Pat York has been called “a major voice in the world of photography.”

The former Vogue photographer and Glamour photographer/travel editor became one of the—one of THE—portraitists for the stars in the 1960s and 70s.

She’s photographed Andy Warhol, the Kennedys, John Travolta. You’ve probably seen her portraits of Steve Martin.

She visited Russia and Iran in 1963 for her first two stories as a writer for Glamour. Captured the now-famous photo of Jane Fonda in her dressing room on the set of “Barbarella” in 1966 (Fonda is cooking over a stove in her chain bikini costume). Shot a series of get-togethers on the superyacht of Prince Aga Khan in Sardinia in the 1970s.

When she got tired of shooting celebrities—“I began to lose my passion for it,” she says—York focused on artistic photography.

Her work has been featured in major museums, from The Corcoran Gallery of Art in Washington D.C to The Marble Palace of the Russian State Museum in St. Petersburg to The Hong Kong Film Archive in Hong Kong to The Wellcome Trust in London.

Her 2004 book, “Pat York: Covered-Uncovered” starts with her celebrity photos. Part two focuses on ordinary people—including their plumber—who agreed to be photographed in the nude, while working. Part three features Pat’s groundbreaking work photographing human cadavers. She also wrote “Going Strong,” about discovering the secret to a long and healthy life.

“Nature has always been one of the most important parts of my life,” she says. “Travel has given me the opportunity to experience Nature in all its diversity.”

Oh, and she happens to be married—since 1968—to Michael York, the “quintessential British actor” who has starred in everything from The Three Musketeers (1973) to Logan’s Run (1976) to the Austin Powers movies (1990s).

She was born Patricia Watson in Jamaica to an English diplomat father and an English mother, attended a French convent school in England and was tutored in Germany, eloped as a teenager (for a short-lived marriage) and gave birth to a son, Rick (a film producer).

Then, in 1967, she met Michael York.

“I lived in New York, and I worked for Vogue and Glamour,” says Pat, from her Charter House apartment. “I photographed Raquel Welch in Spain just before photographing a group of English writers, directors, and the new young actor Michael York who had just come out at the same time in New York in his two first movies, ‘Taming Of The Shrew’ and ‘Accident.’ Well, Michael and I just clicked. … He proposed on Juhu Beach in Mumbai on Valentine’s Day of 1967. We were married in 1968.”

As a couple, Michael and Pat have been described as “a binary star, each in orbit around the other.”

In 2022, with Michael facing medical issues (he was diagnosed with a rare condition called amyloidosis), the couple sold their home in Hollywood Hills and moved into downtown Rochester to be closer to Mayo Clinic.

Today, Pat and Michael still travel when they can and stay busy with work (he’s heading to a Rochester-area recording studio for some voiceover work this month; she takes a call from an art gallery looking to sell some of her photos during our interview).

Here are three stories from Pat’s photo career.

by Pat York

In 1966, I was invited to photograph the actors Marlon Brando and Robert Forster in the film version of Carson McCullers’ novel “Reflections in a Golden Eye.”

It was a night shoot starting at dusk and continuing until daybreak, with the location at Mitchel Field, a former Air Force base on Long Island. John Huston, the film’s director, was a friend of mine, and I had met the producer, Ray Stark, and his wife, Frances Brice, the daughter of the famous Fanny Brice, at various functions.

I was warned that Marlon Brando did not trust photographers; any film I shot of him had to be delivered to him personally, and he would have it processed.

The evening, though, was memorable for a surprising and life enhancing few hours spent with another man who was labeled a recluse.

As usual on a film set, there was time spent waiting for scenes to be set up. During one of those breaks a handsome mature man approached me and started a conversation. He kept telling me he loved my voice and he also asked many questions about my views on certain topics, my likes and dislikes. There was no opportunity to ask him about himself as he was questioning me without a break and kept telling me how much he liked my voice. I thanked him but could not understand his obsession with my vocal chords.

Finally, he mentioned that he could not believe I had no trace of an accent and inquired what part of Italy I was from. I told him I was an American who had been born in Jamaica and attended a French school in England and had also been tutored in Germany with the rest of my education in the States. He looked stunned. He told me that he had been asking various people who I was and had been told by at least three that I was Italian. We both laughed.

I introduced myself, and he told me his name: J.D. Salinger.

After I recovered from the surprise, I could not equate our easy and free ranging conversation with the knowledge that this was a man who was reported to be a recluse.

I told him how much I loved “The Catcher In The Rye,” and that my young son, Rick, had just read it, and could talk about nothing else. Its author said he would like to be in touch with Rick and asked for his name and address.

We talked for the rest of the evening between my photographing and the silences demanded by the filming. He introduced me to a writer I admired enormously, Lillian Ross, a great friend of John Huston’s, who had written the brilliant book “Picture” about the making of the film “The Red Badge of Courage,” which John had directed in the 1950s. She brought her baby son with her that evening.

My assignment on this film was to photograph some daytime scenes as well as the night shots. By this time, J.D. Salinger had returned home, but I remember having a picnic with John Huston, his long-time suffering assistant and co-writer of the screenplay, Gladys Hill, a few others including the brilliant artist Mark Rothko. I still have, and treasure, those images.

My first photographs of Brando were taken while he was walking in movie- induced rain. Then I was asked to photograph him in his trailer. At the end of the session I handed over some of the early rolls of films I had photographed and he said: “What is this for”? I responded that I had been told he did not trust or like photographers and I had been asked to give him any film taken during the evening shoot.

He smiled and said: “Ah, but I trust you completely.”

Shortly after this time on the Golden Eye set, I left for Europe, where various magazines and United Artists had arranged my assignments—Raquel Welch in Spain, Francoise Dorleac and Michael Caine in Finland, Albert Finney in London, the brilliant playwright, John Osborne, on location by the English sea and, for Glamour magazine, a young actor who had just triumphed in his first two films (Franco Zeffirelli’s Taming Of The Shrew and Joe Losey’s Accident) … Michael York. We met in 1967 and married in 1968—but that is another story!

On that European trip, I visited my son, who was in school in Switzerland. I learned that, true to his word, J.D. Salinger had written to Rick, and they had begun a correspondence. A few years later, I met Rick for dinner one evening while he was studying in Paris. He was desolate. His apartment had been completely ransacked, and the suitcase where he kept all Salinger’s letters had been taken. He didn’t care about losing most of his other possessions, but he couldn’t accept that his idol’s correspondence had been stolen.

