Where do you make the best portrait? 12 places worth thinking about

A good portrait does not start with a smile, but with a choice: where do you make it? The location says something about you, about the atmosphere you want to set, and about the story you want to tell with your portrait. As a photographer I see daily how much influence a place has on the result. Sometimes that is a quiet setting where someone feels safe. Sometimes it is a lively place that gives energy. And sometimes it is simply practical, and surprisingly strong all the same.

In this piece I share 12 places I regularly use (or would like to use) for portrait photography. Whether you need a portrait yourself, or you are a photographer looking for inspiration, read on. Your next location may well be among them.

Choosing a portrait photography location also means looking at the light and background. Where is the light coming from? What is behind you? A beautiful place does not automatically make a good portrait. Below, I explain what each setting does for the photograph, and when it helps or gets in the way.

12 places where you can make a strong portrait

1. In my studio in Wijchen

In my studio on Bijsterhuizen in Wijchen I can control everything myself: the light, the background, the quiet. That makes it a good place for people who are not used to being photographed, or who want a very specific atmosphere or feel. You are warm, dry and undisturbed. I also have various lighting set-ups and backgrounds available, so we can play with contrast, texture and mood. Classic fine art, or something fresh and modern. This is my treehouse.

The main difference is how much choice we have. Light coming straight from the front makes your face look different from light coming from the side, which leaves some shadow. Soft light makes the transition into shadow more gradual. Harder light makes it more distinct. None of that has to happen by chance. We can discuss the look you want beforehand and choose the lighting to suit it.

The same goes for the background. A light background sets a different tone from a dark one, and texture draws more attention than a plain surface. The distance between you and the background is another choice: how much do you want to blend in, and how much do you want to stand out? The setting does not have to do much. Sometimes a plain surface behind your face is enough.

That control gives you something to rely on if you know exactly what you want, or if you feel unsure in front of a camera. But arranging everything neatly can also make a portrait stiff or a little safe. I have to watch that myself. Give yourself time to arrive and get used to the room. You do not have to be ready for anything as soon as you walk in.

Also in my studio: one-to-one portrait photography workshops and mentoring sessions.

2. Outside in the city

The city is alive, and you feel that in the photos. Think of a portrait against a weathered wall, a reflection in a shop window or a silhouette under a viaduct. In cities such as Nijmegen, Arnhem, Utrecht or Amsterdam I like working with the light, the lines and the rhythm of the surroundings. Sometimes we find an unexpected corner, an alley where the light falls exactly right, or a graffiti wall that adds something. City portraits work well if you want a grittier feel, or if you feel at home in that lively chaos.

Between buildings, light comes from above and from the side. It can fall harshly on your face, while the shade of a building often gives softer, more even light. Walls also reflect light. Their colour matters too: a coloured wall can cast that colour onto your skin. A good background and good light do not automatically go together.

Then there are the lines, reflections and everything happening behind you. They can support the portrait, but your face can also get lost among them. Some space between you and the background helps you stand out from the bustle. A door or a section of wall gives the eye somewhere to rest. You do not have to fit the whole city into one photo.

All of that can work for a gritty, lively portrait. If you want something intimate, the same surroundings may demand too much attention. Traffic and passers-by are not concerned with how relaxed you feel. So let us talk about how you feel about being photographed outside. A place can look exactly right and still be too busy for you.

→ Benedenstad – old alleys and the Stevenskerk
→ Kronenburgerpark – a classic city setting with greenery and a wall

3. An external daylight studio

There are places, such as daylight studios, where the light falls so beautifully that you hardly need anything else. No flashes, no reflectors: just you, the window light and the quiet. These spaces often have high ceilings, light walls and a calm atmosphere. They suit anyone who likes minimalism, simplicity and a natural look. There are a few very nice studios in Amsterdam and Utrecht, but daylight locations can be hired in smaller towns as well. For a soft, understated portrait this may be my favourite setting.

A large window gives light from one side, often with a soft transition into shadow across your face. Where you stand in relation to that window makes a big difference. Facing the window lights your face more evenly and can make it look flatter. More light from the side gives it shape, and leaving more shadow makes the mood more dramatic. Light walls reflect light back and partly fill those shadows.

