Two aspects of our expertise as portrait photographers tend to develop in parallel: the ease of establishing harmonious relationships with those we portray and the ability to focus on a nuance of their state of mind.
For shy photographers, this often seems a daunting task. Then there are the photographers who appear confident, but underneath…
A striking portrait
When we look at a portrait that gives us a glimpse of how the person photographed is feeling, we tend to pause and scrutinize their expression. Sometimes, as we interpret them with our eyes, we feel a kind of empathy for the subject of the photo. Other times, we stare at them intently for no apparent reason. But there is a reason. Already Darwin in his “The Expression of Emotions in Man and Other Animals” had studied facial expressions, hypothesizing the universality of expressions. Our 46 facial muscles, in fact, allow us to express an almost infinite range of moods. It is an immediate language to which we are very accustomed. It’s natural, then, that we should at least feel intrigued to decipher what another human being is expressing with their face.
Our gaze tends to want to explore the expressions that strike us the most. There are photographs in which the person is somewhat absent, or has a forced smile, or where we can tell there is no rapport with the photographer and – consequently – with the viewer of the photo. Pictures with these characteristics generally do not invite viewing, nor are they particularly interesting. But there are times in the presence of a portrait when we happen to recognize something we have also experienced, and perhaps that vision moves us. Or, even if we are not necessarily aware of it, a portrait reminds us of someone we know. Or, again, the image may fascinate us precisely because we feel alienated from what we see and would like to discover more. These portraits often know how to capture our attention.
The photographer
While it is true that looking at a portrait can touch, excite and draw the viewer into participating, it is equally true that shooting it can be a highly intense experience. Indeed, the people we photograph have the power to evoke in us emotions, fears, curiosity, insecurities… or more. The quality of the relationship we are able to establish with them is always a bit of an unknown. It is also decisive in determining the result we get.
When photographing, it’s essential to intuit what the situation needs. It is a matter of calibrating our mannerisms to establish a good rapport with our subjects, reassuring them and making them feel comfortable.
This is not always easy, partly because the behaviors of the people we photograph are not necessarily predictable. Pointing a camera at them rarely leaves them indifferent. There are those who like to show off and exaggerate their exuberance, or those who, in front of the lens, prefer to hide, and to breach their inexpressiveness we have to work hard. There are those who want to tell us how to photograph them, those who make us feel tender and those who we really can’t stand… Each time is different, and each time we have to deal not only with our subject’s particularities but also with what they evoke in us. And this is a really important consideration. If, for example, we feel embarrassed, our ability to photograph will also be affected. Not to mention when we get performance anxiety, or when we are so busy dealing with difficult people that we can’t focus enough on everything else. Fortunately, we also sometimes meet extraordinary people whom we admire and are overjoyed to photograph. But… how did I miss that red spot? For sure, I felt so excited taking those portraits that I forgot to check the background!
The beauty of being a portrait photographer is that you have the opportunity to meet and get to know so many interesting people and also to learn how we respond to many different stimuli. So, besides the privilege of discovering something about another human being, we have the opportunity to learn more about ourselves every time we take a portrait. This is no small thing.
Technique is only part of it
Many great photographers, less obsessed with technology than today’s amateur photographers, have created landmark images using unsophisticated equipment.
A good camera helps quite a bit, and so does knowledge of technique, but you won’t get far without an image culture or authorial sensitivity. The photographer must choose what to frame and what not to, decide the moment of the shot and interact with the person being portrayed to capture a nuance of their mood or an aspect of their character. These are all things that extend beyond technique.
The camera merely registers shapes and volumes, describes surfaces, detects light and shadow… Sometimes, we risk giving it exaggerated importance, forgetting that what matters is not so much the tool but what is communicated through its use.
In other words, the photographer uses the camera to frame their own point of view and focus on what they can see in the other person. This is quite a responsibility because their choices define how the subject will be perceived by those who observe the image later. It doesn’t matter whether the photograph is published in the pages of a magazine or remains a keepsake for grandchildren. That immortalized memory is available to posterity. What will it look like? Will it merely depict the physiognomy of the person photographed, or will it hint at something more? The answer depends mainly on the photographer’s ability to understand and empathize with the subject.
Yet many photographers focus primarily on the technical flawlessness and aesthetic balance of what they are shooting, leaving out the relational aspect or attaching little importance to it. How come?
An (almost) unconscious choice
Learning to memorize programmable functions, dealing with what is measurable, studying manuals – these are all things that have to do with logic. It is territory we are familiar with because we are accustomed from an early age to dealing with life in a “logical” way. There are occasionally some difficulties when studying the technical parts of photography, but generally, these are not overly daunting challenges. Just follow some rules.
In contrast, the relationship aspect of a portrait session can be more complex because it brings into play our sensitivity, our ability to feel empathy. These are things you can’t adjust, like ISO or aperture! We need to venture into territory where we are often less prepared and where things can get slippery. Culturally, not only do we tend to favor and develop what is logical, but we often question or devalue what is not. In fact, to say that something doesn’t make sense, we often exclaim, “It’s not logical!”
However, to identify the most appropriate behavior to adopt with a subject, we must rely on precisely what is not logical, that is, our sensitivity and intuition. But where is the instruction booklet?
Connecting with the subject
Would you trust an indecisive, unsure or hesitant photographer? You’d probably be more inclined to let yourself be photographed by someone who knows how to put you at ease and conveys confidence. For photographers, however, creating this harmony is not always easy; it’s a skill that is acquired over time and cultivated. What are the essential points?