I am always loath to take advantage of projecting work into a meeting that has not been set up professionally, but I shall always regret that, despite the darkness of the night shoot, I had not asked to take Salinger’s photograph. It would have remained a potent souvenir of a brief, but unforgettable, encounter.

by Pat York

In 2006, Gmurzynska Gallery, my representative at the time, had requested me to photograph the pop artist, Robert Indiana, for my book “Fame and Frame.” His rendering of the work LOVE had become one of the most iconic art works of the 20th century.

I enthusiastically agreed to fly to the East Coast, hire a car to Rockland where ferries transported passengers to Vinalhaven, the larger of the off-shore islands in Maine.

Michael was accompanying me, and little did either of us realize the next few days would be one of the most frustrating photographic shoots of my career. In the end it was worthwhile and enjoyable.

On arrival I contacted Robert and told him we were staying at the Tidewater Motel very close to his large historic Victorian home. My gallery had arranged for the shoot to take place and Robert’s assistant, Melissa, had been alerted of our visit.

When we met Robert he was insistent we leave the motel and move to the charming house owned by Scott, the boyfriend of Melissa. This was much further away and we preferred to be independent and told him we did not wish to move. He persisted and so did we.

That was one of our first disagreements.

Before accepting a dinner invitation to a lobster restaurant, I was eager to look around Robert’s house and adjoining studio to determine where and when I could photograph him the following day.

He did show us many rooms in the house but the light and backgrounds were not ideal and there was a musty atmosphere.

The studio, in contrast, was perfect. Some of his paintings were hanging or stacked against a wall. But he seemed to believe the house would be more appropriate for the shoot. Again I told him the studio would be my choice. He told me he would discuss this the following day.

Dinner was fun and I liked Robert. He told us about his life and he was happy we were with the same gallery. He was looking forward to the important exhibition they had arranged for him.

It took some persuasion to make an appropriate time to meet the next day. He then suggested breakfast and we could make a decision at that time. After another enjoyable meal together I decided to please him and discovered one area in the house where the natural light was perfect. He sat in a chair with a large stuffed giraffe behind him and that connection seemed to delight him.

He became voluble about the fact that he felt his work had been plagiarized more than any other artist. He believed his art was not understood. He had departed from New York and was not eager to return.

Michael had been invited to join us as Robert wanted to show us even more rooms. He took us to a place where he had kept many earlier years of editions of the New York Times. He explained that he had to keep up with the political scene and we both agreed that the present administration did not please us at all.

I listened patiently, hoping to coax him into his studio. That finally happened and I started to photograph him. Paintings were hung and pitched against the walls.

Here was the opposite of his house. Bright red and bright yellow and lighter shades were abundant. Stuffed animals were everywhere. I photographed him hugging a huge lion with the baby stuffed animals at his feet. His expression showed true love towards these creatures.

He stands in photographs, he sits in others. He moves when I ask him. He was relaxed and looked wistful but he was giving me the necessary time. Later he took me outside to another area and this is where I photographed him with one of his wooden sculptures. I was aware of this work but I was not as familiar with them as his paintings. I loved them.

At the end of the shoot I thanked him and told him I felt I had enough images for my book and for my gallery to have as portraits in one of my exhibitions of artists.

A look of dismay crossed his face. “You cannot leave without seeing the island. You must stay one more day,” he declared. “And then the next morning before you leave you can photograph me in another location.”

Michael and I were happy to spend an extra day and visit this enchanting island. And so we agreed. Melissa and Scott were kind enough to drive us around the island and to take us to lunch. Melissa had heard about my photographing nudes for my three part exhibition—Covered/Uncovered: Celebrities, Subjects at work in the nude and Cadavers.

She asked me if I would photograph her in the nude near the house where they lived. We both enjoyed working together. The setting was green and peaceful. She was natural and uninhibited and moved freely amongst the trees. And she was lovely. It was an unexpected gift to have another photograph for my nude series.

The next day we were driven to where Robert had promised to meet us for a final photographic session. We waited and waited and then were told he was not joining us. I was somewhat annoyed and decided to go to the ferry and not wait any longer to say goodbye.

As Michael and I were waiting in line to board the ferry Robert arrived with many gifts. He handed them to us and told us how much he had enjoyed meeting us. Again he suggested we stay a little longer. I could not be upset. I was grateful to him for his generosity and I had enjoyed the experience of photographing him enormously.

On a May morning in 2018, I read that Robert Indiana had died. I read about his death and his last years of being solitary and not seeing any of his friends.

I look back on my meeting and photographing him with sadness. The outcome of our working together pleased me and my Gallery and others who have bought some of the images shared that feeling. Then I think of the man and the few days that Michael and I spent with him. The time when I was photographing him was the most relaxed for me and I believe for him. He was gentle and seemed happy each time I suggested another area for the shoot.

And there was always his stuffed animals. His love for them was apparent and he held them as though they brought him safety and peace. … Pleasing him with the first shoot in his house was a good idea as I believe he felt he was in charge and was then happy to move on to his light filled studio.

At other times away from the shoot I sometimes felt it was a contest between us. When he decided he would agree to be photographed he gave me so much more than his other self.

I did not ask him why he had isolated himself on this distant island but he did mention to me that he did not want to return to New York. By wanting us to stay an extra day and drive around his island of Vinalhaven I think it was to show us that he had chosen a place to live of beauty and peace.

Looking back I believe he wanted us to know his decision of isolation had been the right one for him.

I kept thinking of his insistence for us to see every room in his house. Often he stopped to point out different items that he considered exceptional and beautiful and he did not want us to move on until we had commented that we liked them.

There was a frenzy in the air when I started my career at Conde Nast in 1962. Pop Art was flourishing. Robert’s iconic LOVE defined that era. The house in Vinalhaven was the opposite. Robert was a complicated man.

Robert had chosen this life of isolation living in a crumbling house surrounded by so much from the past. The depiction of love had been taken literally but there was so much more to his art. Death, forgiveness, sin and love were all involved.

I am hoping I am wrong and that he was content. But I still have my doubts.

by Pat York

The artist who was a true hero of mine is Jasper Johns.

He was in the forefront of so many artistic movements—pop, minimal, and conceptual.

In 2007, my gallery wanted to give me a photographic exhibition of artists that would travel globally. My publisher, teNeues, wanted to publish my book, “Fame and Frame,” in three different languages.

I wanted Jasper Johns to be in both my book and exhibition. I was told he was reclusive and a very private person and would never agree to be photographed. I contacted Jasper through his representative asking if I could photograph him. I received a very polite message thanking me and telling me that he was very busy that month.

