FORGET

MUGSHOTS

10 STEPS TO BETTER PORTRAITS

DAVID DUCHEMIN

INTRODUCTION
One of my earliest photographic influences was portraitist Yousuf
Karsh, a man who photographed some of the greatest faces of the
twentieth century. His iconic black and white portraits of people
like Winston Churchill, Albert Einstein, and Pablo Picasso were my
early windows into a craft that Ive spent my life learning.
I couldnt have told you in my earlier days what it was

some monochrome. Some are serious, some made

about portraits that moved me as they did, and still do.

with great humour. Some are wide, some made quite

Twenty-five years later I understand that a portraits

tight. Some seem very candid, others are posed with

power is in the power of revelation. That revelation,

great care. There is a great margin in which to play,

of course, opens our eyes to something about the

both artistically and technically. Ill discuss this

subject, but, for those who are willing to listen, it is

soon enough, but first, if revelation is the keystone

also a revelation about the photographer himself. I

of the portrait, what exactly does that mean?

recently sat for a morning poring over the portraits in

a book of photographs that first appeared in the pages

Ive used this language before, so to some it will be

of Vogueportraits by the masters of the last century,

familiar, but Ive found the following distinction

some still working: Richard Avedon, Man Ray, Annie

helpful: a snapshot is a photograph of something,

Leibovitz, Lord Snowdon, and othersstruck that each

but a portrait is a photograph about something,

photograph spoke uniquely (revealing the photogra-

or someone. It says more than, this is what Albert

pher) about a unique person (revealing the subject).

Einstein looks like; it dares to say, this is what Albert Einstein is like. Its descriptive, and limited, for

Aside from revelation, there is little else that com-

sure. No portrait presumes to say, this is the whole

monly characterizes the portrait. Some are colour,

person. But it shows us something of that person.

Vancouver, Canada. f/1.2, 1/100. ISO 100. 85mm.

2

INTRODUCTION
CONTINUED
How we accomplish that revelation depends

nicknamed The Bulldog that is best known.

icebergs were all unique, and hours from

graph, so how you compose and balance the

on how well we know the subject and how

Other things, too, can contribute to what

the moment I made the photograph, the

subject in the frame is of equal importance,

well we know our craft. It can happen in a

and how we reveal a subject in a portrait. Our

icebergs would be forever changed. They roll

but I wont discuss it because the subject of

glance when the subject forgets, or gets bored

point of view and the angle of the camera

and crack, they melt and break, leaving my

composition, like the subject of exposure, is

with, the photographer, or it can happen as

makes a difference. So does our choice of lens

photographs a unique record of a unique

broad and applies as much to portraiture as it

a result of the interaction between photogra-

and what we do or do not choose to include

thing, never to be repeated in the same way.

does to any other photographic discipline. If

pher and subject. The iconic photograph of

in the background. But none so important

Our friends, families, and loved ones are

youre not comfortable with the principles of

Winston Churchill, glowering at the camera,

as our relationship with the subject itself,

also changing moment to moment, and will

composition and exposure, then you lack the

hand anchored on the chair at his side, was

whether that relationship is the product of

never be the same. Photographs have for us

foundation to make any photograph, not just

famously made in a spontaneous moment

minutes, hours, or a lifetime spent together.

the power of keeping moments, giving us

portraits. These ten steps arent sequential;

the ability to recall instances that well never

Im not even sure theyre steps as much as

by a bold Yousuf Karsh, when he reached

out and plucked Churchills cigar from his

So why are we so drawn to portraits? Obvi-

experience againour birth, childhood, rites

they are simply considerations. They most

mouth, and anticipating Churchills reac-

ously, in the case of images of people we love,

of passage, marriage, and our adult years. Por-

certainly are not rules. What matters is not

tion, snapped the shutter. Moments later,

its the connection with the subject that gives

traits are intrinsically valuable to us, but how

that you master them in sequence, but that

Churchill smiled broadly and laughed. Karsh

value to the image. In other cases its often

powerful they are is often a matter of craft.

you consider them, play with them, use them

photographed that moment as well, and the

what the photograph reveals not only about

image of Churchill laughing was the frame

the particular subject, but also about our

This is a short book about portraiture, not a

Ill give you ten things to consider, tell you

more favoured by Karsh, but it is the one that

common humanity. It could be argued that

tome about posing or lighting or how to select

why I think they matter, and encourage you

reveals Churchills defiance, not his humour,

the image of Churchill that we just discussed

a background. Those are more about individ-

to experiment with them and find your own

that has become so well known. Both are

is not only a portrait of one particular man,

ual taste than anything. Ive tried to pick the

approach. If portraits say something about the

true, both reveal, equally, something about

but of defiance itself. Portraits also reveal,

ten most significant factors that, combined,

photographer, and they should, then a cookie-

the man so responsible for the allied vic-

and preserve, moments in time. I was struck

contribute to making powerful portraits.

cutter approach is the last thing you want.

tory in World War II, but it is the one that

by this in Antarctica recently, while making

This isnt a menu; you dont just pick one.

reveals the character for which Churchill was

photographs of individual icebergs. These

Furthermore, a portrait is still just a photo-

to understand your own approach to portraits.

1. RELATE
Ive told this story before, but I think it bears repeating, at least
to illustrate. I was shooting in Cairo when I walked around the
corner to see three men sitting on three chairs drinking tea. On a
fourth chair was a cat. I knelt to make the shot, the cat ran away
with a meow, and the three men looked straight at me. Busted.
One shook his finger at me and said, Ten dollars. I smiled, put
my camera down and asked one of the others if I could make a
photograph. He said yes. I made a quick portrait, printed it out,
and gave it to him. He smiled and bragged to his friends, after
which the first man pointed to himself, and asked for a print. I
shook my finger at him slowly, and said, Ten dollars. His stern
expression gave way to a smile and he asked me to sit and have
tea, which I did. And eventually I made this portrait of the man.

Cairo, Egypt. f/2.8, 1/1250. ISO 200. 160mm.

4

1. RELATE
CONTINUED
The single best photographic skill when mak-

a person. Take a look at the portrait work

than learning to unleash your curiosity.

