The lie is real

Scott Fowler FPSNZ EFIAP EPSA GPSA

Your vision for creative portraiture is unique. The look you want in your portraits, the depth of the shadows, and the amount or type of lighting you use are all your choice. Have confidence in your ideas, your vision, and remember that it takes time and practice to achieve the look you want. It’s taken me many years of practice to achieve what I create and capture.

As photographers, we put ourselves, our ideas, and even our assumptions into our work. We interpret and create what we’re thinking. At first glance, we imagine that great portraiture captures the very soul of the person being photographed when, in truth, it is more about the soul of the photographer. You, not the subject, decide the moment to press the shutter, and at that moment, that decision is cemented. The more you understand how lenses and sensors behave, how light works, and the digital darkroom, the more you will be capable of creating wonderful portraits.

PLANNING

Creative portraiture knows no bounds. The lighting you use, depth of field, lens, outfit, location, make-up, and much more all play a part. And let’s not forget the finishing of the image in the digital darkroom: Is the image going to be part of a composite? Have you thought about lighting issues, perspectives, and subject placement in the background? Is it a stand-alone image, or perhaps an environmental portrait?

When considering a creative portrait, I go through a list of options. I write down my ideas — my vision. This process is called “storyboarding”. Write down all the elements that will be important for the success of the portrait: What is the vision I want to create? What is the subject of the portrait: hair length and colour, body shape and height? What location will I use, lighting, lenses, clothing, make-up and hair? What time of day — especially if using natural light? Will I need help?

Write down as many of the different elements you can think of for your idea to be successful. Creativity takes courage, limited only by your imagination and skill level. Fill a bag with clothes that might work in a location, find a model, then see what happens. I do this with new models to get to know them, see how they work, what kind of looks I can get, and try new ideas. Practise and play.

THE ELEMENTS

Once you have your concept on paper and are happy with the initial idea, find the subject — let’s say a model. Contact them, give a brief outline of your concept, and ask if this is something they would be happy to do for you. Then meet to give them a more detailed outline of the idea, and check that the outfit/costume will fit. Ask if they have any concerns or worries and any ideas to make the concept a success. Talk about a model release and any remuneration.

Find your location and visit at the time of day you will be shooting, especially if it’s outdoors and you intend to use natural light as the primary source. Ask yourself: will this location still work on a bright sunny day? Are there other options, if necessary?

If you are going to use artificial light for the shoot, what gear will you need, and will you need someone to carry it for you? Is there a place with privacy for the model to get changed? Will the make-up artist be with you on the day? Are there toilet facilities, and do you need permission to shoot at your chosen location? Keep your storyboard idea with you, and write notes as you go to help you remember.

Once you have everything on the list sorted, set a date and time ̶ and go for it.

...The Lie is Real

Scott Fowler FPSNZ EFIAP EPSA GPSA

ON THE DAY

With creative portraiture, we need to get the subject to “become” the character we are trying to create. I see the models I work with as actors and actresses and spend time getting them into character; I become a storyteller.

You are trying to convince the viewer that the lie is real. An important part of making it real is the connection between the photographer and the subject in the image.

While the model gets changed and the makeup and hair are done, I check the lighting. Set up the lights, if using artificial, and make sure they are all working as you want them to. I usually spend the first 10 to 15 minutes with the model, capturing images primarily as test shots. I find that this allows us to relax, to get over any initial nervousness and to see that we are both working towards the same goal.

I then start to create the look I want. If I use artificial light, I will start with one light and build from there. If using natural light, I might use a reflector or two to move the light to where it needs to be — this is when another set of hands can be helpful. Regardless of the lighting setup, add a little as you go and check the image in the back of your camera often.

... The Lie is Real

Scott Fowler FPSNZ EFIAP EPSA GPSA

I use a tripod when doing a creative portrait shoot, as I want to get the sharpest image possible. I check my histogram to ensure that I have the information in the capture that I need for the digital darkroom. I check sharpness to make sure the scene is sharp where it needs to be, as well as perspectives; if this image is part of a composite, will the angles be correct; is there anything I don’t want in the scene? Then I start to look at finessing the image. Fixing what you can here saves time and effort in post-processing. Take your time. Show the model your pictures as you go; they may have some good feedback for you. Remember to be encouraging.

Most important: have fun! If you and the model are relaxed and having fun, it will come through in the images.