As an amateur you may never be interested in architectural photography or macro photography, or even documentary photography. But I am sure that at some point you will “fall” into portraiture and you will end up chasing portraits that tell stories. The why is very easy; a priori It is the “simplest” branch since in general, as sociable beings that we are, we always have some unsuspecting person who offers to pose for us 😉 .
Before continuing, I recommend this mega guide that we have prepared on portrait photography with all the tricks and tips to achieve incredible portraits. In addition, you will find inspiration and much more than you can imagine.
And why did I say “simple” like that, in quotes? For many reasons:
- In my opinion, the more recurring and exploited a topic is, the more difficult it is to achieve convincing results.
- The more “easy” or within reach we have it, the less we will squeeze our brains to achieve good results.
- …And because beyond all the technique that surrounds a portrait, the most important thing is that it say something. And often we forget this, so we get pretty portraits, but no more.
How can we tell stories through portraiture?
First convince yourself that we all have something to tell. Always. And he remembers that a story doesn’t talk about beautiful models or a perfect sunset light, or even about the perfect framing following all the rules of composition. A story has to move us, reach us, convince us. Luckily, there are many ways to tell stories in a portrait. Let’s see some.
Before you start, the essentials
Know what you want to tell, what you want to say about that person. do you know her How is she? What do you want to say about her? You do not know her? What impression has she given you? Have you talked to her? Can you try to get to know her in some way before you shoot the photo? Do you want to talk about her profession? About her innocence? About her strong character? …
all these questions will influence any decision What do you take later? From the frame, to the light, through the level of approach or posture, so it is highly advisable that before shooting you know What do you want to convey with your image?
- invest time in meeting that person you want to portray.
- talk with her, not only will it help you get to know her if you don’t know her, but it will help you break the ice since both of you feel more comfortable.
- If it is the image of a stranger do not limit yourself to photographing it, everything that accompanies your image speaks of it, keep it in mind. The light, the point of view, the position within the frame…
Spontaneity versus preparation
Just because you know what you want to get doesn’t mean you can’t. mix spontaneity with the preparationeven in the middle of a prepared session the magic of a wonderful spontaneous laugh can arise thanks to one of your good jokes, or a frown due to one of the bad ones 😉
There is no single recipe to obtain good portraits that tell stories, you are the one who must feel comfortable with your own way of working, if you prefer to let yourself go in the middle of a free environment where your “model” completely unfolds at his own pace, it is valid. If, on the other hand, you prefer to control all aspects of the portrait, from the technical to the pose or expressions of your protagonist, it is also perfectly valid.
Be that as it may, don’t be afraid to lead your scene and to move freely and unhurriedly whenever the situation allows it.
Through attitude and non-verbal language
Always related to what story we want to express about that person, the attitude they show is essential for the idea you want to convey.
The attitude is transmitted through many variables such as the position of the arms, the gestures with the hands, the look, a smile, a frown, a direct look at the camera or a lost look… Everything tells us about something, everything It tells us different things.
- The look: You can direct it directly to the camera or to another side. You can make it go towards something inside the frame or towards something that we cannot see since it is situated outside of the same. A look direct to camerais a direct look at the viewer, a look not direct and out of frame encourages us to imagine part of the story, and a non-direct gaze within the frame can generate an added narrative. (Look at something, object or person that we also see and create a relationship, a story).
- The posture: A relaxed posture is not the same as arms akimbo, someone sitting comfortably is not the same as someone in tension, someone with crossed arms is not the same as someone who shows us, for example, the palms of the hand.
- facial expression: Seriousness, laughter, guffaw, concentration, sadness, desperate crying, concentration, fury.
Controlling non-verbal language in portraiture is as essential as the alphabet in learning to read or write. Therefore, if you are left wanting more, I recommend this article on non-verbal language in portrait photography.
Composition
EITHER where to place our subject within the frame, how and why it conditions our way of perceiving and understanding the portrait. You can convey burden, freedom, loneliness or innocence just by the way you place your protagonist within the image. Let’s see some ways to achieve it:
- law of gaze. Or let the image breathe in the direction to which the gaze is directed.
- rule of thirds. It is not mandatory to apply it (far from it) but it is “mandatory” to know it 😉 It is the one that says that the viewer’s attention is more easily directed to the imaginary intersections resulting from dividing the frame into three horizontal lines and three vertical lines. The points where these lines intersect are the image strengths and it is there where your center of interest stands out more for the human eye of the viewer.
- negative space. What is that surrounds to our “model” but without providing information We can say that it is a fund that accompanies it, but it does not detract from its prominence. The place where you place this negative space will help you convey different sensations, from loneliness to overwhelm. You can read more about negative space here.
environment and background
Everything that surrounds our protagonist, although we often make the mistake of forgetting it, has and provides information. For better or worse, so the first important decision regarding the background is, do I want to include it in my image, if so, why, and if not, what can I do to avoid it?
When to include the background and how to do it
- When he has relevant information to help you explain the story of your protagonist. For example, Pedro or Laura are carpenters, you want to show how they make a living since it is part of their personality, you can, for example, show them in their workplace.
- Increase depth of field. Remember that at tighter openings, greater depth of field or what is the same, a greater sharp area in the image.
- Low focal lengths: The more angular your optics, the more background or surroundings you can include in the image.
To choose the best lens for portraits it will be easier for you when you read the article of the link.
When NOT to include the background and how to do it
- When it contains no information relevant to your protagonist or detracts from him.
- Reduce depth of field with wide apertures (f/1:4, f/2:8, etc.).
- Increase the focal length.
- Move your protagonist towards a plain, neutral background, or one that does not detract from its prominence.
- You can use fabrics such as curtains or scarves to hide it.
Whether you make it part of your image or not, pay attention to color and texture of it, not all backgrounds are suitable or transmit the same. Gray stones are not the same as a wall painted in bright red.
A single image or a photographic series?
can you count one history from beginning to end in a single image. Or you can do it in several, it is a matter of taste or even a decision that you will see “on the fly” during your photographic career.
Single images give “more freedom” both in terms of theme and treatment or composition, while series obviously start from the same freedom, but then it is recommended that they have a similar line of sight so that as viewers we perceive them as part of a series, and not as solitary photographs placed side by side.
Everyday actions and objects
They will not only help you break the ice and to get spontaneous images, whenever it is what you want, you can also help the narration of your story
And you don’t need to have a studio or a professional model. Your grandfather cooking his specialty in his kitchen is enough for you, or your cousin driving a tractor, or your mother painting in oils with her hands full of paint and lost among her canvases. The most everydaybelieve it or not, is many times what you holds the best imagesthe ones you know best and the ones you know best how to transmit.
So now you know, you have no excuse not to start immediately practicing your portraits loaded with great personal stories. And if you liked it, don’t forget to share it on one or all of the social networks that we offer: Facebook, Twitter or Google+ 😉 Thank you very much for reading us! 🙂