Objectives
The objective of this assignment is to take one person as a subject and create between 5 and 7 different portraits.
My original intention was to photograph a volunteer of the East Anglian Air Ambulance for this project. As this has taken longer than expected to organise, my friend Nathan kindly agreed to step in and be the subject on my assignment.
My own objective for this assignment has been to get as much practice and understanding as possible in doing studio work, using studio lights and equipment. By the end of the assignment I wanted to create my own small, portable studio and be able to swiftly assemble and use some simple set ups including 1 to 3 light sources.
As the first assignment for People and Places, this work has another important function – it serves as my introduction to my tutor and it offers him an opportunity to get to know me and my work.
On selecting the images
Selecting the final images is both exciting and demanding; in many ways it was quite a challenging part of this assignment.
I used Lightroom 2 to work on the selection and originally shortlisted around 20 images. I then started looking for a theme that would connect them – something curious or thought-provoking that I might be interested to explore.
Photographer Charles Freger shared an interesting observation: ‘when I photograph a person, I will always find a way to feel close to them. The actual end product of the portrait is…only the visual tip of the iceberg. It’s more about an outsider trying to step into a group of insiders.’
It is amazing to think that many different faces and characters could fit within one single individual. It can be challenging sometimes to feel at peace with oneself and our complex and multiple identities.
This final selection of images is my attempt to step ‘into the group of insiders’ of my subject; try and picture what comes to the surface – the signs of the fleeting emotions and internal conversations. I wanted each image to reflect on a slightly different facet of the person’s identity. Have I succeeded? I feel that I have only just started exploring it. This is in no way a completed job!
I used Lightroom 2 to work on the selection and originally shortlisted around 20 images. I then started looking for a theme that would connect them – something curious or thought-provoking that I might be interested to explore.
Photographer Charles Freger shared an interesting observation: ‘when I photograph a person, I will always find a way to feel close to them. The actual end product of the portrait is…only the visual tip of the iceberg. It’s more about an outsider trying to step into a group of insiders.’
It is amazing to think that many different faces and characters could fit within one single individual. It can be challenging sometimes to feel at peace with oneself and our complex and multiple identities.
This final selection of images is my attempt to step ‘into the group of insiders’ of my subject; try and picture what comes to the surface – the signs of the fleeting emotions and internal conversations. I wanted each image to reflect on a slightly different facet of the person’s identity. Have I succeeded? I feel that I have only just started exploring it. This is in no way a completed job!
1. Close Up (Warm)This close up head shot aims to capture a moment of quiet reflection. Composition and scale I felt that for a shot like this one there was no need to show the subject in the context of its surroundings. The main point was to focus on their face and their face expression and eliminate any possible distractions such as a busy background or any clashing colours. To achieve this, I zoomed in on the face and composed the shot using the rule of thirds. I used the hand’s position and the face angle to form the leading lines, bringing the attention to the face expression. I also desaturated the image slightly in Lightroom 2 to reduce any potential colour distraction. I decided to use warmer tones to soften the complement the soft focus effect Technical: exposure, focus I kept the focus on the subject’s face and allowed other less important elements of the image to be rendered in a soft focus. Background, location and settingI checked that the background was out of focus and dark enough to help the person’s face stand out more. I used histogram to make additional adjustments in Lightroom. LightI used the available natural light with a simple reflector for this shot and tried to avoid any strong shadows on the face. Eye contact and expressionThis image is an example of a close up portrait with the eyes not being fully visible. It is as if they are hiding behind the frame of the glasses. The attention and the gaze are turned inward and there is a hint of tension in the face expression. Focal lengthI used Canon zoom lens at 200. Pose and movement Although the person in the image is motionless his hand’s position creates a sense of movement or anticipation of movement.
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Soft spot
My subject Nathan admitted straight away that he was camera shy. To help him feel more relaxed in front of the camera I invited him to bring along his guitar and play music whilst I was taking pictures. This has not only helped my friend to forget that he was being photographed and made him more relaxed but also helped me to ‘see him’ as a person and come up with different ideas for portrait settings.
