HELP!! My boss wants a portrait.

[William W]

Even easier to take them off, unless of course these are part of the persona for the photograph.

Hi Manfred,

Agree - that's why I wrote "usually".

I do hope that Chris and also his Boss are realizing that there is much wisdom from those who have advised sincerely that an experienced Portrait Photographer would be a better choice.

WW

[Manfred M]

Here’s another issue, and it may get no uptake (i.e. I may be all wet, or a bit weird): Portraiture involves what seems to me an intimate interaction, and to me that is suggests it is best framed in a professional relationship unless the photographer and subject are close friends already, or family. The subject is revealing him/herself and the photographer is making a personal statement about how they see what is revealed.

It’s probably not as intense as providing someone psychotherapy, legal counsel on a personal matter, or medical care, but to me it has many of the same features – good portraits are exposing (though more complexly, political portraits may apprehend what is best concealed).

For that reason I would think it an unusual boss/employee relationship where anything but a casual, friendly snapshot to meet a minimum requirement for entering a local race – like a passport shot - might not create “boundary” issues. The reverse would be a boss seeking the modeling services of an employee – equally problematic in my view. I’ve not done portraiture but I’ve had it done and it seems to me stuff goes on between the two persons involved – you know, “stuff”.

Photographing someone you know is often easier than getting a good shot of a complete stranger.

If you speak to photographers that shoot people for a living, they will tell you that getting a read of the person's personality in order to convey that in the picture is really one of the most difficult parts of doing portraiture. If you already know the person, this part is a lot easier.

If you read about the "great" portrait photographers, this is a knack they all had and used quite effectively. If you read the account of how Yousef Karsh took his famous shot of Winston Churchill; it was a combination of reading the personality, evoking a reaction (he pulled Churchill's cigar away from him) and waiting for the precise moment for the expected reaction to come through.

The other difficult part is getting the person to relax in front of the camera; and again, knowing the person can be an advantage here. If I were to take a picture of my (former) boss and I told him he's standing there like a "deer in the headlights" or something even a bit more crude, I'd get a laugh and bit of relaxation and would get a few decent shots off before he had a chance to stiffen up again. With a stranger, this might work but could just as easily backfire.

I personally find it a lot easier to shoot someone I already know, because I know which triggers work and which ones won't. Directing someone during a portraiture session is quite important to get good shots.

[William W]

Photographing someone you know is often easier than getting a good shot of a complete stranger.

If you speak to photographers that shoot people for a living, they will tell you that getting a read of the person's personality in order to convey that in the picture is really one of the most difficult parts of doing portraiture. If you already know the person, this part is a lot easier.. . .

I agree, however two salient point in this conversation are:


1. Chris (the OP) is neither an experienced nor professional Portrait Photographer.

2. Chris already has an existing relationship with the Subject (existing relationship is different to 'knowing their personality').

*

In this recent thread many responses commented on the startled look and rigidity of the Subject.


In the above thread please note comments regarding Novices' photographing Subjects with whom they have is a relationship. Please note also the OP's responses to those comments.

Specifically: Posts #11, #12 and #13.

WW

[Chri5]

Amazing amount of replies here thank you all very much. I took a photo today for the boss and my lack of portraiture practice does show but I think the boss will be happy enough as the photo is just for a web site and he didn't want anything to great just a nice sharp image. I will post the image later. thanks again

[Mike Buckley]

the account of how Yousef Karsh took his famous shot of Winston Churchill

I sometimes wonder if that isn't the most important moment in the history of portrait photography. The details are well worth reviewing:

"Karsh asked Churchill to remove the cigar in his mouth, but Churchill refused. Karsh walked up to Churchill supposedly to get a light level and casually pulled the signature cigar from the lips of Churchill and walked back toward his camera. As he walked he clicked his camera remote, capturing the ‘determined’ look on Churchill’s face, which was in fact a reflection of his indignantcy. Karsh recounted: “I stepped toward him and without premeditation, but ever so respectfully, I said, ‘Forgive me, Sir’ and plucked the cigar out of his mouth. By the time I got back to my camera, he looked so belligerent he could have devoured me. It was at that instant I took the photograph. The silence was deafening. Then Mr Churchill, smiling benignly, said, ‘You may take another one.’ He walked toward me, shook my hand and said, ‘You can even make a roaring lion stand still to be photographed.'”

