photographers talk too much about the equipment. I always say thought that a good portrait photographer must be a people person , can’t be distant, Robert Capa always said that if your photograph is not good enough you are not close enough, and therefore the subject at no time may feel exploited. Of course, it almost always interferes with someone’s life, because it is not natural that we approach someone and say that we want to take a picture of them.
It is a bit like in a relationship, you must be honest and the whole situation must be clear from the beginning. When no one feels discomfort when we do not do anything by force, portrait will be brilliant.
Taking portraits of people is a bit like selling a product, we always have to start from such a psychological approach and tame the client a bit. It does not matter if we’re doing a tattooed guy or dad who is walking along with his child. Both are in the moment of privacy, which we will enter, but doing so we are still happy. There is one beauty about being a portraitist: we intrude but never want to hurt anybody, we’re not the paparazzi.
We have good lenses,great cameras, tutorials, books, affordable courses so why these portraits that we do still aren’t perfect?
Each portraiture photographer will tell you that the equipment is really limiting you instsead of giving more possibilities. In portrait photography, which I do, very important is the psychological aspect , and a device that stands between you and the person portrayed, does not facilitate the task( quite often) This causes some discomfort, especially for the person photographed and IT IS VISIBLE on the photo.. Of course, you can shoot as a surprise or without the knowledge of the model, is also kind of portrait photography , but honestly: a good portrait taken as surprise doesn’t happen too often. For me, this direct contact with people is the most important.Know your model, know your camera and environment. Make a plan. But most importantly get in touch.Start dialogue. Engage.
Be careful in the selection of equipment, so that there is not too much, so that we can focus on the subject. Pointing huge camera right in front with a long lens and targeting the person who may have any doubt as to whether he wants to be photographed – it certainly does help.
How, then, to persuade our subject, how to start a successful relationship?
You need to start with a simple interpersonal communication, to convince him to her, because it is the most important in photography especially portraiture. Later ask for the opportunity to take picture. I know from experience that people almost always do agree, rarely someone rejects me.
It is also good to think about “before”, what we want to do what we want from this person that this portrait is to be. Let us remember that a good picture consists of several components, only the appropriate link puts together and ensures a successful image. Therefore, it is important to select the right model and an appropriate setting.
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The art of portrait has a very broad history dating back to ancient times. Through several thousand years in sculpture and painting portrait has been restored to perfection. However, the most popular it has become with the spread of photographic art. Currently photographic portraits encounter almost everywhere: in old publications, in family albums,personal documents, internet, […]
Recently due to a short Christmas break I could invade studio and fill it with familiar faces smaller and bigger. family members enjoy the bonding in a small space and I as e result have more images to work on or learn from depends on the point of view. in my case it is always either viewfinder and a monitor. honestly I prefer the first one as in portrait photography that is the shooting that gives the mere thrill. and the moment you almost as close as you thought was possible. then re-inventing on the monitor is only checking if the thrill was aimed correctly. but when photographing family especially -the one that you created is about something much more important. it is about observing. and seeing things that are not usually there-or seeing them for the first time even. and that might be shocking.:)
portrait of a young man
Some thoughts on likeness in early Renaissance portrait explores the paradox of trying to capture both a likeness of the outward appearance as well as the inner soul of an individual in the portraiture.
Three pipe problem:The Renaissance Portrait.
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