Street Portraits

Street portraits differ from street photography; in one you are capturing a "decisive moment" and in the other you stop the moment, take charge and get the shot you want.  As a portrait photographer I like to take control; I want the light a certain way, the pose a certain way, the look a certain way.  To keep things natural and realistic, I will often leave things pretty much as they are, especially with street portraits, but I always like the light to be nice.  Whether using natural light only or adding a reflector or fill flash, the light has to be nice.

These tourists from Germany were taking a pedi-cab ride near Bethesda Plaza in Central Park and I asked to take their picture; this was for an assignment to capture "typical" tourist things to do in New York City.  Filtered sunlight was coming through the trees and I popped an off-camera flash into their faces to clean up any shadows.      ISO 125, 1/160 sec. at f6.3. 18mm lens.

Live Wide

In younger days, I tried reading the Roman philosopher Seneca but lacked patience and understanding.  Tonight, a facebook friend posted a link to some of Seneca's writings which left me pondering my photographic life and life in general.   ( http://www.brainpickings.org/2014/09/01/seneca-on-the-shortness-of-life/)

In a way, my creative life has grown along the lines of what Seneca is speaking to; I've balanced toiling with actual living.  Look, we all need to "earn our keep", "pay the rent", "crack the monthly nut", it's a necessity in our world, but at the very least, the toiling needs to be balanced with being present in the moment, valuing our time and appreciating life.  Part of my creative philosophy is to consciously remind myself to be "in the moment".  Yes, being "in the moment" sounds very new-age, but the practice has been around for thousands of years.  And it does take practice.  My highest levels of creativity are reached when I am totally present, or "in the moment", that's when I see things that are largely overlooked or have thoughts and ideas that would otherwise be passed over in busier, more stressful moments.  In the quiet moment, my best work evolves.

This shot of a Biology student collecting samples in a pond was for a University brochure. Being consciously aware of the moment and not merely occupied with photographing the student, I was able to capture something beyond the client's--and my own--expectations.

I understand how short our time here can be, but if you live life wide, experiencing life to the fullest and being consciously aware of what's going on around you, the span of time doesn't matter much; there is a big difference between living long and merely existing long.

I'll be honest with you; I'm writing this to remind myself to live and not just exist.  I hope you'll consider doing the same.  The fact that we, as artists--as photographers--have the ability to visually share the results of living a conscious, creative life with the rest of the world is indeed an honor and a privilege.  Let's make the most of it.

Homage to Irving Penn

We find inspiration in many places, not only from within ourselves, but also from those who have gone before us.  I think it's important to know the history of our craft and be familiar with the masters; Irving Penn is one of the masters I admire and his famous "Corner Portrait" series was the inspiration for a shoot I did last year.  The client has an amazing building with beautiful architectural details, including great use of lines and angles; in one of the particularly acute corners, I found my inspiration for a series of portraits.

A simple one light set up with simple instructions for each subject:  use the corner to express yourself, be yourself.  No further direction was given.

Speed Light / Speed Portrait

I love shooting portraits on location and get hired a lot to photograph people for corporations or magazines.  While I like being able to set up multiple strobes and spend the time really getting my lighting perfect, I'm more often under some extremely small time limit.  For those "speed portraits", I'll often use an on-camera flash but move it off camera.  The speed light becomes my key light source and I can use a second light as a background fill light.  Couple this two-light setup with the ambient light and it makes for a nice portrait.

I had about 5 minutes to shoot with this busy pharmacist; using a simple speed light setup allowed me to get the shot.      ISO 320, 1/50 sec. at f4, 50mm lens.

Where to Start with Lighting?

 When I'm on assignment it's important to capture the ambiance of a place; I never want to overpower the scene or the "feel" of the location with my lighting.  I start by testing the available light, then decide on how best to supplement what's there with additional lighting to highlight what we most want to show in the final image.

Some situations are harder than others to light.  This Situation Room at an internet security company in Boston is a case in point.  It was important that we see the people but the room itself was kept dark so the workers could more easily read their screens; we also needed to make sure we could see the screens of each computer.  Multiple lights and lots of tricks were used to keep this scene looking natural; leaving the desk lamps on added that soft, warm glow of the ambient light.         ISO 400, 1/50 sec at f6.3, 18mm lens.