I sent a return email telling him I would email him every month to see if he was not quite so busy. To my surprise and delight, I was told I could make a date to photograph him in his Connecticut studio in the next three days.

Jasper sent a driver to meet me at the train station. I was not quite sure where we were going. On the way to his home I saw a sign for Millbrook and then knew exactly where we were.

On my arrival, Jasper greeted me warmly. He was tall and handsome and was wearing a green and red plaid shirt and beige pants. We spent time talking while I looked around his studio before photographing him.

I told him about noticing he lived near Millbrook and I mentioned my LSD experience in the 1960s with Timothy Leary who lived at an Estate in Millbrook. This occasion was to be published in Glamour but was found to be too controversial. But for me it was a wonderful, life enhancing experience.

Jasper said: “I regret to this day that I did not take LSD. I was scared. I know so many of my artists’ friends who benefited from the experience in both their work and personal lives.”

I gave Jasper three of my books to make him more familiar with my work. He looked through them and spent more time looking at the images of the cadavers and the interior of the body.

I mentioned their beauty.

He replied: “I am riveted but am not sure I can see the beauty.”

I started to photograph Jasper with different works of his art. He was very generous with his time. His expressive reactions before the camera delighted me. Sometimes his expression was severe, other times pensive and in another part of his studio with all his paints and canvases he is laughing heartily.

After the session was over he invited me to tea and gave me the opportunity of viewing his personal spectacular art collection. I thought two of the drawings were by Albrecht Durer. I was mistaken.

We discussed Durer’s work and I discovered Jasper was as impressed as I was with this formidable artist. I felt we talked as though we had known each other longer than the few previous hours.

He invited me to stay and have a drink and cookies. I asked for green tea and it was the best I had ever tasted. Jasper was drinking Coca Cola and I pedantically told him how bad that was for his health. He said he knew and would continue anyway. I believe we mentioned we should keep in touch.

I left Jasper with regret, wanting to spend more time with him. I am delighted to say we have kept in touch.

Hall of Fame baseball pitcher Randy Johnson is a passionate and skillful photographer pursuing wildlife, music concerts, and travel photography. When Johnson retired from Major League Baseball in 2010, he returned to his photography major (photojournalism) from 1983 to 1985 at the University of Southern California.

“Well, after I retired, I just traveled,” Johnson tells PetaPixel. “I went to Africa and brought my camera the very first time I went there. “I thought it was a really enjoyable place, and it embodies, you know, needing a camera and taking pictures of the wildlife.

“And I thought it was one of the greatest places to bring a camera. And because it’s unpredictable, the animals are unpredictable, and they won’t pose for you. What you get is what you get.

“I’ve been [there] five times and still looking all the time for the perfect picture from Africa. I just got back one month ago. But the first time was in 2010 or 2011; after that, I went…seems like every other couple of years.”

Johnson, a Hall of Fame pitcher, shares his forty-year passion for photography in his first solo show, Randy Johnson: Storytelling with Photographs, at the Fenimore Art Museum in Cooperstown, New York. The exhibition features 30 large prints of wildlife and people he captured during four separate trips to different regions of Africa, including trips to Ethiopia and Rwanda.

Separated from Elephants by a Few Blades of Tall Grass

Johnson (born 1963) has researched and admired many photographs of large-tusked elephants at Amboseli National Park, crowned by Mount Kilimanjaro in Kenya. The more he looked at the photos, the more he wanted to be there in their midst, capturing their majestic images. He was also there as recently as one month ago.

The name “Amboseli” comes from a Maasai (local ethnic group) word meaning “salty dust,” and it is one of the best places in Africa to view large herds of elephants up close.

“It was my dream after seeing so many other photographers that had been there,” explains Johnson excitedly. “They obviously had opportunities, some opportunities greater than mine. But I just wanted the same opportunity, a different perspective with my camera, and the freedom to get out of my car safely and take a picture.

“And nothing be in between me and the elephant, [just ’a few blades of tall grass between me and four to five tons of elephant, all in the name of getting a photo’ as he writes on Instagram]…You can tell when you’re in a car and when you’re not.

“I got out of the car. And then there are times when I’m kneeling down. At other times, I’m lying on the ground on my stomach, and I may have a longer zoom lens. And because it might be safer to be a little bit distant…maybe 20 or 30 feet. And then there were times where I might have been, you know, five feet or ten feet away, and [you] just got to be prepared to get up and move quickly [if the situation demands it].

“Well, being motionless is important, but they’re aware that you’re there. Elephants are very smart. But when they see you, they usually avoid you and don’t walk toward you unless you’re inhibiting their space. And they’ll let you know that you’re too close by flapping their ears and giving you [an indication to] back up if you’re not a threat. They’re not going to walk towards you. Probably, they’re going to avoid you or walk around you.

“There were opportunities and times where I would lay down when they walked towards me. And I wanted to see if they would continue to walk towards me so they could get closer, and my picture would be more dynamic from that [low, close] angle. But looking through the viewfinder, I could see that they must have realized I was there. They would stop 40 or 50 feet away and just look at me. And then, when they continued, they would divert from me and walk away. They wouldn’t continue to walk straight. So, they’re very smart.

Some photographers feel that the sound of the shutter can alert elephants, but Johnson disagrees.

“I don’t think the shutter…the sequence of picture taking bothers them. I don’t believe it bothers them that much.

“I never really, unfortunately, got to see the elephants I wanted to see in an environment where I could get close. There are a couple of pictures on my Instagram with elephants — one is called Craig. See how big [he is]. There’s a black and white picture. And there’s a colored picture of him I posted, two photos. You can see how big his tusks are.

“There are pictures of photographers that I follow on social media. And they’ve been to Africa and been lucky enough to get very close to him [Craig]. And where they might be 10 feet away, five feet away, lying on their stomach. And when you see a picture at that angle with an elephant that big, it’s so much more dynamic to see a picture shooting up at the elephant than being in the car and 20 feet away.

“Yes, I hoped that I would be able to get something dynamic and different. I did, but not as great as I wanted it. But I’m fortunate that I was able to experience it to some extent.

“If you don’t have access to certain opportunities, you won’t get those pictures you may want. I was inspired because I saw other people’s photos. I tried to get similar images, but I didn’t. I just didn’t have the same opportunities as they did. It’s kind of close, but not the same. So, access and opportunity are pivotal.

“And my [guides, but no photo assistants in Africa] are telling me if I’m getting too close or starting up the car and keeping a good eye on me.”

Elephants will pick up dust with their trunk and throw it on their body. And that cools them off. It makes for a fantastic picture if you can get [it right]…I couldn’t recreate what I’d seen, but I tried.

