Be prepared to take a lot of shots to get just one successful portrait. How to take extreme portraits of wild animals. Photo

Find a real person

Introduction

Do you like photographing people, you give your all in every shoot, and yet you realize that sometimes something is missing and the images don’t come out alive enough? You can know everything about composition, shooting techniques, types of cameras and silver bromide printing, but if you can’t build a good relationship with your model, you’re better off shooting still lifes or limiting yourself to shooting like “ best manager month."

There are no universal rules, but I present a few general tips based on my experience as a portrait artist in this lesson.

I should note that we are talking here specifically about creating an artistic staged portrait. Business portraiture is done completely differently than shooting with professional models. But if you have been approached by a person who needs to create a portfolio to make his dream of becoming an actor come true, or, more likely, who simply wants to get good, real and live photographs of himself or his loved one, taken by a professional, I think my advice will be useful to you.

1. Imagine yourself in their shoes

It seems to me that every portrait photographer needs to at least once turn to his colleague, preferably a complete stranger, in order to act as a model. I want to tell you a secret: most people are scared. Imagine, you have to come to some complete stranger in some unfamiliar place, or invite him to your home, an abode of peace and comfort, give him slippers, and then open up in every possible way and listen with a smile to shouts like “Suck your stomach in.” ! Back straight! Chin forward! Why are you so tense? And for all this stress you will also pay a lot of money. Scary, isn't it?

I was scared, although I was filmed by a very nice person and a real professional. But it was still scary. Keep this in mind, and don't be surprised that sometimes it's very difficult to get a model to open up to you.

2. Get to know each other

Before meeting for the shoot, chat with the future model. Social media, Email, telephone and other benefits of civilization simplify this process significantly, choose any convenient option.

So, you received a standard request: “ Good afternoon, I liked your work, I would like to shoot with you.»

Start a conversation or correspondence. Ask what ideas and wishes the model has regarding the image in which she would like to appear in front of her grandchildren. What is the purpose of the shoot? What does she want to see as a result? Offer your help in choosing an image, dream up together.

Very often people themselves do not know what they want and the classic answer to this question is: “I just want to take pictures and make them look beautiful”. I assure you, few people actually want to “just act.” There are girlfriends and friends for this, and every second person has a semi-professional SLR camera, and there is absolutely no need to shell out a large amount of money to a professional photographer. They came to you for professionalism, remember this.

Ask them to send you a couple of photos, think about what might suit this person’s appearance type and offer several options. When you see which one the model liked, you can immediately understand more about the person's character and preferences and develop the theme.

Important tip: Never and under no circumstances try to photograph a person in an image that does not suit him. It won't turn out to be a cheerful, rosy donut femme fatale, it will look funny and ugly. But she will make a wonderful image of a bright village peasant girl. You can put a lot of effort into “pulling” an inharmonious image onto a person, and the result will be disastrous. In the context of custom commercial photography, do not start from your idea, the model is primary.

3. Don't be abstract

If it seems to you that all your participation in the shooting process is the shooting itself, then you are very mistaken. When you have decided on the image and location, start selecting clothes and props. Little things are very important to create the mood of a photo.

Most people have difficulties with free time, and sometimes they themselves do not know what good things they have in their closet. Start a topic. Ask a couple of leading questions about items of clothing, maybe there is already something in stock that is very suitable for the image. For many, the easiest way is to come to the shoot as they go every day, and let you shoot it.

Make it interesting for everyone. A portrait photographer is usually a stylist, a fashion designer, a loader, a cleaner and a mass entertainer. Be prepared for this if you want to create really interesting shots. Sometimes I made hats and jewelry myself to complete the model’s look.

Many people, if the idea interests them, are ready to gladly help in finding and making props. One of my models herself made clouds out of cotton wool, and another, especially for the shoot, was not too lazy to go and buy a table that she didn’t need at all, simply because she was interested.
If possible, find out what your model does and enjoys, this can provide you with new opportunities. But you shouldn’t be intrusive and interrogate. Question: “Perhaps you have some favorite hobby that we could use in the frame?” - quite suitable.

