Dark Aesthetic Photography Tips for Moody Pictures<\/h2>\n\n\n\n- Use the Best Gear for the Job<\/a><\/li>
- Shoot Raw and Expose to the Left\u2026or Right<\/a><\/li>
- Keep Your Subject Brighter than the Ambient Light<\/a><\/li>
- Know When to Shoot<\/a><\/li>
- Compose Your Frame<\/a><\/li>
- Pose Your Subject and Direct for Expression<\/a><\/li>
- Edit for Dark and Moody Pictures<\/a><\/li><\/ol>\n\n\n\n
Tip 1: Use the Best Gear for the Job<\/h2>\n\n\n\n
Shooting dark aesthetic pictures has more to do with how we use or modify light than with the particular gear we use, but each piece of gear we use can impact the final outcome of our dramatic portraits. Here are some of my gear recommendations for capturing moody photos:<\/p>\n\n\n\n
Camera Body and Lenses<\/h3>\n\n\n\n- Camera Body:<\/strong> While you can use a smartphone to capture dark aesthetic pictures, you may find it limiting in terms of maximizing the dynamic range in your shots. Even a workhorse camera like the Canon 5D Mark IV<\/a> can retain only so many shadow and highlight details, which we want to keep in order to have more flexibility during post-production. Instead, if the budget allows, I recommend using a mirrorless camera like the Canon EOS R5<\/a> or EOS R6<\/a>, Nikon z6<\/a> or z7<\/a>, or a Sony Alpha a7 IV<\/a> (or any comparable mirrorless body). Of course, I\u2019m not suggesting that you go out and purchase a new camera body in order to try this technique. I just feel these options will give you the best results.<\/li>
- Lenses:<\/strong> Any focal length will do for capturing dark and moody portraits, but I prefer using wide angle prime lenses in the range of 24mm<\/a> to 35mm<\/a>, and occasionally up to 50mm<\/a>. The wider angle allows me to do two things. First, I can capture environmental portraits in a single frame, which works beautifully for dark and moody portraits. I can also use a wide angle to let the viewer feel more \u201cin the action\u201d when I move in closer for medium or tight shots. I mention that I prefer using prime lenses for this technique as well because I like the look of shallow depth of field.<\/li><\/ul>\n\n\n\n
Lighting Options for Dark Aesthetic Pictures<\/h3>\n\n\n\n- Lighting:<\/strong> You can shoot dark aesthetic pictures in natural light so long as you know how to work your angles and exposure (which we\u2019ll cover below), but adding a bit of light via flash can open up tons of possibilities. Again, portability is key so that you can focus more on getting your shot and less about the limitations of your location. My favorite light on the go is Profoto\u2019s B10<\/a> flash unit. Really, though, you can use whatever on or off-camera flash system you already have.<\/li>
- Light Modifiers:<\/strong> We have a bunch of light modifiers to choose from, but for this technique, we\u2019ll want to focus on those that allow us to control light direction and limit light spill. If I\u2019m using a softbox, I prefer Profoto\u2019s 3′ RFi Softbox Octa<\/a> (with the baffle) or the MagBox<\/a>, both with their respective grid options. For a smaller flash unit without a softbox, look for grids<\/a>, flags, and snoots to take more control of your lighting. I recommend keeping a 5-in-1 Reflector<\/a> for use in all scenarios, whether using natural light or flash.<\/li><\/ul>\n\n\n\n
Other Accessories<\/h3>\n\n\n\n- Tripod:<\/strong> Whenever you\u2019re shooting in dim light, which will likely be often while using this technique, it\u2019s a good idea to have a tripod on hand to limit camera shake that accompanies shooting at slower shutter speeds. Keep something portable with you, like a Peak Design Travel Tripod<\/a>, to minimize the hassle of trekking around with extra gear. I use one on several on-location shoots, including those I do while creating content for Adorama\u2019s YouTube channel<\/a>.<\/li><\/ul>\n\n\n\n
Tip 2: Shoot Raw and Expose to the Left\u2026or Right<\/h2>\n\n\n\n