Try this. Next time youre making a

ing portraits has nothing to do with your

of people like Karsh, Avedon, or Leibovitz;

Becoming insatiably curious around others,

portrait, commit to spending five

camera. I know, you want to make amazing

youll see very few smiles among them.

asking questions, and communicating a

minutes or more without your camera

portraits, but its not your camera thats

That does not mean they arent beauti-

clear and genuine interest in your subject

in your hand, just talking. During that

going to get you there. A portrait, no matter

ful portraits, nor does it necessarily make

will not only help to pull down the protec-

time, your task is to relax the person

how objective we try to be, is a photograph

them sad. But those portraits do reflect

tive walls that prevent great portraits, itll

of the encounter between the photographer

more mature portrait artists, ones whove

give you a deeper understanding of the

and the subject. An awkward encounter will

learned to get past the smile, to see some-

subject you are photographing, and give

likely result in awkward photographs, while

thing more and be willing to wait for it.

you more ideas about the portrait itself.

will increase the chance of creating portraits

It is in that waiting that the portraitist shows

I could have put this one at the end of the

that reveal something genuine about the sub-

his true skill, an ability to see a spark of true

book. I know some will roll their eyes about

to you, and that you know what you

ject. By that I dont necessarily mean a smil-

personality, and then wait for it to become

the artsy-fartsy, relational stuff. But I strongly

are doing. Spending this time to show

ing subject. Smiles can be genuine, for sure,

visible to the camera. How you speak to your

believe that being intentional in the way you

your subjects that they can trust you

but they are not the only emotion we experi-

subject, and the body language you use, will

connect with your subjects can improve your

is not wasted time, its time work-

ence, and there are many people for whom

either help you or work against you. Lower-

portraits more than anything else. While we

ing towards stronger photographs.

a smile is not the most revealing gesture.

ing your voice and speaking calmly, taking

love photographs with great backgrounds

your time, and looking them in the eye,

or composition, it is the portrait we connect

People can be described in many more ways

while smiling reassuringly, or asking them

with emotionally that will remain the most

than merely happy. They can be mysterious,

to tell you about their family, a favourite

compelling, and these emotional reactions

intelligent, mischievous, creative, restless,

memory, or some other positive thing, is

come most often from the subject being their

contemplative, dark, brooding, melancholy,

more important than your choice of f-stop.

true self, gently guided by the photographer.

an encounter that puts the subject at ease

pretentious, and so much more. The smile

appeals to us, makes us feel happy ourselves,

I can think of nothing better to help you

but it is not always the fullest reflection of

build a genuine connection to your subject

you will soon be photographing. Ask

them questions, make them laugh,
show them by your own energy, body
language, and voice that you are
curious about them, that they matter

PORTRAIT PROFILE
Nepal. f/2.8, 1/1250. ISO 100. 160mm.

I met this girl in Nepal, while on assignment for an NGO

working in rural education. She was kind and fun, and while
I shot several portraits of her in the family home, she told
me she worked part-time at a brick kiln nearby. We talked
longer and finally I asked if I could photograph her where
she worked and she agreed. I followed her through the rice
paddies to one of the hottest places Ive ever been, and
she patiently showed me the tasks she performed at work
every day, mostly carrying stacks of eight to ten bricks on
her head from one place to another. It was this contrast
between her beauty and femininity and the harsh reality
of her work, as well as the contrasting colours, that I think
makes this portrait. Had I not taken the time to build even
this short relationship, Id never have had this kind of opportunity, nor the resulting photographs, which show no
hint of fear or barriers. Initially she was too close to the
wall, even for a long lens at f/2.8, for the background to
soften, but as she worked we found a spot further from the
wall and the background began to compete a little less.

2. WAIT FOR THE MOMENT

It took a while for this boy, orphaned in the Rwandan genocide,
to get comfortable. When he looked at me he was very stern and
rigid, but when he got distracted by friends just outside of the
area we were photographing, he lit up and revealed the spark and
smile that initially drew me to him. So I waited, not for him to stop
getting distracted, but for him to look at one of his friends and crack.
Setting up the frame took almost no time, but waiting for him to
become comfortable and let his walls down took much longer.
If the first skills I encourage you to hone are about

camera of Yousuf Karsh. When Karsh plucked the

relationships and curiosity, the next is patience. It

cigar from Churchills mouth, he set the stage,

should go without saying that waiting for the mo-

could even be said to have made the moment itself,

ment is the difference between a good photograph

but he waited for Churchills scowl before making

and a potentially great one, but it doesnt. Popular

the photograph. There were other images made

photographic education is full to busting with

that day, some of them much happier looking,

tutorials about depth of field and keeping eyes in

but none reflected the determination for which

focus, all necessary to some degree, but useless

Churchill became so known. Many photographers

without an understanding of the importance of the

would have settled for a smiling Prime Minister

moment. Think about the classic photograph of

smoking a cigar, but if theres a better, stronger,

Winston Churchill, standing there with his right

more revealing moment in there, go after it.

hand on a chair, scowling and defiant, facing the

Ruhungeri, Rwanda. f/1.6, 1/1200. ISO 400. 50mm.

7

2. WAIT FOR THE MOMENT

CONTINUED
Even if what you want is a smiling subject,

your camera, snap the smile, and move on.

Take your time. Your subject has in some

Like the first exercise in this eBook,

there are moments within a smile that are

I wait them out, and in some cases, create

way consented to be a part of this, to col-

this one is going to drive the techni-

stronger than others. The same is true for

a heightened tension first, knowing that

laborate with you. They need your guidance

cally minded photographers nuts.

laughter or the brooding, contemplative

when that tension breaks itll create an even

and help to relax, and the more time (within

You just want to get your camera

glance. In the case of laughter, there is

stronger moment. By this, I dont mean that

reason) that you take, the more trust you

in your hand and shoot. I get it. But

often a climax, a moment when the laugh

I harass my subjects, I simply wait. I pick up

build with them. Show them a few images,

reaches its peak, the head gets thrown back

my camera and look through the lens, and

reassure them, make a few more. More time

and the eyes close. In itself, this is a beauti-

I wait. I dont put it down to look at what

doesnt always guarantee a better portrait,

ful moment, and its here that the walls

Ive shot. I just wait. I let them feel their own

but Ive found the longer I take, the greater

between the subject and the photographer

nervousness and work through it. I let them

the chance the subject and I will connect,

often fall, but the brief moments afterwards

get bored. I let them wonder if I even know

and the more genuine moments well

can be even stronger, the eyes clearer, and

what the heck Im doing. And at some point,

experience together. People are complex,

yourself twice as much time as you

the face free of the tension many subjects

unable to keep the walls up any longer,

and while its possible to make a beautiful

usually do. This will freak some of

have while being photographed. Steve Mc-

they relax into something stronger than an

portrait in the shortest of exchanges, Ive

you out, but learn to become OK with

Curry has talked about these moments as

awkward pose or half-true smile. Theres no

found the strongest portraits have come

the awkward silences, learn to wait

the moments the soul comes into view.

