February 23, 2009................................................................................HOME..............................."Learning From Both Sides of the Camera"
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Above:
A classic example of a “good” photograph that is not a good portrait of this charismatic woman.
At Right:
After completing the exercise, the final portrait reveals both charm and personality. Along the way she learned a lot.
Recently a participant from one of my travel workshops contacted me, wanting to continue her learning. She asked if I would give her an assignment that would both provide motivation and a push in a new direction. After some thought, I suggested a self-portrait.
Why a self-portrait?
I wanted to keep the project relatively simple but at the same time force consideration of numerous important principles. I felt her discoveries would reap dividends long after completion of the exercise.
The unique thing about a self-portrait is, of course, that you’re working both sides of the camera. As the photographer you have to grasp a thorough understanding of not only camera function, but lighting, posing, and retouching, an aspect of postproduction where most general photographers come up short. Image selection is also a critical part of portraiture, as even subtle differences in composition, focus, lighting, or pose can have a profound impact on the viewer’s response to the final image.
Unlike the normal model, in a self portrait you are truly “in the head” of the photographer. Each time you review shots on the LCD, you get instantaneous feedback on your skill as a model. Unlike any other modeling scenario, the model can completely control the photographer, and modify every aspect of image capture to yield the exact portrait desired. In a real world setting, as the model you might give input, but the result is in the end the photographer’s vision.
The overall premise is simple: a head shot made with window light. But when was the last time you seriously shot someone’s portrait (not a snapshot) and crafted the lighting. (Portrait photographers need not reply, you already know lighting is huge). In working through this initial aspect of the set up, you’ll discover first hand how distance to light source, quality of light (time of day, weather, character of light), angle of subject rotation to light source are variables about which you must become sensitive. Then there is the background... dark, light, near, far, hard, soft, matte, reflective, etc. Selection of clothing, make up, hair style, decisions about glasses or not. Every decision plays a part in the personality that will project from your image. All these things to consider, and you haven't even exposed the first frame. What will be fascinating as the process begins, is how you will see the parameters you’ve chosen evolve, in real time, as you judge the caliber of each series of shots. Series of shots? Yes, I would expect you’d shoot in at least 3 sessions, probably taking in the range of 100-150 shots each time. While this sounds like a lot, the learning process produces a lot of file 13 work, as you realize what works, and more importantly what doesn’t.
In fact, I’d be totally discouraged if you didn’t trash hundreds of images. Besides discovering valuable basics about shooting portraits, a big part of this assignment is about elevating your awareness, making you a critical objective observer of your own work. This is an area where many photographers really have a problem. When I look at photographs during review sessions in the workshops I teach, too often the photographer can’t express why an image works, or objectively analyze what went wrong. Teaching these skills can be a challenge, but using self portraits as a learning tool is a plus because we all have immediate strong feelings about how we look in photographs. By tapping into these strong feelings, the process of analytical deconstruction (working backwards to technically disassemble the image) becomes easier. Once sensitivity increases by repeatedly comparing and contrasting hundreds of similar images using defined technical and aesthetic parameters, the photographer attains a new vocabulary for understanding photographs. Once having learned or enhanced this skill in postproduction, the new awareness inevitably also make them a more critical and therefore creatively sensitive shooter next time in the field or studio.
Learning in front of the lens is new territory for most of us with no modeling experience. Since the “photographer you” has just seen that in the last series your eyes were not relaxed and you were squinting, the “model you” must now consciously take that information back into the seat as you get ready to take the next shots. Facial expression speaks volumes about a subject. The body language you choose to communicate will define your portrait. If your expression is forced, the viewer senses it instinctively. So as a good subject, you will need to gather control of your own feelings, projecting the “you” the portrait will express. This is not a simple feat. Delivering sincere, yet calculated expression on demand is the stuff actors spend years learning how to do. You’ll need to actively tap into your emotions as you’re releasing the shutter, while you’re also remembering to relax those eyes and open ‘em up for the camera! If you thought this was an easy assignment, think again.
After we’ve amassed a suitable volume, say 400 shots, the post production begins in earnest. What are the criteria that will define a great portrait? As you learn about composition and see how even 3/4“ of head movement can change perspective significantly (not to mention impact lighting), you’ll understand why a portrait photographer is constantly moving or directing the model to move, in search of the perfect pose. Placement of focus and depth of field will emerge as critical to the success of your images. Ready to retouch the selects? The gamut of what can be done runs from the photojournalistic ”next to nothing“ to a Vogue makeover that might include reshaping a head, downsizing a nose, or any of a thousand cosmetic surgery-like enhancements the subject might not know to ask for, but the sensitive portrait photographer should consider. Even subtle changes like whitening the teeth or removing red from irritated eyes can be important.
What started out as a simple assignment clearly has tremendous learning potential, especially when you throw in exploring new tools in the software applications you’ll be using. The feedback from my student was overwhelmingly positive. It was unique in that we did the exercise remotely, sharing her files and then discussing them live as we each mirrored the photographs in Photoshop. It went so well in fact, that I’ve decided to offer this assignment to other students interested in remote instruction. If you’d like to take advantage of this opportunity, drop me an email at mark@imagema.com . I’m pricing the self-portrait assignment workshop at a flat rate of $250, which will include at least 3-4 hours of real time, one on one interaction, reviewing your work and developing your images with you in Photoshop. The schedule will be tailored to your needs and the flow of the entire process specific to your level. In that we will take as much time as needed, this is a real value for private instruction.
Whether you choose to work with me or just on your own, the self-portrait assignment will give you a new perspective on portraiture and yourself. It’s your chance to learn and end up looking good. This will be one time you won’t be groaning at a picture of yourself and thinking, ”I could have done better than this!“
Mark Alberhasky is a Nikon Mentor for the Mentor Series Worldwide Photo Treks.
Join him as he travels and share his enthusiasm for photography and learning.
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