When shooting dark aesthetic pictures, it helps to capture raw image files for – again – more flexibility in post. You simply can\u2019t recover as many details when you\u2019re working with a compressed file, such as a jpeg. It\u2019s also important to understand how your camera works so that you can choose wisely between exposing to the left or right (on the histogram) to retain sufficient details. If you\u2019re unfamiliar with this concept, it\u2019s as simple as this:<\/p>\n\n\n\n
- Expose to the Left:<\/strong> When we expose to the left, it means that we\u2019re going to limit how much we underexpose our image so that we do not clip our shadows, even if it means that we might blow out some highlights. If your camera (like a Canon DSLR) only does a so-so job at retaining shadows, use this method to avoid the messy noise and colors you\u2019ll get when lifting your underexposed shadows in post.<\/li>
- Expose to the Right:<\/strong> When we expose to the right, we\u2019re going to make sure that all of the highlights are preserved, even at the expense of clipping some shadows. It\u2019s okay to do this with some Sony and Nikon mirrorless cameras because they tend to perform well when it comes to retaining shadow details, even with underexposed images.<\/li><\/ul>\n\n\n\n
Use Your Highlight Alert and Histogram<\/h3>\n\n\n\n![\"dark](\"https:\/\/www.adorama.com\/alc\/wp-content\/uploads\/2022\/02\/dark-aesthetic-pictures-moody-portraits-clipped-shadows-blown-out-highlights.jpg\")
Shadows clipped in blue and highlights blown out in red in Lightroom – Photo by SLR Lounge<\/em><\/figcaption><\/figure><\/div>\n\n\n\nWhether you expose to the right or left, remember that the general goal is to retain as many details as possible in both the shadows and the highlights. However, it can be difficult to determine whether or not you\u2019ve maximized dynamic range by looking at the back of your camera. For that reason, I recommend turning on your histogram and highlight alert and referring to them throughout the shoot.<\/p>\n\n\n\n
Tip 3: Keep Your Subject Brighter than the Ambient Light<\/h2>\n\n\n\n![\"dark](\"https:\/\/www.adorama.com\/alc\/wp-content\/uploads\/2022\/02\/dark-aesthetic-pictures-moody-portraits-dramatic-bridals-1024x682.jpg\")
Photo by Lin & Jirsa Photography<\/em><\/figcaption><\/figure>\n\n\n\nDramatic imagery depends largely (although not entirely) on our use of shadows, but more specifically, how we use shadows in relation to our subject. Capturing dark aesthetic pictures works best when we keep our featured subject significantly brighter than the ambient environment. This holds true whether we\u2019re shooting with natural light or using flash to capture dramatic imagery.<\/p>\n\n\n\n
Control Your Background<\/h3>\n\n\n<\/div>DIY Home Studio Hack for Dramatic Editorial Portraits | Master Your Craft<\/div><\/div><\/div><\/div><\/div><\/div><\/div>![\"DIY](\"https:\/\/i.ytimg.com\/vi\/Cb9upy7Qiqo\/0.jpg\")
![\"flat](\"https:\/\/www.adorama.com\/alc\/wp-content\/uploads\/2022\/02\/flat-lighting-for-dark-aesthetic-pictures-1024x706.png\")
![\"moody](\"https:\/\/www.adorama.com\/alc\/wp-content\/uploads\/2022\/02\/moody-angle-for-dark-aesthetic-pictures-1024x707.png\")
![\"dark](\"https:\/\/www.adorama.com\/alc\/wp-content\/uploads\/2022\/02\/dark-aesthetic-pictures-before-and-after-flat-vs-moody-1024x338.png\")
![\"panoramic](\"https:\/\/www.adorama.com\/alc\/wp-content\/uploads\/2022\/02\/dark-aesthetic-pictures-slr-lounge-brenizer-2-1024x511.jpg\")
![\"dark](\"https:\/\/www.adorama.com\/alc\/wp-content\/uploads\/2022\/02\/dark-aesthetic-pictures-natural-family-portraits-wide-medium-tight-angles-storytelling-750x500-1.jpg\")
![\"direct](\"https:\/\/www.adorama.com\/alc\/wp-content\/uploads\/2022\/02\/dark-aesthetic-pictures-posing-Cohesive_Storytelling-01-1024x683.jpg\")
![\"Natural](\"https:\/\/i.ytimg.com\/vi\/G-kW_BTKBCw\/0.jpg\")
Tip 1: Use the Best Gear for the Job<\/h2>\n\n\n\n
Shooting dark aesthetic pictures has more to do with how we use or modify light than with the particular gear we use, but each piece of gear we use can impact the final outcome of our dramatic portraits. Here are some of my gear recommendations for capturing moody photos:<\/p>\n\n\n\n
