Portraits Of Strangers - 3

Beauty can be seen in all things, seeing and composing the beauty is what separates the snapshot from the photograph.


- Matt Hardy

When I took B's picture she said to me "I take a terrible picture". I told her obviously that was impossible she must have only met terrible photographers.

Portraits Of Strangers - 2

There are always two people in every picture: the photographer and the viewer.


- Ansel Adams

Another candid portrait photograph of a friendly stranger as I photographed people at random this week in Liverpool. I felt the quote fits as my presence has obviously influenced the shot quite strongly.

Portraits Of Strangers

Usually I think if there is something imperfect in a photograph it makes the picture more real. Photographs that are slick, smooth, and perfect seem less honest to me.

- John Loengard, "Pictures under discussion" by John Loengard,
ISBN: 0817455396

I'm with John Loengard´s sentiments in this quote. Sometimes it's the quirks and flaws make the image for me. The above is one of my random street portraits taken this week in a Pub in Liverpool, UK. I think it fits in with the definition of flaws adding to the image.

Candid Photography Advice

I have collected some of my thoughts on how to go about candidly photographing total strangers. More importantly my thoughts on how to make it home intact and without a black eye and a broken camera.

The fist piece of advice is about how you act. People are like mirrors of your own behaviour. So when you photograph in public if you are cagey and sneaky people will be guarded and suspicious in their dealings with you.

If you lack confidence they will distrust your motives. If you don't know why you are there and what you're doing then you will probably encounter hostility and more suspicion. It's sad but that's the world we are in now.

So I advise being honest, chatty and open if challenged by anyone. You have nothing to hide remember. Watch for peoples responses and act to reassure them if needs be. Sometimes having a business card saying you are a photographer or a small selection of your work with you is a great way to relax a person who challenges you.

Next thing is how to approach people? Do you take a picture and then ask or do you ask then hope that the moment will not be lost? This depends on if you are interested in the moment or the individual in your photograph.

When it's the individual you are interested in asking permission is often the best way to proceed. If you are open, honest and clear why you want to take a picture then usually they will say yes. Often in fact people seem quite flattered at being asked. However if they do refuse then be polite and withdraw. Never take a picture of them after they have refused. You know how you'd feel about that and also it's just plain rude.

In the first shot sequence in this article I was interested in the man´s wonderful face and slight inebriation not the scene that he was in. Due to this I asked him to take his picture and he readily agreed. We chatted for a while and as he relaxed I took my pictures. He was laughing at me by the third shot as it was only then he realised I was taking his picture. He'd forgotten me until that point.

In the second shot it's the moment that is of interest. So asking would have ruined the shot. The shot depended on the eye contact with the dog but no eye contact with the people. It also required people and dog's heads in a diagonal line as they are in the shot. Asking would have disturbed all the elements critical to making this picture work. As such I didn't ask I just shot the image. Ethically I feel good about that as the shot is positive and in no way casts the subjects in a negative light.

Last but by no means least don't waste time fiddling with your camera settings. In candid and street photography you have very little time. You must be ready camera in hand to shoot a picture in an instant. Blink and you can and do miss it! In a normal day exposures change very slowly with slow changes in ambient light. I recommend setting the camera on manual, set shutter speed and aperture for the current conditions and then tweak it when conditions change significantly (or every 30 minutes or so). That way you're focused on composition and your surroundings not the technicalities of photography. You'll also have a camera ready to be used at all times. Worst case is your exposure is off by plus or minus 1/2 a stop which is easily corrected in the darkroom or lightroom later.

What Is Street Photography Anyway?

You'll often hear talk about the mysteries of street photography. Its much rarer to hear any solid discussion about what it actually is. Now there will be much nonsense spouted about the cultural sophistication required to understand it. It can also be the most cliquey and puritanical branch of photography. This should all be ignored, it's very easy to be fed a load of sophisticate nonsense by effete snobs who want to exclude you from what they see as 'their party'. I advise that you just filter out these pompous nay sayers and explore this rewarding branch of photography for yourself.

The above rant over it was most refreshing to find Johnny Mobasher's website. It covers the ancient art of street photography by letting the pictures do the talking. There are dozens of galleries of street photography and also some interesting thoughts on the subject. If you want an idea where to get started and an understanding of why street photography can be so innovative and liberating this is a great site to study.

