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It's
not just about light and exposure, gaining a rapport with your subject
is essential if you want to take natural and relaxed portraits.
- Words & Pictures Alex Lee
Before every
portrait session I ask questions and you probably do too. What light
source am I going to use? How will the light fall on the subject?
How will the background look in the finished photograph? What film
should I use? What camera and lens should I use?
Answering these
questions will help the photographer create an acceptable image.
But an acceptable image is not enough for me; I want an exceptional
image. As a portrait photographer, I need to know my client, knowing
their background, desires, pains, and motivations helps me create
distinctive portraits. For the portrait to be distinctive, a touch
of the client's personality needs to emerge from the photo. This
is especially true in taking female portraits. I don't want a pretty
face, all painted up by a make-up artist; the result is a facade
without knowing what is inside.
I seldom do
a photo session without first meeting and talking with the client.
There are many reasons to do this. One important reason is to build
rapport between the client and the photographer. More importantly,
I want to talk with the client; I want to talk about anything they
care to talk about. I ask questions. I study their expressions,
body language, and how they project their passion. I also look for
'transitions'. My definition of transitions is when the subject
moves from one train of thought to another. Often, the transition
will reveal a unique movement of their eyes or mouth. I try to capture
that in my portraits.
Except for fashion
and editorial work, I give complete freedom to my client in term
of clothing, makeup, and hairstyle. I give suggestions and recommendations,
but will leave the decision to the client. Because of this, a planning
session is very important. I need to know their wardrobe and their
look. My job is to select the locations and the time of day for
the photo session.
Meeting with
the client, building rapport, knowing the client, and planning the
session are essential elements of my portrait sessions. Without
the advance work, the photographer is going on luck alone. I love
portrait work, because the look, feel, and reaction of the person
are always changing. I enjoy the interaction. I cannot talk a still
life object into changing their shape, but I can make a person look
and feel completely different by the way they respond to me.
Most of my images
use available natural light, so the lighting conditions and locations
are very important. The background must compliment the subject.
The subject needs to be separated from the background. The separation
is critical. Too close and the background looses any meaning. Too
broad, the background will overwhelm the model. Make certain the
background and the model are not merged into an indistinguishable
shape, this happens frequently with dark hair and a dark background.
One of the benefit,
or limitation, of natural lighting is the need to use a wide-open
aperture. I use this to enhance my images, by selecting where I
want to focus. I love focusing on the eyes. I like to see the eyes
shine. Another benefit of the wide-open aperture is the soft gentle
feel of the photograph. The depth of field can be very selective.
I use a Minolta Maxxum/Dynax 9 and an 800si as my primary cameras.
The 50mm lens works extremely well in close up work. The 100mm to
135mm lenses are wonderful for outdoor portrait work where I want
a defocused background. For larger format, I use the Mamiya 645
system. I get beautiful results using both systems. I just ordered
an Olympus E-10 digital camera and am anxiously awaiting my new
toy. The E-10 will be my first serious investment into digital photography.
Lighting is
always critical. I prefer a gentle directional light that casts
a bit of shadow. Train your eyes to see the subtle differences in
the lighting of a space. Our eyes tend to even out the light level
inside a space. Our brain makes the adjustments without us realizing
it. Film does not make that adjustment. Different types of film
react to the light level and contrast of a space differently. Some
films have more range then others. In some of your images, you may
want to reduce the range to create a more dramatic effect. I like
to use Kodak T400CN, Agfa APX, Fuji NPS, and Fuji NPH. I like them
because of my experience in using different type of film, but this
is just my preference. Try using all type and brand until you find
the ones you like for your style of photography.
Practice and
your style will emerge. Your portrait style should let you be creative,
be loved by your subjects, and let viewers see the images as exceptional
work. A portrait photographer is powerful. The portrait you create
can launch a new career for your client, create confidence in others,
engender support of a cause (for good or for ill), and may leave
a lasting impression of your client in others for many years to
come. Know your power, invest the time with your client, and create
exceptional images.
Alex Lee is
a portrait photographer in San Francisco. He specialises in female
portraits, and his portraits have a great deal of dignity and sensitivity
as described by other photographers. Alex is an engineer by training
with a MA in Liberal Studies. It was during his graduate studies
that art and photography became a passionate part of Alex's life.
See his portfolio on www.softlitephoto.com
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