The entire piece can be reviewed here.

[AlwaysOnAuto]

Thanks to all that replied to Chris's thread. I've learned a lot from it by just reading and thinking about what is said.
Thanks for posting the link to that photo Mike.

The only portrait photo I can remember anything about was when my father-in-law was going to be on the cover of a trade magazine. The photographer had him take off his glasses for the picture. When family members saw it, the first thing they all said was 'Dad NEVER takes off his glasses!'

[William W]

. . . The only portrait photo I can remember anything about was when my father-in-law was going to be on the cover of a trade magazine. The photographer had him take off his glasses for the picture. When family members saw it, the first thing they all said was 'Dad NEVER takes off his glasses!'

Interesting, that you remember only that bit of information: often it is more a negative element which is most or more easily remembered.

WW

[AlwaysOnAuto]

It's funny looking back on that now. Even though I hadn't been 'part of the family' for all that long, it was so out of character even I had a hard time liking the photo.

[William W]

^ Indeed,

[rpcrowe]

If you do the photography, obviously you want the very best results. Here are some pitfalls in portrait photography and how to get around them...

FACIAL ISSUES - PORTRAIT CORRECTIONS

BLEMISHES OR SCARS
• Shadow problem areas
• Reposition the camera to avoid
CHIN , DOUBLE
• Raise the main light
• Tilt chin upward
• Use a high camera position
• Stretch neck
• Lean head toward camera
EARS , LARGE
• 3/4 pose
• Only show one ear
• Shadow second ear
EYES, BLINKING
• Time shot after subject blinks
EYES, DEEP SET
• Light into eyes
• Lower Main Light
• Lower light ratio
EYES, DEEP SET
• Lower main light
• Use lower light ratios.
EYES, DIFFERENT SIZED
• Largest eye close to camera, other in shadow
• Largest eye away creates evening effect
EYES, EYE GLASS WEARERS
• Shoot with empty frames
• Position glasses away from lights
• Bring lights in from very high, or bounce off ceiling
• Use small light source
EYES, PROTRUDING
• Have subject look downward
FACE, BAD COMPLEXION – FEMALE
• Proper make up can cover some problems
• Diffuse image
FACE, BROAD, ROUND OR FAT
• Raise the camera position
• Use short lighting
• Turn the face at a 3/4 position
FACE, NARROW
• Lower the main light
• Use broad lighting.
FACE, THIN
• Pose model facing the camera
FACE, WRINKLED
• Use diffused frontal lighting
• Lower the main light
• Use a 3/4 pose.
FACE, DEFFECTS
• Scars/birthmarks keep hidden on the shadowed side of face
• reposition
FOREHEAD, PROMINENT
• Tilt chin upward
• Lower camera position.
HAIR, BALDNESS
• Lower camera position
• Blend the top of the head with the background.
HAIR, DARK
• Check to make sure that background doesn't merge with hair
• Restyle if necessary.
HEAVYSET FIGURE-
• Use short lighting, use low key lighting,
• Dark clothing
• Blend body with background tone.
JAW, SQUARE
• 3/4 pose, higher camera angle
NARROW CHIN
• Tilt chin upward.
NOSE, ANGULAR
• Minimize feature by turning the face directly toward the lens.
NOSE, BIG
• Raise chin slightly
• Pose nose straight into lens
NOSE, LONG
• Tilt chin upward, position face directly toward lens
• lower the main light
• lower camera position.
NOSE, SMALL
• Pose nose at an angle to camera