A plain background leaves little to distract you. Keeping some space between you and the back wall can help your face stand out from the surroundings. That suits a simple, natural portrait, but all that emptiness can also feel clinical. For me, that is the point to ask whether the room is still doing anything for you. You do not have to disappear into a tidy white room.

Daylight changes throughout the day, and cloud cover or a dark day changes its character. As daylight studios are usually hired by the hour, timing deserves some thought. Be clear about the light you want. If you would like to understand that better, read about the exposure square.

→ Boutique Studio Lux in Grave – classic daylight, 30m²
→ Studio Laurant by Juliette in Arnhem – stylish, 100m²

4. At your home

Nothing is as personal as a portrait in your own house. Your favourite chair, a pile of books on the table, an old floor or that one window the finest light always comes through: it all contributes to a photo that is really yours. People often feel more at ease in their own surroundings, and you can see it. This is also a good option for parents with young children, or for people who want to be seen the way they really live. Not polished, but honest.

Start with the window where you already like to sit. Often, that is where the light is most pleasant too, but look at how it comes in and moves through the day. Window light from the side leaves part of your face in shadow. Facing the window makes the light more even. One room may be much darker than another. The colours around you play a part too.

A lamp alongside daylight can cast two different colours of light on your face. That deserves a look, as does the background. A cable or a pile of things can draw attention away from your face. Those things can go, or stay if they tell us something. Your house does not need to become a showroom for me.

Some distance from the things behind you can give the photo breathing room. In a small, dark room, that space may not be there, which makes photographing you at home less straightforward. So familiarity should not be the only reason for choosing it. Look for somewhere you can sit or stand comfortably without everything around you having to be in the photo.

5. In nature

Nature can feel almost therapeutic during a shoot. A wood, the dunes, a field or a meandering stream bring calm and space. I love photographing someone against a background of tall grasses or bare trees. In black and white, that often produces striking photos. The changing seasons play their part as well: autumn colours, misty mornings or the low, slanting light of spring. Outside, everything is in motion, so every portrait is different.

Under trees or on an overcast day, the light can be soft. An open field offers no such shelter, and the midday sun can fall harshly on your face. Light from behind shines through leaves and creates a different atmosphere from light falling directly on your face. The greenery around you also reflects light, which can give your skin a green tint.

The background often has depth: behind the grass are trees, with more space beyond them. Keeping some distance from whatever is directly behind you helps you stand out from it. That helps create a quiet portrait where your face does not get lost among the branches. The choice between black and white and colour makes a big difference here too. In black and white, shapes and light get more attention, without the distraction of all that green.

A setting like this works well for a quiet mood, as long as you feel comfortable there. The season and weather have quite a say. Choose clothes and shoes that suit the place, and allow for wind, cold or mud. Looking relaxed is difficult when your main concern is keeping your feet dry.

→ Hatertse Vennen – a mysterious heath landscape with water
→ Ooijpolder – open landscape with dykes and long views

6. At your workplace

Whether you are an artist, a coach, a baker or a chief executive, your workplace says something about who you are. A portrait on location gives context and character. A musical instrument in the background, a wall full of sticky notes, a workbench or an open laptop: it all tells you something. For business owners or speakers who want to show what they do, this is often a logical choice. And you do not have to dress up for it. The details make it human.

At work, your hands have something to do and your posture has a reason behind it. That can help if standing still leaves you thinking about how you should stand. In an environmental portrait, the surroundings help tell the story. A few recognisable objects often say more than every tool you need for your job. Otherwise, you soon find yourself searching for the person among the things.

The light needs some attention here. There may be a window with soft side light, mostly artificial light, or both falling on your face. That mixture can produce different colours of light. Look at where the light comes from and which side of your face it reaches. A workbench may say exactly the right thing about you, while the light there is less helpful.

The space between you and that workbench or bookcase also affects how much attention the background gets. For business owners, makers and speakers, those recognisable surroundings can say a lot. If you mainly want a clear professional portrait with the focus on your face, headshots may suit the purpose better. Your whole workplace does not have to be in the photo to show who you are.