Preparing the ground
First of all, we need to know how to prepare the ground for a good connection with our subject to take root and develop. That means not only making sure the environment is hospitable and stimulating, but also having the opportunity to give our subject the attention they deserve. It doesn’t matter if we have all the time we want in the studio or if it’s a quick portrait on location. Our subject needs to feel comfortable, and they probably won’t if we are distracted or busy with something else.
Inviting a mood
To encourage the manifestation of a certain quality in our subjects, it helps if we feel it ourselves. Do we want to photograph tranquility in a person? It’s best if we feel calm. Laughter? We know it’s contagious – kind of like a yawn. So is everything else. Tune in at least a little to the mood you’d like to capture, and you’ll invite it onto the set.
Humoring them (or not)
If our subject insists on being photographed in a way we know is not suitable, it’s tempting to say it is not a good idea. We are the photographer; we know that! But how would that person feel? Perhaps devalued, not taken into consideration, and as a result, they might shut down. Sometimes I prefer to go along with it and say, “Good idea!”, shoot as they suggested and then afterward propose a variation. In this way, I encourage harmony between us. Of course, if the requests continue, it’s essential to make it clear with gentle firmness that it is the photographer who decides. Are we able to find the most appropriate ways and words? When in doubt, our mantra should be: respond, don’t react.
Knowing how to listen
It is not only the subjects of our portraits who need to be listened to and understood. We also need to learn how to listen to ourselves. It helps a lot to observe ourselves and ask, for example: How do I feel in a certain situation? What excites me? What makes me feel challenged or disturbed? Becoming aware of our limitations is the first step to overcoming them.
When I teach and ask my students to describe one of their difficulties, they often realize that it is something other than what they initially thought. They had never paused to define it. So they knew they had a difficulty but couldn’t really address it because it was too vague. Taking notes on one’s reflections, doubts and emotions, or talking to someone about them, helps bring into focus even what is only a rough feeling. The trick is to try to explain how we feel by describing it in enough detail that an outsider can understand it. (If an outsider can understand it, so can we!)
Is the subject impatient?
A recurring discomfort I hear from my students is the fear that the person they are photographing will get impatient, causing them to do everything in a hurry and forget something. But more often than not, the photographer’s fear is greater than the (supposed) impatience of the subject. If we dig a little, perhaps something else will emerge. We might understand, for example, that the photographer feels insecure about their ability to capture a shot. By improving this aspect, subjects magically become less impatient, too! Do you get how this works? And if, on the other hand, it’s really the subject who is impatient, let’s remember that our patience can be contagious.
The overall and the particular
When shooting, it helps to develop the habit of perceiving the image’s general setting at a glance, while at the same time checking all the details without letting any one particular detail absorb too much of our attention. Basically, it’s about looking at the big picture while paying attention to the details. Lights, camera settings, subject position, clothes, hair, expressions… these are all “ingredients” of our portrait. What do we forget? The relationship with the subject, of course. We can monitor it just like the rest. For example, there’s an element in the background that might be disturbing, and the person I’m photographing is a bit obnoxious to me – I have to be careful that neither ruins the photo.
Spotting the differences
Getting into the habit of being mindful of even small details and minor differences can help us better manage a session. Do we need to photograph a particularly showy person? An actress? We take a few pictures, and sure enough, the face is interesting, but… there’s something we’re not sure about. If we can figure out exactly what it is, it will be easier to improve the situation. For example, we might realize our annoyance is driven by the fact that this person is determined to be photographed in a certain way. Two components of her attitude may be confused: the (apparent?) confidence and the desire to impose herself. By discriminating between the two, the situation becomes clearer for us. We can certainly decide to give some room to her need to show what she considers her best side. At the same time, we can try to photograph a little behind that idealized mask. But how to do that? Well, we have to use our sensitivity. We know that what subjects show us in front of the camera often hints at what they want to hide. Very showy? Maybe she feels insecure inside. So, we try to reassure her, ask her opinion and make her feel considered. If our hunch was right, she will probably relax a bit, and we will be able to portray less contrived expressions. Be careful, however, not to improvise as psychologists and, above all, not to judge. Would you like to be photographed by a person who is judging you?
Introspection as a habit
An introspective approach can help us learn a lot every time we take photographs. With experience, our ability to interact will also improve. We could consider so many aspects, but the points listed so far are already an excellent start to creating harmonious interactions during shoots. Not to forget, of course, everything else. For example, it’s useful to rehearse beforehand so as to minimize the possibility of distractions on set. It also helps to inquire in advance about the tastes and habits of those we’re going to photograph. And, of course, it’s a good rule to decide beforehand what photography style we want to use for each subject.
It is evident that just having a good disposition is not enough to guarantee that the people we are to photograph will never give us a hard time again. We can, however, do our part.
The responsibility of taking a portrait
The moments of the shots can be incredibly intimate because the subject is revealing something of themselves. Even if it’s only showing us the way they defend themselves from our gaze, it is always a privilege for us. We do well not to betray their trust and to be careful to respect their boundaries.
When photographing, we have the power to assign more or less importance to certain details, to highlight them or hide them. Our portraits will most likely reflect not only the mood of our subjects but also our own. The images we create will connect the curiosity of those who look at them to those past moments and the qualities we managed to capture. Isn’t ours one of the most beautiful professions in the world?