Camera Body and Lenses<\/h3>\n\n\n\n- Camera Body:<\/strong> While you can use a smartphone to capture dark aesthetic pictures, you may find it limiting in terms of maximizing the dynamic range in your shots. Even a workhorse camera like the Canon 5D Mark IV<\/a> can retain only so many shadow and highlight details, which we want to keep in order to have more flexibility during post-production. Instead, if the budget allows, I recommend using a mirrorless camera like the Canon EOS R5<\/a> or EOS R6<\/a>, Nikon z6<\/a> or z7<\/a>, or a Sony Alpha a7 IV<\/a> (or any comparable mirrorless body). Of course, I\u2019m not suggesting that you go out and purchase a new camera body in order to try this technique. I just feel these options will give you the best results.<\/li>
- Lenses:<\/strong> Any focal length will do for capturing dark and moody portraits, but I prefer using wide angle prime lenses in the range of 24mm<\/a> to 35mm<\/a>, and occasionally up to 50mm<\/a>. The wider angle allows me to do two things. First, I can capture environmental portraits in a single frame, which works beautifully for dark and moody portraits. I can also use a wide angle to let the viewer feel more \u201cin the action\u201d when I move in closer for medium or tight shots. I mention that I prefer using prime lenses for this technique as well because I like the look of shallow depth of field.<\/li><\/ul>\n\n\n\n
Lighting Options for Dark Aesthetic Pictures<\/h3>\n\n\n\n- Lighting:<\/strong> You can shoot dark aesthetic pictures in natural light so long as you know how to work your angles and exposure (which we\u2019ll cover below), but adding a bit of light via flash can open up tons of possibilities. Again, portability is key so that you can focus more on getting your shot and less about the limitations of your location. My favorite light on the go is Profoto\u2019s B10<\/a> flash unit. Really, though, you can use whatever on or off-camera flash system you already have.<\/li>
- Light Modifiers:<\/strong> We have a bunch of light modifiers to choose from, but for this technique, we\u2019ll want to focus on those that allow us to control light direction and limit light spill. If I\u2019m using a softbox, I prefer Profoto\u2019s 3′ RFi Softbox Octa<\/a> (with the baffle) or the MagBox<\/a>, both with their respective grid options. For a smaller flash unit without a softbox, look for grids<\/a>, flags, and snoots to take more control of your lighting. I recommend keeping a 5-in-1 Reflector<\/a> for use in all scenarios, whether using natural light or flash.<\/li><\/ul>\n\n\n\n
Other Accessories<\/h3>\n\n\n\n- Tripod:<\/strong> Whenever you\u2019re shooting in dim light, which will likely be often while using this technique, it\u2019s a good idea to have a tripod on hand to limit camera shake that accompanies shooting at slower shutter speeds. Keep something portable with you, like a Peak Design Travel Tripod<\/a>, to minimize the hassle of trekking around with extra gear. I use one on several on-location shoots, including those I do while creating content for Adorama\u2019s YouTube channel<\/a>.<\/li><\/ul>\n\n\n\n
Tip 2: Shoot Raw and Expose to the Left\u2026or Right<\/h2>\n\n\n\n
When shooting dark aesthetic pictures, it helps to capture raw image files for – again – more flexibility in post. You simply can\u2019t recover as many details when you\u2019re working with a compressed file, such as a jpeg. It\u2019s also important to understand how your camera works so that you can choose wisely between exposing to the left or right (on the histogram) to retain sufficient details. If you\u2019re unfamiliar with this concept, it\u2019s as simple as this:<\/p>\n\n\n\n
- Expose to the Left:<\/strong> When we expose to the left, it means that we\u2019re going to limit how much we underexpose our image so that we do not clip our shadows, even if it means that we might blow out some highlights. If your camera (like a Canon DSLR) only does a so-so job at retaining shadows, use this method to avoid the messy noise and colors you\u2019ll get when lifting your underexposed shadows in post.<\/li>