“I just follow various photographers. I don’t have a favorite photographer. I just appreciate all wildlife photographers for what they do. I know it’s not easy. You’re dealing with an animal you can’t control in the wild. Sometimes, some photographers can make incredible artwork by taking photographs, and I get great inspiration from seeing other photographers. I like going to Africa because I will see their work. And I think it’s so great that I tried to take my own photographs.

“I have visited Africa about five times now. I just got back one month ago. I went there for three weeks to Tanzania, Kenya, and Ethiopia. Before [I have traveled to] Rwanda, been down in Cape Town [Capital of South Africa] and Namibia.

“And so, a variety of places in Africa. It’s not just about the animals. There’s so much more to see. So that’s when research comes in. It helps to appreciate other photographers because many can inspire you based on what they’re photographing. And many times, I’ve gotten great ideas for travel based on some of the photographers I’ve seen.

“I probably won’t go again for a couple more years. I like traveling, but I’ll give Africa a rest and see someplace else. I will go back hopefully again later.

“I don’t know [where I’ll go next]. I just got back. I’m still going through all my photographs that I took for three weeks, like getting caught up now. Now that I’m back home, I’m busy with family and my children. I’ll start thinking about where I might travel when I get closer to next year. There are so many beautiful places that I would like to visit, but I get inspired usually by just getting on social media and looking at people’s photographs.

“Wherever I went, I went there for a reason…because I went to a specific area in Africa to see and take pictures of something in particular. And that’s all based on research before I go. I’ve enjoyed it everywhere I’ve gone in Africa for different reasons. I don’t have a favorite place. I’ve gone back many times, but when I go back, I go to other areas to see different things.

“Elephants and lions, I enjoy seeing so much; they’re fun photographing. And, like anything, it’s challenging. The elephants will allow you to photograph them much more easily than lions. Lions are harder just to find. First of all, during the day, they’re usually sleeping. So, it makes for a difficult photograph.

B&W vs Color

“The way I see something when it goes to black and white from color, I think you made the picture more desirable. I believe, in some cases, that makes it look timeless. You could have taken the photo in the ’70s, ’80s, or ’90s — you never know. I think that’s the beauty of a little grain and a black-and-white photograph. Certain pictures dictate whether they should be color or black and white. That’s just my theory.

“I’ve been tempted [to buy a Leica monochrome camera]. I do have a Leica M240. I have several different types of cameras. It’s a rangefinder, but it’s not a monochrome. I don’t have any monochrome cameras.

“After I download photos, one of the first things I do with specific pictures is look at it in color and then in black and white. Which is more pleasing to the eye? And that is usually my first start in post-production.

My Favorite Photos

“Two of my favorite pictures are in my house. And the images are rather big. They are around 30×40 inches and framed. One picture I took with my Pentax 67 [released in 1969 and called 6×7 before 1990] And it’s a picture of Seattle back in the early 90s. It was around 1991-92 when it was snowing in Pike Place Market. And back then, I enjoyed shooting black-and-white films.

“There was an old newsstand/magazine stand. I had my back up against the far wall. So, I could see the gentleman selling [the newspapers]. And that was half the picture. The other half of the picture went out to the street, where you could see the snow, the stop sign, and a couple of people walking. It is just a timeless picture because it’s black and white. It didn’t snow in Seattle very often in that area anyway. One of the gentlemen walking down the sidewalk has an oversized black trench coat and a big hat. It looks very ominous, with the slow shutter speed making him slightly blurred. It’s one of my favorite photos to this day. I still have it in my house. I miss film.

“There’s another picture I took even before that. I was in college, walking down an alleyway behind some fraternity houses. I saw this old Mini Cooper car sitting in a dumpster! It looked like there must have been a dozen kids that probably picked it up the night before when they were partying and must have thrown it in the dumpster as a joke. Maybe it was somebody’s car, and it was a joke or something, I don’t know. But that was black and white. And I still have that in my house. So, two of my favorite photos are from the 80s and 90s. And they’re framed, and then I have a couple of animal pictures from the 2000s and from 2022-2023 in Africa.

Film vs Digital

“I’ve scanned [and printed] several pictures that started back in my college days. Then, all I shot was film because that’s all there was. I was working for the college newspaper. Most of those pictures I have are old concert pictures. I still have some of those slides and negatives. I’d have to get them scanned.

“The two pictures, one from Seattle [bookstore] and the Mini Cooper, were scanned. And those started originally on black and white film. And then there are other digital pictures that I take, and I enlarge those as well. I wish I had more film pictures from back in the 80s. But unfortunately, I had a career after that in baseball, and of course, many of them [photos] got misplaced, destroyed, and thrown away. Still, I’m thankful I had an opportunity to have film cameras and shoot things back in the day. It was a lot of fun.

“If you shoot film [today], you obviously are shooting it for a reason. It takes more patience and time; you don’t have instant gratification. It takes time to take the picture, and you hope and pray that the exposures are correct. And then you have to get the film developed. And that takes a little while unless you have a darkroom. And it’s just a longer process.

“So that’s probably one reason people don’t do it as much. And then everything that I just said are some of the reasons why people still love film photography. I love it because it just has a different look. You can’t recreate film photography, even with many apps like Photoshop and Lightroom. When you see someone’s picture from the 70s, you don’t need to know it’s film; it’s just that look. And it’s kind of grainy and has that great, timeless look.

The Gear Behind the Photos

“In Africa, I have used Canons. I don’t remember which Canon I took the first time I went in 2010. I’ve advanced in different camera gear since then, better Canon cameras and different telephoto lenses. There’s been a natural progression over time, and we’re talking 13-14 years. I’ve advanced in picture-taking and gotten better cameras over time.

“The last few times I’ve been there, I had the Canon 1 DX Mark II. And this year, back in spring, I bought a couple of new Canon cameras, their mirrorless Canon R3. Yes, and so I brought it to Africa this year. I’ve shot primarily with Canon, but I also have a Leica, but I don’t bring it to Africa, and I have a film camera, the Pentax 67, which also I don’t bring to Africa as it’s too big and bulky.

“Cameras kind of dictate when I’m going to use them. If things are fast [moving] and I need quick images like at motorsports or Africa, I use my new purchases because they’re fast with autofocus.

“If I’m out in the desert here in Arizona, the Grand Canyon or something? I might bring color or black and white film [on Pentax 67] because nothing is moving. The images are just there – cactus, the trees, the hills, and I can just take my time.

So, what was in Johnson’s camera bag on the last trip to Africa?

