Outdoor Portrait. The intricacies and benefits of pre-shoot planning

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1 TEXT AND PICS BY: GUY GAGNON From prep to actual ^ Outdoor Portrait The intricacies and benefits of pre-shoot planning Part 1 TAKING PHOTOGRAPHS OF RANDOM people is a good exercise for budding portrait photographers. Typically one would start off by volunteering in friends and family events until such time that the photographer becomes more confident with his gear and skills. I would like to think that I am more confident and creative when it comes to taking portraits of people. Not only I enjoy meet ups and brainstorming with different individuals but I personally think that portrait photography is very human, very personal people want their photos taken at certain stages of their lives. Portrait photography for me is about human qualities; the mood, expression, individuality or the relationship the subject has to the things around him or her. Portrait is a preserved memory of timeless beauty and experience and to me what makes it more unique is the kind of relationship that the photographer and the subject have had during the entire process. I shoot portraits to build up portfolios and websites. However the main reason why I got into portrait photography is the kind of reward that I get from it and that is when people start to look at themselves more positively. But portrait is a lot different from fashion or glamour photography where beauty and flaws can easily be highlighted or concealed with makeup, styling, posing, lighting and postprocessing. Portrait photographers try to capture a personality and this can only be done once you get to know the subject. To cut it short, I am giving your some tips that you may find helpful. Know your subject I just can t imagine a shoot without talking involved, I mean taking time to sit down and discuss the direction about the feel, mood or emotion that you both want captured. Maintain the good conversation and always ask the client 80 I-MAG PHOTOGRAPHY

2 or the model s opinion. That way you can also observe and see any of her protective layers (attitude). Take time. Meet your model, especially first time clients. Over a cup of coffee or hot chocolate, for about an hour or so you can talk about the shoot. As for me, I usually walk with my client during the first meeting. It takes time to know the model and build trust so I start the conversation with simple topics like hobbies, food, travels, favorite places, profession, etc., then details about the shoot come in later. Credibility. One of the criteria clients find in a photographer is credibility. An established photographer may have credibility for the reason that he is an expert in one or more fields and have had several accomplishments but in reality, it is actually the way the photographer converses that makes him professional and trustworthy. Be objective and subjective at the same time. Build trust. As the photographer, you must be able to break down the barriers by building up trust first. However, it does not happen overnight. For me it s actually a balance between being serious and not. Be authoritative yet approachable, and be sensitive to his or her needs. I sometimes joke (with humor) around because I think that it would make her feel more comfortable. It actually works. Study the face. This can be done before or during the day of the actual shoot. Start by making the model look straight towards you then view the face from different angles. Different sides of the face (eyes, nose, cheekbones, jaw, etc) may or may not look symmetrical and seem to change as you change your angle so take note of these changes (in your mind) and think of the poses that could show or highlight the subject s best angle. Makeup and styling can do wonder in specific facial features so its best to have it done professionally. Facial analysis sometimes makes the model uncomfortable so do this while you are having a conversation with your model. But my style is different. During the first meeting I would normally take a few close-up shots that I could take home for review. Photographers don t normally do this (fashion industry does) but this method helps me determine what angles, facial expression, pose, style or makeup would work for my model without making the model feel uncomfortable. Through these photographs, I already have an idea on how am I going to photograph the model on the actual shoot. Identify unique qualities. It could be an interesting tattoo, piercing, or scar. Simple gestures or mannerisms can also be clues as to what kind of personality or attitude the client has, what she can or cannot do. Analyze the facial expressions she makes and the way she talks with you and to other people (is she dominant, confident, conscious, shy, anxious or nervous). 81

