Staying on His Toes
Andrew Dobin shifts from concert photos to portraits with his trio of Tamron lenses.
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By Jenn Gidman
Images by Andrew Dobin
Andrew Dobin can usually be found in front of a concert stage, documenting the likes of Katy Perry, Machine Gun Kelly, and Lizzo as they wow the crowds with their set lists. But the Minneapolis event photographer also likes to switch gears for event photography and portraiture, and the occasional shift helps him keep from going on autopilot. “You definitely have to be more present when you’re taking portraits or, say, wedding photos,” he says. “There’s much more interaction, and I’m more in control of the situation, though I try to make sure my portraits are organic and authentic, not staged.”
70-200mm (280mm), F/4, 1/100 sec., ISO 200
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35mm, F/3.2, 1/200 sec., ISO 200
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A trio of Tamron lenses accompanies Andrew on these sessions: the SP 24-70mm F/2.8 VC G2 high-speed zoom, SP 70-200mm F/2.8 VC G2 telephoto, and SP 35mm F/1.4 prime. “The 24-70mm has become my go-to lens when I want more flexibility and range, am putting in a 12-hour day, and don’t want to carry extra gear around,” he says. “I use the 70-200 more selectively, for ceremonies and special moments when I’m not able to get as close to my subjects. As for the 35mm, I used to shy away from primes, but now I appreciate that I know rather quickly how my images are going to frame, plus the fact that I can achieve such a shallow depth-of-field.”
35mm, F/4, 1/320 sec., ISO 640
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Andrew’s ultimate goal: to draw out the calm in what’s often an anxiety-ridden situation. “I want to make my subjects realize a photo shoot is simply a human-to-human interaction,” he says. “I’m not going to ‘analyze’ them, or be critical—I simply want to capture them at their best. I like leaning into the fact that, ‘Hey, I hear you. I don’t love getting my picture taken, either.’ Once my subjects know that, they come alive in front of my camera.”
70-200mm (182mm), F/5.6, 1/200 sec., ISO 160
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ANDREW’S QUICK TIPS
Involve your subjects in posing.
The two gentlemen and the group you see on the couch was for a series I created for the Colon Cancer Coalition, focusing on cancer survivors or caretakers. Only a couple of them had met beforehand, so part of the session revolved around getting everyone comfortable. When it came time to do a group shot, I told the two people I’d talked to the most to find a spot on the couch, then asked the others to follow their lead and position themselves where they felt most comfortable.
35mm, F/4, 1/320 sec., ISO 1000
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If you give your subjects a general sense of what you’re looking for, then have them tap into their own comfort zone to “fall” into a pose, that will look more natural than if you direct someone to cross their arms, clasp their hands, or some other move that feels foreign to them.
24-70mm (52mm), F/4.5, 1/500 sec., ISO 320
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Get into your subject’s head.
I’ve found this to be especially important with senior portraits. I often have to pick my younger sister’s brain when I’m photographing teen girls (not in my wheelhouse, though I’m getting better at it), but boys are pretty consistent—they want to look strong and confident. I’ve photographed the boy you see here in front of the classic car and his brothers before, and I knew they’d love posing with this car. If I was a senior, I’d be pumped to have this photo instead of me sitting in front of a fake library background.
70-200mm (144mm), F/4, 1/400 sec., ISO 160
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Use black and white to focus on what’s important.
I love shooting in color, but there are moments where those colors could prove to be a distraction. I captured the photo you see here of the bride and groom kissing in the elevator, just as the elevator door was shutting. This was a special, quiet moment, away from their guests and the rest of the commotion of the day. The moment in the picture had to be all about them. None of the other details mattered.
70-200mm (182mm), F/5.6, 1/200 sec., ISO 160
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To see more of Andrew Dobin’s photos, check out his website and Instagram.
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