formula for this and its not a style every

from longer, more patient, encounters,

for your subject to relax, and learn

I see it as a mask falling, and the skilled

photographer will feel comfortable with,

during which I wait out the moments.

to wait for the moment. Just give it

photographer looks for these instances,

but I suspect this discomfort stems from the

whether preceded by laughter or not.

fact that we ourselves often hide behind our

cameras and the longer we sit there feeling

I use my own patience to create an atmos-

vulnerable ourselves, the more we create

phere of curiosity on the part of the subject.

level ground between ourselves and our

What most subjects expect is for you to raise

subject. All I can do is suggest you try it.

if youre willing to trust me, I know

this will make you a better photographer than heading out to practice
focusing that new 85mm f/1.2 lens.
Next time you make a portrait, give

time. No tips and tricks, no magic

buttons, just spend a little more time.

3. USE THE RIGHT LENS

I get a little twitchy when people start

fellow photographer Dave Delnea with a

and the focal plane, and were used for

telling me what lens or setting I should

so-called architectural lensthe tilt/shift

years to make portraiture. No reason

or shouldnt use. The anarchist in me

lens. This lens is not all that different

we shouldnt keep making portraits like

begins to look for ways to misbehave.

from the old view cameras that allowed

this. Or in any other way, for that matter.

These portraits I made of my friend and

a great deal of control over the lines

Iceland. f/3.5, 1/320. ISO 200. 24mm tilt/shift lens.

9

3. USE THE RIGHT LENS

CONTINUED
If theres one thing that drives me crazy

of lenses and choosing them appropriately,

baby, and give you a more documentary feel-

Stop using any focal length be-

about the popular photography world, its the

so by telling you to use the right lens, I am

ing. Furthermore, the moment that weightlifter

tween 85mm and 135mm for a little

unrepentant insistence that there are rules

not suggesting you make sure you have an

deadlifts 300 pounds to his shoulders, a wider

while. Go back to using your 50mm

of composition to be followed, and correct

85mm f/1.2 in your bag. Im suggesting you

lens, pushed in close, can give an exaggerated

lenses to use. How often have we been told

understand the aesthetic effect of the lenses

feeling to the lines and weights on his shoul-

that some lenses are for landscapes, some for

in your bag, and use the most appropriate one

ders, and makes for a more appropriate envi-

portraits, and some for architecture, or some

for the subject you are photographing and

ronmental portrait lens in this particular case.

such thing, without ever being asked what

what you want to say about that subject.

we want the photograph itself to look like?

10

for a bit. Then use your wide-angle

lens. Then use something longer
if you have it. Play with these
focal lengths and the aesthetic

I have made portraits with every lens in my

results they give you and become

Sure, there are lenses that are more suited to

Assume you only use an 85mm lens on your

bag, from the extreme wide-angle of a 16mm

comfortable with them. They each

a certain look than others, but to assume we

portraits. In a couple years youll have a col-

lens to my 300mm f/2.8, each of them chosen

give you a different look and feel,

all want our portraits to look the same, shot

lection of portraits all with a very similar, even

when the subject and their context called

and despite what the magazines

through the same 85135mm focal lengths,

generic look. And youll have few options,

for it. In some cases Ive used a couple of fo-

and tutorials tell us, they can all be

is creatively restrictive in the extreme.

believing that your 85mm is your portrait

cal lengthswider lenses pushed in close to

lens. Now assume every lens in your bag is a

pull me into their environment, longer focal

The conventional logic is that wide-angle

potential portrait lens. Which might you use

lengths to isolate the subject and create a more

lenses, with their expansive effect on fore-

for the portrait of a man who is a comedian,

intimate portrait. But never once in recent

grounds, are inappropriate for portraits, but

a larger than life man who is always making

years did I choose a focal length because some

that assumes the only portraits worth making

jokes and smiling? Which would you use for

book or magazine told me it was the best por-

as you can before you go back to

are serious ones that show the face in the most

the weightlifter, or high school football player?

trait lens. How would they know what I want

what youre used to. Most of us

flattering way. On the further end, that same

Which for the newborn baby? Theres no right

my portrait to look like? They dont know what

think were in a groove, then we try

logic says that longer lensesfrom 200mm

answer, but the wider lenses will give that

you want yours to look like either. So take ad-

something newforce ourselves

compress the face too much, giving otherwise

joker a comical look, the longer lenses can give

vice like that with some suspicion, and instead

to try something newand find

elegant women too chunky an appearance.

a heavier, more solid, feeling to the athletes,

experiment and play and choose the lens most

But more important than embracing such a

and a standard 50mm with a close focusing

appropriate to your intent for the photograph.

limiting set of rules is understanding the effect

distance will let you get in low and close to the

used to make portraits. You can go

back to the 85mm if thats the look
you love, but I encourage you to
try out as many other focal lengths

out that groove was actually a rut.

PORTRAIT PROFILE
Laos. f/2.0, 1/210. ISO 200. 23mm.

I made this portrait of my friend Allen in Laos while traveling around Laos and Cambodia. I was shooting the entire
journey on a new Fuji X100, which has a fixed focal length
lens of 23mm (according to my metadata. 24mm according to the marketing materials.) Its not whats generally
considered an optimal portrait lens, but I think for any
portrait where the environment or context is important, a
wider lens pushed in close can be exactly the right lens.
Longer lenses often force us to move back, placing a
distance between ourselves and our subjects. But shorter
lenses, by forcing us in closer, also force an intimacy, or
can change the dynamics between photographer and
subject. This changed dynamic is often reflected in the
photograph, resulting in something with the potential to be
much stronger and personal than is possible when youre
30 feet away with a 300mm lens, shouting instructions.

11

4. USE MORE THAN ONE FRAME

This woman served us coffee at a small cafe in Oaxaca. One of my students was with us and I encouraged her to go make a
portrait. When she was done I asked if I could show her how I might have framed it, and in four frames the expression of this
woman just kind of evolved into this lovely spontaneous laughter. Stay in the moment, dont be so quick to chimp through
your images, wait and see what happens.

