Howard Moo Young
, ContributorPEOPLE ARE the most popular subject for photographers worldwide, and there are as many ways of approaching this subject as there are photographers. The first picture you'll probably take with a new camera is a member of your family, or a friend.
There are two kinds of people pictures: candid photography, which captures spontaneity and the normal flow of human interaction effectively, and portraiture, which involves a relationship between the photographer and the subject.
CANDID PHOTOGRAPHY
If you are not practised in candid photography, the first hurdle to overcome is the sense of embarrassment you may feel at pointing your camera at strangers. You may think, quite rightly, that this is something of an intrusion; in practice, however, there will be few, if any objections, since, provided they do not feel they have been caught in a silly, or unflattering pose, most people are flattered by the
attention.
Keep a low profile
Successful candid photography demands that the person or group being photographed is unaware of the camera, or is at least undisturbed by it. To achieve this requires two qualities of the photographer the ability to remain unobtrusive and to react quickly when an opportunity presents itself. Dress inconspicuously, try to keep your equipment out of sight except when taking a shot and use a shoulder bag that does not look like a camera case. Despite the normal temptation to display cameras, lenses and photographic gadgets, taking candid photographs is one time when it pays not to look like a photographer.
Long-focus lens
A telephoto lens is standard equipment when shooting from a distance. The subject will be less likely to notice you. Using a 400mm lens, three people standing or walking 120 feet (36 metres) away from you, framed horizontally, will fill the picture area of a 35mm camera. The limiting factor is usually the shutter speed, but this can be overcome by using high-speed film.
Wide-angle lens
When working close to the subject, a wide-angle lens can be used to avoid aiming the camera at the subject. Compose the shot so that the subject is not central, and make it appear that you are photographing something to one side, like a building, for instance. With a very wide-angle lens 20mm on a 35mm camera, for example the camera does not appear to be pointing at the subject, making it possible to photograph someone at a distance of only a few feet away without their being aware of your intention. In a crowd, such a lens gives good coverage from a close distance. The great depth of field and wide angle or view make it possible to use the lens very quickly, without careful focusing and framing.
PORTRAIT PHOTOGRAPHY
The relationship between photographer and the subject is probably the key element in successful portrait photography. In nearly every case, it is this that determines the final result. It is better if you start to simplify the other factors involved, such as lighting technique and the choice of background, so that you can concentrate on the more delicate problem of capturing at least some aspect of your subject's personality. Complete confidence comes only with practice, so you should take every opportunity to shoot in this field. Start with those people close to you, like your family and friends.
A prearranged photographic session gives you the opportunity
to plan ahead and select the setting, time of day, and details such as dress
and props to suit the photograph. With impromptu portraits, on the other hand,
you will usually have to make the best of the situation. It may even be necessary
to persuade the subject to co-operate. This is when my Polaroid camera is invaluable
as an immediate way of giving a person an instant photograph, and seeing a smile
on their faces as the image gradually appears on the film in their hand.
While photographing in Spanish Town Square one weekend, I saw
a neatly dressed figure from a Rastafarian group in St. Thomas appear between
the curved brick arches of the old Registrar Office of births and deaths, with
a stack of brooms on his shoulder. I politely hailed him, started a conversation
with him and introduced myself, having asked him if he would like a photograph
for himself. He asked, Now? Yes! My Polaroid camera did the rest. I'll never
forget the expression on his face as the image appeared. I ended up with some
great portraits using my 35mm camera and an open invitation to visit his community.
In taking portraits, an important choice has to be made between
the different styles of an eye-contact portrait and one where the subject is
involved in some activity. When the subject looks directly at the camera, the
photograph almost inevitably has an air of formality. The character of the subject
may help decide which approach to use: some people find it less of a strain
to be photographed doing something, while others are able to take up an informal
pose naturally.
Although there are variations, most outdoor portraits are either
tight shots concentrating on the head and shoulders or upper torso, or environmental
shots with the subject clearly set in his or her surroundings. Which you choose
depends on a number of factors, and one of the other will be clearly suggested
by the situation.
With a 35mm camera, focal lengths of 85 to 200 mm are most useful,
while a wide-angle or even standard lens will distort the face noticeably when
used in close-up. The control of lighting is very limited with outdoor photography,
and you will often simply have to make the best of the existing conditions.
In very dull weather, there may be insufficient contrast. This can be partly
overcome by using a high contrast, high-speed film, or by placing the subject
next to a dark area such as an open doorway or window to an unlit room or dark
vegetation in the background.
In bright sunshine, the contrast range on a face is usually too
high, with dense, sharp edged shadows. With the sun overhead, the eye sockets
are usually shadowed. A low sun is better, as frontal illumination may cause
the subject to squint, one solution is to fill-in shadows by holding a white
card or crumpled foil reflector close to the face. In many cases, the only answer
is to move the subject into the shade.
SLIGHT COLOUR CASE
It is also important to remember that the subject's face can
pick up a slight colour case from the clothes being worn, as well as a green
lawn can reflect a slight tinge of its colour in the face in very bright sun.
This does not mean that a farmer, complete with hat, machete, and beads of perspiration
running down his face is going to look great photographed under the deep shade
of banana trees.
Jamaica is blessed with probably the most interesting mix of
faces and personalities in the entire Caribbean. Almost anywhere you go, you
will find more than enough volunteers, ready to 'Tek me picture, nuh!' I wanted
to include the subject of children, but I will deal with that in another article.
Don't be afraid to ask, most people really don't mind saying 'Cheese!'
Howard Moo Young is an Advertising,
Graphic Design & Photography Consultant with more than 40 years experience.
E-mail: mooimages@yahoo.com
