| Taking great portraits is as much about
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| | a beautiful late afternoon, just as the
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| people skills as it is about technical
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| | boat was coming about? What would be
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| ability, or using the latest and greatest
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| | said of this portrait years later? "This
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| photographic equipment. Sure, refining
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| | was Charlie, doing what he loved most!
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| your technical skills and knowledge may
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| | That was such a glorious day." The point
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| expand the extent of your capabilities,
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| | is, "keep it honest". Fantasy can be
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| and using superior equipment may indeed
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| | cute, but your subject being herself,
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| boost your edge. But, unless you can
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| | years later this will be much more
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| first see through your subject's eyes,
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| | meaningful. The image galleries at show
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| and understand her as a unique
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| | good examples of allowing the subject to
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| individual, and then build rapport with
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| | be herself and then capturing elegant but
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| her so you can unveil and accentuate her
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| | honest portraits of her.4. Allow your
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| finest qualities, your portraits will
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| | subject's expression to be honest. A
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| remain mediocre at best. Some lessons
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| | frown or a grimace that is genuinely felt
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| learned along my journey as a
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| | can be more interesting than a smile that
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| photographer may help those who choose to
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| | is forced. I try to never just pose my
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| follow.1. If using a tripod, compose
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| | subject and then say, "Okay, now smile
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| your portrait and then take one step just
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| | for me." If you want your subject to
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| to the side and forward from the camera.
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| | smile then tell a joke, put on a face, or
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| Do not look through the viewfinder as you
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| | perhaps merely smile at her and she will
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| capture your subject's image. This
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| | smile back at you. People generally tend
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| allows you to make eye contact initially
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| | to reflect in their face what they see in
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| with your subject, and then direct her in
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| | yours, but in my experience this is not
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| mood, expression, position, and the angle
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| | always so. Nevertheless, interaction
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| of gaze you are aiming for. When your
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| | with your subject is the key. That being
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| subject interacts with your camera, the
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| | said, the next time you have a difficult
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| result can be a cold or lifeless
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| | subject ask him to tell you a joke, to
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| rendering, but when you engage your
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| | bring out a smile, if that's the
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| subject through eye contact, expression,
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| | expression you are after. If you are a
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| gestures and words, the result can be a
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| | professional, you know that smiles sell,
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| warm and candid reflection, charged with
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| | but if you're an amateur, you are under
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| mood or emotion.2. If you are not using
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| | no pressure to sell, so make your
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| a tripod, you really should redouble your
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| | portraits interesting. Not everything in
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| effort to maintain constant interaction
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| | the world is to smile about.5. Direct
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| with your subject. Many photographers
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| | your portraits. Take control of the
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| tend to keep their eyes in the viewfinder
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| | composition of your portraits! Do not be
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| of the camera, but this leads to your
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| | afraid to tell or show your subject what
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| subject interacting more with the front
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| | you want. Sometimes showing is best. I
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| glass in your lens than with you. Again,
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| | often find that actually demonstrating a
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| you do not want the sterile and lifeless
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| | pose I have in mind, works better than
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| rendering that most often comes when the
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| | trying to direct my subject through words
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| camera serves to isolate you the
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| | alone. If you are photographing a group,
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| photographer from your subject.
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| | your life will be easier, if you arrange
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| Interaction with an inanimate object
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| | and pose the adults first. Then, work
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| (your camera) can never be a substitute
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| | your way from oldest (or more mature and
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| for interaction with another human being
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| | settled) to youngest of the children.
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| (you), when your goal is to capture the
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| | The point to remember is, as the
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| essence of your subject, and reflect the
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| | photographer, you should take charge of
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| attitude and emotion she was feeling at
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| | the shot. The success or failure of the
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| that moment in time.3. Allow your
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| | portrait will be your responsibility, so
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| subject to be herself. A little girl
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| | take charge.Engage your subject to
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| dressed up in fairy wings for a special
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| | establish and build rapport with her, to
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| picture is very cute, and I suppose there
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| | take your photos to a higher level. Make
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| is a place in this world for cute. But,
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| | your portraits more meaningful by keeping
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| contrast this with the little girl who
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| | them honest, and natural. We all know a
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| just loves to dance. You put her in her
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| | fantasy photo can be cute, and a formally
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| everyday clothes, stand her in front of a
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| | posed portrait can be graceful and
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| plain backdrop, put on her favorite music
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| | dignified, if that is your subject's
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| and say to her, "can you show me how to
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| | personality. But, a portrait that is
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| dance to this song?" You should have no
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| | true to the subject is always more
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| difficulty in capturing timeless
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| | meaningful. Allow your subject to be
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| expressions there. Now imagine a jeans
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| | herself, and never force an expression.
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| and t-shirt kind of guy whose true
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| | Learn to take charge and direct your
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| passion in all of life is sailing. You
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| | portraits and you will move far ahead in
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| dress him up in a tailored suit; formally
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| | your journey as a photographer. Practice
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| pose him in front of a low key backdrop,
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| | your people skills with each portrait you
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| seated in a Chippendale chair, and use
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| | take. People skills are the prerequisite
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| classic loop lighting. What would be
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| | to all else, if you want to take great
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| said of this portrait years later? "Who
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| | portraits. Good day and happy
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| was this guy, an executive?" But just
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| | clicking!Steve Barnes is a professional
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| suppose, you photographed this same guy
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| | portrait photographer and co-owner of
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| in his favorite t-shirt and blue jeans,
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| | Hayley Barnes Photography in League City,
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| at the helm of his beloved sail boat, on
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| | Texas.
|