Oaxaca, Mexico. f/3.5, 1/50. ISO 800. 24mm.

12

4. USE MORE THAN ONE FRAME

CONTINUED
While the single-frame iconic portrait is the Holy Grail of

Find a subject you know well. One of

portraiture, its important to remember that people are multi-

your kids. Your spouse. Your father.

dimensional, far more complex than any one frame can rep-

If you had to describe that person

resent. The best portraits can hint at this complexity, even

in three or four words (and you do,

fill in some of the layers, but few of them ever do more than

thats the point of this exercise,) how

imply a story, rather than tell the whole thing. Where the
single frame fails to complete this story, consider using two
or more frames. These frames might include different facial
expressions, or different angles of the same face. They might
include a more traditional portrait of the face and a portrait of
the hands as well, especially appropriate if your subject works,

would you describe them? Write

these words down. Now take an hour
or two and make a portrait of that
person, but do it in three or four
frames, not one. For each word you

creates, or plays with his hands. However you decide to do it,

wrote down, find a way to express it

its important to remember that photographs can only do so

within the frame of your photograph.

much and in most cases its better to be very clear about what

Learning to translate our impressions,

you want to show, and allow the rest to remain a mystery.

which are usually easier to describe

than to photograph, is crucial to

Portraits that endeavor to show every aspect of a subjects

character or life end up weaker, not stronger; the more you
try to cram in, the more you risk diluting the impact. Multiple frames can help, but you still have to make a decision
to exclude things. A portrait, even across a few frames, is not
a photo essay, though that might be your next step if you
want to be more documentary about the life of a person.

13

making genuine portraits that say

something of the people were closest to. Doing so with three or four
frames is a much easier starting point
than trying to get all the elements
of one person into a single frame.

PORTRAIT
PROFILE
This boy sold hollowed and
dried gourds to tourists. I
was drawn to his smile, the
colours, and the gourds
themselves. Neither image
told the whole story for
me, but both together have
always seemed to work and
complement each other.
Notice that the first of the
two was taken with a 26mm
lens, a wide shot that not
only helped establish the
context, but also gave
me a chance to get him
comfortable with me and
my camera before I started
getting closer for the detail
shots I had hoped for.

Awash, Ethiopia. f/2.8, 1/160. ISO 800. 26mm.

14

Awash, Ethiopia. f/2.8, 1/400. ISO 800. 70mm.

5. UNDERSTAND THE SMILE

This man in Senegal took a while to crack, but when he did his
smile was as genuine as they come. Notice how the muscles
at the corner of his eyes contract. This is called the Duchenne
smile, named after Guillaume Duchenne, and marked by the
contracture of the muscles around the eye, creating crows feet.
The opposite is known as the Pan Am or Botox smile, marked
by contracture of the mouth muscles, but not the eyes.
If you look at portraits from the last hundred

portion of our emotional gamut and if youre

years across multiple cultures, youll notice that

going to create meaningful portraits, you need

the smile is a relative newcomer to the scene. We

to be comfortable with the full range of that

seem to have become obsessed with it, which is

gamut, and how these emotions and states of

odd because not only do we spend most of our

being are most clearly represented visually. But

days not smiling, even when very happy, we

if you are going to work with smiling subjects,

are also much more emotionally complex than

then understanding smiles is non-negotiable.

simply smiles. Smiles represent only a small

Senegal. f/2.8, 1/250. ISO 200. 110mm.

15

5. UNDERSTAND THE SMILE

CONTINUED

16

We commonly understand smiles to be

and not trying to make a photograph of the

youre in someones home, then slow down

Get a magazine, preferably something like

an act of the mouth. They are not. Or

person you want them to be. Some people

a little, and remind yourself of the first two

People or Us or one of those nasty gos-

more specifically, the mouth is not only

just arent smiley people. Sure, they smile

steps in this bookyour ability to relate

sip rags about celebrities. I know, youll

(or necessarily always) involved. But smil-

once in a while, but theyre more often

to people and to patiently wait for them is

need to take a shower afterwards, but how

inggenuine smilingoccurs always, and

contemplative or shy. Your job is to know

more important than your choice of f/stops.

many photographic exercises can also

without exception, in the eyes. When we

that, to relate with them for long enough

smile genuinely, the eyes narrow slightly

to get a sense, even on instinct, of who

Finally, and I know this works because

and the corners of our eyes wrinkle. Al-

this person is. Your job is to respect and

Ive seen it over and over again, if all else

ways. Spend five minutes looking at your

honour that person, not manipulate them

fails, ask them to act. Ask them to throw

friends and familys eyes, and not their

into being someone they are not. But more

their head back and laugh. Two things

mouths, when they smile, and youll see it

than likely the difficulty is simply a lack of

will happen if they do that. The first is

for yourself. But watch your next subject,

connection, and you need to redirect the

a fake laugh which isnt remotely worth

magazines because if theres one thing

especially one you really have to bend to

focus from making a photograph to relating

capturing on film. The second is a realiza-

the celebs think theyre good at, its fak-

your will to produce a smile, and youll see

and helping them drop their walls. Smiling

tion of how contrived this is, followed by

ing smiles, and while some of them pull

all kinds of facial contortions, counterfeit

yourself instead of muttering about f-stops

self-awareness, tension, and then, a genuine

it off, others just smile with their mouths

smiles, and nothing but nervousness or

and your lighting problems is a good start.

laugh at the ridiculousness of the situation.

and the eyes are a dead give-away. Now

insincerity in their eyes. The result will

If youre in a studio, play some of their fa-

That laughthe second, real, oneis what

watch for it in your next portrait session,

be portraits that lack sincerity, a sense of

vourite music and put the coffee on to brew

youre after. And once you get one, the

vulnerability, and an emotional connec-

(if they like coffee). Smell can be a powerful

others become a little easier. Just dont wear

tion to the reader of your photograph.

thing, it can soothe and calm just by the

them out. Laughing is exhausting and you

associations it creates. If youre out on the

need to watch for signs of fatigue. Thats

What do you do about this? The most obvi-

streets of Old Delhi, stop, get some chai,

the sign that its time to stop and either

ous suggestion is to make sure you are mak-

watch them do their handiwork, engage in

move on, or find other expressions that are

ing a photograph of the person they are,

conversation to whatever level you can. If

more easily and authentically captured.

claim to advance your personal hygiene at

the same time? Now spend a few minutes
flipping through it and look at the smiles.
Study them. Which ones seem genuine to
you, which do not? Im suggesting these

and when the eyes get tired, have the

subject take a break. You can only sustain
a genuine smile for so long, so dont make
it harder for your subject than it has to
be. Give them space for a little emotional
rhythm so you dont exhaust them.