7. In a café or coffee shop

An intimate table by the window, a cup of coffee in your hand, warm wooden tones and soft backlight. Cafés can be lovely places for portraits with a personal, approachable atmosphere. They work well if you want the photo to look as though you are having a conversation, or if you do not want to look too serious. We will look for a quiet spot together, preferably with good acoustics and without harsh artificial light, so that you can relax and we can work in peace.

A window beside the table can cast soft light across your face. If the window is behind you, it creates backlight and your face receives less direct daylight. Inside, artificial lighting often gets mixed in too. The warm tones of the wood can suit the mood, but check whether the light on your skin still looks good. A comfortable seat does not always come with good light.

Meanwhile, all sorts of things are happening behind you. People, bottles and plates can bring life to the photo, but they can also draw attention away from your face. A corner with a wall gives a calmer background, while a seat by the window can help with the light. Some space between you and the bustle behind you makes it easier to keep the focus on you.

This setting works when the portrait should feel like a conversation. You do need to be able to have that conversation in peace. Speak to the owner about a quieter time. If it is too dark, or you feel as though everyone is watching, it soon becomes hard to relax. A lovely table will not fix that, unfortunately.

→ Stroom in Lent – an old pumping station
→ Het Veerhuis in Oeffelt – an old inn in the Oeffelter Meent

8. In a car park or an industrial building

For anyone with a bit of nerve: raw concrete, hard lines and dim light give a portrait a completely different atmosphere. Think of fashion photography, of film scenes, of contrast and tension. Places like this suit people with a distinctive style or brand. Here we can play with shadow, geometry and form. And believe me: even a simple outfit suddenly stands out against a metal staircase or a weathered wall.

The light here can be scarce and harsh, or it may spread through the space without a clear direction. An opening to the outside can create a distinct strip of light. Where your face is in relation to it determines what remains visible and what falls into deep shadow. The cool grey of concrete can also make your skin look cool and your features more defined. That is a particular look to choose deliberately.

The lines guide your eye through the photo. If they all meet around your head, things can get busy, while a plain concrete surface gives you room. Your distance from the wall matters too: you can stay close to its texture or stand further away from it. Clothing makes a big difference here. A block of colour stands out clearly against all that grey.

This suits a bold portrait or one with a fashion feel, especially if you are comfortable with that look. If you want warmth and softness, the setting may work against you. Discuss access, safety and whether permission is needed beforehand. The concrete can look as good as you like, but we still need to be able to work there.

→ Papierfabriek Nijmegen – splendid industrial spaces from 1,350m²
→ Parkeergarage Mariënburg – concrete lines and plenty of light

9. During a walk

Movement helps you relax. Sometimes the best portrait happens between poses. During a walk in the city, along the Waal, through the woods or even through a residential area, we can stop several times to take photos. A setting like that feels light and relaxed. It suits people who do not like sitting still or who simply like being outside. And who knows: something unexpected may happen on the way that makes the photo special.

Walking gives your hands and shoulders something to do besides holding a pose. Your posture and expression can become less stiff without you having to think about it. That makes a walk a good option if staying in one place for too long makes you restless. You do not have to keep thinking about the next photo. There is also just the next stretch of path.

The light changes as we walk, so the places where we stop deserve some thought. It may be soft in the shade, while further on it falls directly onto your face from above or from the side. The background keeps changing too. Where there was space behind you a moment ago, there may now be a wall close by. Choosing a stopping point also means looking at what is behind you and how much distance we can leave.

There is less we can decide in advance than when we stay in one place. That gives us freedom, but it is less suitable if you want a very precise, controlled portrait. Wear shoes and clothes you can walk in comfortably. My article on preparing for a portrait shoot covers clothing, arriving relaxed and what to bring.

→ Valkhofpark + surroundings – steps, views and history
→ Waalkade – a long line along the water with the city behind

10. In an empty building

Sometimes portraits come about in places you would not expect: old factories, abandoned schools, empty churches. These locations have a sense of time passing, but also a strength you find nowhere else. They do not suit every portrait, which is part of what makes them different. Your presence contrasts with the emptiness, producing photos with tension, melancholy or force.