In addition to the above site Johnny also has a blog which has on occasion made me die laughing.

Portrait Photography (Part 1)

A friend of mine told me when I started out on my photographic journey that portraits are the greatest challenge in photography. I was puzzled by this statement at the time. As at the time I thinking in purely technical terms about photography. I was struggling with all photography not just portraits.

When I asked for clarification and she said something to me that I have never forgoten since. She said 'unless you can connect with the person and draw out who they are. Unless they trust and like you. Then your picture will be of a reflection of their discomfort at the situation and their distrust of you'. The obvious thought at this statement is that you do not want the picture that this situation would create!

When I asked what I should do to avoid this situation she said at the time what seemed the strangest thing. My friend answered 'you must take a slow portrait...'. At the time I was quite baffled by this most enigmatic of statements. However with the benefit of a few years hindsight I shall attempt to elaborate what I believe was meant.

There are technical aspects of portrait photography it would be foolish to pass over. Light is critical. The way it interacts with your subject should be ignored only at your peril. Lit from below your subject will look like Frankenstein. Lit harshly from above unflattering shadows will dominate the shot. Hair is naturally dull on camera unless you can get some soft light into play on it then it will take on a whole new dimension. A lens of 85mm is a great focal length for a flattering shot it will not distort the subject. Take care of plants growing out peoples heads, pay attention to your background. Don't be afraid to fill the frame.

All this is useful to learn and all these rules can also overwhelm you when starting out. It can easily be learned by rote from any photography textbook. Though that will not guarantee a good result. It also does not answer what was meant by a slow portrait? How do you take a slow portrait and what will be the resulting benefit?

I will attempt to explain by relating a true story. I was at the wedding of a photographer friend of mine in the happy capacity of his best man. It was during this time I finally realised what a slow portrait was. It was also then that I took my very first slow portrait of note. This was the picture of the wonderful lady pictured here. He name is Maria and she was the grandmother of the groom. She is without a doubt an awkward subject who dislikes her picture taken so much that she cuts herself out of family photographs. To be fair we all know people who dislike thair picture being taken so she is not unusual in that respect. That said Maria is a challenge to photograph even going by this standard.

I asked to take her picture during dinner and was politely declined without hesitation. My status as best man carried less weight than that of the official weding photographer who also received the cold shoulder. However I was by then determined to photograph this distinguished lady. When I had the chance I spent 45 minutes talking with her. During this time she relaxed, warmed to me and finally she began to speak about seeing her grandson married. This made her think about meeting and falling in love with her husband. This was the start of a wonderful and heart warming moment that I still smile when I recall. I took the picture shown at the moment she related to me first laying eyes on the man who became her husband when she was still a teenager. Her expression became wistful and she gestured with her hand as she spoke. I insisted that I must take her picture as she recalled her husband as she was radiant in that moment and anyone could not fail to see this. When stated like this she warmed to the idea of a picture and agreed to the photograph being taken. The result is more than a simple photograph in my opinion. It is the portrait of the person as she seemed to me in that moment in time. A time capsule.

I've used a touch of fill flash. The wide aperture of f/2.0 has made the background less distracting. The candles on the table have softened or removed entirely any unflattering shadows. These are all technical and to a certain extent ephemeral things. The main thing is that I spent time getting to know Maria. I gained her trust and her confidence. When I finally took a picture we where on the same wavelength and I had her trust in my intent as a photographer. This is all reflected in the resultant image. It shows the wonderful person I saw. It is not simply a snapshot or recorder shot of a stranger that will mean nothing to anyone else. It is an image with more intrinsic value than that. I'd also say that at 45 minutes it was indeed a very slow portrait. This is what is meant by a slow portrait. One that takes the time to connect with the subject and draw out the best in them because they trust you to do that.

So when taking a portrait remember the technical rules by all means. Remember though you forget the person and your bond with them at the cost of a worthwhile portrait. When given a great opportunity like Maria gave me don't be so obsessed with appertures and shutter speeds that you don't see the golden opportunity in front of your face. Be engaged with the person and the personality you want to photograph. Remember this and you will not fail. Your portraits will always be greater than the sum of their parts

(Warmest thanks to Magda Indigo for all her advice and wonderful exampleson of portraits over the last few years.)