“I had an array of lenses for the three weeks I was there, based on any situation and circumstance I may need. Not everything is close. That’s why I brought so many different lenses from experience.

“I have a lot of faith that the lenses I use the most are the ones that most photographers use — the 24-70 and the 70-200. I’m lucky enough to have many big lenses, too. I have the 400 and 600. But you don’t need those very often. But when you go to Africa, it’s nice to have them. I got them because I went to Africa more than once.

“I shoot in RAW. And I do that because it doesn’t matter how much information the file takes. I bring multiple CFexpress cards. Depending on how big of an image I plan on enlarging, it’s also essential to have a big file for editing.

“Everything that you see on Instagram I’ve edited. But there are a lot of times when I may on more important photos, have someone take a look and do something that may need to be done. I don’t do Photoshop, just Lightroom, and basically, all I do is sharpen the picture and turn up the clarity a little bit, straighten out the horizon line, or turn something from color to black and white. That’s all I do when it comes to editing.

“Some of the photos [in the Fenimore Art Gallery in Cooperstown] I had someone help me edit. Because there were things that I needed kind of cleaned up a little bit and sharpened, and they were going to be presented as large photographs, and I wanted to make sure that everything would be presentable in a gallery.

“Everything that I have is in folders in my Lightroom. And I think it goes back to about 2010 to the present. So that’s 13 years. I probably have around 100,000 photos… of wildlife, concerts, landscapes, motorsports, drag races, NASCAR, and all my travel worldwide.

“On the Pentax 67, [using 120 film] I use Delta 400 ISO [Ilford] and the HP5 Plus [400 ISO Ilford] for black and white and Ektar Kodak [100 ISO] for color. I don’t know how good the film is [looking inside his fridge in the basement]. It seems like a little over a year and a half old.

Getting Started in Photography

“I enjoyed it at a young age. In high school, I took some classes. Then, when I went to college, I studied photojournalism in 1983 at the University of Southern California. I worked for the Daily Trojan, the college newspaper, where I would get assignments and then be able to go into the darkroom and develop the film, make a proof sheet, and then work with the photo editor. And that was just the beginning of what I inevitably would enjoy. And now it’s become a passion. Obviously, after college, I went on and played baseball. So, this ball took up much of my time because I was trying to perfect my craft and understand pitching. And I was very fortunate to play for a long time. But when I retired in 2010, I picked up my camera again, started traveling, and enjoyed retaking pictures.

“I had a couple of different film cameras. I had a Canon A-1 and a Pentax K1000 [made between 1976-97 and sold over 3 million]. I don’t have either of those cameras anymore, but I still have a medium-format Pentax 67 film camera. I take that when I want to take pictures of landscapes like the desert where I can just take my time and get the exposures correct, and I’m not rushed.”

Johnson has photographed top music concerts and artists like Aerosmith, U2, KISS, ZZ Top, Elton John, Billy Joel, Judas Priest, Pearl Jam, Soundgarden, and Guns N’ Roses.

So, we ask him if he had to choose between shooting Aerosmith or Africa, which would it be?

“At this point in my life, I would probably go back to Africa,” says the 6-foot-10 “The Big Unit,” [nickname] whose fastball has been clocked at 102 mph and even killed a bird in flight (which ended up on his photography logo)!

You can see more of Randy Johnson’s work on his website and Instagram.

Randy Johnson: Storytelling with Photographs at the Fenimore Art Museum in Cooperstown, New York, is open till December 3^rd, 2023.

About the author: Phil Mistry is a photographer and teacher based in Atlanta, GA. He started one of the first digital camera classes in New York City at The International Center of Photography in the 90s. He was the director and teacher for Sony/Popular Photography magazine’s Digital Days Workshops. You can reach him here.

Image credits: Header pitching photo by Cathy T and licensed under CC BY 2.0. All other photos by Randy Johnson.

My name is Simon Wiffen, and I’m a Leeds, UK-based photographer specializing in family, lifestyle, portrait, commercial, and event photography. In this article, I’ll share my 6 best tips for better event photography to help you achieve the best results.

Whether you’re shooting a family event, business event, conference, or awards ceremony, event photography can be challenging. These tips will help to take your event photography to the next level.

Table of Contents

1. Understand Your Equipment

This first tip should go without saying and is really true of any commercial photography work but for events photography especially, I can’t stress enough how important it is to fully understand your equipment.

You’ll need to work fast and respond to situations as they happen (often in the dark), so it’s important you understand how to get the best results with the equipment you have, and to be comfortable enough with your camera to be able to quickly adjust the settings on the fly.

Shooting photography for any kind of event is a big responsibility. The organiser is relying on you to deliver results and there are no second chances. If you’re familiar enough with your equipment then you can concentrate on the job you’re there to do – capture the event!

2. Learn to Shoot in Low Light

Let’s get this out of the way straight away – with event photography you’ll often be working in challenging conditions and low light. It does depend on the type of event of course but in general, everything that makes a venue look fantastic, moody, and cool can often make it a challenging situation to photograph well.

The word photography literally means ‘drawing with light’ so when you don’t have enough to work with it’ll always be difficult. I could write a whole article on working in low light, but I’ll just touch on the main points here.

Aperture

As photographers, we often refer to fast lenses. That’s to say lenses that have a nice wide aperture. The wider the aperture on your lens, the more light goes in and hits your sensor and the easier it is to get great results.

Shooting an event with an f/4-5.6 kit lens isn’t impossible but it’ll make your life much, much harder. Generally speaking, you want to shoot as wide as you can. An aperture of f/2.8 or faster is a great place to start.

ISO

Modern cameras are really effective in low light. It wasn’t all that long ago that pushing your ISO above around 1600 would start to introduce a lot of noise but you can push modern cameras much further to 3200, 6400, or even higher and still get acceptable results.

When it’s critical you get the shot I’d always prefer to shoot at a higher ISO and make sure I’m capturing sharp images then introduce the risk of camera shake. You can always remove noise in post if you need to but generally, today’s cameras will handle things pretty well.

Shutter

As a general rule, to avoid camera shake you want to use a shutter speed roughly equivalent to your focal length. For example, if you’re shooting on a 50mm lens you’d be aiming for a shutter speed of around 1/50 or faster. Similarly, if you’re shooting at 200mm you’d be wanting to be at 1/200 or faster. The longer the lens, the less forgiving it is because every movement is effectively magnified.

Some cameras, and lenses, include stabilization which can really help reduce camera shake, especially if you have a good hand-holding technique. With that said, I usually find when working quickly and reviewing images it’s often quite hard to spot minor camera shake on a camera monitor so I like to try and stay safe by keeping the shutter as high as I possibly can.

