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.

Hellen Van Meene interview goes live.

In late 2006 I had the great experience of interviewing renowned portrait photographer Hellen Van Meene. She was a fascinating articulate person with great thoughts and opinions about her craft. So much so that I had to do the harshest edits I've ever done in an article. That or it would have been three times as long as my editor would like it!

Hellen's work focuses on teenagers, mostly young women, who are on bordering on adulthood. The images have an almost otherworldly quality. She discusses the reasons for this and how she approaches her work in my article. I've included an excerpt of below as a taster. The full article can be found here on ePhotozine.com where I work as Professional Photographer Portfolio Editor.

Hellen felt part of her talent as a photographer was to draw something more out of her models something from within them. She felt sometimes this meant strong direction of her models which often means having to ask them how to pose or how to look. Guiding them through the process. Her description of this was dramatic referring to it as "like sculpting on a living soul" She feels a strong responsibility for her models and the look she gives them as she has chosen them in the first place for qualities they are perhaps unaware they have at this point. She adds after pausing for thought "I try to get the best things out of them. If it means I have to turn her around or anything else, it’s my responsibility and that is a big challenge every time. It’s too easy to make a photo of an insecure girl. I mean…there’s nothing in it. It’s much more of a challenge to take an insecure girl and change her into Queen Elizabeth. That’s more difficult".

I really hope you enjoy the article and as always if you have feedback, suggested photographers to interview or would like that kind of exposure yourself please drop me a mail.

Hellen's Book is available from Schirmer Mosel Publishing. I have my own copy already and am delighted with both the content and the print quality.

Previous interviews on ePhotozine.com:

Photo-journalist Jonathan Taylor

Wildlife Photographer Andy Rouse

Interview With Hellen Van Meene

I'm a few days off publication of my latest interview with a profesional photographer. In this case it is with renowned Dutch photographer Hellen Van Meene. I'm just editing the final draft of the article and have to say I'm very excited about how it's shaping up. She's a fascinating and articulate person who's views on her work are extremely interesting. The interview will appear on ePhotozine.com very shortly. I'll post an update informing you when the article goes live. The image on the left is the cover to her book 'New Work' which I'd recommend both for the themes it contains, the quality of the images and as a masterclass in the use of natural light.

In the meantime if you haven't already you could check out my previous two interviews on ePhotozine.com.

Jonathan Taylor - A Photo-journalist based in Asia talks about his work and how to keep your cool and produce good documentary photography work while dining with a contract killer! A real insight into photo journalism from a very talented photographer.
Andy Rouse - The world renowned wildlife photographer Andy Rouse talks about his new work, photography in Antarctica and his future plans. Worth checking out for his award winning images alone. Add to that he's funny and to the point and you're on to a winner.

Portrait Photography - Useful Information

Today I have the mental weakness of thinking in straight lines. This means I must follow yesterday's useful information on landscape photography with resources for portrait photography. As I've stated previously a lot of portrait photography is about your rapport with your subject and their trust of your ability to represent them. This means a portion of these links are a little less specific. I'll start with two portrait photographers of note worth looking at for differing reasons.

Arnold Newman - One of the great masters of the photographic portrait. His work is worth looking at for its great use of space and his ability to use the environment to tell you something about his subject. It's also obvious how great his relationship with his subjects is.
Hellen Van Meene - Renowned Nederland's photographer. Uses natural light and props/costume to produce stunning and original portraits with a very unusual and original feel to them. A great photographer to study for her use of light and colour in an image. Sadly the web can't do justice to how wonderful her prints are in reality.

The next two links are more technically useful with some information you can use directly either for ideas or to improve your technique and ability. This has the side effect of making your subject more relaxed as you'll be working fast and with confidence so they don't have time to panic or doubt your ability.

DG28.COM - This site is the brainchild of Neil Turner. Neil has been a freelancer and then a staff photographer for the Times Educational Supplement. He's a master of his craft and has great lighting and improvisational skills. I think they've been developed by hard work and the need to cope under the pressure of his job. On his website he generously shares his experience, tips and skills to give you great insight and inspiration as to what you can achieve in a portrait.
Planet Neil - A site made by Neil van Niekerk with a splendid tutorial on flash lighting. It is the best tutorial on this tricky subject that I've read anywhere. It's accessible easy to follow and superbly readable. It puts mastering flash and controlling light into the reach of anyone with a flashgun. As available light will not always suffice this is an essential read.

A couple of good books to read on the subject of portrait photography are:

Lighting For Portraits - By Steve Bavister. - A well illustrated and well written book covering the simple lighting for portraits right up to very complex studio setups with examples and diagrams of each style.
Portraits - By Steve McCurry. - A book of nothing but portraits by this most splendid of photographers. Pay attention to his use of colour and background. He reminds me of a rennaisance painter.

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.)

Breaking Photographic Rules..?

In photography there are many rules. In fact some frustrated creatives have been heard to argue that there are too many rules. Others counter that argument by stating the rules have evolved over a huge expanse of time and anyway who are you to question the rules?

There are many rules. Rules such as:

1/. Don't photograph into the sun.
2/. Don't use direct flash.
3/. Don't put people central in a frame.
4/. Don't shoot people from below.

The truth about rules, like so many other things in life, is somewhere in between. If you don't know the rules or if you dismiss them out of hand without understanding their purposes and limitations, then you may well fail to realise your creative potential. You just won't have the right creative tools to make good choices to reach your full potential.

However if you let the rules bind you rigidly without thinking for yourself, without allowing your own creative style to develop, then you'll forever be a pale imitation of someone elses ideas.