PORTRAIT PROFILE
Kashmir, India. f/1.2, 1/160. ISO 400. 85mm.

This little guy was hanging around while I was trying to photograph his grandfather
in India. The grandfather had a really great hat and seemed like an interesting man,
but it was his affection for his little grandson that really caught me. But the little
guy was shy and initial efforts werent well-received. So I sat and waited and once
he got comfortable, he became curious, though still reserved. When he finally settled in to the safe cradle of his granddads hands, thats when the moment became
an important part of the photograph. His gesture in this image is everything and
without the hands placed where they are (and they stayed only briefly), this would
be a completely different photograph. Patience is more important than f/stops.

17

6. WATCH THE EYES

My friend Fernando in Oaxaca. Notice how his
eyes do different things in these two photographs,
and result in portraits that say very different
things about him. One creates an implied line
along the direction of his gaze, forces us to look
where he is looking, and implies a man who is
observant, even distracted, which is appropriate,
given that Fernando is a photographer. The
second image has a direct, if somewhat obscured,
eye-line, and contains much more emotional
connection because of that contact with the
viewer. What the eyes do in a photograph
changes the way we read it and the way we feel
about it. The cross on the wall is a subtle detail
I like, not only because of the physical context
of a largely-catholic country, but given our
shared biographical backgrounds in theology
school it gains deeper meaning. Portraits do
well with this kind of implied meaning.
Oaxaca, Mexico. f/2.0, 1/100. ISO 200. 105mm.
18

6. WATCH THE EYES

CONTINUED
The eye is an orb, and as such it reflects back

catchlight will increase the emotional response

to us not only the light directly behind the

to the portrait. If youre in the studio, keep an

camera, but also the light from 180 degrees in

eye on where your lights arebe as creative

every direction from the centre of the eye. So

as you like, but watch what gets caught in the

while the subject may be in shadow, perhaps

highly reflected surface of the eye. If theres no

in a doorway, the brighter light from well be-

catchlight there, consider placing a small flash,

yond gets reflected, like a mirror, in the darker

set to minimal power, to add nothing more

surfaces of the eyeball. Knowing this allows us

than a spark to the eyes without dramatically

to position our subjects for the best catchlight.

changing the lighting youve worked so hard

How we do this is simple: make sure the eye is

to achieve. Remember that sometimes its not

reflecting something brighter than the light in

a matter of adding new light, just asking your

which the subject is sitting. In other words, place

subject to look towards a light thats already in

the brightest light so it reflects in the eyes. Why

place. Natural light photographers should re-

we do it is as important: that catchlight gives

member that a light disc can accomplish this just

the portrait life, pulls the eyes of the readers

as well, as can wearing a white shirt to brighten

of the image to the most expressive part of the

the eyes of a backlit subjectthe light hits the

face. Not every portrait needs a catchlight in

shirt, illuminates it, and gets reflected (you wear

the eyes of the subject, but where present, that

the shirt, the subject wears whatever she wants.)

This isnt really a portrait, per se, but I think its a great example
of catchlightin this case the light being reflected is an umbrella
lit by a single flash off to the upper right of the model, placing a
light in her eye at the upper right.
Vancouver, Canada. f/4.0, 1/250. ISO 100. 200mm.
19

6. WATCH THE EYES

CONTINUED
Catchlights bring attention to the eye and add

Find a subject and engage in two simple exercises.

life, but they do not change the actual expres-

First, place them somewhere youve got some room to

sion in those eyes. That is the job of the subject

move, then photograph them from 360 degrees. Pho-

alone. But even here, it is often your relation-

tograph them with the light at their backs, their sides,

ship to the subject that makes it or breaks it.

their front, and degrees in between. When youre done,

But dont get seduced by your brilliant lighting

photograph thema tight headshotacting through

or posing or newly acquired props or backdrop

to carry the image. They help, sure, but its
the eyes. Those eyes can be wide with wonder,
they can be heavy with sleep or boredom. They
can narrow to slits like Clint Eastwood. They
can crinkle with laughter or smiles. They can
look angry or friendly. However they look, we

as many emotions as they can conjure. If it helps, come

up with that list ahead of time. I know, its silly, and
much depends on their ability to act, but were trying
to learn something here. Make sure that among all
those shots, you get some sincere smiles. Now import
these frames to your favourite image program and

are seldom fooled when we see them. Weve

look at just the eyes. First, note how the catchlights

got a lifetime of reading peoples eyes. So not

change based on where the subject is relative to the

only do you need to watch your light and

light. Which ones do you prefer? Which ones are

posing, and frame up appropriate composi-

strongest? What are those eyes reflecting? Now look at

tions, you also need to watch the eyes and be

the second set. What are the eyes saying to you? See

sure those eyes are saying, genuinely, the same

how, removed from the context of the rest of the face,

things the rest of the image is trying to say.

they still communicate volumes? The more you understand the eyes, the stronger your portraits will be.

20

7. PLAY WITH THE LIGHT

A large diffuser from my 5-in-1 light disc, placed quite close to this Samburu
dancer, is responsible for the amazing soft light on his face. I just made
sure I was shooting towards something dark as my background, in this case
part of the game lodge I was staying at. A longer lens allowed me to keep
that background to a minimum, the wider f/2.8 aperture giving me a soft
background, blurring out architectural details Id have otherwise found
distracting. Notice how his torso is perpendicular to the camera, giving me
some depth I wouldnt have if he was facing the camera directly with his chest.
I am a natural light photographer. There are few things I

both. Those books are good. But they are no substitute

like more than shooting in beautiful, soft light. And there

for playing with the light and discovering the effect of

are few things I like less than having to fuss with studio

that light on your own. To start, I suggest you stop think-

lights, softboxes, or umbrellas. But my time using artifi-

ing about quantity of light. Sometimes we dismiss the

cial lights has made me a much stronger photographer

most beautiful light merely because there isnt much of

because it taught me to play with light and become so

it. Sometimes that matters, but most often it does not.

much more aware of it. Whether you decide to use just

We have slow shutter speeds, fast lenses, and ISOs higher

natural light and a reflector, or a half-dozen Elinchrom

than most photographers ever dreamed wed have, at our

Rangers and as many different softboxes or umbrellas, is

disposal. Making a good exposure is easier than you think.

not important. What is important is that you understand

But finding beautiful light is not. Early portraitists routinely

the way light plays within a scene and what you can do

used long exposuresone minute or moreto make their

to control it, or work within the constraints it provides.

exposures. We can live with bumping our ISO or carefully

using 1/30 second. If you find amazing light, use it.

