Welcome to a creative journey
This photography course is not technical. It is a course that teaches you how to see. A photograph is not born from the camera – it is born from an idea, from a way of looking at the world. Photography is a pause, a small quiet moment when something around you says: here is light, here is emotion, here is a story. The course is designed so that you can participate without any technical background. A phone is enough – as long as its settings are correct.
Set up your phone
Before you continue, make sure your camera is set to the best possible quality. Choose the highest resolution and the best available image quality. If you are not sure how to do this, you can ask, for example, ChatGPT: How do I set my phone camera to the highest quality?
Light is the language of photography
It is not just bright or dim – light is direction, shape, and mood. When light comes from the side, it draws shapes on the face and softens expressions. Side light highlights cheekbones and contours. When light comes from behind, a silhouette is created, full of quiet beauty. When light comes from above, shadows fall into the eyes and the image becomes more dramatic. Light is not just a technical element – it creates the atmosphere of the image. It is essential to learn to see where the light falls and where it does not.
Shadow is the photographer’s second language
Shadow is not a mistake, but a constructive force. In black and white photography, the role of shadows becomes even more important. When color is removed, what remains is light, shadow, and the human being. Background tones become neutral, and only what is essential stays in the image. A black and white photograph is full of choices. You can create a strong, high-contrast image where black and white interact rhythmically. Or you can choose a soft tonal image where greys flow into each other. The most important thing is to understand that black and white is not an accident – it is a decision.
Editing is part of the process
Images are not taken directly in black and white. First, a color image is captured, and then it is edited into black and white using phone tools. You can adjust contrast, exposure, and shadows exactly as you wish. Editing does not make an image inauthentic – it is part of the history of photography and an essential part of the creative process. I encourage you to look at black and white photographs taken by others. Ask yourself: why does this image work? Where is the light? What does the shadow hide?
Cropping is a key skill
A good image is built from what you include – and what you leave out. That is why cropping is important. I recommend using the 3:4 aspect ratio and learning to see directly in that format. Do not take overly wide images with the idea of “we’ll crop it later,” but train yourself to see what is essential at the moment of shooting. You can crop afterwards, of course, but it should be finishing, not cutting half the image away.
What does a good competition photograph require?
A good image is not perfect – it is authentic. It breathes. It communicates emotion, not technical performance. In the Smiling Oulu 26 theme, you have free hands: you can photograph a face close-up, two people side by side, or an intimate moment where a smile appears almost by accident. Black and white emphasizes expression, and even a small curve of a smile can become meaningful. A good image always also tells something about the photographer – about how you see a person.
Choose light, shape the story
Always start with light. From which direction does it come? Is it soft or hard? Is it natural light or artificial? Side light shapes facial structure. Backlight brings softness. Light from above adds drama. Shadow is not random – it is a visual language that tells form and creates depth.
Edit on your phone like in the darkroom
Before the digital era, photographs were taken on film and developed in a darkroom. There, contrast, highlights, and shadows were adjusted by hand. Now the same happens on your phone. When you remove color and begin adjusting tones, you see the structure of the image clearly. Try different options. Increase or reduce contrast. Deepen shadows, soften tones. Listen to the image – it will tell you what it needs.
Inspiration comes from seeing
Look at good photographs. Search online for black and white portraits that stop you. Ask: why does this work? Why does this feel alive? When you begin to recognize these elements in others’ images, you will start to see them in your own.
Finally
Thank you for being part of this course. Now your task is simple but important: find the light, find the person, find the smile – and let the image be born.
Welcome to a creative journey
Guidelines and ideas for photographing
This section is not technical. Its purpose is to help you see.
A photograph is not created by the camera – it is created by thought and by the way you look at the world.
Photography is about pausing, a small and quiet moment in which something around you says: here is light, here is feeling, here is a story.
These guidelines and ideas are built so that you can use them without any technical background.
All you need is a phone – as long as its settings are in order.
Set up your phone first
Before you continue, check that your camera is set to the best possible quality. Choose the highest resolution and the best available recording quality. Also select a 3:4 aspect ratio and shoot vertically.
If you are not sure how to do this, you can ask, for example, ChatGPT:
How do I set my phone camera to the highest quality and the correct aspect ratio?