Seize the Moment

I was headed home, walking down 8th Avenue at 39th Street when I noticed the light changing.  It's hard to see the horizon in New York City, but at the next cross street I could see to New Jersey and see that the sunset might be nice.  I was late for getting home but I just knew something good was about to happen; the problem was, in that part of the city there really isn't much to shoot.  Forgetting that I told my wife I'd be home in ten minutes, I cut west on 39th Street looking for possibilities.  At 10th Avenue I saw my subject:  the high rise luxury condos that have sprung up along far west 42nd Street, they would make a good foreground to the intensifying sunset.  It was a race against a quickly setting sun, but I finally found my angle in the middle of the entrance to the Lincoln Tunnel; I literally had to shoot between all the buses heading into the tunnel at rush hour.  Once you find the right angle and time the sunset perfectly, it doesn't take long to get the shot; I was done before the cops rousted me. 

As an added bonus, I noticed this plane heading south out of LaGuardia and waited for it to be in the right spot; to my eye it's the added point of interest that makes the photo even better.

Deconstructing Helen

I lead a class on Composition this weekend and thought of this image of Professor Helen Solterer from Duke University as an example.  At this time the professor was researching Medieval Theatrical Revivals in Modern Day France and she had reconstructed a number of masks similar to those used in the original productions.  I was struck by the possibility of using the masks when assigned to photograph her.  I positioned the mask on the left specifically because it looked like its eyes were looking in her direction; she held another mask which was also looking at her.  The added bonus was that the pointy nose of the 2nd mask pointed right at Helen.  I like the repetition of the three faces and the diagonal line created by Helen and the two masks.  Overall, I think this is a strong image made stronger by the composition and the use of black & white.

All About the Eyes

As Shakespeare said, "The eyes are the window to your soul".  Not all portraits include a persons eyes, but when they are in the shot, you generally want them in sharp focus; in fact, you generally want both eyes in focus...and then you get creative!

This model, Leah, has gorgeous eyes and I wanted to really draw attention to them in this shot, by using selective focus and holding the sharpness too one eye only, there is no question where the viewer will look.                                                    ISO 100, 1/100 sec at f2.8, 70-200mm lens.

Proper Preperation Produces Powerful Pictures

Pardon the alliteration, sometimes I can't resist!  But there's an important point behind my silly sense of humor.  The more details you have worked out in advance, the better your images will be, especially when photographing people.  It starts with "seeing" your image in advance and experimenting with the angles and composition even before your subjects are in front of the camera.  Once you have your shot set, nail down your exposure and, if possible, do some test shots with stand-in subjects.  By being properly prepared, you can concentrate on directing your subject and shoot quick variations without wasting valuable time.

These police officers in Times Square were kind enough to pose for me but obviously had little time or patience for a "photo shoot".  By being prepared and knowing exactly what I wanted, I was able to shoot 12 images in 21 seconds (I checked the metadata time stamps) and used the time to direct them where to look and how to position their arms.    Shot at ISO 400, 1/60 sec. at f7.1, 16mm lens.

Separate Your Subject

When shooting location portraits, I like to find simple settings and separate my subject from the background yet show enough of the location so it's recognizable.  Oftentimes you can use a shallow depth of field and throw the background out of focus, other times you can use contrasting colors to help "pop" your subject--doing both is effective, too! 

This portrait of Matt, who works for one of my good clients in North Carolina, is shot looking down a long hallway of windows with direct sunlight streaming in over his shoulder.  The hallway is all white so there was a good deal of light bouncing around, which made the exposure a little easier to handle.  I did add a small strobe head off to camera right just to partially fill in the shadows on his face and to add a small catch light in his eye.  The graphic nature of the windows and their repetitive shape, along with the color of his shirt and his engaging expression, make this portrait a winner.

The Magical Twilight Hour

Twilight, that time when the sun has already set but there is still light in the sky, is one of my favorite times to shoot.  The color of the sky makes a gorgeous backdrop to just about anything, especially when you use strong colors that stand out against the blue.  I love shooting moving cars against a twilight sky; the red taillights provide a great contrast of colors.  But sometimes it's difficult to get the right mix of trailing lights against the sky due to traffic flow.  You can wait for a big flow of cars, or try a different technique--multiple exposures.  As long as you have the camera locked down on a tripod and don't move it between shots, you can shoot in-camera multiple exposures or merge multiple shots together in PhotoShop.  It's a fun technique to play with and can yield some beautiful results.

This shot of the Flatiron Building in New York is a 9 shot in-camera multiple exposure.  The traffic was coming from both camera left and camera right, so the multiple exposures enabled me to record the trailing lights on both sides.

A Stranger Walks into a Bar...