Nathan’s shyness is reflected in the title and the studio set up for this shot. My subject was naturally trying to get away from the spot light; he found it much more comfortable to play guitar in almost complete darkness, being illuminated only by a single spot light. I think this image shows his creative and quiet side of personality‘ and his desire to get away from the spotlight.
Composition and scale
Nathan’s facial expression is the key focus of this low light image even though his torso and the background are included in the shot. The presence of the guitar helps to establish the scale of the image and the surroundings as well as convey the mood. The image was shot slightly from above and it took me a long time to get the angle right but eventually I succeeded.
Technical: exposure, focus
The visible parts of Nathan’s body and his face are in sharp focus. In this image I used the light and shadow to control what we are able to see and what to focus on – in comparison to the previous image where this was done with the help of the sharp and soft focus.
Background, location and settings
I intentionally concealed the details of the background to prevent it distracting us from focussing on the main part of the image. I think the image came out as intended: I wanted to use as little light as possible to show just enough detail and maintain the focus on Nathan’s face. The guitar is there only to provide some context; I used just enough light to be able to see what it is.
Light
For this shot I kept the lights arrangement deliberately simple: I used a single spot light directed at my subject’s face. Apart from the face, the only details we are able to distinguish are some light reflecting on the strings of the guitar and an outline of Nathan’s hand. These elements give us enough detail to ‘read’ the picture. Intentionally, the rest of the image is underexposed to make the best use of the strong blacks and emphasise the focus on the facial expression.
I was planning to darken/ remove the white label on Nathan’s jumper but then decided not to. On reflection I think I should have done that as it is a visible distraction.
Eye contact and expression
Despite the fact that our subject is facing away, we are able to pick up the moods and emotional connotations conveyed by the image.
In many ways it is the lack of the eye contact and the absence of the background (too dark) that help to create a certain atmosphere and the mood of this image.
Focal length
The image is shot with a mid-range lens at 50-70.
Pose and movement
The posture is relaxed and reflective as if the viewer is invited to join in in the moment of quiet contemplation.
Nathan’s shyness is reflected in the title and the studio set up for this shot. My subject was naturally trying to get away from the spot light; he found it much more comfortable to play guitar in almost complete darkness, being illuminated only by a single spot light. I think this image shows his creative and quiet side of personality‘ and his desire to get away from the spotlight.
Composition and scale
Nathan’s facial expression is the key focus of this low light image even though his torso and the background are included in the shot. The presence of the guitar helps to establish the scale of the image and the surroundings as well as convey the mood. The image was shot slightly from above and it took me a long time to get the angle right but eventually I succeeded.
Technical: exposure, focus
The visible parts of Nathan’s body and his face are in sharp focus. In this image I used the light and shadow to control what we are able to see and what to focus on – in comparison to the previous image where this was done with the help of the sharp and soft focus.
Background, location and settings
I intentionally concealed the details of the background to prevent it distracting us from focussing on the main part of the image. I think the image came out as intended: I wanted to use as little light as possible to show just enough detail and maintain the focus on Nathan’s face. The guitar is there only to provide some context; I used just enough light to be able to see what it is.
Light
For this shot I kept the lights arrangement deliberately simple: I used a single spot light directed at my subject’s face. Apart from the face, the only details we are able to distinguish are some light reflecting on the strings of the guitar and an outline of Nathan’s hand. These elements give us enough detail to ‘read’ the picture. Intentionally, the rest of the image is underexposed to make the best use of the strong blacks and emphasise the focus on the facial expression.
I was planning to darken/ remove the white label on Nathan’s jumper but then decided not to. On reflection I think I should have done that as it is a visible distraction.
Eye contact and expression
Despite the fact that our subject is facing away, we are able to pick up the moods and emotional connotations conveyed by the image.
In many ways it is the lack of the eye contact and the absence of the background (too dark) that help to create a certain atmosphere and the mood of this image.
Focal length
The image is shot with a mid-range lens at 50-70.
Pose and movement
The posture is relaxed and reflective as if the viewer is invited to join in in the moment of quiet contemplation.
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Dream
Composition and scale
It was clear from our first meeting that music was a very important part of Nathan’s life and his way to express himself and relate to the world around him. I wanted to capture this very special relationship in this image.