- Expose to the Right:<\/strong> When we expose to the right, we\u2019re going to make sure that all of the highlights are preserved, even at the expense of clipping some shadows. It\u2019s okay to do this with some Sony and Nikon mirrorless cameras because they tend to perform well when it comes to retaining shadow details, even with underexposed images.<\/li><\/ul>\n\n\n\n
Use Your Highlight Alert and Histogram<\/h3>\n\n\n\nShadows clipped in blue and highlights blown out in red in Lightroom – Photo by SLR Lounge<\/em><\/figcaption><\/figure><\/div>\n\n\n\nWhether you expose to the right or left, remember that the general goal is to retain as many details as possible in both the shadows and the highlights. However, it can be difficult to determine whether or not you\u2019ve maximized dynamic range by looking at the back of your camera. For that reason, I recommend turning on your histogram and highlight alert and referring to them throughout the shoot.<\/p>\n\n\n\n
Tip 3: Keep Your Subject Brighter than the Ambient Light<\/h2>\n\n\n\nPhoto by Lin & Jirsa Photography<\/em><\/figcaption><\/figure>\n\n\n\nDramatic imagery depends largely (although not entirely) on our use of shadows, but more specifically, how we use shadows in relation to our subject. Capturing dark aesthetic pictures works best when we keep our featured subject significantly brighter than the ambient environment. This holds true whether we\u2019re shooting with natural light or using flash to capture dramatic imagery.<\/p>\n\n\n\n
Control Your Background<\/h3>\n\n\n<\/div>DIY Home Studio Hack for Dramatic Editorial Portraits | Master Your Craft<\/div><\/div><\/div><\/div><\/div><\/div><\/div>
Lighting Options for Dark Aesthetic Pictures<\/h3>\n\n\n\n- Lighting:<\/strong> You can shoot dark aesthetic pictures in natural light so long as you know how to work your angles and exposure (which we\u2019ll cover below), but adding a bit of light via flash can open up tons of possibilities. Again, portability is key so that you can focus more on getting your shot and less about the limitations of your location. My favorite light on the go is Profoto\u2019s B10<\/a> flash unit. Really, though, you can use whatever on or off-camera flash system you already have.<\/li>
- Light Modifiers:<\/strong> We have a bunch of light modifiers to choose from, but for this technique, we\u2019ll want to focus on those that allow us to control light direction and limit light spill. If I\u2019m using a softbox, I prefer Profoto\u2019s 3′ RFi Softbox Octa<\/a> (with the baffle) or the MagBox<\/a>, both with their respective grid options. For a smaller flash unit without a softbox, look for grids<\/a>, flags, and snoots to take more control of your lighting. I recommend keeping a 5-in-1 Reflector<\/a> for use in all scenarios, whether using natural light or flash.<\/li><\/ul>\n\n\n\n
Other Accessories<\/h3>\n\n\n\n- Tripod:<\/strong> Whenever you\u2019re shooting in dim light, which will likely be often while using this technique, it\u2019s a good idea to have a tripod on hand to limit camera shake that accompanies shooting at slower shutter speeds. Keep something portable with you, like a Peak Design Travel Tripod<\/a>, to minimize the hassle of trekking around with extra gear. I use one on several on-location shoots, including those I do while creating content for Adorama\u2019s YouTube channel<\/a>.<\/li><\/ul>\n\n\n\n
Tip 2: Shoot Raw and Expose to the Left\u2026or Right<\/h2>\n\n\n\n
When shooting dark aesthetic pictures, it helps to capture raw image files for – again – more flexibility in post. You simply can\u2019t recover as many details when you\u2019re working with a compressed file, such as a jpeg. It\u2019s also important to understand how your camera works so that you can choose wisely between exposing to the left or right (on the histogram) to retain sufficient details. If you\u2019re unfamiliar with this concept, it\u2019s as simple as this:<\/p>\n\n\n\n