Light is a huge topic, and there are whole books about

natural light and artificial light and how to manipulate

21

Samburu, Kenya. f/2.8, 1/100. ISO 400. 170mm.

7. PLAY WITH THE LIGHT

CONTINUED
What makes amazing light? Well, thats a function of qual-

white sheet, between the subject and light and see how

Youre going to need a little gear for this one, but dont

ity of light, and thats what Im suggesting you consider

that same light suddenly becomes soft and luminous

worry, its cheap compared to the rest of the gear you

spending your energies learning about. The great thing

and changes the portrait dramatically, softening textures

use. Find the largest 5-in-1 light disc you can. I use a

about light is that its visible. You can see it! So study your

and harsh shadows and creating a much nicer catchlight,

large one from Photoflex. First, pull the outer sleeve off

photographs and ask yourself, what is the light doing?

as well as allowing the eyes themselves to soften, now

the disc and play with placing that diffuser between the

that they arent squinting so much. The same effect can

Where is the light coming from? Is it from the side, giv-

be had by simply moving your subject into the shade

ing the face depth from the way the light feathers off,

of a door or building. Dont look for the easy way out

moving from lighter to darker? Is it coming from above,

on this; dedicate some actual time to observing light,

giving the areas under the eyes and the nose and lip

and learning to play with it. Your photography, not just

a strange shadow? Is it hard or soft? If you cant quite

your portraits, will improve with staggering speed.

now. Hold it five feet away from your subject and then
move it closer. Watch how the light changes. Now closer
still. See it get softer, the shadows fading away? Now
move it around a little, towards the front, and watch the
catchlight shine in the eyes. This is my favourite light tool

figure it out, look to the shadows. Are the shadows hard

or soft? Are they sharp and delineated, or soft and hard

If you reach the end of your own resources, consider

for portraits. Some people want their 580EX or SB-900

to see? If the shadow is under the eyes, where would

reading Ibarionex Perellos book, Chasing The Light:

flashes and umbrellas. Others want Elinchrom Rangers

the light have to be to create that shadow? Finally, what

Improving Your Photography With Available Light (Peach-

and six-foot octagonal softboxes. They all do amazing

colour is the light? Is it the hot, white, bleaching sun

pit, 2011), or any of the three excellent books by Joe

things with light. But give me some natural light, a 5-in-1

of midday, or is it the warm light of sunset? Remem-

McNally on the use of flash (The Moment It Clicks, The

disc, and a subject, and Im happy as I can be. Now put

ber, theres no good light or bad light, just light that

Hotshoe Diaries, Sketching Light). Craft & Vision author

does or does not work for what you have in mind.

Piet Van den Eynde has also written two excellent eBooks
on off-camera flash, Making Light and Making Light II,

Once youve become used to seeing the light, begin to

and those are available individually or as a bundle on

play with it. See how strong backlight allows you to create

the Craft & Vision website at CraftAndVision.com

a silhouette? Now add a reflector and the face brightens.

22

sun and your subject. Forget making photographs for

the reflective outer sleeve back on, and, in turn, play

with each surface, bouncing light onto the face (careful,
those metallic surfaces are really bright!). Watch how a
subtle movement of the disc can change the look of the
lightmove it left to right, back and forth, up and down.

Or move around your subject and photograph them in

Play with it until youve exhausted the changes in light.

direct, harsh sunlight before placing a large diffuser or

Now pick up the camera and make some photographs.

7. PLAY WITH THE LIGHT

MORE ABOUT THE LIGHT DISC
Here my friend Dave Delnea is using the gold side of a large light
disc to bounce and enhance warm sunset light onto the face of the
model, while the sun lights her from behind and illuminates the
parasol. Without this bounced light her face would be shadowed,
and the spark in her eye would be reduced, if not completely absent.

Vancouver, Canada. f/2.8, 1/2000. ISO 100. 120mm.

23

7. PLAY WITH THE LIGHT

MORE ABOUT THE LIGHT DISC
A large diffuser, the core of my 5-in-1, is held close to the face of a young
Turkana girl in Kenya. You can see Corwins silhouette through the disc. Placing
this diffuser close, between the hard sun and my subjects face, softens the
light. It also knocks the light back about one f/stop or two, so find a dark
background or youll be shooting into brightness. That same light that was
too harsh on the subject will likely still be hitting the background.
The 5-in-1 light disc is a large bendable disk of diffusion

control much simply by moving closer or further away.

material around which zips a circular sleeve. That sleeve

The metallic surfaces, especially up close, can do some real

has four different surfacesa white reflector, a silver reflec-

damage to eyes, if you arent careful. Even without dam-

tor, a gold reflector, and a silver/gold reflector. Depending

age, they can make the subject uncomfortable and squint. I

on which side you place outwards, the reflective surface

find I use the diffuser the most, and then the white surface

pieces of gear you can own making portraits. And if its just

bounces and colours the light, allowing you to use, for ex-

most often after than because I like the softer, more natural

you, you can get stands to hold them exactly where you want

ample, strong sidelight on your subject while bouncing back

light it gives, but the silver, gold, and silver/gold combination

them, just be sure to weight them with a sandbag or some-

some light to fill the shadows, knock the strength out of the

has proven really useful at times, especially if you remember

thing heavy so they dont injure your subject. Unsightly head

contrast in the light, and give your subject a catchlight.

that light picks up the colour of the surfaces it reflectsso us-

wounds are not often a part of making compelling portraits.

ing a warmer surface will bounce warmer light back onto your

Get light disc and play with it: thats my advice. It takes no

Key to using a light disc is playing with it and understanding

subject, like the photograph of the model with the parasol.

batteries or AC power and Ive used them all over the world.

how its position relative to the light source and your subject

While I used a model for those images, and I wouldnt really

changes the look of the photograph. Heres something key you

consider it a portrait, per se, the principles of light still apply.

need to know: the closer we place our subject to the source of

24

light, the softer the light and therefore the shadows. When

You can also use the 5-in-1 light disc with flashes, either to

you bounce light back onto the face of your subject, you can

diffuse or bounce the light, making it one of the most versatile

PORTRAIT PROFILE
Kashmir, India. f/2.8, 1/60. ISO 500. 62mm.