This picture was taken straight after a brief rest session in my make-shift studio. This time my intention was to give the guitar the space and the full attention it deserves (in contrast to the Soft Spot image). The white vinyl backdrop was positioned on the floor and served as the background. It took me a while to get the angle right but I am pleased with the way this image captures the soft and peaceful expression on Nathan’s face and a sense of interaction with his instrument even though there is no physical contact.
I would have preferred to see a tighter composition in this shot but overall I think this image worked quite well.
Technical: exposure, focus
This was a very straightforward set up with the exposure reading taken from Nathan’s face. As with most of my images for this assignment, my camera was set on a tripod to prevent camera shake and to ensure that the image is sharp. I used sepia tone in Lightroom; I think this tone suits the tone of the skin and brings out the wood patterns of the face of the guitar. No other editing or exposure adjustments were made.
Background, location and settings
White background was used to keep the focus on the main subject. It also complements the notions of dreaminess and purity.
Light
For this shot I kept the lighting arrangement very simple: one soft box was used to eliminate the subject from above and I varied the angle to achieve some soft natural shadows on the white background. These shadows were not overpowering and so worked quite well in this image.
Eye contact and expression
Nathan’s eyes are closed and his face features are relaxed. I had a feeling that he was creating a new piece of music and listening to it in his mind. I think this picture gives a sense of peace and contentment – just what was intended.
Focal length
The image is shot with a mid-range lens at 50-70.
Pose and movement
The posture is relaxed, reflective and dreamy. Nathan’s shoulder is just touching the guitar and this creates a sense of connection and interaction with his instrument.
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Duet with myself
In this photo session we decided to launch straight into work and it made us both felt a bit tense at the beginning. It brought about some different and interesting results and I decided to include one of the images from this session in my final collection. Later I read the reflections of Ian Rankin on his experience of interacting with his models during a photo shoot. Rankin commented that ‘sometimes we chat first, but sometimes it’s good for everyone to be fresh and tense when you start.’
This image aims to explore the idea that we are not homogenous beings and that there might be a collection of characters and personalities existing and interacting within each one of us. This image intends to capture an imagined interaction or a conversation that my friend Nathan might have with himself. I often felt that similar kind of conversations may have been taken place in our heads during the photo shoots.
I wanted the image to be humorous and light and not too heavy and serious so I decided to combine a ‘laughing image’ and a ‘serious image. ‘
Composition and background
I made a number of shots against a white background featuring different poses and postures. I then merged two chosen images in Lightroom and Photoshop using Layers and Masks.
Technical: exposure, focus
The execution was very simple and straightforward with all images shot at the same exposure and ISO settings, and all of them in focus.
Light
I used two soft boxes and a reflector for this shot. The white background also worked as a reflector to eliminate any unwanted shadows.
Eye contact and expression; pose and movement
I tried to vary these as much as possible to have a lot of choice when working on the final image in Photoshop. I felt that my choice of the images to include in the final photo was influenced of what I already knew about Nathan. I was actually trying to imagine him having a conversation with himself and it helped me to select the images. During the photo shoots we tried many sitting and standing positions and I am interested to experiment with this idea further.
Focal length
Again, I tried to use as wide range of lenses as possible and vary the shots. The final image combined the two images shot at 80 and 35-40.
This image aims to explore the idea that we are not homogenous beings and that there might be a collection of characters and personalities existing and interacting within each one of us. This image intends to capture an imagined interaction or a conversation that my friend Nathan might have with himself. I often felt that similar kind of conversations may have been taken place in our heads during the photo shoots.
I wanted the image to be humorous and light and not too heavy and serious so I decided to combine a ‘laughing image’ and a ‘serious image. ‘
Composition and background
I made a number of shots against a white background featuring different poses and postures. I then merged two chosen images in Lightroom and Photoshop using Layers and Masks.
Technical: exposure, focus
The execution was very simple and straightforward with all images shot at the same exposure and ISO settings, and all of them in focus.
Light
I used two soft boxes and a reflector for this shot. The white background also worked as a reflector to eliminate any unwanted shadows.
Eye contact and expression; pose and movement
I tried to vary these as much as possible to have a lot of choice when working on the final image in Photoshop. I felt that my choice of the images to include in the final photo was influenced of what I already knew about Nathan. I was actually trying to imagine him having a conversation with himself and it helped me to select the images. During the photo shoots we tried many sitting and standing positions and I am interested to experiment with this idea further.