- Expose to the Left:<\/strong> When we expose to the left, it means that we\u2019re going to limit how much we underexpose our image so that we do not clip our shadows, even if it means that we might blow out some highlights. If your camera (like a Canon DSLR) only does a so-so job at retaining shadows, use this method to avoid the messy noise and colors you\u2019ll get when lifting your underexposed shadows in post.<\/li>
- Expose to the Right:<\/strong> When we expose to the right, we\u2019re going to make sure that all of the highlights are preserved, even at the expense of clipping some shadows. It\u2019s okay to do this with some Sony and Nikon mirrorless cameras because they tend to perform well when it comes to retaining shadow details, even with underexposed images.<\/li><\/ul>\n\n\n\n
Use Your Highlight Alert and Histogram<\/h3>\n\n\n\nShadows clipped in blue and highlights blown out in red in Lightroom – Photo by SLR Lounge<\/em><\/figcaption><\/figure><\/div>\n\n\n\nWhether you expose to the right or left, remember that the general goal is to retain as many details as possible in both the shadows and the highlights. However, it can be difficult to determine whether or not you\u2019ve maximized dynamic range by looking at the back of your camera. For that reason, I recommend turning on your histogram and highlight alert and referring to them throughout the shoot.<\/p>\n\n\n\n
Tip 3: Keep Your Subject Brighter than the Ambient Light<\/h2>\n\n\n\nPhoto by Lin & Jirsa Photography<\/em><\/figcaption><\/figure>\n\n\n\nDramatic imagery depends largely (although not entirely) on our use of shadows, but more specifically, how we use shadows in relation to our subject. Capturing dark aesthetic pictures works best when we keep our featured subject significantly brighter than the ambient environment. This holds true whether we\u2019re shooting with natural light or using flash to capture dramatic imagery.<\/p>\n\n\n\n
Control Your Background<\/h3>\n\n\n<\/div>DIY Home Studio Hack for Dramatic Editorial Portraits | Master Your Craft<\/div><\/div><\/div><\/div><\/div><\/div><\/div>
Other Accessories<\/h3>\n\n\n\n- Tripod:<\/strong> Whenever you\u2019re shooting in dim light, which will likely be often while using this technique, it\u2019s a good idea to have a tripod on hand to limit camera shake that accompanies shooting at slower shutter speeds. Keep something portable with you, like a Peak Design Travel Tripod<\/a>, to minimize the hassle of trekking around with extra gear. I use one on several on-location shoots, including those I do while creating content for Adorama\u2019s YouTube channel<\/a>.<\/li><\/ul>\n\n\n\n
Tip 2: Shoot Raw and Expose to the Left\u2026or Right<\/h2>\n\n\n\n
When shooting dark aesthetic pictures, it helps to capture raw image files for – again – more flexibility in post. You simply can\u2019t recover as many details when you\u2019re working with a compressed file, such as a jpeg. It\u2019s also important to understand how your camera works so that you can choose wisely between exposing to the left or right (on the histogram) to retain sufficient details. If you\u2019re unfamiliar with this concept, it\u2019s as simple as this:<\/p>\n\n\n\n
- Expose to the Left:<\/strong> When we expose to the left, it means that we\u2019re going to limit how much we underexpose our image so that we do not clip our shadows, even if it means that we might blow out some highlights. If your camera (like a Canon DSLR) only does a so-so job at retaining shadows, use this method to avoid the messy noise and colors you\u2019ll get when lifting your underexposed shadows in post.<\/li>
- Expose to the Right:<\/strong> When we expose to the right, we\u2019re going to make sure that all of the highlights are preserved, even at the expense of clipping some shadows. It\u2019s okay to do this with some Sony and Nikon mirrorless cameras because they tend to perform well when it comes to retaining shadow details, even with underexposed images.<\/li><\/ul>\n\n\n\n