3 outdoor portrait Generally, clients have different issues. Ask them what are their concerns then work on those. Be more attentive to what they will say about themselves, especially physical characteristics. Based on my experience, women are more vocal about their looks but they adapt more quickly and become more comfortable with camera. Build up the concept There are different styles and treatments used in portraiture. Back in the days when photography is still non-existent, most of the sculptures and painted portraits highlight only the face and the expression in the subjects faces. Photography has adopted this technique, and now used with different framing styles like the close-up to extreme close-up shot, mid-upper and whole body shots. The most important thing to remember about taking portraits is the personality, mood and expression of the subject. Look. Sometimes a client will approach a photographer with a specific look or peg in mind. Discuss the elements needed one by one and incorporate the client s ideas in the shoot. But first you must be able to identify what kind of mood or treatment the model wants? What is it for? Is it for personal use, giveaways, CD album cover, or portfolio? Is it an inside or outside the studio shoot? Start from the broad down to specifics, and then come up with an agreement (verbal or written) so you will have a flow to follow. Updates or follow-ups can be done through or telephone call. Lastly, create a checklist. 82 I-MAG PHOTOGRAPHY

4 Keep it simple. Advice the model to wear proper clothing and as much as possible, avoid printed clothing or any clothes with punchy patterns. I prefer light and solid colors and fewer accessories (except on body parts with piercing, adds more character to the person) as this helps maintain the focus of the viewer to the subject s face, not on the hat, dress or anywhere else in the photograph. Makeup and styling. Glamour photography is not glamorous without makeup and styling involved, same with portrait where beauty is very much appreciated. And even though most women know how to put on makeup, hiring professionals for makeup and styling would help you achieve the look that the model wants. Not only it lessens the load of the photographer but the thought of letting professionals do it makes the model feel that he or she is well taken care of. For budding photographers, there are stylists and makeup enthusiasts and professionals who offer services in exchange of photographs. Ex-deals are a fad nowadays so you might want to consider this as an option. In my case, however, I don t have a team so it s usually the model s assignment to do the makeup and styling. Blush on, powder, eyeshadow, and lipstick are essential. I know, men don t want makeup but they need it, too. As much as possible, apply a light foundation or powder on their face to reduce the gloss or glare on their skin. Facial tissue is an alternative to remove sweat and oil but applying makeup will last them for hours. As for clothing, I let the model bring his or her own set of clothes, footwear and accessories, and if possible, one or two personal items that he or she would like to see in the picture. I do not, however, prefer body-hugging clothes because it limits the body movement. Instead, I advice the model to wear clothes that he or she is comfortable working with. The choice of clothes should always compliment the theme, location, and body type of the model. In this aspect, I prefer solid 83

5 outdoor portrait be improved. I continue the shoot from 1 P.M. and then end at 4 P.M. As for the lighting ask yourself what time of the day will give you the best lighting? or neutral color-based fabrics, cotton or slightly textured clothes (dark clothes tend to absorb more heat compared to light or white clothes that reflect the lighting). Decide on how many sets of clothes will you need for the shoot. Time. Soft lighting is ideal on portraits and I find the atmosphere in the mornings and afternoons ideal for that purpose. Date and time of the shoot depends on the availability of the client. A normal shoot eats up half or whole day including breaks. I usually start from 10 A.M. and end the first part of the shoot before lunch. I normally bring my client in a nearby small restaurant for lunch and there we get to know each other more. It s actually an opportunity for you to talk about the shoot and how it can Find location It takes some time to choose a location. Most of the time I shoot in the city that I live in (though some photographers prefer the sceneries in the countryside since it s quieter). And since I am more familiar in the city, I already have ready locations in mind aside from that of the model s. It s easier to suggest a location near your place since it is more convenient for you but it is not always the best option to take. Remember, portrait is a reflection of the person and location is not to be neglected. In addition, photographers also complain about the unpredictable and uncontrollable lighting an outdoor location usually gives so start looking for locations with good amount of lighting first. Here are some of the things that you need to consider when looking for a location: Does the location have a character that compliments the style or mood that the model has? Or will this location overpower the subject? How versatile is the place? Are there any other areas within that location where you 84 I-MAG PHOTOGRAPHY