Focal length
Again, I tried to use as wide range of lenses as possible and vary the shots. The final image combined the two images shot at 80 and 35-40.
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Looking out
The lesson I’ve learnt from working on this image is to always take advantage of shooting locations and look out for some interesting reflections and props that can be used. I spotted this window with a thick layer of condensation on its surface and we did a quick 15 min session shooting through the window.
This image intended to explore the idea of looking out and interacting with the world outside; it is more about our relationship with the external.
Composition and scale
I made a number of shots using different focal lengths from wide angle to telephoto. I experimented with vertical and horizontal framing.
Technical: exposure, focus
This image was simple to execute and did not require much of editing. Simple natural light was used and the exposure reading was taken from the skin. I worked on manual focus with a handheld camera.
I converted the image to black and white to reduce any colour and tone distractions to the minimum. I also thought that the grain of the black and white image will add to the atmosphere of the scene. I increased the contrast in Lightroom.
Background, location and setting
I tried to experiment with including more of the sky and of the surroundings but quickly decided against it. The final image does not include much of the surroundings. I also decided not to use the window frame as a ‘frame within the frame’ because it complicated the shot. The black tone of the background worked well enough as a natural frame and helped to bring out the face expression.
Eye contact and expression
There is no eye contact with the viewer in this image. During the photo session we tried different scenarios with and without direct eye contact. It seemed that this image with the subject’s gaze leading the viewer out of the frame worked better than the other approaches.
Focal length
I chose to use a telephoto lens for this particular image as it helped to bring the subject’s face closer to the viewer.
Composition and scale
I made a number of shots using different focal lengths from wide angle to telephoto. I experimented with vertical and horizontal framing.
Technical: exposure, focus
This image was simple to execute and did not require much of editing. Simple natural light was used and the exposure reading was taken from the skin. I worked on manual focus with a handheld camera.
I converted the image to black and white to reduce any colour and tone distractions to the minimum. I also thought that the grain of the black and white image will add to the atmosphere of the scene. I increased the contrast in Lightroom.
Background, location and setting
I tried to experiment with including more of the sky and of the surroundings but quickly decided against it. The final image does not include much of the surroundings. I also decided not to use the window frame as a ‘frame within the frame’ because it complicated the shot. The black tone of the background worked well enough as a natural frame and helped to bring out the face expression.
Eye contact and expression
There is no eye contact with the viewer in this image. During the photo session we tried different scenarios with and without direct eye contact. It seemed that this image with the subject’s gaze leading the viewer out of the frame worked better than the other approaches.
Focal length
I chose to use a telephoto lens for this particular image as it helped to bring the subject’s face closer to the viewer.
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Close up (Cold)
The idea for this image came out of my conversation with Nathan during one of our photo sessions. Nathan often works in Northern Europe and Scandinavia. He told me that people there often mistakenly thought that he was a Scandinavian. We laughed about this imposed identity story and decided to reflect on this in one of the images.
Composition and scale
For this image I had to get really close to my subject to focus just on one side of his face.
The impact of this image intended to come from the matching shades of the eyes and the background, the play of soft and sharp focus and the intimacy of the gaze. I decided to frame the shot slightly off-centre to heighten the impact. I think the composition worked reasonably well in this image.
Technical: exposure, focus
I used my camera mounted on a tripod and followed the exposure reading taken from the skin plus 1 stop. I bracketed the exposure. I then used Lightroom to make the necessary exposure and white balance adjustments.
Background, location and setting
For this image I used a cold tone sea-coloured background which complemented Nathan’s eyes. There was no need to include any wider background or surroundings in the shot.
Light
I used a single soft box and plenty of natural light for this image. I chose to get away from having any strong shadows on the face or neck. I wanted to pick up and emphasise the lightness / fairness of the skin tones.
Eye contact and expression
I shot the image from the position slightly below Nathan’s eye line which I think worked well. There is no direct eye contact with the viewer but this only adds to the mystery and creates a slight sense of suspension.
Focal length
I used my telephoto lens at 200 which also helped to blur the background and the side of the face and neck.