Use Your Highlight Alert and Histogram<\/h3>\n\n\n\nShadows clipped in blue and highlights blown out in red in Lightroom – Photo by SLR Lounge<\/em><\/figcaption><\/figure><\/div>\n\n\n\nWhether you expose to the right or left, remember that the general goal is to retain as many details as possible in both the shadows and the highlights. However, it can be difficult to determine whether or not you\u2019ve maximized dynamic range by looking at the back of your camera. For that reason, I recommend turning on your histogram and highlight alert and referring to them throughout the shoot.<\/p>\n\n\n\n
Tip 3: Keep Your Subject Brighter than the Ambient Light<\/h2>\n\n\n\nPhoto by Lin & Jirsa Photography<\/em><\/figcaption><\/figure>\n\n\n\nDramatic imagery depends largely (although not entirely) on our use of shadows, but more specifically, how we use shadows in relation to our subject. Capturing dark aesthetic pictures works best when we keep our featured subject significantly brighter than the ambient environment. This holds true whether we\u2019re shooting with natural light or using flash to capture dramatic imagery.<\/p>\n\n\n\n
Control Your Background<\/h3>\n\n\n<\/div>DIY Home Studio Hack for Dramatic Editorial Portraits | Master Your Craft<\/div><\/div><\/div><\/div><\/div><\/div><\/div>
Tip 2: Shoot Raw and Expose to the Left\u2026or Right<\/h2>\n\n\n\n
When shooting dark aesthetic pictures, it helps to capture raw image files for – again – more flexibility in post. You simply can\u2019t recover as many details when you\u2019re working with a compressed file, such as a jpeg. It\u2019s also important to understand how your camera works so that you can choose wisely between exposing to the left or right (on the histogram) to retain sufficient details. If you\u2019re unfamiliar with this concept, it\u2019s as simple as this:<\/p>\n\n\n\n
- Expose to the Left:<\/strong> When we expose to the left, it means that we\u2019re going to limit how much we underexpose our image so that we do not clip our shadows, even if it means that we might blow out some highlights. If your camera (like a Canon DSLR) only does a so-so job at retaining shadows, use this method to avoid the messy noise and colors you\u2019ll get when lifting your underexposed shadows in post.<\/li>
- Expose to the Right:<\/strong> When we expose to the right, we\u2019re going to make sure that all of the highlights are preserved, even at the expense of clipping some shadows. It\u2019s okay to do this with some Sony and Nikon mirrorless cameras because they tend to perform well when it comes to retaining shadow details, even with underexposed images.<\/li><\/ul>\n\n\n\n
Use Your Highlight Alert and Histogram<\/h3>\n\n\n\n
Shadows clipped in blue and highlights blown out in red in Lightroom – Photo by SLR Lounge<\/em><\/figcaption><\/figure><\/div>\n\n\n\n Whether you expose to the right or left, remember that the general goal is to retain as many details as possible in both the shadows and the highlights. However, it can be difficult to determine whether or not you\u2019ve maximized dynamic range by looking at the back of your camera. For that reason, I recommend turning on your histogram and highlight alert and referring to them throughout the shoot.<\/p>\n\n\n\n
Tip 3: Keep Your Subject Brighter than the Ambient Light<\/h2>\n\n\n\n
Photo by Lin & Jirsa Photography<\/em><\/figcaption><\/figure>\n\n\n\n Dramatic imagery depends largely (although not entirely) on our use of shadows, but more specifically, how we use shadows in relation to our subject. Capturing dark aesthetic pictures works best when we keep our featured subject significantly brighter than the ambient environment. This holds true whether we\u2019re shooting with natural light or using flash to capture dramatic imagery.<\/p>\n\n\n\n
Control Your Background<\/h3>\n\n\n
<\/div>DIY Home Studio Hack for Dramatic Editorial Portraits | Master Your Craft<\/div><\/div><\/div><\/div><\/div><\/div><\/div> - Expose to the Right:<\/strong> When we expose to the right, we\u2019re going to make sure that all of the highlights are preserved, even at the expense of clipping some shadows. It\u2019s okay to do this with some Sony and Nikon mirrorless cameras because they tend to perform well when it comes to retaining shadow details, even with underexposed images.<\/li><\/ul>\n\n\n\n