Flash

Using a combination of aperture, ISO and shutter can allow you to work with natural light, in fact, you might find yourself in a situation where flash isn’t allowed so you’re going to have to manage as best you can. However in reality, if you’re going to shoot event photography you’re going to have to learn to master flash eventually.

Again, I’m not going to go into detail on the use of camera flash in this post. If you’re coming in cold I’d strongly recommend you head over to Strobist for a wealth of information on how to use flash effectively.

Whereas in a studio setting, you might work with strobes, softboxes, etc, at an event you’re going to be on the move so you’ll usually have to manage with on-camera flash.

Now the problem with on-camera flash is it’s just not all that flattering. It’s a small, harsh light that produces harsh results so the trick is to make it bigger. The normal strategy here would be to bounce the flash off the ceiling or a nearby wall. This will give you a much bigger effective light source and more flattering results that’ll improve your event photography instantly.

It’s not a magic wand though. If the walls in your venue aren’t white then any colour will be introduced into your reflected light which can bring a really unpleasant colour cast into your photographs. If the walls are dark, they’ll just suck in all the light you throw at it and you’re back to square one.

Similarly, depending on the venue, you may find the ceilings are so high they don’t really allow you to bounce the light which can limit your options. In these instances, it’s a case of getting the best you can with the conditions you have. If you can’t bounce your light there are other ways to soften it – you can fit diffusers or bounce cards to your flash to help spread the light in a more flattering way. It’s not as effective but anything you can do to spread the light will help, even if it’s just a little bit.

Finally, be aware that if you’re working with flash for event photography, you’ll almost certainly be competing with the existing practical lighting in the room. Unless you want the contrast for creative effect, you may want to gel your flash to match the ambient lighting for more natural results.

Where I have to match flash to ambient light I find the magnetic Godox AK-R1 round head accessory kit perfect to use with my Godox V1 on-camera flash. It contains a number of color correction filters plus the dome head or bounce card (which can be attached in combination with the filters) are really handy to help soften the harsh light where you can’t bounce the flash effectively.

3. Get Involved (But Don’t Get in the Way)

OK, now we know our equipment like the back of our hand and we understand how to get good results in low light we’re ready to start concentrating on actually capturing our event!

I always think the ultimate aim of good event photography is to make the viewer feel like they’re part of the event. If you’re new to event photography you might feel a bit self-conscious but you won’t get engaging images by standing on the edge of the event, you need to get involved and put yourself in the heart of the action.

That’s not to say you should put your needs ahead of the guests. Your job as an event photographer is to blend in as much as possible. It’s not easy. Sometimes the room is busy and it can be hard to move around, especially with camera in hand.

It gets easier the more events you shoot. People will realize you’re there to do a job, but you have to balance it with allowing guests to enjoy their event.

Event Photography Etiquette

A few quick tips to help things go smoothly:

1. Spaces can be tight in busy rooms. If you need to squeeze past, ask politely. Never barge through.
2. Be careful when moving around not to knock any of the guests, especially when carrying your camera. Accidents happen – If you knock someone, apologize!
3. Be courteous to staff and let them do their job. If you’re in the way, move, let them pass, and then carry on.
4. If you have to position yourself where you’re blocking someone’s view then be mindful of that. Sometimes it’s unavoidable but shoot what you need and move on as soon as you’re able. Guests will understand you have a job to do but they’re not there to look at the back of your head.
5. Sometimes you might find yourself shooting where you might be preventing someone else from doing their job. For example, if there’s a sound or lighting desk or if you’re working alongside a videographer. If you feel there’s a chance you might be in the way then ask. If you’re asked to move, then do it. I often find myself shooting alongside videographers and it’s always good to chat with them and understand their needs. For example, they might want to capture you at work as part of their shot. Other times they’ll be trying to keep you out of the frame. If you understand what they need and work together you can make sure neither of you prevents the other from doing their job.
6. Don’t photograph people if they’re eating. Instead, concentrate on documenting the experience. Capture images of the service and the food itself. I usually start shooting again once guests are onto coffee or drinks after the meal.

4. Keep Your Eyes Open and Your Camera Ready

Photography is about being in the right place at the right time but that’s not to say you have to be lucky. You can make your own luck.

When I’m shooting event photography I’m always looking for interactions and moments that show people are engaged and having a good time. The secret is always to be ready to shoot and to keep your eyes open.

With experience, you start to anticipate when shots are likely to present themselves. Be on the lookout for people laughing and having animated conversations. These can give you a good few minutes to get yourself into a better spot so when the next laugh or smile comes you’re in the best position to capture it.

I find when I’m shooting event photography I spend a huge amount of time scanning the room, watching, and looking for opportunities. If you can spot these and anticipate them early enough to get where you need to be then that’s half the battle won.

5. Recognize Your Stakeholders and Their Needs

If you’re commissioned to shoot an event, it’s imperative that you understand all the stakeholders that are involved. Before you even arrive at the event you should already have a good understanding of the brief. If not, don’t be afraid to ask!

A lot of work goes into putting on an event and if you want to provide an excellent service, you need to understand everyone’s different needs. Make sure you capture the room, not just during the event but beforehand when it’s presented at its best. Look for details that show the attention to detail that the event organizer has put into the planning, whether that be food, refreshments, table settings, entertainment, etc.

If the event has particular VIPs make sure you know who they are and that you capture them in your images. If the event has speakers or panels make sure you capture the whole panel together plus everyone in action individually, speaking and engaging with the guests. Similarly, if guests are interacting with speakers capture that too from the speaker’s point of view.

If you’re shooting a corporate event make sure you’re composing your shots to maximize visibility of their branding or the branding of key sponsors.

Sometimes your brief will give you a specific list of required shots like these. Other times you may be working to a looser brief but being able to understand the different elements that go into a successful event and capture them effectively will make for very happy clients.

6. Be Prepared to Work Hard

Finally, event photography is hard work. As we’ve discussed, the conditions can be challenging. It can be difficult to move around effectively. There are a lot of things happening in different places and your job is to capture everything with no second chances. It’s not a job for the faint-hearted!

I’ve shot events where I’ve covered 13km jumping between two keynote stages and if you throw into the mix that I’m often shooting with a 70-200mm lens and flash attached to my camera, that’s a lot of weight to be carrying.

Be prepared to work hard… and wear comfortable shoes.

I really hope you find these tips useful for your own event photography.

