THE PHOTOGRAPHIC EYE

is especially useful on location, it can
also work very well in a portrait session.
The main difference is that the
subject of a portrait session (in which
you take many photographs of a
single person) knows that you intend
to use your camera. Nonetheless, by
bringing the camera between you
only when necessary, you can keep
the mood relaxed and casual. Chat
awhile, grab a few shots, chat some
more, grab a few more shots, etc.
The second approach, which is
especially useful in a photograph session
setting, is to place the camera on
a tripod. Set the exposure and focal
range and then peek out from behind
it to talk with your subject. Stay close
to the camera if you want your subject's
eyes to be looking straight
ahead. You may want to use a cable
release so you won't have to try to
find the shutter while you're talking.
A variation on this technique,
which is probably the most commonly
used of all, is to hold the
camera in your hands the whole time.
You compose, set aperture and focus
and then look through the viewfinder
and click your photos (conversing as
normally as possible) until your subject
begins to look nervous. Then you
poke your head up, make eye contact,
tell a few jokes or whatever else
it takes to get your subject to relax.
The main thing to strive for in a
portrait session is a comfortable pace
for both you and your subject. If the
camera keeps clicking at regular intervals,
and conversation proceeds in
a steady flow, most subjects will
relax. Your instructions ("Move over
there. Look into the camera. Mowabout
a smile?") will gradually fade
into the background. The other person's
character will begin to surface.
You should expect to "waste" 10 or
more exposures before this occurs.
Don't hold back, waiting for the one
perfect shot, or you'll both become
nervous wrecks. Just start talking and
shooting, like it's the most natural
thing in the world.
The most effective pace will vary
depending on your subject and the
mood you want to capture. If you
want a solemn, soulful expression,
try to speak slowly, softly and allow
for some long pauses. Remember
that you may be asking your subject
to be very emotionally revealing . . .
and it's only fair that you reveal
something about yourself as well. A
genuine exchange should be expected
from both of you.
If, on the other hand, you want a
cheerful expression, then talk fast
and furiously until your subject gets
so caught up in your great sense of
humor (or bumbling mistakes) that
he or she forgets about your camera.
(By the way, don't be afraid to make
mistakes and admit them. This can be
a very effective way to loosen up a
subject. You may even want to make
a few on purpose. Just be sure you
stop making them after the first few
shots, so your subject doesn't begin
to think the whole session will be a
waste of time.)
One other trick: If you can't get
your subject to relax and just talk, try
asking him or her to recite the alphabet.
This has two useful results. First,
it gets the lips moving and produces
a variety of expressions. Second,
everyone asked to do this starts
laughing sooner or later.
As you practice shooting portraits,
you will begin to learn when your
subject's expressions will change.
This is necessary if you intend to
catch them on film. Once you've seen
the expression you want, it's too late
to click the shutter. You have to do
that just a fraction of a second before
the "right" expression occurs.
Shooting several frames in quick succession
can help, but that's no substitute
for the true photographer's instinct
for what Carder-Bresson
named the "decisive moment." Like
fishermen, photographers are continually
lamenting the "one that got
away." With consistent practice and
a bit of luck, however, they will
become few and far between.
Lighting is of critical importance
in portraits. For most purposes, the
best light is open shade. This may be
obtained outdoors on the shady side
of a tree or building, or inside near
a window.
For more dramatic effects, you
may want your subject to be lit more
directly. If so, pay particular attention
to the eyes. Many otherwise
good photographs are ruined because
a subject's eyes were lost in harsh,
black shadows. Careful positioning
will usually correct the problem. If
not, you may want to use a reflector
(any white or metallic surface will do
the trick) to throw some light back
into the shadows.
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