No light disc? Dont sweat it. This remains one of my favourite

portraits. To my eye, it has so much of what I look for in a portrait.
Its got interest, great eyes, a good background, and nice light. I hit
it off with this man in the foothills of the Indian Himalayas and while
Im pretty sure I had a light disc in my kit somewhere, it was just as
easy to improvise. The lessons Id learned with the light disc made
me better understand light, and I knew that if I took this man from
the brightness outside and had him sit for me just inside the door of
a small goat hut, the light would fall off beautifully, hed get a sharp
catchlight, the background would be dark, and hed be away from
the laughing and comments of his friends that were making him a
little self-conscious and preventing him from opening up to me.

25

8. CONTROL YOUR BACKGROUND

While I actually love this photograph, the moment the little dude
walked into my background it stopped being a portrait, or at least
the one I wanted. This is more a portrait of India than of this
Rajasthani man I was so mesmerized by. Let yourself be captivated
by your subjects but watch your backgrounds.
Aesthetically, there are few things that detract more

photograph. Aside from a controlled studio back-

from an otherwise potentially good portrait as a

ground, you can do that in three significant ways.

sloppy or poorly chosen background. You are responsible for the environment in which you make your

1. Depth of Field. A shallow depth of field, achieved

portrait, and Ive seen many beautiful, interesting,

by a larger aperture (f/1.8 instead of f/22, for exam-

amazing faces, showing some genuine emotion in

ple) will allow otherwise confusing backgrounds

well-composed frames, that suffer from a too-bright

to fade into soft blur. This assumes your subject is

background, power lines through the ears, or an

far enough away from the background you want

unnoticed person in the background walking out of

to blur. Place your subject about four feet away

the side of their head. Even in the studio, its possible

from the wallpaper and dial that aperture open to

to place a subject against a too-dark background,

f/1.8 and the wallpaper will have much less visual

losing the subject entirely because theres no separa-

pull than if the subjects right up against the wall

tion between the background and the subjects dark

with the same aperture. So use a large aperture to

hair. Pay attention to your subject, get a genuine

create a softer background, but make sure theres

moment in appropriate light, but then make sure

some separation between subject and background.

your background is not exerting any undesired

pull on the eye of the people who will read that

Kashmir, India. f/2.0, 1/1000. ISO 800. 135mm.

26

8. CONTROL YOUR BACKGROUND

CONTINUED
2. Compression. Using a longer focal length,

am pointing towards the shaded side of the

Look through a small collection of

like 200mm, will give you the illusion of

street (and therefore a darker background

portraits youve already made. De-

foreground to background compression, and

that exerts less visual pull on the eye).

scribe the background. Does that

the narrower angle of view will mean you

background contribute to the story

have much less background to deal with. Now

And sometimes you have to ask the subject

open that aperture to f/2.8 and youve got less

to move. Thats OK too. Just do what you

background and youve blurred what little

have to do to control that background. Not

background is there. If youre looking for a

every portrait wants or needs a perfectly

background that doesnt distract the viewer

empty background, sometimes detail, or

from the subject, this is a great way to do it.

even chaos, is OK. Just be sure its you, the

these images, ask yourself how

photographer, that is choosing that, and not

changing your f-stop, your focal

3. Move! Sometimes the only thing we

allowing it to happen by accident because

length, or your camera position

need to do is move a little, relative to

it just never occurred to you. Take your

might have given you a stronger

our subject. In moving, the background

time. Look around. And once you think

background. Now go make a por-

changes. Ive often simply shifted my posi-

youve got it all the way you want it, pull

trait and repeat this exercise as

tion just enough that instead of pointing

the camera away from your face and check

you shoot. Stop every couple of

towards the sunny side of a street (and

it again. Amazing what we miss in the frame

therefore a much brighter background) I

when we get seduced by a great subject!

In the absence of an amazing background, all I had was the wall of the Vancouver Art Gallery.
So I moved this Coast Salish dancer to a spot where the light was best, then shot with my
85mm towards the patch of wall that was least visually distracting. A shallow aperture, f/1.8,
softened it enough to give me something a little less urban.
Vancouver, Canada. f/1.8, 1/1600. ISO 400. 85mm.
27

or detract? Does it have enough

visual mass that it will unnecessarily pull the eye of the reader more
than youd like it too? For each of

frames and ask yourself: am I using the softening effect of a larger

f-stop, the isolating effect of a
longer focal length, or the advantage of a different perspective, to
make the best background I can?

9. GET LEVEL
Shooting in his parents tent in Kashmir, this little guy
demanded I make some photographs of him. He was
a little ham, and his posture was all his own, but it
required me getting down on my belly to photograph
him eye to eye. Any higher and not only did I get a
different background, but the face-to-face point of
view (POV) is much more appealing and dignified
to me than a POV that looks down, and therefore
forces the reader to look down, on the child.

Kashmir, India. f/2.8, 1/200. ISO 640. 46mm.

28

9. GET LEVEL
CONTINUED
Your position, assuming the camera moves with you, is the only thing

This ones easy. Find a willing subject.

that affects the perspective of your photographs. Your lenses can

Have them sit on a chair. Are they com-

exaggerate perspective, but only your physical position can change

fortable? Good. Now make three portraits.

perspective (this is assuming you arent using a tilt/shift lens, but

One from standing. (You are standing.

even that is more about allowing you to change the position of the

Theyre in a chair, remember?) One from

camera or focus plane . . . never mind, just anticipating that one guy
who writes me a long letter . . .) So if you want to change the perspective, get that camera off the tripod for a while and move around.