Light is the language of photography
It is not just bright or dim – light has direction, shape, and mood. When light comes from the side, it shapes the face and softens the expression. Side light brings out cheekbones and outlines. When light comes from behind, a silhouette is created, full of quiet beauty. When light comes from above, shadows fall into the eyes and the image becomes more dramatic. Light is not merely a technical element – it creates the atmosphere of the image. It is important to learn to see where light falls, and where it does not.
Shadow is the photographer’s second language
Shadow is not a mistake, but a constructive force. In black and white photography, the importance of shadows grows significantly. When colors are removed, what remains is light, shadow, and the human being. Background tones become neutral, and only what is essential stays in the image. A black and white photograph is full of choices. You can create a strong contrast image, where black and white interact rhythmically. Or you can choose a soft tone, where greys flow gently into one another. The most important thing is to understand that black and white is not an accident – it is a decision.
Editing is part of the process
Images are not made directly in black and white. First, a color photograph is taken, and then it is converted into black and white using the phone’s editing tools. You can adjust contrast, exposure, and shadows exactly as you wish. Editing does not make an image inauthentic – it is part of the history of photography and an essential part of the creative process. I encourage you to look at black and white photographs made by others. Ask yourself: why does this image work? Where is the light? What does the shadow hide?
Cropping is a key skill
A good image is built from what you include – and what you leave out. That is why cropping is important. I recommend using the 3:4 aspect ratio and learning to see directly in that format. Do not photograph overly wide images with the idea of “cropping later,” but practice seeing what is essential already at the moment of shooting. You can, of course, crop afterwards, but it should be finishing work, not cutting away half of the image.
What does a good competition photograph require?
A good photograph is not perfect – it is genuine. It breathes. It conveys feeling, not technical performance. In the Smiling Oulu 26 theme, you have complete freedom: you can photograph a face up close, two people side by side, or an intimate moment where a smile appears almost by accident. Black and white emphasizes expression, and even the smallest curve of a smile can become meaningful. A good photograph always also tells something about the photographer – about how you see another human being.
Choose light, shape the story
Always start with the light. From which direction does it come? Is it soft or hard? Is it natural light or artificial light? Side light shapes facial structure. Backlight brings softness. Light from above adds drama. Shadow is not random – it is a visual language that describes form and creates depth.
Edit on your phone as photographers once did in the darkroom
Before the digital era, photographs were made on film and developed in darkrooms. There, contrast, highlights, and shadows were adjusted by hand. Now the same happens on your phone. When you remove color and begin adjusting tones, you see the structure of the image clearly. Try different options. Increase contrast or reduce it. Deepen shadows, soften tones. Listen to the image – it tells you what it needs.
Inspiration is born from seeing
Look at good photographs. Search online for black and white portraits that make you stop. Ask yourself: why does this work? Why does this feel alive? When you start to see these elements in the work of others, you will also begin to see them in your own images.
Thank you for being part of this journey. Now your task is simple, but important: look for the light, look for the person, look for the smile – and let the image come into being.
By scrolling down, you will find more sections and content.
01 A good competition photograph
A good photograph is not perfect – it is genuine. It breathes. It conveys feeling, not technical performance. In the Smiling Oulu 26 theme, you have complete freedom: you can photograph a face up close, two people side by side, or an intimate moment where a smile appears almost by accident. Black and white emphasizes expression, and even the smallest curve of a smile can become meaningful. A good photograph always also tells something about the photographer – about how you see another human being.
A good competition photograph is not created by performing, but by pausing. It is born in the moment when you stop chasing perfection and start truly looking at the person. A natural and touching image does not need a staged smile or pose, but a small glimpse of truth: a gaze that lingers a little too long, a corner of the mouth that rises almost unnoticed, a hand that touches another. The viewer should feel that this moment was real, not constructed.
Technical perfection is secondary. Atmosphere matters more. An image may include unevenness, grain, softness, or even slight blur if it serves the feeling. Black and white strips away the unnecessary and leaves the human being, the light, and the shadow.
When colors disappear, expression and gaze come forward, and even the smallest curve of a smile turns into a story. The three-quarter format brings the person closer. It is neither too tight nor too distant. It allows space for the body, gestures, and environment, while keeping the viewer close to the feeling. Cropping is like breathing: leave space around the image so the emotion can move and does not suffocate in a frame that is too tight.