About the author: Simon Wiffen is an award-winning photographer, husband, dog owner, record collector, and dad of three. The opinions expressed in this article are solely those of the author. You can find more of his work and writing on his website and blog. This article was also published here.

Sure, it is wise for beginners to learn from experienced photographers, but there are certain qualities that most new photographers have that many experienced photographers spend years trying to recover.

In this video, photographer Alex Kilbee considers the great things that uniquely set beginner photographers apart, allowing an unburdened approach toward photography. Lots of knowledge can actually interfere when you are trying to take photos due to the vast amount of information that has been built up over many years of training and practice. The beginner photographer is not burdened with this knowledge, and so, they just see something and take a picture of it, not thinking beyond what is in front of them too much. That is an extremely free way of taking photographs.

It’s certainly an interesting take on the topic. Experienced photographers can sometimes lose their inquisitiveness as they become comfortable with their skills and routines. They’ve mastered the technical aspects, honed their artistic vision, and built a portfolio. This confidence can lead to complacency, where they stick to familiar subjects and techniques, failing to explore new horizons. Yet, photography thrives on curiosity, and the beginner can shoot fuelled with raw passion, relying more on instinct than thought, which is a wonderful trait for a photographer to have.

Can we recapture some of the qualities that we had as beginners? Perhaps it is possible to regain a little of this magic when we pick up a new piece of equipment or approach familiar subjects in new ways.

When Eve Arnold joined Magnum in 1951 – four years after the renowned photographic agency was founded – she was its first female photographer. “Magnum was about to open a New York office,” she would write in her acclaimed monograph, 1976’s ‘The Unretouched Woman’. “I went to see them. Being a woman helped. I was to be their token American woman stringer.” By 1957, when she became a full member, she was one of just two women on the agency’s books internationally.

Seventy years later, a new exhibition delves into Eve Arnold’s extensive archive, foregrounding a collection of her most significant work. “The subject matter is definitely not just women, but it is her perspective that we wanted to reflect,” said Nicola Jones, founder and director of the Newlands House Gallery in Britain, in an interview with CNN.

The photographer’s most celebrated images are presented alongside several of her lesser known but equally compelling works: from Marilyn Monroe on the set of “The Misfits” to Malcolm X speaking in Washington, and Black fashion shows in Harlem to a natal ward in Long Island.

“One thing that comes through in all of her photographs is a non-judgmental, empathetic character,” continued Jones. “The breadth of her work too, was so extraordinary, as was how quietly and effectively she overcame various taboos, and similarly the access she managed to obtain.”

Born in Philadelphia to Jewish immigrant parents from Ukraine, aged 31 Eve moved to New York where she married, eventually settling in the UK in the 1960s where she lived until her death, at age 99 in 2012. While in New York she took a photography class under Alexey Brodovitch — the-then art director of Harper’s Bazaar — at the New School for Social Research.

Tasked with a “fashion” assignment, Eve spent a year photographing weekly catwalk shows in Harlem, a largely invisible (within the mainstream fashion industry) series of events featuring Black models showing off homemade outfits to a Black crowd. “The photos were fantastic and really ground-breaking,” said Jones. “She chose to do something so incredibly different at a time when segregation was still so prevalent in America.”

“The issues she photographed are as important (now), if not more so, than ever before,” Michael Arnold, the photographer’s grandson, told CNN in an interview. “She kept herself neutral because she saw her job as a reporter. She was fascinated in what was going on in the world around her and wanted to shine a light on it. Despite being apolitical, her subjects (revealed) her interests.”

Elsewhere on display is a lone image from a series shot to accompany a piece in The Sunday Times Magazine: “Lesbian wedding celebration” highlights the heterogeneity of Eve’s camera. “The original piece, interestingly, was called ‘Women Without Men’ — as if that’s such a groundbreaking thing — but in 1965 it was something you could make a reportage story out of,” said Michael. “When Eve started out doing photography, 95% of women were housewives. For her to go out and be traveling the world was groundbreaking.”

Indeed, she acknowledged the anomaly and supposed eccentricity of her gender in “The Unretouched Woman”. “My colleagues were not spoken of in inverted commas; they were not ‘career men’ or ‘men photographers’,” she wrote, recognizing the double standard while never establishing herself as a feminist.

Her gender however, while in no way shaping her photographic successes, would, by default, inform her legacy at the vanguard of twentieth century photography, something she frequently downplayed said Michael. “It wasn’t false modesty, she genuinely found it quite strange,” he recalled. “She perhaps didn’t even recognize the role that she played in the history of photography.”

While Eve once told Michael she didn’t want to be known just for her Marilyn Monroe work, the images are a striking example of her broader practice and ability to build authentic relationships with her subjects. “Those shots, globally known now, tell a story of a lady who managed to gain the trust of someone who was notoriously vulnerable and at times fragile, who trusted Eve to photograph her in ways that perhaps she wouldn’t allow others to,” said Jones.

Moreover, what allowed Eve ultimately to produce work as she did, was her bold sense of curiosity. “That drove her, a genuine, insatiable kind of curiosity. She wanted to know what made someone tick,” said Michael. “I think her compassion and curiosity is one of the major things that sets her apart. It’s the kind of humanity that shines through, whether she’s photographing the royal family or a working-class family. That’s what makes her photography relatable, and timeless.”

“Eve Arnold — To Know About Women” is on at the Newlands House Gallery in Petworth, UK, until January 7 2024.

The Tennessee Professional Photographers Association recently announced the appointment of Misty Westebbe, owner of Misty Westebbe Photography in Franklin, as president for 2024.

Westebbe’s dedication to her craft, combined with her exceptional leadership qualities, positions her as an exemplary choice to lead TNPPA into the future, according to a press release from the organization.

Westebbe is a well-respected figure in the photography industry, known for her expertise in family portraiture. Her studio in Franklin has consistently delivered exceptional photographic experiences and earned her numerous accolades and recognition in the field.

TNPPA, an official Community Network of the Professional Photographers of America (PPA), shares Westebbe’s passion for photography and her commitment to elevating the industry. The organization’s core values of innovation, inspiration, and the relentless pursuit of photographic artistry align perfectly with Westebee’s vision for TNPPA.

“Misty is kind, capable, and a consummate professional,” said Karen Fox, incoming chair of the board for TNPPA. “She runs an extremely successful studio in Franklin specializing in family portraiture, and has earned many prestigious industry accolades, including a recent trip to Ireland to attend the Future of Photography conference.

“Misty brings a wealth of business and technical knowledge to the organization. She is currently planning an incredible spring workshop event for April 2024. We are excited for Misty to serve as the organization’s president for 2024.”