4. The evening before the shoot

Schedule the shoot on a day that is convenient for both of you. You, the photographer, should be cheerful and full of energy, and so should the model. So January 1, February 24 and March 9 are not suitable for obvious reasons. Jokes aside, you should delicately focus the model’s attention on a number of points:

Check to see if there are any major events planned the day before, and if so, offer to reschedule the shoot for a quieter time.

Ask to go to bed early and not drink a lot of fluids so that the face is not swollen and bruises under the eyes are obvious. Believe me, it will be much easier for you to do post-processing yourself.

Ask your model NOT to diet before the shoot. This favorite hobby all girls, and it does not always have a positive effect on complexion and skin condition, especially if it was a volitional decision not to eat for three days and urgently lose 10 kg. You can always take a beautiful photo with a sufficient level of professionalism, but it’s hard to imitate a healthy blush and sparkle (not hungry) in the eyes.

And yes, ask not to conduct harsh experiments with appearance and do not paint your nails and face brightly, unless this is suggested by your image. Bright pink nails in a subtle look are a surefire way to spend hours with Photoshop.

And don’t forget to prepare yourself thoroughly, gather all your equipment the night before and go to bed early. Because if tomorrow a model sees a vaunted professional half asleep, she will probably feel insecure. Your energy and confidence are the key to success.

5. Day X

1) Talk

Even if you are a very busy person, I recommend that you do not schedule multiple shoots on the same day. Unless you are working with professional models, remember that a custom photo shoot for people is a highlight. Make it so. Haste rarely benefits the result.

So, the model has come to your studio or home. There is no need to start removing it right from the doorstep or rush it. Offer some tea and talk. It is important. You need to understand what kind of person you are working with in order to build a communication pattern. It is not necessary to talk about filming; moreover, it is not very advisable at first.

People are different, but if you openly make contact without being too intrusive, a response is guaranteed. People feel goodwill. The models and I cooked food together several times for the shoot. I have to tell you, this brings us very close.

2) Create an environment

Try to bring the conversation to the topic of your idea. You can select the appropriate musical accompaniment, if you want, this helps to tune in to the same wavelength, but here you need to be sure of the similarity of preferences, otherwise the result will be exactly the opposite.

3) Create comfortable conditions

Your model should be comfortable. If the shooting takes place at your home, don’t let it blow from the windows, don’t let the milk run out, and don’t let the legs of the posing stool break off. Think in advance about possible locations for shooting and poses, check everything. If filming takes place in a studio, prepare a place to rest. If you're filming outdoors, even more so.

Last winter I did two shoots with almost half-naked girls outside in Epiphany frosts. You can judge for yourself the degree of comfort of the atmosphere. I made sure to take a spare one with me in advance. warm clothes and make mulled wine. It’s not difficult for me, the model is pleased, the shooting becomes more comfortable. We came up with a place for heating and tried to film very quickly.

Put yourself in their position. You are captivated by the process and inspiration, but they are cold, creepy and want to go home.

4) Don't be shy to praise

Majority non-professional models, and we are talking about them now, at first he feels very insecure. Help with choosing a pose, show that you know what you are doing, your confidence will be transferred to the model. When you find a good angle, be sure to praise the model, it’s nice. Rejoice out loud at a successful shot.

Believe me, when they hear the phrase carelessly dropped by you: “Mommies, what a nightmare!”, most people will take it personally and hide in a protective shell. And then try to get a real person from there.

5) Find the main thing

When you start shooting, take the time to “shoot in.” There are a few general rules regarding photographing people, such as:

Triangular face type should not be shot from above

A round face should not be shot from below or from the front; even diffused lighting rarely works well.

If the model has deep-set eyes, do not use an overhead lighting scheme.

