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Joe McNally: Master Techniques for Stunning Environmental Portraits

On this video pro photographer Joe McNally and Daniel Norton from Adorama work on shooting  environmental portraits.

Last week we posted a different video from this McNally/Norton photo session which focused on shooting with window light. On this video McNally uses artificial light and natural light and he looks at other aspects of the shoot like nailing the aperture when shooting several people in the frame. Shutter speed also plays a significant role here and McNally shows when looking at the light on his two male models.

McNally also shows an interesting trick of bouncing a flash from the floor to give a little bit more of an extra light in an area which is hard to reach next to the model.

You can find many more helpful photography tips on our Photography tips section here on and LensVid. You can also check all of Joe McNally previous videos here on the site on this link. Finally – if you are into dance photography – we have several videos on this interesting topic.


  1. Master Shooting at Noon: Step-by-Step Guide with Lindsay Adler

  2. Create Stunning Vintage Portraits on a Budget: Pro Photography Tutorial

  3. Master Studio Portrait Photography On Location: Pro Techniques Revealed

  4. Studio Portraits with Neon Background Effects: Pro Photography Tutorial

  5. Master Monochromatic Portraits: Behind-the-Scenes with 3 Easy Setups

Lighting
  1. Master Dramatic One-Light Portraits On Location: Solo Photography Tutorial

  2. Master High-Key Portrait Photography: Pro Setup with 3 Speedlights | Erik Valind

  3. Master Creative Portraits: Jake Hicks' Step-by-Step Lighting Techniques

  4. Joe McNally's Masterclass: Portrait Lighting with Vintage Cars in a Garage | Behind-the-Scenes

  5. Master Portrait Lighting: Joe Brady's Angel Food Cake Recipe

  6. Master Rim Lighting: Pro Techniques for Stunning Portrait Photography

  7. DIY Cereal Commercial: How to Shoot a Fun Ad at Home

  8. Shooting in Tiny Spaces: Expert Photography Tips from Mark Wallace