, shorter shutter speeds are generally preferred when trying to photograph fast moving objects without blurring.

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If shutter speed mimics the act of blinking, then aperture works like the pupal of the eye. The aperture or f-stop affects not only how much light enters the picture, but also the depth of field (how sharp is the center and how blurry the background). A larger aperture (lower f-stop number) can help brighten a picture that is too dark, but the background of the photo may then come out of focus. I personally find it best to take self-portraits using a more open aperture (f/3.5 or f/5.6). This makes it easy to see if the self-portrait is in or out of focus, compared to the background, without needing other specialized gear.

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UNDERSTANDING

COLOR Color is a great way to communicate hierarchy in a photography. When used correctly, color can direct the eye to what is most important in a scene. In this chapter, we will review color technique and how I can affect your photography. To understand color, we first understand some vocabulary, including saturation and value.

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Saturation

Value refers to the darkness/ brightness of the color. To make a color darker, you add black to the color. To make the color lighter you add white to the color. Using these techniques, you can create a broad array of value within any color.

Saturation refers to the purity of the color.

If you want a portrait to look chaotic or busy, increasing the saturation is one way of accomplishing this. However, if you want to create a more sophisticated or corporate look, you may prefer to use low saturation with predominantly one color. Balancing out saturation is important for projecting the mood of a portrait. Too much saturation can lose the sense of hierarchy, since the eye doesn’t know what to look at. One must pay close attention to the saturation of both the center object and the background, to control how a portrait is perceived.

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The Language of Color Color in portraits can be used for symbolism and storytelling. For example, red can come across as powerful and mighty, however it can also project violence and dominance. Blue can create a sense of calmness, sadness, or serenity. Yellow can feel playful, youthful, and energetic. The use of color combinations can add to the visual storytelling of portraits by bringing out certain moods and feelings.

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COLOR HARMONIES AND COMBINATIONS

If you are having trouble understanding color and using color pallets, you can simply use color harmony techniques.

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Monochromatic Monochromatic color harmonies are when the entire image features only one color.

Monochromatic color pallets are often used when there are single subjects, which makes them popular in self-portraits

Analogous Analogous colors are colors that are adjacent to each other on the color wheel. They often create a soothing effect. You can get a lot of inspiration from color pallets in nature withthese types of pallets.

Triadic Triadic color harmony schemes are colors that are equidistant on the color wheel. They may come across as cheerful, but also immature or child-like.

Complementary Complementary color schemes are two colors that are opposite on the color wheel. The key to mastering complementary colors is to avoid simply using them in equal proportions.

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Tetradic Tetradic compliment color schemes use two different pairs of opposite colors on the color wheel.

This color combination can be harder to pull off effectively.

Try to avoid making all the colors even on the picture.

Split Complementary These color schemes are similar to complimentary colors, however they split one of the colors. This gives you a lot more creative freedom. The use of 3 different colors can often come across as joyous.

For a more calming effect, make sure to keep some of the colors desaturated.

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Ratios If you want to project a more mature sense to your portraits, you should not be using 50/50 ratios with complementary colors. The ratio should be more 30/70, with a single color being more of the focus. To prevent the viewer’s eye from being exhausted, make the less bold color the more common color in your photograph. This tends to achieve a more visually pleasing look.

If you want to go for a more cleancut portraiture, don’t oversaturate or overuse these color combos, as this can be distracting and overwhelming.

Skin Undertones The weaker colors can usually get away with being the more dominant color scheme. This is best used for foregrounds and backgrounds. It’s helpful to think of skin undertones when deciding which colors to use.

Subtleties matter. Think about what colors, you wish to emphasize in your subject’s eyes, mouth, and lips and how to make them “pop” in a photo shoot. Also think about adjusting your subjects pose and composition so that they fit the color scheme.

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COMPOSITION Now that we’ve covered color, let’s discuss composition. This is how is the arrangement of elements in your work affects the way people perceive your work. Discussing composition can be tricky and overwhelming, however, remember that every element is well within your control. If you find yourself becoming overwhelmed or lost within your composition, consider using some of the following simple techniques.

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The Rule of Thirds The rule of thirds is an effective way to lay out subjects. Don’t be fooled by its name; the rule of thirds is more of a guideline rather than a concrete rule. It is based on a grid system composed of 9 equal sized blocks with 4 interesting points. Placing a subject on these 4 points can create a more dynamic composition. Try to play with the foreground and background within the compositions. You can use hands or props to be in the front and back to help create dimension. You can use this technique to replicate a feeling of harmony, balance or hierarchy within your photoshoot.