Light and shadow are the quiet language of your image. Soft side light can gently shape the face, while shadow can speak of shyness, depth, or a moment of reflection. Everything does not need to be visible. Often what remains partly in darkness is what makes an image interesting. Light guides the viewer’s gaze, and shadow leaves room for imagination.
A good competition photograph is a balanced whole where nothing shouts, yet everything feels right. The background supports the person and does not steal attention. The gaze finds its place, the emotion stays in the image, and the moment continues to live. The best image is not the one that looks impressive, but the one that feels true. The one that makes the viewer pause and think: I recognize that smile.
Often the most difficult part is not photographing, but choosing the final image. We all develop favorites, images we are emotionally attached to because we know what happened behind them. That is why it is important to look at them calmly and ask whether they truly match the theme of the competition and the kind of human encounter that Smiling Oulu 26 is looking for.
Remember that only you can know which images matter to you. The jury sees only the final result, while you carry the story. Trust that feeling, but also be honest with yourself. Sometimes an image that is technically or aesthetically modest says more than one that simply looks polished.
You may submit up to four images. They can all feature different people, which is often a strong choice because it shows diversity and different kinds of smiles. Or they can include several images of the same person, if you feel that creates the strongest overall narrative. What matters is that each image carries its own emotion, and together they say something about how you see another human being.
02 Light is the language of photography
It is not just bright or dim – light has direction, shape, and mood. When light comes from the side, it shapes the face and makes the skin feel alive. Cheekbones, the curve of the jaw, and the depth of the eyes begin to breathe. When light comes from behind, the person separates from the background and becomes a silhouette, almost a poem. Light from above creates shadows that can make an expression more serious, fragile, or strong. Light tells us something about the emotional state in which the image was made. It does not only reveal – it interprets.
Before pressing the shutter, pause and look. Where does the light come from? Is it soft like a cloudy day, or sharp like midday sun? Does it fall on the face, or only along the edges? Does it make the person gentle, strong, shy, or open? A small step to the side, a slight tilt of the camera, can change the entire story. Light is not in the background. It is one of the main characters of the image.
If natural light is not available, do not be afraid to use artificial light. A ring light, a small LED, or a window in a dark room can become your entire world. What matters is not the equipment, but the direction. Light straight from the front is often flat and safe. Light coming slightly from the side can work wonders: it reveals skin texture, gaze, and the depth of a smile. Play with light. Move. Watch how shadows travel across the face. This is the core of photographing.
Shadow is the photographer’s second language
Shadow is not a mistake. It is the space where feeling is born. In black and white photography, the role of shadow becomes crucial. When colors disappear, only light, shadow, and the person remain. The background calms down, distractions fade, and everything focuses on who the person is in that moment.
Shadow can hide and protect. It can leave part of the face unseen and make the gaze mysterious. It can also reveal: laugh lines, the life in the corners of the eyes, the reality of skin. Do not try to smooth these away. Laugh lines are a map of lived moments. Small imperfections, scars, textures, and marks are what make a person real. Perfection is boring. Imperfection is beautiful because it tells a story.
We are all different ages, different faces, shaped by different lives. With light and shadow, you can emphasize this. Soft light can make an expression gentle. Hard side light can bring out strength and the traces of life. Shadow can make a face poetic or bold. Do not hide age. Do not hide skin. Let the person be who they are.
A black and white image is full of choices. You can create strong contrast, where black and white engage in dialogue, or a quiet world where greys merge into one another. Both are right when they serve the feeling. Black and white is not an accident or a filter. It is a decision to see the world through light and shadow.
When you start seeing this way, you notice small things: how light touches the corner of the mouth, how shadow softens a gaze, how skin tells a life story. The camera no longer just records – it listens. And that is when images are created in which the person is not just in the photograph, but present.
03 Background and contrast
Background and contrast are quiet but decisive forces in black and white photography. When colors are removed, the world becomes calmer. A background that might feel busy or even unattractive in color can become peaceful, beautiful, and meaningful in black and white. Color conflict disappears, leaving only shapes, tones, and light. That is why, in black and white photography, the background is not just a background, but part of the story.