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Looking in
Background, location and setting
I spotted this wall of black polished stone when Nathan and I were on the way to do some photos for my For Sale: Home Sweet Home project. The polished stone gave an interesting reflection and I was keen to try and capture it.
Composition and scale
I tried to use the rule of thirds to create a more interesting composition. I also tried to use the vertical lines of the wall to add a sense of tension and potential imbalance.
I opted for a Head & Shoulders shot to cut all the unnecessary detail on the background to the minimum.
It was my intention not to give many instructions to Nathan on that occasion as I really wanted him to behave as natural as possible - I was after capturing something that I thought was already there so I decided not to introduce any of my own ideas to my friend. I wanted to see his own reaction to the reflection and to catch his own interaction with it. It is in many ways such a private moment that I did not feel I could offer any directions on how he should be acting. It was an opportunity and I think I have achieved just what I wanted. From the point of a perfect composition, this shot can be much improved. Would I have directed Nathan, I’d have ended up with a totally different image – probably better composed but lacking truthfulness.
Technical: exposure, focus
I opted for B&W image as I wanted to focus on the key lines and the person’s interaction with his reflection.
I used Lightroom 2 to darken the image. I wanted the image to be underexposed to emphasise and fully use the beauty of the blacks. I think the exposure and focus suit the context of the image. I like the way that both sharpness (Nathan) and blurred movement (his reflection) are present in the photo, and I made sure that his reflection’s eyes are in shadow.
Light
I had to make the best use of the available light. I also pushed the ISO up to increase the grain as I thought it would complement the image.
Eye contact and expression
The eye contact is with the reflection and not with the viewer. Nevertheless, the viewer might feel a strong emotional connection to what is happening in this image.
Focal length
I had a zoom lens (24 to 80) and used the wide-angle to medium end of the lens range.
I spotted this wall of black polished stone when Nathan and I were on the way to do some photos for my For Sale: Home Sweet Home project. The polished stone gave an interesting reflection and I was keen to try and capture it.
Composition and scale
I tried to use the rule of thirds to create a more interesting composition. I also tried to use the vertical lines of the wall to add a sense of tension and potential imbalance.
I opted for a Head & Shoulders shot to cut all the unnecessary detail on the background to the minimum.
It was my intention not to give many instructions to Nathan on that occasion as I really wanted him to behave as natural as possible - I was after capturing something that I thought was already there so I decided not to introduce any of my own ideas to my friend. I wanted to see his own reaction to the reflection and to catch his own interaction with it. It is in many ways such a private moment that I did not feel I could offer any directions on how he should be acting. It was an opportunity and I think I have achieved just what I wanted. From the point of a perfect composition, this shot can be much improved. Would I have directed Nathan, I’d have ended up with a totally different image – probably better composed but lacking truthfulness.
Technical: exposure, focus
I opted for B&W image as I wanted to focus on the key lines and the person’s interaction with his reflection.
I used Lightroom 2 to darken the image. I wanted the image to be underexposed to emphasise and fully use the beauty of the blacks. I think the exposure and focus suit the context of the image. I like the way that both sharpness (Nathan) and blurred movement (his reflection) are present in the photo, and I made sure that his reflection’s eyes are in shadow.
Light
I had to make the best use of the available light. I also pushed the ISO up to increase the grain as I thought it would complement the image.
Eye contact and expression
The eye contact is with the reflection and not with the viewer. Nevertheless, the viewer might feel a strong emotional connection to what is happening in this image.
Focal length
I had a zoom lens (24 to 80) and used the wide-angle to medium end of the lens range.
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Lessons and reflections
1. Pushing out of my comfort zone
My biggest challenge for this assignment was, quite unexpectedly, to find people to photograph. I enjoy street photography from time to time and am generally very comfortable photographing people in public places and at events. This however did not make it easier for me to find someone who could be the subject of my study for the portrait assignment. Adding to the challenge, most of my friends are not in the vicinity and the closest ones are working outside of the UK at the moment.
Facing this challenge helped me to explore the boundaries of my comfort zones and to be aware that sometimes it feels more comfortable (and less vulnerable) to take photos of strangers than photographing someone ‘who matters’ – someone who knows you and may have an opinion of you. This is all about personal growth and awareness so it has been a useful experience. It made me more aware also of how challenging it can be to face the camera for a person who is being photographed.
