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There is probably no more challenging and rewarding subject than ourselves. The permutations and combinations are endless, the opportunities unlimited and the results never cease to surprise and amaze.
Forget the rules of photography when it comes to this one. For every rule that is devised you will find a swag of brilliant images that ignore it. I would rather not give a list of rules for effective portraiture, but highlight a number of principles and insights that may make a difference to the way you approach this wonderful dimension of photography.
THE EYES HAVE IT.
If the eyes are the window of the soul, then the ultimate challenge of portrait photography, whether candid or formal, is to look through those windows and capture the essence of the soul. The most powerful images are those where we connect with the eyes of the subject. A portrait without eye contact can still be very effective or beautiful, or poignant or reflective, but looking directly into the eyes is the most powerful angle.
I am a great admirer of the work of Steve McCurry who captured that famous shot of the Afghan girl. The most noticeable thing about McCurry's photography is the magnetism of eyes.
So, focus on the eyes. If they are sharp and clear, the rest of the image will pretty well take care of itself. This principle applies universally to any creature that has eyes.
Connect with your subject. Chances are, if you do not connect with the person who is the subject, the resulting image will not connect with the viewer. Good portrait photography is quite personal. The photographer is entering the space of the another human being, so it helps to establish a level of trust in order to capture the essence of that person.
The Principle of Consent. At some level there has to be consent or permission to take the shot. Without consent the shot will be impersonal and lack that subtle power of connection. Have a look at paparazzi shots if you want an example of this. It is one thing to "take" a photograph a person, it is another to capture the soul of that person.
Permission can be verbal or non-verbal. A slight nod, a relaxing of the features - the more intuitive you are, the more quickly you will pick up the cues of permission which allow you to concentrate on the shot rather than the circumstances. Permission gives you freedom. For the moments that follow, the only thing that exists are you and your subject.
I like to show the subject the shot/s that I have just taken. Together we can agree upon the best image, thus completing the process of consent.
HOW CLOSE?
When it comes to serious photography, many Western people are uncomfortable with having their photos taken. They are okay with party shots and group settings, but get them on their own and the whole scenario changes. It probably has something to do with the fact that we see so many images of beautiful people that we are frightened that the camera will reveal how flawed we actually are. After all, it is pretty hard to compete with the Jennifers and Elles of this world. A portrait tells it like it is. It is a lonely and intimidating with nowhere to hide.
It might explain why the most common mistake many people make is failing to fill the frame with their subject. They stand back, or use a wide zoom. Maybe we identify with the subject and subconsciously try and go easy on them. Portraiture is about coming close. It has an intimacy to it. The Bulls-eye principle definitely applies here, and the face and eyes are usually a very large portion of the target.
Some tips:
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Give a person space. Stand well back and use your zoom lens to get close. (Most of my portrait work is done at the top end of a 28-135 mm zoom lens)
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Work quickly. Models can handle endless hours of being photographed, but most people tire of the process very quickly.
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Once you have the shot, stop photographing. Chances are that you can shoot for another hour and not improve on the shot that you intuitively know is the winner.
THREE LEGS ARE BETTER THAN TWO
Using a tripod not only adds to the sharpness of the image (especially the eyes) but it frees you from the camera. I prefer move away from behind the viewfinder, lifting my eyes just above the camera body and making eye contact with the subject as I am about to trigger the shutter. The subject tends to relax momentarily because they think you are not taking the photograph. You are also better able to choose the precise moment when to shoot.
(Personal aversion - continuous frame shooting for portraiture. It might work with models and press photography, but frightens the hell out of the average person. It also destroys that elusive element of connection and you simply end up with an mechanical picture of a person. I want to capture the essence.)
ONE STEP AHEAD
Before commencing the shoot, think ahead about the essential elements of your photograph. Scan your environment for a likely setting for the portrait. Background and light are the most important.
Observe your subject closely in the minutes before you actually take the photo. How do they stand, sit, use their hands, tilt their heads, use their eyes, cross their legs, put their hand on their chin, lean back, lean forward. Keep that information in mind when setting up the shot. They are, in effect, giving you their template for a natural-looking shot.
LIGHTEN UP
The lighting hierarchy for portrait shots for those who do not have the luxury of a studio should be: natural or available light, bounce flash, and finally (if you are desperate) direct flash. Flash presents a couple of major problems.
Nobody likes that sudden invasive light. Most of us tighten up in anticipation of the flash. It may allow control of the exposure, but it may result in losing control of the portrait.
The flash will alter the way that the light hits the eyes of a subject. It generates its own highlights. It also affects the warmth and subtlety of skin tones and some of the interesting and attractive light and shade of natural light. All of the sample shots on the right were taken without flash.
Direct sunlight is one of the most difficult light sources to master. The most challenging time is the middle of the day with its harsh light and contrasting shadows. The warm light of early and late in the day can result in some very pleasing images, particularly if the light is diffused or hazy. Don't be afraid to experiment with back light too. It can give some stunning effects.
If in doubt, move away from the direct sunlight and shoot in a sheltered area.
THE BODY
The more confident you are when taking a portrait, the more relaxed your subject will be. Don't be afraid to take control of the shoot. On the other hand, don't block yourself from the input of others either. A creative event is often synergistic, releasing a flow of ideas.
A front-on shot with arms by the side rarely works. But, there are no rules in this game, and sometimes you can pull it off. The body turned to one side and the head turned towards the camera is very effective in many situations. Then come the variations of chin up, chin down. lean forward, lean back, tilt the head to the left, try the right, fold your arms, sit on a chair and swing back towards camera, put your hand on the door post . . It really pays to study the works of great portrait photographers and and observe what they do. There is no copyright on ideas.
Hint - We all have our natural poses, whether we are aware of them or not. A good photographer will quickly identify these and capitalise on the subconscious cues. Herein lies the secret of natural-looking portraits.
BACKGROUND:
Choose your background carefully. If you don't have an appropriate background, come in closer on your subject and cut out the background distraction. It is hard to beat a simple background.
Sometimes you will find a natural frame for your portrait. Patrick, the chef on the right, is effectively framed by the arches in his restaurant.
A well-chosen background can also tell a story and add the intrigue of the final image.
Shooting from a lower angle and using the ceiling can eliminate a distracting background and add to the impact of the portrait.
CONCLUSION:
The principles above apply to both formal and informal (or candid) portrait photography. I am assuming most of the readers of this column do not have the photographic equipment and experience to take their own formal studio shots. The examples I have chosen illustrate these principles applied to informal portraits and are totally within the range of the equipment and skills of the average photographer. We now have the luxury of being able to take as many shots as we like without worrying about the cost. Instant review means that we can learn and adapt as we go. Practice may not make perfect, but we shouldn't expect perfection. We are, after all, photographing imperfect people. But if we can capture the essence of that person and we pay due attention to the light and content of the image, we can all produce excellent images.
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