Portrait Photography

Art and Techniques

Saraya Cortaville

• Publisher: Crowood
• Year: 2013
• ISBN:
  9781847976277
• Topic: Art
• Subtopic: Photography

This practical book explains the basic rules of portraiture, as well as covering more complex ideas of image making. Set out in chronological order as a photographer would approach a shoot, it explains each step of the process, including post-production and printing. Explains how to make the most of your camera and lenses, and the fundamentals of photography. Advises on how to approach shoots, whether for a baby or for a larger family grouping, and suggests poses for successful portraits. Explores the more creative aspects of photographic portraiture and includes master classes on more in-depth areas of portraiture. This practical book will help you learn about portrait photography and how to work creatively to take great photographs. Aimed at all professional and amateur photographers including the full range - portrait, glamour, hair, beauty and fashion. Superbly illustrated with 106 colour photographs. Saraya Cortaville is one of the most respected UK portrait photographers and regularly teaches workshops.

Chapter 1

The Photographer

If we were to take a look at some of the true great portrait photographers, with a particular view as to the way that they work and interact with their clients, they seem to share certain inherent qualities. They have a natural ability to read characters and personalities extremely quickly, and to act upon their assessment with ease. Hand in hand with this, they need to love people and their quirky idiosyncrasies with no boundaries or judgements.

A STRONG CLIENT RELATIONSHIP

The skill to connect with their clients on a very personal level, finding a common ground where a dialogue can begin, is the primary skill the photographer will need to have ingrained in their nature. It takes a certain amount of charm and confidence in what they do to be able to relate quickly and easily to a stranger.

The gift of being able to make the sitter comfortable enough to give a little of themselves to the viewer is of great importance if the photographer is to record a true and honest portrait. Often this can mean the photographer giving a piece of themselves in order for the client to open up and reveal a little more of their personality. All of these qualities are worth developing in order to create the correct environment and ambience for the sitter to feel at ease and comfortable in the portraiture scenario. Team these skills with sound technical knowledge of the equipment and settings and the ability to control these to determine the desired outcome, along with the understanding of light and how it works to illuminate your subject, and you will have the perfect ingredients for a successful shoot.

If a photographer cares about the people before the lens and is compassionate, much is given. It is the photographer, not the camera, that is the instrument.

— Eve Arnold 1912–2012

While the photographer with the camera ultimately has the power, they must make the sitter feel as if they have collaborated in some way in the process. So asking initially what the client hopes to get from the shoot is a tool to relax and ‘make friends’ with the client, and it is also a great way to learn the client’s expectations of you the photographer. If all the client’s needs are met the shoot is likely to be a pleasurable experience for both the photographer and the client, and the photographer will ultimately end up with a more successful outcome.

Each sitter will have their own needs and wants. The photographer should approach each shoot with no prejudged idea of whoever may walk through their door; people are unique, and with a little imagination and creativity each shoot should be seen as a new collaboration between the artist and the client. With this philosophy and approach the photographer will set about each shoot in a different way to the last. A photographer who treats each client in a formulaic way will only dampen and stifle any creativity, and will quickly lose all enthusiasm for their craft. As an artist, if you push yourself out of your normal comfort zone some of your most inspiring work can be created.

CREATING THE RIGHT ENVIRONMENT

Creating the right impression in the first place is vitally important if the photographer wants to instil trust and convey a sense of professionalism. It is common practice for the client and photographer to have an initial discussion regarding the portrait shoot before the actual day. This discussion usually takes place over the phone when the client rings to book the appointment. It is an opportunity for the client to air any particular requirements they have regarding the shoot and to learn what they should bring along, such as coordinating clothing, as well as getting travel directions and parking advice.

This telephone conversation is the first point of contact that the photographer will have with the client, and even though it is not in person the photographer needs to be able to create the right feeling, and give the client the best impression possible. Phone manner should be polite and friendly, and the photographer needs to answer any questions posed, confidently and concisely. It is often said that if you converse with a smile on your face whilst on the phone, it creates an impression of approachability and good nature.

They say that a person will make up their mind about you within the first five seconds of meeting you, and children seemingly do this even faster. When meeting the client in person the photographer needs to create the right image immediately, beginning with a genuinely friendly smile and a confident handshake. Your body language should be open and giving, and eye contact constant and engaged. The ability to communicate effectively will be key to a successful ongoing client relationship, where a basis of mutual respect and trust is at the core. Asking questions and open-ended statements will create a free-flowing conversation, where your client will feel cared for, and ultimately will put them at ease with the situation.

When the photographer is meeting the client at the studio, it is important that the space is tidy and welcoming, warm and inviting. The photographer must remember that this may well be the client’s first time in a studio and as such it may be unfamiliar territory. Explaining to the client the area of the studio and what is going to occur during the shoot may help them to understand what is expected of them. In return they will be more relaxed and able to deliver what the photographer wants. A similar tack should be taken if meeting the client on location. You might suggest that you meet at a coffee shop or restaurant close to the chosen location, as this will enable you to explain the proposed plan for the shoot in detail beforehand, and the client will be able to discuss any particular requirements they have.

If children are part of the shoot, they should be made to feel as important as the adults; the photographer should communicate at their level and pose age-relevant questions and comments directly to the children. When shooting children’s portraits, the photographer should take extra care to explain the environment and what is going to happen. Above all the studio must be safe for children to explore the area and become accustomed to their surroundings. Children will quite often have their own questions, aiding communication, and creating a rapport.

WORKING WITH SMALL CHILDREN IN THE STUDIO

Be mindful that the younger the child, in general the shorter the attention span. Work fast where any little ones are involved to ensure that they do not lose patience. Quite often a little rest or a snack can help. However, the photographer must be able to read the signs and suggest the shoot comes to an end while a mutually happy ending is still likely.

Fig. 1.1
Playing hide-and-seek with a hat is great fun for under-fives. Creating a rapport with children is of the utmost importance if the photographer aims to have a successful shoot, and playing games and engaging with the child should make this easier.
Image taken in the studio. Painted black background, 1 Elinchrom BRXi 500, Octa 100cm softbox key light, background light with honeycomb, Nikon D2Xs and 24–70 lens.

DELIVERING CLIENT EXPECTATIONS

Working out the needs of the client and their wishes for the outcome of the shoot is paramount. Showing examples of work can assist in determining the style of images that are required and thus give a more tailored shoot. Try asking simple questions such as: Do you prefer black and white or colour images? Would you rather have close-cropped head shots or full-length images? Is there a part of your body that you like/dislike?

Generally the photographer would still shoot all of these throughout the session to give the client a variety of choice; however the information that they give at this point may dictate certain poses or those that the photographer may want to avoid. For example, if the client suggests that they do not like their nose, you may want to avoid shooting anything in profile or at least ensure that the lighting is flattering.

By determining the client’s tastes and preferences, the photographer is then able to shoot with a final outcome in mind. In an ideal shoot the photographer will try and give the client as many options as possible, with as wide a range of choices as possible. If there are many people in the shoot, variety in poses is also important so as to create interest and keep up the energy in the shoot.

The actual shooting time for any type of shoot can vary dramatically depending on what the client requires. If it is a simple headshot for a business portrait, this can take only a short time, while in comparison a large generation family shoot can take time. When shooting larger family groupings a great question for the photographer to ask is what is the main priority for the shoot? It is quite often a good idea to ‘get this in the bag’ as quickly as possible! More often than not the main focus will be on getting an image of everybody together. If a member of the party becomes tired or...