One of the most frequent questions I get is, "how do you take pictures of people you don't know?"  It's a common problem but one easily overcome if you stop being so self-conscious. Human beings like to feel safe, it's a built in survival mechanism and for the most part, serves us well.  But if you want to take your photography to the next level, especially when shooting travel photos or street portraits, you have to push yourself to get what you want.  How?  You just ask!  Most people are willing to help and are often flattered if you ask to take their picture; of course, you have to ask in the right way.  It pays to be nice, complimentary and genuine.  The excitement and enthusiasm you show will be obvious and contagious so that people will WANT to help you.  Here's the trick: nobody knows you; for all they know you could be one of the most famous photographers in the world, so pretend to be a famous photographer, or at least pretend to be a professional on assignment.  By pretending to be someone else, you short-circuit your self conscious and it allows you to get over your survival instinct about approaching strangers.  You also have to pick the right time to ask; don't interrupt someone when they are obviously busy. When you do shoot, be quick about it, continue talking with your subject, get to know them a little.  Afterwards, thank them. You may want to offer to email them the best picture and if you do make that offer, be good to your word and follow through by sending the image (otherwise you ruin it for the next photographer wanting to take their picture).

Finally, you will get people who say no.  So what!  There are always more people to photograph.  Just remain courteous, thank them and walk away.

The rewards of asking strangers to be your portrait subject far outweigh that little voice in your head warning you not to ask.  So go ahead, pretend you're someone else and ask away!

While in Richmond, Virginia on business earlier this week, I arranged to meet friends for Happy Hour at the Franklin Inn.  You couldn't help but notice the beautiful light streaming through the big windows by the entrance and the wonderful reflections off the glassware and liquor bottles.  No one was there so I asked the bartender if she would pose for a photo. 

Hearing what was going on from the kitchen, the cook said, "What about me?"  So I took his portrait, too!

Patience Pays Off

Sometimes you see a great image opportunity but your gut says it could be better; it's instances like that where patience pays off.  I like to "pre-visualize" the elements of the scene I'm photographing and then wait for all the pieces to come together.  Other times I orchestrate the scene and place people where I want them.  But the best images happen organically, like the samples posted here. 

I had already shot a good number of images of the Jefferson Memorial in Washington, DC when this man stood before the statue.  The sunset was perfect but other people were moving in and out of the scene, causing distracting blurs.  This was a 3 second exposure and I was praying the man wouldn't move.  Finally, he was alone and I clicked the shutter.  I didn't plan for him to be there, but without him this would be a much less dynamic image.

By being observant to what is happening naturally, and waiting for the right moment, the results can be magical.

The High Line Park on New York's west side is a lovely place for a stroll, but on a rainy morning as this, few people are there.  I saw the potential of this scene but it needed the right focal element--people.  I stood in the rain for at least 10 minutes before I saw this mother and son walk toward me.  I let them pass then took out my camera and framed the shot.  The woman's umbrella didn't look right but at the last minute she folded it under the canopy of trees; I snapped off four quick frames and caught one where they were in synchronized step.

This shot, at the Musee de O'rsay in Paris, is another example of exercising patience.  This is one of those "no-brainer" shots, but no one was around.  I waited for over 15 minutes until this man walked up and looked out the clock window.  Once all the elements come together it doesn't take long to capture a great shot.

Light and Shadow in Portraits

Photography is about light...you always hear that part of the equation, but photography is also about shadow.  Make good use of the shadow areas of your portraits as they help direct the eye to the light.  In most any image, your eye will go to the lightest or brightest part of the scene, use that knowledge to guide your viewer to the most important part of your picture.  This portrait of actor Jerry Grayson is a good example; your eye goes right to his face and his eyes.  Also, notice how his lighter color shirt forms a "V" pattern, leading your eye up to his face.

Actor Jerry Grayson, photographed in his home in New York.

Portrait technique

A simple and effective technique for "focusing" attention on a portrait subject (pun intended, LOL) is to frame the person in some natural way, either with other people, plants, furniture, etc.   I like this little trick and use it often in what I call "orchestrated candids", where I set up a situation so my subject is comfortable and let them interact with others while I'm off a ways shooting with a 200mm f2.8 lens.  This works great in natural light or when using a constant light source as strobes become too obvious.  One catch, be prepared to shoot a lot of frames as the delete rate is high due to odd expressions and closed eyes.

One of an "orchestrated candid" portrait series shot for a Wall Street client

Keep asking questions

Over the 30+ years of my career, I've always enjoyed teaching and talking to fellow photographers; my latest teaching gig is with the NYC Digital Photo Workshops (www.NYCDPW.com) where I lead a wide variety of classes.  One thought I always leave students with is to, "keep asking questions".  When we, as creative people, respond to something, it's not always complete in its best form at first glance.  I recommend pushing yourself to try different things with the same subject, keep asking the question "what else?"  What else can I try?  Maybe a different lens, change my angle, use different settings, different light.  Never take just one shot.  Think about what you're shooting, why you're shooting it and how you can make it better.  Just asking "What Else?" will improve your results.