A full figure should not be photographed from the front, people with a belly should not be photographed in profile, etc.

But I want to upset you: each time you have to select the shooting angle individually. These general rules They only help to weed out completely unsuccessful options and not waste time on them. But when you come across a face with a wide chin, which is best photographed from above, but also with deep-set eyes that are not visible at all from above, you will have to work hard. Human face asymmetrical, so it’s best to ask the model to turn her head in different directions and try several angles, choosing the most successful one.

Be observant and see what traits the model doesn’t like about herself. You may adore people with pronounced facial features and aristocratic, chiseled noses, but a model may consider these features completely unattractive. If you focus on what she doesn’t like, consider the shots wasted or made for your home collection.

6) What are you doing here, excuse me?

I advise you to think in advance about one of the main questions of an artistic staged portrait: what is the model doing in the frame? It is advisable to write down for yourself the basic concept of the shooting or sketch a couple of sketches, resolving issues of semantic and emotional components.

Is the model thoughtful? Well, stationery and notepaper are typical for thoughtfulness.

Is the model playful? Well, depending on the age of the model and her wishes, pick up anything from a teddy bear to fluffy handcuffs. Or not fluffy.

The image of an intellectual? Glasses and books.

Madness? There are generally no limits to your imagination. Don't be afraid to get creative, using proven methods and clear symbolism is good, but something original is always better. The main thing is not to overdo it. If you go too far in your sentences, the model may not understand you and feel tense. It is better to think together and lead each other.

7) Take breaks

Give the model a break. Being caught up in the shoot, you may not notice the passage of time, but pay close attention to the model's face: you will see when she begins to tire.

Take a break for a couple of minutes. Talk, have a smoke, let yourself catch your breath. Posing is hard. Even when we're talking about about sitting on a chair for an hour. Have you tried sitting on a chair for an hour, doing nothing and trying not to breathe so as not to ruin the shot?

8) Powder will save the world!

Don't be afraid to get dirty. There are such creative ideas that involve smeared paint, universal chaos or dirty walls. Ideally, of course, this should happen on your territory. I sometimes spent several hours cleaning the apartment after some particularly stormy shooting, and I don’t regret it at all, because the result was excellent.

If you come to the model’s territory and have not discussed such options in advance, on the contrary, try to choose something calmer and not destroy the person’s house. Your arrival should not be remembered as chaos and the subsequent two-day deep cleaning.

If we litter, help us clean up. Appreciate other people's space. Don't feel sorry for yours. People really appreciate it when they see that you are willing to endure inconvenience to get a good shot. But you are ready, I’m sure.

And one more thing - do not ask the model to get into the mud if you are not ready to get there yourself. You are the guide and you lead by example.

I found traces of these two shootings at home, even several months later.

9) Don't get overwhelmed

There are situations when the model tries to guide the process. Phrases often heard:

And take me off like this. And now it’s like this!

And you stand there and just press the little black button. Don't give in to temptation. You are the professional here. If the model's proposal is successful, agree and use it. If you see that it is not, then complaints will be made against you later.

And when I posed in front of the mirror, it looked good! It's just that you don't know how to shoot!

I think few people would want to hear such a reproach, right?

Only you are responsible for your results. You can film what they show you, and then slowly remove it, in return asking you to adjust your pose and filming it well. Don't argue, try to find a compromise.

10) Shall we play?

If we are not talking about official filming, the photo shoot should be interesting and, if possible, fun. Ask the model to play. Try something funny like throwing tomatoes at the photographer or throwing clothes around. People are different, but for some it can help them relax and have fun, and as a result, the shots will come out more alive.

Ask them to portray different emotions, this can give you impetus for developing the idea of ​​a photo shoot. Don't be afraid to experiment with poses and the placement of hands and objects in the frame. Don't focus too much on the rule of thirds and patterns: what to do and what not to do. This is your vision, your world and only you can decide what to do here.

