Part one: People aware - Learning points

After having completed the part one and its first exercises, I feel the need to sum up briefly the major learning points.

Part one explored the variety of relationships between the photographer and the subject.
The most important division is the one adopted here, between when people are aware that the photographer is taking their picture and unaware.
The practical work in this course is as much about social relationship as photography.

Over the years, the "classic" portrait composition has come to be a framing that includes the torso, head and shoulders.
If the shoulders are too square to the camera then the photograph may look static and formal, too much like an identity photo.
The tilt of the subject's head also make a difference.
The background should be relatively unobtrusive unless it has a constructive role to play in the photograph.

There are times when it makes sense to bring the location into the photograph and even to let it play a leading role.
A short checklist for a setting
• Is it reasonably consistent in tone and features?
• Does it complement or contrast with the person? Either can work.
• Does it need tidying and/or cleaning? Look for scraps on the floor, anything obviously disordered, drawers left open, doors ajar, and so on.
• Are there unnecessarily distracting objects in view? Look for strong clashing colours, images (posters, photographs, paintings) and/or words (posters, book covers, signs). Do they add or detract?

Concerning light, beware of using on-camera flash; this has its uses, but used as the sole illumination is rarely flattering or acceptable for portraits.
There is, therefore, a big difference in effect between sunlight and shade.
On the plus side, sunlight has sparkle, good contrast and can produce catchlights in the eyes; against this, it can appear harsh, cast unattractive shadows across the face, and cause squinting.
In favour of shade, there are no shadow problems and the overall effect is soft, which is good for downplaying skin blemishes; against this, there may be no modelling effect, so that the effect is flat and the face lacks volume.

There is often value in encouraging subjects to occupy themselves in some simple way.
This usually involves your subject holding something or demonstrating how something is done, and neither of these needs to be complicated.
One of the standard variants is the interview shot, a staple of magazine and newspaper feature pages.

One highly effective way of making a portrait, although it takes some preparation, is to set the person in the context of what they do – whether work, an interest, some characteristic location or unique activity.
In this sense it is a form of photo-journalism.
This kind of portrait lends itself to a natural, artless approach, and by encouraging the subject to do whatever comes naturally, you have the strong possibility of capturing an unselfconscious spontaneity.

Facial expression is arguably the single most important variable in a portrait.
Establishing a rapport with the subject begins from the instant of the first have contact.
If the person is a friend or relative then existing relationship will play a role.
Otherwise, it will probably need to establish a relationship that inspires trust.

A checklist for reviewing a portrait sequence
• Is the general composition satisfactory?
• Is there anything behind the subject that appears to emerge from the head?
• Is there anything that can be left out of the frame to make it simpler?
• Is the lighting balance about right?
• How is the angle of the head?
• How is the facial expression?
• Does the body language communicate ease, tension, alertness, or what?