Westebbe’s leadership will undoubtedly steer TNPPA toward continued growth and success, fostering a vibrant community of photographers across Tennessee. Her dedication to photography, coupled with her business acumen, will inspire and empower TNPPA members in their photographic endeavors.

For more information about Misty Westebbe and her photography, visit Misty Westebbe Photography.

Established in 1951, the Tennessee Professional Photographers Association (TNPPA) has a rich history of photographic excellence. The art and business of photography have evolved over the last seven decades, but the mission and purpose of TNPPA have remained steadfast: to offer educational and networking resources for aspiring and professional photographers who are serious about their craft.

“King of the Ozarks” is a series of pictures and interviews revolving around King Davis, an African American dairy farmer. It’s a document of his descendants, a deeply Ozarkian family, some of whom still live on the farm.

The photographer, Joyce McMurtrey, resides on a vineyard near Mountain Grove with her husband. She opened the Ozarks Studies Symposium in West Plains two weeks ago, and says that “King of the Ozarks” started as a way to meet her neighbors.

“I had heard stories about an African American man named King Davis. And everybody I worked with in the vineyard had a story about him,” she said. “And, as it turned out, his farm was six miles away from the farm that I currently live at.”

McMurtrey developed two ongoing picture projects before this one debuted in 2018: “Grapeography: a Year in the Life of a Missouri Vineyard” and “Ozark Women,” which will also be exhibited in West Plains in February and March of next year.

“King of the Ozarks” opened in September and runs through October 20 at the Gallery at the West Plains Civic Center. More information and a slideshow of the exhibit can be found on the West Plains Council on the Arts website.

The overall winners of this year’s contest were Marcel Drechsler, Xavier Strottner and Yann Sainty for this image called Andromeda, Unexpected. It shows a huge plasma arc next to the Andromeda Galaxy. Plasma is superheated matter that makes up 99 per cent of the universe. The Andromeda Galaxy is the nearest galaxy to our own Milky Way. Judge László Francsics said the image is not only ‘spectacular,’ but it’s also valuable to researchers. According to the observatory’s website, scientists from around the world are coming together to investigate the plasma arc shown here. (Image credit: Marcel Drechsler, Xavier Strottner and Yann Sainty/Royal Observatory Greenwich)

By Rebekah Absalom

Published: 03:36 EDT, 9 October 2023 | Updated: 03:41 EDT, 9 October 2023

Many people will be shy when the camera comes out – used to a lifetime on unflattering snaps from closed eyes and double chins to goofy smiles.

But photographers have now shared how to perfect your smile to take the most photogenic snap possible – no matter how you’re feeling.

Around 70 per cent of Brits feel uncomfortable in photos, according to a study by Invisalign this year.

So you’re not alone if you find yourself feeling anxious when a camera is upon you – but luckily, experts from Lafayette photography have revealed how you can achieve the perfect grin.

Whether it’s a group photo, selfie or professional shoot, these tricks will help you smile naturally and feel more at ease the next time a camera is upon you…

Smile with your eyes

Most people in the UK have tried ‘smizing’ in photos. The term, coined by supermodel Tyra Banks, means ‘smiling with your eyes’.

To achieve this, maintain a relaxed facial expression, tilt your chin and slightly squint your eyes.

It might not feel entirely natural, but it’s remarkably effective in enhancing your facial appearance for a picture-perfect smile.

Think happy thoughts

Our minds are powerful. 

By simply diverting your thoughts towards things that make you happy – whether it be a person, place or thing, you can boost your mood, reduce stress and create a positive atmosphere around you towards things that make you happy – whether it be a person, place or thing, you can boost your mood, reduce stress and create a positive atmosphere around you.

A recent study by the University of Sussex found that thinking about happy things for just two minutes can reduce stress levels by up to 25 per cent.

This approach ensures no awkward posing or fake smiles; instead, you’ll naturally feel more relaxed, promoting a genuine smile.

Laugh

If you want to create a big, personality-filled smile, try laughing.

This combination of genuine emotion and a well-timed laugh can elevate your smile, making it appear even more radiant and full of life.

Letting out an audible breath pushes air out of your stomach, giving you the added bonus of a tighter midsection.

Close your eyes 

A helpful tactic to ensure your photos have a natural and effortless look is to briefly close your eyes a few seconds before the photo is taken.

As the shutter moment approaches, slowly reopen your eyes while adding a soft smile to your face. 

This technique relaxes your facial muscles, resulting in a more authentic smile.

This method can be particularly helpful in group photos, where there may be various distractions. By briefly closing your eyes, you can momentarily block out the chaos and regain your focus. 

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Clench your teeth

Clenching your teeth before smiling in photos is a technique some people use to create the appearance of a more structured or defined jawline.

This can be particularly useful for individuals who want to emphasise their jawline or give the impression of a more chiselled facial structure in photos.

Around 30 per cent of Brits clench their teeth in photos to try to look more confident, according to a study by Invisalign.

When you clench your teeth, it can cause the muscles in your jaw and neck to tense up, which can temporarily define your jawline and make it appear more prominent.

However, excessive teeth clenching can look unnatural, so clench your teeth only slightly.

Touch your tongue to the roof of your mouth

Rather than relying solely on your teeth for a smile, let the muscles in your face and neck do the work.

Gently pressing your tongue against the roof of your mouth triggers a subtle tightening of the muscles in your face and neck, creating a more natural-looking smile.

Practice makes perfect

Smiling in front of the mirror will allow you to move naturally and try different angles and poses that work for you – though taking self-portraits might be more effective as you can also see how you register in the camera.

Some people look better when they smile with teeth, while it’s more flattering for others to smile without teeth. Practice both to see what works best for you.

Keep your chin up

Allowing your chin to point downward can often result in noticeable wrinkles in the neck area – a cause for concern for nearly 60 per cent of British adults.

To achieve a more flattering and youthful appearance, try to create as much separation as possible between your chin and neck.

By elongating your neck and gently jutting your chin forward, you can create a more defined and elegant jawline, which contributes to a more confident look in photos.

Be yourself

While it might sound cliché, the universal trick for achieving the perfect smile in photos is by simply being yourself. Forcing a smile rarely looks good.

The best smile is one that you can comfortably maintain for an extended period, even up to an hour if necessary.

So, the next time you’re about to be photographed, relax your facial muscles, smile with your eyes and don’t be afraid to show your teeth (or not, depending on what feels natural to you).

When you are yourself, your true beauty will shine through, resulting in the most attractive smiles in your pictures.