11) Be more humane

You need to love your model. It sounds strange, but it's true. When you see her for the first time, try to immediately notice the beautiful and unique features of her appearance and figure out how to capture them in the most advantageous way.

A good photographer must be somewhat empathic and feel the state of his model. The person trusts you, find the best in him. I am firmly convinced that ugly people It doesn’t happen - there are bad photographers.

If you approach shooting a model with the mood of “well, this is who nature rested on,” most likely nothing good will come of it. If you don't think for yourself beautiful one Who are you photographing, how can you convey beauty?

12) Don’t go too far

When trying to be friendly, remember when to stop. People don't like familiarity. You should not tell models about your problems, weaknesses and experiences.

You should never drink with models. Many of my models later became mine good friends, but that's another conversation. While you are a model and photographer, follow the appropriate line of behavior - and be a professional.

6. If it doesn’t stick

If you understand that communication with a model is still tense, you don’t like this person or you don’t know how to remove him, the choice is always yours.

1. You can include all your technicality, minimize communication and shoot a regular craft picture. Most likely, the model will be satisfied with the quality.
2. You can ask to reschedule the shoot, apologizing, if you think it will help and that the timing is bad.
3. If you understand that a person is deliberately going into conflict, return to the first option or apologize and politely ask to leave the room. No amount of money or negative word of mouth from a brawler is worth your nerves and your conscience.

7. A few words about “nude”

Undress in front stranger difficult. In front of someone you know, but not close to you, it’s even more difficult. In front of several people... You know, some people have nightmares about this topic.

When shooting nudes, you should be very delicate with the model, do not ask her to take provocative poses, unless you want to see a typical mask a la “femme fatale” in the picture. But at the same time, you shouldn’t be embarrassed yourself, because if you, a professional, are embarrassed, that means it’s shameful.

The body is a canvas, a set of beautiful lines. Explain it and be able to show it. Show real personality When shooting “nude” it is very difficult, but possible. Some people close, but others work defensive reaction, and the person begins to hide in unnaturalness and ostentatious images. Frankly, I don’t even know which is worse.

Try to shoo away all the assistants and makeup artists during the shoot. Talk to the model, communicate, help with choosing a position, look for the best angles. Don't be nervous yourself. The red thread should be the conviction that a naked person is the same person, only naked.

I speak from the position of a woman who mainly shoots female nudes. Many male photographers have told me that male and female nudes are very different. I won’t preach sexism, I’ll say the main thing: try to photograph a person, not a sexual object, unless that’s exactly what your idea is.

There is one more point: I warn the models in advance that I do not shoot nudes “on the table” and we discuss where I can post these pictures. My website and blog are out of discussion, but social media optional. Some allow you to post pictures everywhere, but not sign your name. Some ask to hide their face. All this needs to be discussed before filming begins. And - yes - even after that, my nudes are filmed. Remember that you cannot please everyone. Always know what you want.

Conclusion

Undoubtedly, the approach I have proposed will require a lot of energy and mental strength. But in the end, you will get live shots and grateful eyes of your models, who years later will admit that working with you is the best thing in their photography experience.

I think you all remember and know the story of the ancient Greek philosopher Diogenes, who walked with a lantern in broad daylight and exclaimed “I am looking for a man!” Look for the person, because in fact this is the most valuable thing that can be in your portrait.

Thank you for your attention

Day 1
The theory of modern psychological portrait
Modern psychological picture. History, trends, goals and objectives of surveying.
Means of expression in a modern psychological portrait.
How to find contact with a stranger. The psychology of working with a model on a shoot. Practical advice.
Discussion of photographs.
Your own “Photographer’s Path”.
Photographer as artist. Art is the statement of the artist.
Discovery of new things as the goal of art.
Creative path modern photographer as an artist. Inner freedom. How to combine work for a customer and your own development.
Multi-level perception by the viewer of works of art.
Two different approaches. Color and monochrome in photography.

