Taking someone’s photograph. Simple enough concept. A person, a camera, a photographer, a photograph. We might hope that the exposure is correct, the focusing correct and the person in the photograph recognisable if not by name at least as a person, as opposed to a smudge in a frame, a blur, a blot on the landscape. The technicalities don’t cover that, the story, the connection between viewer and subject. It could be the technically inept smudge, barely recognisable in some anonymous background, means the world to someone, because the person it is, or was, the world to them, or a substantial part of it. The casual observer cannot tell, for each of us, regardless of connection are pulled in or gloss over the representation of the person/s in the frame according to our own lives.
So much so passport photograph. Easy enough to gloss over the stare-into-the-lens, remove-all-distractions, flat-light-hard-lit likeness used for identification, though there are simple reasons for that style in an identification document. Its value is embedded in its function. It is a statement of who we are, where we are from, rather than an expression of it. Yet it is only an issue when we lose it or use it. The photograph on our photo-id is probably far more important to us than any other in the practical sense, but among the least regarded.
Take that self same fixed-stare, clean-background, no-distractions and Rembrandt light it. In reality we are adding, rather adjusting, the full-on photo booth glare for an unequal amount of light and shadow to construct a more pleasing aesthetic (More accurately, if not so informatively, we are subtracting light, but we will let that pass). By moving the light up and to one side we get a very different story. By doing so we immediately break the rules of passport photography, we render it bureaucratically void, but we make another, aesthetic, case for that image. The strength and appeal of that case is dependent upon the viewer, their literal and psychological perspectives.
Pull back a bit. Step backwards, zoom out which ever takes your fancy. Create a little space around your subject. Yes I know what Robert Capa said, and we are still looking at a plain background and the Rembrandt light because that is where we more or less started. What can you do with that space? Space doesn’t sound very productive, but handled in the right way adds to the overall balance. Essentially the way we use space in a frame is to give the subject a focus when not looking directly to the camera, so that there is enough space in the rest of the frame for the subject to look into. This helps form the question within the viewers mind as to what we cannot see what it is that takes the subjects attention. It is a well of curiosity and viewers will tend to look into the area the subject is looking into.
Space used in this way (usually asymmetrically) divides into two. The active space is the one described above. Negative space, apart from being the rest, and also being known as dead space, is what makes the subject stand out from the background but it needs to be handled carefully or it detracts from the overall image. As such this is all part of the rules of composition and the visual balance, which we last visited last two weeks ago.
Now comes the but …. Robert Capa was right. At least he was also right. Different crop, different picture, same image. Take a look at the pictures you took of Ashleigh, Becki and Keith last meeting (and thanks to you three for being such patient models). Some great one’s posted by club members but not a single one that couldn’t be made into one, two or three other pictures. Cropping in post is one way of doing it for sure, but changing your position, up, down, left, right, nearer, further gives you six variations of that first framing. Seven different pictures. Have a go in post. Just the cropping – at least at first, then maybe light and shadow – you will get two or three useable, different pictures out of the exercise. Then go find someone to photograph, natural lighting will do, but using those six variations to get seven pictures.
So, following the above, we have a Rembrandt lit square on image of someone in too much space. Time to move the model. Now there are posing guides and techniques – Gerry Painter did a very informative evening based on Lindsay Adler last season and Mark O’Grady and Rob Heslop did a studio lighting presentation back in November that showed a lot into a short time – aplenty on the web.
It is important to establish exactly why whoever you are taking the pictures for wants them taken. Business, fashion, blog, CV, anniversary, all have different requirements in formality and style. That really is question number one when taking portraiture – why am I taking this? Even when we are taking them on a club night for pleasure, the question is what story am I telling here? Mystery? Mirth? Sadness? Loss? Happy times? Want? Wanton? When Damien Lovegrove took a session a couple of seasons back, he was happy to show how a story colours our perception of the picture. That is what we allow others to see, no matter that their story is different.
There are certain conventions attached to certain types of portraiture which is tied up with their use. Corporate head shots is the obvious one that springs to mind. They differ from actors head shots in some small ways. Then there is the whole baby/infant/toddler/child thing. For all those expectations, indeed to meet those expectations, it is still the contact with the subject that counts.
Rule, and I do mean rule, one. Talk to your subject. Do not talk at your subject. The point is the person in the picture, not the smart-arse button operator. For sure some people have a very strong opinion of how and what should be done on both sides of the camera, however, this whole interaction is a bargain. A bargain, in the most colloquial sense, is the receipt of something that represents more than the time, effort and most frequently hard cash that we have put into something. Effort takes time and time is money if you need that squared away. It is an agreement between two or more people based around give and take and when entered into proportionally can produce something more than either party bargained for – in a good way. Good rapport is at the centre of any successful portrait session.
N E X T M E E T I N G
9th Feb 2017 19:30 – Guest Speaker: Lyn James LRPS: “People and Places”.