When you look at your surroundings, do not think in terms of color, but of surfaces and forms. Is the background smooth or rough? Are there windows, shadows, doors, trees, cracks in a wall? In black and white, all of these turn into rhythm and structure. The background does not need to be empty, but it must support the person. It should give space to the face and the gaze, not compete with them.
A good way to learn this is to take a test shot with your phone and immediately convert it to black and white. Suddenly you see how the environment really works in the image. You may be surprised. What looked chaotic in color can appear calm and elegant in black and white, or the opposite. This simple test teaches you to see in black and white before pressing the shutter.
The background can also tell a story. An old wall can speak of time and life. A soft, light surface can create calm and openness. A dark corridor or a shadowy tree can add depth and mystery. Everything depends on what you want to communicate emotionally.
Contrast is part of this. Traditionally, it is said that a good black and white image needs strong contrast: blacks must be black and whites white. That is one approach, but not the only one. Soft, low-contrast images, where greys flow into one another, can be extremely beautiful and sensitive. They can feel like a dream, a memory, or a quiet moment.
There is no right or wrong contrast. There is only what feels right for that image. High contrast makes an image strong, graphic, and sometimes dramatic. Soft contrast makes it gentle, intimate, and fragile. Ask yourself what you want the viewer to feel.
Light direction and intensity affect both background and contrast. If light falls strongly on the subject, the background may become darker and the person separates from the environment. This often creates a powerful and beautiful mood. If light is more even, the background becomes more visible and the image feels more open and documentary. Both are valuable choices.
Test and experiment. Move with your subject. See how the background changes when you shift position or turn the person slightly. Watch how shadows move. Take test shots and view them in black and white. See what works.
Look at black and white portraits made by others. Find them online, in books, in exhibitions. Notice what you like. Are the images strongly contrasted or soft and grey? Are blacks deep and heavy, or lighter and open? Do you prefer a lot of detail or simplicity? This tells you something about your own way of seeing.
In the end, background and contrast are like musical accompaniment. They are not the main melody, but without them the image does not carry. When you learn to listen to them, your photographs begin to speak with a deeper voice.
04 Directing the subject
Directing the subject is one of the most important skills in photography, especially when working with people and emotion. Most people are not used to being in front of a camera. They think about how they look, whether they are standing correctly, whether they are smiling the right way. That is why your role as a photographer is to create a safe space where the person can forget the camera and simply be themselves for a moment.
Be confident and gentle at the same time. You can absolutely ask the subject to look into the camera or to look away. A gaze straight into the lens creates connection with the viewer. A gaze to the side or downward can feel sensitive, vulnerable, or reflective. Even a small change in head position or gaze direction can transform the entire mood of the image. Do not be afraid to ask the person to turn their head slightly, lift their chin, or look toward the light. Do it calmly and kindly, not as a command, but as a suggestion.
A smile does not appear on command. That is why one of the best approaches is to talk, chat, and sometimes even joke. Say something unexpected, share a small story, create a moment of connection. When you both laugh, the situation becomes real. That is when the smiles appear that cannot be staged. The camera is still in your hands, but the focus shifts to the connection between people.
A simple guideline is this: if the person feels tense, give them time. Do not rush. Take photos even while the subject is still finding their place. Often the first images are stiff, but after a few minutes something changes. Shoulders drop, breathing slows, the gaze softens. You will see this change, and that is when you know to keep going. The moment when the person forgets the camera is precious.
Take many photographs. Digital film does not run out, and every frame brings you closer to the authentic moment. Do not stop as soon as you get one good image. Often the next one, or the one after that, is the most natural. The camera in your hands is like a net, waiting for the right moment.
Remember that you can also be part of the situation. Take a selfie together. It breaks tension, lightens the mood, and reminds everyone that this is a shared moment, not a test or performance. When the subject sees that you are also present, not just observing, trust grows.
Directing a subject is not about control, but about listening. Watch the person, their gestures, their expressions. Respond to them. If a pose feels natural to them, let it be. If something looks stiff, suggest a small change. Simple phrases like “let’s try this” or “what if you look a little that way” can make a big difference.
In the end, it is about encounter. When the subject feels safe and seen, the image begins to breathe. And that is when those moments appear, where the smile is not just an expression, but a feeling.
