We kick off the week with some intriguing photo compositions that include key lighting elements and purposeful framing. Below, photographers Jesse Rinka, Kiati Plooksawasdi, Lensy Michelle and Lee Maxwell explain how they got the shot.

Tarrytown, New York-based photographer Jesse Rinka explains that this flash composite was created during an engagement session in which the weather was slowly becoming more and more of a factor as the session progressed. “To give my couple a break from the mist and drizzle, I had them get comfortable on this bench (which benefitted from some overhead cover). I also loved the location due to the many layers that existed from foreground to background,” he says.

In order to really bring the image to life, Rinka added a 200w/s monolight with a 1/2 CTO gel placed on the ground behind our couple aimed straight up. “This would illuminate both the wall behind them as well as the trellis ceiling above,” he explains. “For the key light, my assistant handheld another 200w/s monolight with a 1/4 CTO gel and a MagSphere from MagnetMod to help soften the light source. Her position was camera left standing against the inside of the left column.

Rinka says he generally likes to keep his key light source as close to his subjects as possible so here, a plate shot was used to remove the assistant and the handheld light during post-processing. “In addition, I lowered the White Balance in-camera to ~4100K. This allowed me to introduce cooler tones anywhere that my light was not hitting with the CTO’s balancing out the temperate of the light on and near my couple.” RInka adds: “Creating unique images and photo compositions in locations that are very popular is my number one goal. Mastering compositing techniques, use of color and light control all allow this to happen.”

Below, a boudoir image below created by Maryland photographer Kiati Plooksawasdi of Kiati Plooks Photography at the recent AIBP Retreat held at Shawn Black’s Couture Black studio in Boston, MA. “I love how the fabric adds unexpected elements of movement and drama to the image, complementing the pose of the subject,” says Plooksawasdi. 

To capture a shot like this, he explains, you will have to have someone to help toss the fabric or set up a remote trigger so you can toss the fabric and still trigger the camera. “Having a fast lens and the right lighting is key to freezing the fabric to get the shot,” he explains. “Using strobes will make freezing the motion of the fabric easier but as you can see in this example, you can still achieve this with available light.”

Beauty: @alexisburgo
Hair & makeup: @shaunnalegatos_mua
Thigh highs: @viennemilano
Draping fabric: @sewtrendyaccessories
Lighting: @geekoto

[Read: How to Photograph Natural Light Morning to Night]

Elopement and “non-traditional” wedding photographer Lindsey Michelle Williams, aka Lensy Michelle, says that during her pre-photoshoot call with the couple below, they said something to her about how when they are together nothing else matters and they lose track of time. “I wanted to incorporate this idea into a shoot of the couple in one of the busiest locations in the world—Grand Central Station in New York City. I wanted a photo where the couple was the focus amongst a swirl of moving people.”

To get the best of photo compositions, the photographer dropped her shutter “really low” to 1/20th of a second and spun the camera as she took the shot. “I knew from doing this a few times before that the middle of the image always appears to move less than the outskirts of it, which is exactly what I was going for,” she explains. “I also tried a similar technique where I used a lower shutter speed and a speed light to freeze the couple’s movement even more, but the stark lighting (although it froze the subject perfectly) took away from the overall feeling of the image. So, in the end, my favorite shot is this one; it’s slightly more blurry and edited to have a filmy feel to match its imperfection.”

[Read: 9 Tips for Better Urban Portrait Photography]

In terms of capturing the image below, also by Lensy Michelle, the photographer says she saw the helicopters flying across the skyline and directed the couple to look at each other. “We had about 30 seconds from when I first saw the helicopters to when they were in frame. I shot about four versions of the photo as the helicopters flew across the sky. I like this framing the best because it is well balanced with the couple, the tallest building in the skyline, and the helicopters.”

Photographer Lee Maxwell says that what stood out to him initially when planning the image below—taken at Upton Barn & Walled Garden, in Devon, England—was the color and tonal contrast. “It was a wonderful summer’s day, with sunshine all day long. So to have the blue hour add a different element/layer to the scene was a nice contrast to the rest of the gallery. It also provided a chance to incorporate the personal touches of design with the unique environment of the venue.”

When it comes to photo compositions, getting it right in a scene like this is critical, says Maxwell. “It can make or break an image. Shooting natural moments for 95 percent of the day is a constant game of reactions. For this type of shot you can do the leg work before capturing the shot. The geometric shapes were a natural pull for a composition like this. I opted for some symmetry with a central pose and incorporated the garden lights for some depth.”

[Read: What Great Artists and Photographers Can Teach You About Composition]

Maxwell continues: “I capture portraits at every wedding, but I rarely do so in the evening. The couples who tend to book me are after a documentary style approach, so after the speeches it’s time to let your hair down and party the night away. If I want to suggest to the couple that I have an idea for a night shot I need to know it would be worthwhile. Here, I made a lens choice, set up a flash and figured out my exposure and composition before asking the couple if they wanted to head outside. It was a ‘two minutes and done’ kind of approach. For these types of compositions, I want to be relaxed, but also precise. Asking the couple to line up with the wooden beams, with me being careful to keep the lines straight keeping the focus on them and not distracted by other elements.”

Dig into our Photo of the Day archives for even more eye-catching portraits and photos that include intriguing photo compositions, lighting and framing. Submit your wedding portraits, editorial, documentary and other interesting images to: jacqueline.tobin@emeraldx.com.