6 can compose the subject with a different background? Do you want a crowded location or a more private and quieter place? Where else can you shoot? How will you get to that location? Is there traveling involved? How far is it from the city? Do you need to bring a car? Is it accessible? Where will you rest and eat? Do you need to secure permits or passes to shoot and how much would it cost you? Are there other alternatives? Do you have a plan B or C in case the weather does not cooperate? Where can you setup the camera? Where can you leave your equipment? Is it even safe for both of you? Client s favorite place. Outside the city or in any foreign lands (like Paris or Montreal), I let the model choose the location for me. Let yourself be taken to some of your client s favorite places. Ask if he or she has a location in mind (but be sure to have other suggestions that are photographically suitable or are close to what the client prefers) because the model might have an emotional attachment to that particular place. And whether or not the model chooses a location because of its reputation or popularity, it is a choice that you have to work with as a photographer. The location doesn t always have to be significant for the model but must always be relevant with the subject s mood or personality. Research. Familiarization is one of the reasons why you need an in-depth location hunt. If you are new to a particular place you can have an ocular visit. Ask the locals if there are other prospective locations nearby that can give you different kind of backdrops and lighting, or if you still need to secure permits or bring a car. Make it a habit to walk or drive around to scout for possible locations. There are instances though that some clients want it done outside the city or out of the country and obviously ocular visit will be difficult. Search through the web and use Google 85

7 outdoor portrait Maps. This application helps me familiarize a place. Scout for locations that are less familiar and less exploited. During the actual shoot, if you are a bit short of ideas, you can ask the model where else does he or she like to go to, or if it s okay to go for some walk. The actual shoot usually takes about four to six hours, one or two weeks after our first meeting. The time (and a few follow-ups via ) in between the first meeting to actual shoot allows me to diversify my style and approach. Expand your source of creativity. Research and find inspirations through web and incorporate the model s suggestions. I often look for photo galleries online to find more ideas. Save the photos that you find attractive and use those as pegs just pegs, not as another replica of that photograph. Don t forget to create a shot list. Equipment Even though it is hard to control outdoor lighting, most of my shoots are outside the studio. Often it s in the neighborhood, parks, gardens, and streets. Because I always feel that outdoors provide me plenty of opportunities to improvise. But how can I work with less equipment? Use what is available, the sun, clouds, water, concrete wall, bench, or grass. Sometimes it s even the less expensive and lighter materials that make photographs effortlessly stunning. You have natural reflectors and diffusers. Whenever possible, I make the most of the available light. Personally, I don t bring flash on set because I don t want to bother myself with flash power adjustments and flash positioning when shooting. However, at times that the brightly lit background overpowers the subject, you need to fill in some lighting to make the subject pop out from the background. You don t want to compromise the quality of the image so consider investing on a reliable flash (and fresh batteries), plus portable light modifiers to reflect, diffuse, or subtract lighting. I also use a grey card as reference to get the proper, consistent exposure. Typical portrait lens are standard and medium-telephotos. In some instances though, like group shots, wide-angle lenses are used. The choice of lens actually depends on the photographer s artistic approach and on what he wants to include in the photograph. Often, portrait photographers use fast standard to medium telephotos to isolate the subject from the background. Or if you want to include more background, simply widen the depth of field or switch to wide-angle lens. The only downside is distortion, which we don t like to happen on people. Tripod becomes a very handy tool for outdoor portraits. Not only it keeps the camera stable, it also helps you position the reflector (some come with loops attached on the legs or knobs). Using a tripod gives you the freedom to walk around and assist the model. Knowing that you will need a couple of equipment outdoors, having a lighting assistant on set is a big help. But since I always work alone, I carry a large backpack dedicated only to portrait. Even with less equipment you can still achieve impressive portraits. Start working on the model first then move on to the next. Besides, what is more important in portrait is the quality of connection that you are having with the models. Trust me, it shows in the picture. Acknowledge and work on your limitations. Make the most of what is available around you and always keep eyes open. 86 I-MAG PHOTOGRAPHY