Evaluation

Evaluation 

Throughout the research for this assignment it became clear there is no right or wrong way to approach portraits. There is one clear constant from the best photographers, once they have a great understanding of the basics they allow the space for real creation with their subjects and surroundings. Their conviction to their own beliefs standing them apart from others; whether their creative style is simple or grand.

Easily the first half of the time in the studio has been spent trying to get a good handle on the basics. The new camera and its feel with the added difficulties of focusing in the dark compared to a DSLR.  I felt in a controlled environment the only thing stopping me from getting the results I wanted to see would be getting over my own shortcomings. At first it appeared the technical side of new equipment and work flow but I soon realised once we started shooting there was more I needed to include. My personality and manor whilst in role as portrait photographer would have as much of an impact on the end results as how to set up the lights.

During that first half I was aiming to make my subjects as bright as their backgrounds were dark; standing under one key light with a totally black background. Always drawing the eye from out of the surrounding darkness and back into the centre where they were placed and illuminated without any distraction. I liked this dramatic look so tried it at a Gym shoot with some friend bodybuilders of mine. The results helped me realise this was a very masculine look maybe better suited for other applications than this assignment.

With mixed results from the first two studio shoots, the turning point came when I read about Avedon’s Windsor portrait and how he tricked them into letting their guard down for just a second to reveal their true selves.  A similar explanation is presented from Platon on his experiences shooting different world leaders.  The exceptional images came during a moment of singularity between photographer and subject. One small moment of common ground reached, not by general direction, but from a few inquisitive words.

So for shoots three and four I added another light for the background which balanced out the overall contrast. It also got away from this look of being stood in the dark which I didn't think added much for the style of portraits I was going for. I talked to the subjects more and tried to help them relax, searching to see if I could get my own moment which I recognised as them showing their real side and not just that of an unwilling model.

The final three images show this in a positive way.  They show the genuine pleasure from the conversation we were having which was mostly about thinking happy thoughts. And if you do will it show up enough to look convincing through the camera.

I have had a print space sample pack for nearly six months so had a good idea which from a few I would choose for this kind of image. I chose the Fuji matt C type over the others with more processed finishes on this occasion as I didn't want the shine to detract away from the high contrast finish I had applied. A kind of processed but still natural looking skin tone with some blemishes left. I'm happy with the finished results, they reflect how I feel about portraiture right now and have given me some good ideas to try out next.