Spacing Placing yourself in the middle of the frame so that there is an equal distance of space around you is another simple solution. This can come across as very strong. This is a technique often used in self-portraiture and it’s easier to do when you don’t have any other subjects. This composition tends to be pleasing to the eye, however it can be perceived as boring or overdone if the other elements of your piece aren’t striking or unusual. One way to avoid creating a boring composition is to make your composition more dynamic through diagonal composition.

Diagonal composition is when the elements of a photo are aligned to diagonal lines.

These create a fresh and energetic feel to your portrait.

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Golden Ratio The golden ratio a mathematical relationship between subjects that is often found in nature that can create pleasing forms and geometrically interesting patterns.

Dynamic Symmetry Dynamic symmetry is a complicated composition that mirrors itself.

This is a technique that can create sophistication and complexity within a portrait, while still maintain a sense of balance and symmetry.

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This technique draws the eye directly to the subject by blocking out other elements though the background and foreground. It is often referred to as “shooting though” an object. You don’t have to be the only thing in your photo to make a great portrait. Work with the elements around you. This includes the negative space in between you and other subjects. Pay attention to how much space is in between you and other objects and mimic that space. One of the most important things you can do is pay close attention to your background elements. Ask yourself, is this object bringing attention to my subject, or is it just a distracting element?

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This photo is an example of how you can use you subjects to frame yourself in the portrait. It can also be useful to use props to set up your scene in a self-portrait. What composition is really about is working with all the elements in your shot to create an aesthetic that has subjects that work together, rather than against themselves.

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Light and Shadow Light tends to bring things forward in your composition and darkness tends to move things backwards. For a more dramatic feel, a high contrast between light and shadow is the way to go. Putting shadow on the face creates mystery. Be sure the shadows work well in your composition. To get great at creating light and shadow, I suggest shooting in black and white. However, keep in mind that black and white photos can create a divide between a real life and fake feel to the photo. If you want to play with shadow, you might need to sacrifice a blurred background. Blurry backgrounds make shadows look softer.

Although high contrast images can blow out or even simplify your pictures to the point at which details can be sacrificed, you can avoid this by protecting your lights. When you have high contrast objects in your photo, they can push your eyes towards geometric shapes. Since light emphasizes and brings things forward, keep that in mind while you are trying to create interesting compositions. If you want to emphasis a certain trait or element about yourself, you can literally “shed light” on it.

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POSES Since this book is based on self-portraits, poses can be a great way to experiment with composition. Think about your body as an extension of your art. Think about how you wish to be perceived and mimic it. Just like everything else in photography, there is no one way to pose. It is important to find inspiration from the world around you. Personally, I am often inspired by body builders and choreography for my poses.

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See your body as a combination of lines.

When directly facing the camera, the human body is very symmetrical. You can break up this symmetry through dynamic posing and play on that symmetry for more simplistic compositions. Lines and alignment are incredibly important. Your subjects should align with each other to get the proper aesthetic effect. Think about how your body lines are interacting with the lines around you.

The human body is compiled of different lines, shapes, and dimensions. I personally see the chest area, waist, and knees as different levels of movable lines. Tilt these lines in opposite directions to create an interesting look. It creates a more interesting pose from a frontward perspective.

Poses will often look much more interactive with the background when they are shown in movement. Think of the vertical line from your head to your feet. You can use this line to create motion. An “S”or “C” curve can be great for beginner action poses, because they can make a pose more interesting. Keep in mind that the more dramatic the “S” curve, the more feminine your poses will come across as.

You can affect the way you come across in a portrait though your shape language. Always, keep in mind the type and number of shapes you are using in a pose.

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Also keep in mind the appearance of masculine and feminine poses and how that can affect the way you move. If you are using a grid to help with the composition, you can line up the joints of the subject to the intersections of the grid.

Remember that front-on portraits tend to come across as being boring or stiff.

It should be noted that poses don’t have to surrender to a specific gender. Still, poses do tend to have masculine and feminine components to them. Masculine poses typically have very square like features. Squares generally come across as reliable, sturdy, and steady, however, they can also be interpreted as boring or dull.

Forming more circular poses can make a subject appear more cute, innocent, and playful. A circle can also come across as soft. Squares tend to be more masculine shapes.

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Creating dimension is all about coming from different angles, so although taking the picture head on may be easy, you can create more interesting shots when the subject is creating shape or working with the elements in the background.

Triangular stances are dynamic and can come across as masculine and/or feminine.

Triangles can also represent confidence.

Triangles project energy and tend to demand attention from the viewer.

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