A field of weeds caught my eye as I was driving down a country road in Virginia.  I liked the back lighting and tried all sorts of things, pushing myself until I got the shot I could see in my mind.  There were some good photos, but not until I laid on the ground with a 300mm lens and isolated the weeds against the shadows did I get my favorite shot.

My 1st Rule for Shooting the Best Portraits

As a corporate and editorial portrait photographer, it's my job to take great shots of whomever I'm assigned to photograph.  To that end, my number one rule for getting those shots is to establish a great rapport with the subject.

Last week I photographed a prominent art collector who made a sizable gift of works to a museum; I was given one hour to shoot.  My assistant, Presley, and I arrived at the upper East Side apartment and were escorted to the office to meet the gentleman.  We sat down to talk.  Thirty minutes later we had to hustle to set up two scenarios for the portrait (I always like to give the editor at least two choices).  While walking in, I noticed both the living room and the dining room had big windows and wonderful natural light as well as plenty of artwork on the walls; I chose those two areas for our shots.  Because of the natural light, we needed only to set up a key light and let the natural light fill in the rest of the set; in the living room I did need a kicker in the back to even out the shadows in the far corner.  The set up was fast and we were shooting in less than 20 minutes.  Total shots per set were about 20, allowing for slightly different angles, poses and expressions.  We shot for ten minutes and the gentleman was off to a scheduled phone call.  We beat the clock.

In the cab back to the office, Presley asked why we spent so much time just talking to the guy instead of setting up.   To me, it's more important to establish a great rapport with my subject so they are comfortable, natural and completely confident that I'll make a great photo of them.  Since I could see the set up was pretty straight-forward, spending half of my allotted time with the gentleman was well worth it for a better final result.

Initial test shot for art collector portrait shoot, Presley standing in for the subject.  We did feather the light some more in the background and move a few items  to reduce reflections.  (for  contractual privacy reasons I can't show you the final image--and yes, the client paid additional for that privacy.)

Really, MOMA?

This is a very unusual post for me and I promise not to make it a habit, but I just got home from the pre-opening reception at MOMA (Museum of Modern Art) for "The Production Line of Happiness" exhibit by photographer/artist Christopher Williams.  I have no idea how this guy rates any museum show let alone a major show at MOMA.  He is said to have "long enjoyed acclaim for his wryly incisive and playful photographs."  I'd say his work just sucks.  The beginning of the show regales the viewer with snapshots of plants and leaves, none of which are shot well or printed well.  If I produced work like his I'd be laughed out of business (although some of his shots could be run-of-the-mill commercial still life shots).  I will never understand "modern art".  Maybe that's the difference--I'm a commercial  photographer, a sell out in the eyes of anyone from Yale Art School, or California Institute of the Arts, where Williams received his B.F.A and his M.F.A..  But I'm glad to be a commercial photographer and to have consistently produced useful images for over 30 years; my clients have been glad, too.  I don't need the pretentiousness associated with this kind of artwork, which seems to be more about creative writing and marketing than producing great images.

There, my 2 cents.          The exhibit opens on July 27th at MOMA on 53rd Street.

What's a portrait?

According to my old college dictionary, the one still within arms reach of my desk, a portrait is defined as,  "1. a drawn, painted or carved picture of something.  2. a representation of a person, esp. of his face.  3. a description, dramatic portrayal, etc. of a person".

A portrait can be many things.  You may think of the classic studio portraits or the shots we all had done as kids in school; maybe you like location portraits that show a person in their surroundings or portraits of your dog or cat.  Portraits can be of things, too, like flowers, icebergs or even your home town.

The best portraits tell you something about a person, place or thing.  It reveals a snippet of what they are like, what their story might be.  But portraits also reveal something about the person taking the photo--it's a collaboration between photographer and subject.

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Portrait of April & Katherine, part of my "Let Kids Be Kids" series.

I love portraits of all kinds, B&W studio shots, environmental portraits, tight face shots, action shots, moody "feeling" shots; portraits of kids, old people, CEOs or someone on the street.    The possibilities are endless. 

Ultimately, it comes down to being interested in people and places, loving the medium of photography and the desire to share a story.

Busy Man

There's an old saying that says, "If you want to get something done, give it to a busy person."  That's how I feel these days--busy.  But it's all good as I like to be busy, I like to have lots of balls in the air at the same time, it keeps me focused, organized and in action.

Cirque du Soleil juggler photographed at a corporate event.

Part of what's keeping me busy, besides shooting for clients and for personal projects, is the two blogs I started, this one and my sister blog, Beautiful NYC.  Check it out at www.beautifulnyc.com or click on the tumblr icon on the left.  Follow me, it'll be fun.