Day 2
Photography practice and portfolio review
50 ways to improve your people photos.
Light in photography. Black and white drawing. Properties and characteristics of light. Review of lighting equipment for shooting in the studio and at home.
Classification of light sources for shooting portraits. Using one source for shooting.
Classic lighting schemes. Shooting staged portraits.
Dynamic lighting schemes. Studio shooting of spontaneous emotional portraits.
Digital black and white photography. Color filters and color temperature of light sources.
Nuances of lighting in a male and female portrait.
Practice photographing male, female, child portrait with different lighting schemes.
Practice shooting a group portrait. "Underwater rocks".
Portfolio review. Individual or group discussion of the works of master class participants.

On February 25 and 26, 2014 (Tuesday and Wednesday), an open free two-day seminar by the Course Instructor of the New York Institute of Photography, Alexey Nikishin, “Modern Psychological Portrait,” will take place.
To participate, you just need to go to the page on February 25 www.disted.ru/seminar and join the broadcast. You will be able to personally ask the Master your question and offer your own photographs for discussion.

(Total 9 photos)

Open and free seminar plan:
First day:
- What is a modern psychological portrait?
- Expressive means in a psychological portrait.
- Analysis of a portrait as a work of art.
- View student work.
- Answers on questions.

Second day:
- How to improve your photos with people?
- How to find contact with a model and break the psychological barrier?
- View student work.
- Answers on questions.

This is an open seminar for professional photographers who photograph people - for wedding, family, children's, genre, glossy and commercial photographers, as well as for beginning photographers and amateurs who want to shoot natural, lively, real portraits.

To visit just go to www.disted.ru/seminar February 25 and 26 (Tuesday and Wednesday) at 20-00 Moscow time and join the broadcast.
Set yourself a reminder mobile phone right now!

In the photo, Alexey Nikishin, on behalf of the New York Institute of Photography, presents awards to the laureates of the “The Best of Russia” competition.
Alexey Nikishin is a Russian master of modern portrait art photography. Films top-notch actors and musicians. Teaches at Moscow State University. M.V. Lomonosov’s author’s course of lectures “ Contemporary photography", gives lectures in Russia and abroad. He is a course instructor at the New York Institute of Photography.

The organizer of this open seminar is the company “Distance Learning”, the exclusive provider of the course New York Institute of Photography in Russian.

The next open two-day seminar will be conducted by Dmitry Fedotov, international wedding photographer, included in the WORLD TOP 20 INTERNATIONAL BY WEDDING PHOTOGRAPHY.

Details about upcoming free seminars from NYIP are on the website

good portrait photography captures the essence of a person, be it a child, a neighbor or a celebrity.

From time immemorial, people have wanted to get their ceremonial portraits, in which they would be depicted as beautiful and representative. It doesn’t matter that in such portraits they very vaguely resembled themselves: formal suit, special hairstyle. If you meet him on the street, you won’t recognize him.

They were willing to pay money for this. Portraits took a long time to paint. The services of famous artists entailed serious fees. Before the invention of photography, portraiture was the privilege of only the very rich.

It is hardly possible now to imagine what Napoleon really looked like. Artists, as a rule, flattered the customer. The court artist always adapted to the ruler. The same thing happened with photography at the time of its invention. The photographer created an image, and this image was believed. Let's remember the portraits of famous politicians: Lenin with a kind squint, Stalin with a trusting gaze, Gorbachev with a retouched birthmark on the head. By repeating the same image in numerous photographs, you can create an image of a person. Accordingly, portraits can be interpreted in different ways. One and the same person can be removed as a courageous, kind, frozen ruler, a living person.

I was once approached by a psychologist whose clientele consisted of the aging wives of new Russians. I asked him to take it off as an adult, with a kind smile from someone you can trust. Before that, he was filmed in a studio - and he was filmed as a heroic macho. This image was completely inconsistent with what he needed. Our photo session with him began immediately after the end of the working day. He came to me tired, with an empty look. He really wanted me to film everything quickly. But I wanted to earn my money honestly. We started talking. I sat him down, began to turn on the light, at the same time asking questions and talking about myself. And in between times she pressed the button. An hour later we finished.