The relationship between you and the space matters a lot here. A lot of emptiness around you can make you look small, but it can also emphasise your presence. Standing close to a wall gives the background a different role in the photo from having an empty room behind you. I would start by looking at how much of the place the portrait needs.

Light enters through windows or gaps, sometimes made visible by dust in the room. In an otherwise dark room, a single opening can light your face while the rest stays in shadow. Side light makes that contrast clear across your face. How hard or soft the light is varies from place to place, but the difference between it and the dark surroundings can be considerable.

That works for a dramatic portrait with a story to tell. For a cheerful photo, the atmosphere of decay may feel heavy, even if you love the space itself. Think beforehand about whether that mood suits you. Arrange access and permission, and check that it is safe. Empty does not mean available.

11. At sunrise or sunset

The light of the ‘golden hour’ is legendary, and rightly so. The softness of the morning or the warm backlight of the evening makes even a simple location special. A city square, a beach, a meadow: suddenly the light seems magical. This does take some planning (and getting up early), but the result is worth it. During a session like this we often make several photos as the light slowly changes around you.

The sun is low, so the warm light may come from beside or behind you. Backlight sometimes creates a bright edge along your hair or shoulders. Your face then receives less direct light and may look dark. Look at where light still falls on your face. A lovely glow around your head does not, by itself, tell us much about your expression.

The background takes on that colour too. An open horizon gives a sense of space, while something close behind you draws more attention and can reduce that openness. Some distance from the background can help you stand out. This is a good option for warmth and atmosphere, as long as the time of day and the weather suit you too. Getting up early is not a photographic achievement in itself.

The useful window of time can be short, and the light changes quickly. Get to know the location beforehand and arrive in good time, so you are not still working out where to stand once you get there. If the schedule is tight, this may be awkward. The weather has not agreed to our appointment, after all.

→ Stadswaard in Nijmegen – right beside the centre and in the middle of nature
→ Waalhaven in Nijmegen – sunset with outdoor terraces

12. Somewhere that means something to you

Sometimes the best location is simply the place where your story starts. That could be the house you were born in, a studio, your grandfather’s garden, a spot in Zeeland where you always find calm. You do not have to explain it. The place carries the meaning, and you feel that in the photo. As a photographer it is an honour to be there with you and to capture that story. Especially when it is small and quiet.

In a place like this, the choice starts with what you want to say. The background does not have to be beautiful, as long as it fits your story. That particular wall or window may be what matters. How close you stand to it, and how much space you leave, affects how strongly you and the place feature together in the photo. This is where location connects with why a portrait says more than your face alone.

The available light is the starting point. It might be soft window light from the side, or hard light from above. Look at where it falls on your face and whether the part of the place you want to show can stay in the photo. Sometimes the surroundings offer little to work with visually. Then it helps to choose the detail that says something, rather than trying to include everything.

Familiarity can help you relax, but it can also bring up sadness or nerves. So do not expect a familiar place to feel easy automatically. Think about what you want to say beforehand and talk it through with me. Ask the residents or owner for permission if needed, too. Having a memory of a place does not automatically make it available.

Choose the place that suits you

• What do you want the portrait to say about you?
• How comfortable do you feel in front of a camera, and what surroundings help?
• Do you want calm or energy around you?
• How much time and planning can you give to the portrait you want?
• Does the place suit your clothes and the purpose of the photo: work, personal use or a book?

What do all these places have in common? They help you show who you are as well as providing a background. So the best location is the one where you feel able to be yourself, even if it is not the most photogenic. Somewhere you feel comfortable letting your story show, and where I have the room to photograph it.

Whether you come to my studio, head into the city with me, or have a location of your own in mind, I am happy to think it through with you. Every portrait begins with a good conversation. And ends with a photo that feels right.

Ready to work out together what the best place is for your portrait? Get in touch, or send me a message with your idea. You can also read more about how I work on the page about portrait photography.

A small disclaimer: all the example locations are suggestions. Naturally a lot depends on budget, availability and local possibilities.