1. ‘A door ajar’
A portrait session is an opportunity to meet a unique individual, it is ‘a door ajar’, an invitation to explore their personality and a gift of an insight into their very personal, private world of thoughts, feelings and emotions. All of these fluid and beautifully unique things can enliven photo images. Again, through this assignment I have learnt something about myself and the people around me.
Ian Rankin’s words come to mind: “Every shot is different and you have to alter your approach accordingly. You have to try and get into people’s heads, so that they can open up to you and give you something. “
2. Having a vision
Having completed the assignment, I am more aware of the importance of having a vision: e.i. knowing where I am going with it, why I am taking a picture and having a concept for my project. I agree with Diane Dufour that “Being a photographer is not just about taking a picture, but knowing why you are taking it… Every aspect of your work from concept to execution has to make sense.”
It is about seeing what my image looks like and visualising it beforehand, then working to make it a reality.
It does mean preparation and planning but it does not mean being rigid and restricted - quite opposite, as it usually helps to experiment and be spontaneous!
3. Dealing with limitations
Some of the work on the assignment has been frustrating, especially dealing with the limitations of the studio lights, shooting with not enough lights, or a lack of space when trying to bring an image in my head to the reality.
The familiar ‘If only I had…’ phrase has been muttered on more than one occasion!
Recently I came across this quote by photographer Alec Soth and it really changed my approach to this issue: “I have to remind myself that photography is about limitation. It’s about not having everything there.”
4. Understanding originality and clichés
Looking at my final images I asked myself if my work appears to be original or if I am copying what has been done before. It is probably a combination of both.
Throughout this assignment I have experimented with many approaches I’d read about in books and photographic manuals to try and realise my own ideas. By doing that I have become less concerned and worried about the proportion of originality and clichés present in my images and focussed instead on applying these techniques to express what I felt was important, i.e. to highlight a particular mood or a feeling of a person in front of me.
Again, a quote from another prominent photographer (below) helped me to become more aware of this.
“What you don’t want to do is copy the work of others. And what you don’t want to do is dismiss the situation because it has been photographed before. Because if something isn’t new does not mean that it’s not important.”
Eugene Richards
5. How much of me
Examining my final images I found myself pondering on the questions:
How much of what I see is about the person I photographed?
How much of what I see is about me as a photographer?
This useful reflection from photographer Darlene Bouchard helped me to answer my questions:
“When people look at a portrait you create they see the person in it, but in reality you are in that picture as well. Not only does your style shine through, but you decide what include or not in the frame, along with what to leave in focus or blur away. All these things reflect the person in the image along with you as a photographer.”
My strengths and areas for improvement
1. This assignment taught me a lot about working with studio lights. As a result of this project I now have my own portable studio set and a reasonably well adapted space at home to use for studio work. I’ve got so much to learn but I am already much better equipped to continue experimenting – more aware and even more competent. I will continue practicing and exploring various lighting settings this year.
2. A lot of portrait work requires good listening and people’s skills but it is also about being able to give clear directions to a model/ sitter.
It takes time and practice to get used to the idea of giving instructions in a studio setting and I could definitely improve on this.
3. Planning and time management are essential especially where other people are involved. I felt that my final images could have been better and I thought that the biggest compromise has been the luck of time to accomplish my ideas. Another difficulty has been that my subject works abroad and we only had a few sessions arranged that fitted with the assignment deadline. I need to plan my work better for the future assignments and personal projects.
4. There are many new personal projects that I am exploring now – all these ideas have developed out of my work on this assignment. Whilst I am finding this very encouraging, I know that it is easy to get distracted by many ideas at the expense of not finishing a single project. I am writing the ideas down and I have started working on some of them (for example, my For Sale: Home Sweet Home project) but I am trying to be realistic about the time and effort I might need.
5. My natural preference seems to be with close up images of people’s faces as I find their face expressions fascinating to study and record. Perhaps I need to spend more time practicing shooting full body images. I am hoping that my personal East Anglian Air Ambulance project will provide a good opportunity for me to do that.