He looked rested. The eyes were shining.

“Do you know what you did to me? - he asked. - You had a psychotherapy session. It doesn’t matter what happens,” he continued, “you need to sell the atmosphere that reigns on the set.” Then, when he looked at his pictures, he was interested in what I was telling him at that moment and why he had such kind eyes of a great guy.

When we take portraits, we often film the reaction of the person being photographed to ourselves, the photographer. And then it depends on what task you have in front of you... Most often you want to get a psychological portrait, you want to catch that very emotion that best reflects what is inside, what is called the soul.

It happens that when shooting, as soon as you point the lens at a person, he gives you a rehearsed smile with the words: “Shoot faster, I don’t have much time.” This practiced smile is typical of celebrities, those who are accustomed to frequent photo shoots in glamorous magazines and are always ready for a routine radiant smile, so that the maximum number of teeth is visible. The result is a photograph that is technically flawless - provided you know how to work with light - but completely uninteresting from an emotional point of view.

It’s good when you manage to get a person to behave naturally in front of you, the way he behaves among friends. Most people tense up when they see the lens. Your task is to become an invisible photographer or the one who is trusted.

In one photographer’s frame a person looks relaxed and cheerful, in another’s frame he looks tense and serious. In the third case, it may seem glamorous and pretentious. In the fourth, a person is inscribed in a photograph as an art object, and the photograph is viewed as a set of symbols.

If you want to truly convey the character of the person in the photo, keep in mind that the model should not experience any discomfort. Several techniques will help you with this. First, talk to the person about something that is of mutual interest to you both, this will ease your nervousness. Within minutes of starting a conversation, people forget about the camera, so you'll just have to capture interesting expressions on their faces every time they appear. Second, never ask your sitter to smile or say “cheese.”

A true smile comes from within, and the only way make a person smile - give him a reason for this: tell a joke, talk about something funny. Of course, you won't always be looking for a smile. If you look at the work of successful portrait photographers, you will often see that their subjects have a more thoughtful, serious expression on their faces, which makes the person's character more apparent. Perhaps the person you want to photograph can boast an independent look at political problems, or maybe he experienced some adversity at one time. The more you know about a person, the more control you will have over the situation in predicting what type of portrait you will end up with.

Always try to give the appropriate impression that you are “confident and in control,” even if in reality you are just as nervous as your model. If people feel that you don't know what to do, they will never be able to trust you. The most interesting expressions appear and disappear in a split second, so always keep an eye out and be ready to “grab” them. Third, plan everything in advance so that your shoot is quick and easy. Decide on a location, come up with some ideas, and set up your equipment so you can get started. Posing for portraits tires people out quickly, so if you can't get a few good shots in the first half hour, you'll probably fail today.

If you're working indoors in a photography studio setting, keep an eye on the lighting so it doesn't make it difficult to determine exposure. One flash equipped with a softbox is ideal for male portraits, and if you position it 45-90 degrees away from your model, it will help you create lighting that can highlight sculpted features and skin texture. If you are photographing a woman or girl, use soft light, rather a backlight, devoid of harsh shadows. Two flashes and two softboxes located on either side of the camera will create ideal conditions. Alternatively, you can sit the model near a window, using a penetrating light.

When working on outdoors the soft light of a clear, slightly cloudy day is ideal for portrait photography, since the contrast will be low, harsh shadows and bright highlights will not be a problem for you. If you have to work in bright sunlight, position your model in the shade, where the lighting is soft and free of shadows, or make sure the sun is behind the person and use a reflector to highlight the face. More often than not, the most successful portraits are the simplest ones, so the less equipment you have at your fingertips, the more you can focus on the person themselves. Remember this and you won't go wrong.

Be prepared to take a lot of shots to get just one successful portrait.