Moving around changes the background, as weve just discussed, but it also
changes the way you, and therefore the readers of your photographs, will

floor looking up. Now give your subject a

cup of coffee while you look at the three
photographs. Notice how the background
changes. One might have too much floor,

look at the subject. Making a portrait of a small child? Try getting down on

and one too much ceiling. Notice how

your knees and making that portrait from the same level from which they

one might give you too much chin or

view the world. Making a portrait of a baby? Lie down. Sure, sometimes

nostrils, one might give you too much

you want that higher perspective, you want to look down on the child,

of the top of the head, or surprise you

creating an exaggerated sense of smallness, but you might also change

with how far down the shirt you can see.

the emotional feeling of the photograph. Not everyone wants to look at a

Now, the more important question: based

photograph of a child that looks powerless or vulnerable. My starting point

is always this: put the camera at eye level. Not my eye level; theirs. Its just
a nice way to look at faces. Looking up gives me the nostril-cam, looking
down gives me too much scalp. Head-on is the way we generally talk to
people and, at least for me, is the most pleasing position from which to
make portraits. There are always exceptions and you should be suspicious
of any rules in photography, but having a starting place is a good idea.

29

the eye level of the subject. One from the

solely on the POV, how do each of these

three frames make you feel? There are no
rights and wrongs here, just the awareness that POV matters and will change
the aesthetic of the photograph, and
therefore the way people feel about it.

PORTRAIT PROFILE
Old Delhi, India. f/5.0, 1/200. ISO 800. 135mm

What struck me about this kid was how young he was, yet he seemed
to have such wisdom and age in the lines of his face when he smiled.
Young body, old soul, like so many in India. He was open and friendly
with me, and gave me the chance to crouch down with him, though not
so much that I was level with him. I wanted him to look up just a little.
Heres why: I was in a back street in Old Delhi, which is generally dark
because those streets are so close together, but you can always depend
on a strip of light above and as long as your subject isnt looking down,
their eyes will reflect that light. Cover this boys mouth with your hand
and look at those eyes - no mistaking that his smile is the real thing.

30

10. POSE CAREFULLY

A little gentle coaxing got my subjects into a place where I could see
their hands and tools, but not so much that they gave the impression of
feeling manipulated. Once there, I let them move a little and get back
to that natural comfortable posture they had when I first met them.
I dont really pose my subjects. I let them do that,

they naturally carry themselves. Take your cues from

and with very little guidance from me. In my work

them. And when they do something you like, ask

I strive for something a little more natural than

them to go back to that. Or better, be ready for it.

what fashion photography feels like to me, and I

dont do fine-art photography. So here are the two

Secondly, consider using the body posture of the

things I have to intelligently say about posing.

subject to introduce some depth to the photograph.

Sure, you could have them stand facing you directly,

First, I tell my subjects, at least those with whom I

with their shoulders square to the camera, but if they

share a language, that if they feel uncomfortable, they

stand a little closer to perpendicular, then face the

will look uncomfortable. Yes, we can tweak someones

camera, the foreground shoulder gets a little bigger,

body position a little to give us the lines we want, but

the line of their torso becomes more diagonal, retreat-

too much manipulation and youll have uncomfort-

ing towards the far shoulder, now farther from the

able subjects and youll be introducing unnecessary

camera, and giving you some depth. Some energy.

challenges into the process. Why spend all that time

Diagonal lines bring depth to frames that straighter

making a subject feel comfortable and at ease, only

lines do not, so allow your subject to move a little,

to then ask them to put their body into a position it

to create some of those lines, and resist the urge to

would never experience in real life? So by all means,

place the front of your subject parallel to the camera.

make suggestions, but be observant and watch how

Rural Senegal. f/2.8, 1/320. ISO 200. 200mm.

31

10. POSE CAREFULLY

CONTINUED
If youre interested in more formal pos-

As with the last exercise, it begins with a willing

ing, I know there are books out there, but

subject. Now, before you launch into your session,

if you must use them, use them as idea

put the camera down, and ask them to help you

books and find in them some new inspira-

come up with ten ways in which they sit or stand

tion for the kinds of lines and shapes your

naturally and comfortably. Dont use the word

subject can create in the frame, but then

allow your subject to tweak those shapes
and lines to the more natural contours of
their body and the way they move. Remember, if its a portrait youre after, your
photograph needs to represent who this

pose. If you use the word pose you lose ten

points, I take away your gold star and you have
to start over again. With a new subject. Were
doing this for two reasons. First, these ten body
positions should give you some idea of how this

person actually is, not who you ask them

person moves and is comfortable in the body in

to be by conforming to unnatural poses.

which they live. Just watch and listen, and then use
those as a starting point. Second, the moment you
use the word pose you introduce an unnecessary
contrivance to the dynamic. A pose is false. At
least it is most likely considered false in the mind
of your subject. You want to keep them thinking
naturally, not about poses. So dont use the word.
Now find those positions they most naturally find
comfortable, because how we sit or stand or fidget when restless, is much more a part of us, much
more genuine, than any pose will ever be. Poses
are for fashion models, not authentic portraits.

Rural Senegal. f/2.8, 1/1250. ISO 200. 160mm.

32

CONCLUSION
There is much more to making great portraits than a step-by-step
guide. Portraits are about people. In the case of photographic portraits,
its often about two people: the photographer and the subject. Its a
collaborative thing and its worth the time to do it slowly, intentionally,
and as foremost a relational process, with an aesthetic destination.
Only then are the mechanics and techniques worth pursuing, I think.
The ten steps in this book arent magic. Theyre

If youre looking for more, I suggest you dig out books

nothing new. What I hope for with this eBook is that

of portraiture and let them stir your imagination.

it will recalibrate you a little, thats all. Just remind

Find the work you love and ask yourself what it is you

you of some things you probably already knew but

love about it. When you find work youre less drawn

may have never considered in the specific discipline

to, dont discard it too quickly; ask yourself what

of portraiture. There are only so many things someone

it is about that work that you find less compelling.

can tell you about relating to people or making a

My friend, Chris Orwig, has written a book about

photograph before you realize the hardest part is

just this subject, and I highly recommend it to get

yourstaking those elements and possibilities and

the juices flowing. Chris is a great photographer,

combining them together, with a subject that intrigues

and he has an amazing love for, and curiosity

you, and making something amazing: a portrait

about, his subjects. His book is called People Pictures:

of a one-of-a-kind human being at a never-to-be-

30 Exercises for Creating Authentic Photographs

repeated point in time in a way only you, a one-of-

(Peachpit, 2011) and is available on Amazon.

a-kind photographer with a specific way of looking

com, Barnes & Noble, or your favourite retailer.

at the world, and the people therein, can make.

Matt Brandon, Leh, India. f/1.2, 1/500. ISO 200. 85mm.

33

If you liked this eBook, youll love our library!

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price of $5 at CraftAndVision.com

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craft & vision

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