on-location portrait photography advice saught

jhob

jhob

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John
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Well I got the job for doing a portrait photography session for the family visiting Edinburgh on holiday that I mentioned in an earlier thread.

Now, having secured the booking, I'm bricking it. Whilst I am entirely comfortable working in a reportage style, portrait photography is a bit of a different game and I am unsure how best to go about putting the family at ease and getting them to act naturally within a semi-posed format. I am also coming up a little short on ideas to try, but I'm hoping that will just come to me when we get to the location (most likely a ruined abbey).

They, and I, want the shots to be as natural as possible and have a spontaneous feel to them. I am intending on using natural light and scheduling the shoot for late afternoon/early evening. I may also play around with a bit of cross-lighting.

I would welcome advice for those with experience about things to look out for and suggestions for putting the family at ease. Even simple stuff like what do you say when you click the shutter that isn't 'say cheese'.

I have the Annabel Williams portrait photography book and this is the sort of style that I wish to follow with my images.

HELP!!!!:gag:
 
John,

First, congrats on getting the job!

Now take a deep breath. It's natural to feel a little panicky, but always keep in mind that you're really good at this. ;)

OK, let's start with positioning the family. (Obviously, first you'll have chosen the place and the light you'll be using.)

There are two "rules" that I give the families I'm photographing. The first one is: everyone has to get close together. I mean very close together. That will prompt the family to sit or stand reasonably close, but not nearly close enough for me. LOL. I want their faces touching. I at least want them to try. Getting them that close together accomplishes several things.

- It eliminates dead space between family members, implying a close relationship

- It improves their body language; you can't get all those faces close together without the subjects turning their shoulders (preventing them from squaring up to the camera)

- It makes them giggle! It feels silly to be that close to each other, and more times than not, someone will tickle someone else, whatever.

- It helps them to relax, having the other family members to lean on, literally and figuratively.

- If you don't have a lot of light, getting your subjects' faces together is very helpful as it will get them closer to the same plane; the result is that you can get away with a wider aperture if needed.

Once you've got them close together, take a look at the composition they've created, and simply tweak out anything that doesn't work. If you can hardly see Mom because she's gotten squished behind Dad, adjust it. Be sure to look at the shape the faces are making. Generally you're looking for triangles (as opposed to rows and rectangles.) So, rather than YOU having to come up with a specific pose, you're letting them do the work, and you're just moving around what doesn't work for you.

The second rule for families is that everyone has to touch someone else. Don't tell them HOW to do it. Let them come up with it on their own. It may result in Dad grabbing everyone up in a bear hug. The kid sitting on Mom's lap may reach up and do the "reverse hug." Whatever. If anyone doesn't voluntarily touch someone else, often I'll grab the "dead limb" and with a wink and a smile, shake it until it loosens up, and drop it around someone, which always elicits a chuckle. Again, tweak anything that doesn't work for you.

Having them all touch each other accomplishes the following:

- It enhances the appearance of a close relationship even further.

- It eliminates the compositional problem of having limp, hanging arms, and gives them something to do with their hands.

- It keeps everyone in place! That's really important when working with families with young children.

By now, you should have a very good starting point for your family. They should be nicely positioned, fairly loosened up, and they'll have a clear idea of what sort of images you're looking for. It's a great time to turn your back on them and let them chat amongst themselves for a few minutes. I call it "marinating." ;) It gives them a chance to relax into the position and make it their own.

Once you're ready to start, always keep in mind the goal. You probably don't want them wholly focused on the fact that they're being photographed. You probably don't want them staring at you. I would rather get them focused on each other. You can ask them questions about each other. Ask about their favorite vacation together. Whatever.

I could go on for days about working with families, but really, the majority of it is wrapped up in those two "rules."

Relax! You'll do great.

- CJ
 
CJNicolai - I can't even begin to tell you how appreciate for that reply I am. After reading that I can actually picture myself doing it now. I'm pretty good at working with people, but was missing a link between that and achieving a great family portrait. Your advice has really helped fill that gap for me and given me a framework in which I can feel a little more comfortable in working. I barely slept last night with the fear of doing it! It's not till next week anyway so I have a little bit of time to prepare.

When you say you turn your back for a few minutes do they wonder what the hell you're doing? Also do they hold their position as I can imagine them going back into having a bit more personal space as soon as you turn your back and then having to arrange them again, or does this tend not to happen?

If anyone else can suggest other techniques to loosen your subjects, do tell! I'd like to go in with a range of techniques that I can call on and try out, but switch between for a bit of variety or in case one is working for me and I get a bit panicky.

InaGlo - apologies for the naughty word, I wasn't even consciously aware that i had written it!
 
John, good for you! It's really so much less nerve-wracking once you're actually there and doing it. It's the anticipation that is the hard part.

When I turn my back, I generally use the time to load my camera, check my settings, what have you. It's just a chance for them to not be stared at by a photographer, and they'll appreciate it. They will often relax out of the precise position they were in, but usually they keep the general idea. When you turn your attention back to them, they'll resume the positions they were in before.

Let me give you one other tip that applies to every aspect of portraiture. Often you'll see those strained smiles, furrowed brows, stiff shoulders -- basically all the physical clues that someone is nervous. A great cure is to have them shake their face. LOL. I know that sounds weird. But I mean, have them really shake their face back and forth, so their hair flies and the neck is forced to relax. It's a GREAT outlet for stress, and because it feels so silly, it makes them laugh, and it fluffs the hair nicely. Even better if you shake your face with them. ;) Sounds crazy, but it really works.

- CJ
 
One other thing that I have just thought of... They are quite a large group - about 8 I believe. Is there anything in particular I should know about working with large groups? I'm imagining that I will be shooting them all and then picking off some smaller groupings with particular focus on the children on their own. I'd like to try and go for both intimate portraits and fun shots with kids. Hopefully I'll find a fun location that will induce play with them. I'm not actually sure how old they are yet. I'm hoping to meet one of them at some point before the shoot anyway.

Thanks again for the advice, it really has been invaluable. And if you are running classes over here please put me down for a place!
 
I was just thinking about what I should ask the family to wear for the shoot. As they are on holiday up here I'll have little scope for directing that element too much and will pretty much have to shoot them as they are.

The location will be at a ruined castle set in fields so my backdrop is likely to be grey/brown brickwork and greens.

I was going to ask them to avoid bright colours as these will be harder to co-ordinate and could more likely dominate the composition if one person turned up in bright clothes and the others were more subdued. So I was thinking of asking for them to turn up in neutral coloured clothing, preferably without logos but wasn't going to go so far as to say 'could you all dress in light/dark' colours.

What do you reckon?
 
John,

Sorry for the lapse of a few days. Been really busy!

A family of 8 should still fit nicely into the tips I gave above. Just be sure to allow yourself enough depth of field to catch everyone within acceptable focus. Also, whenever possible, I like to start with the shots of the entire family, then break them up and do individuals or small groupings. Catching them all together at the beginning eliminates the problem of kids getting tired or people losing interest before you get the full family shot.

As far as clothing, I always advise my clients that it's best to avoid loud patterns, stripes, and logos. Additionally, if I'm working with a family, I do like to suggest that they dress in similar tones if possible. That's because want to emphasize the togetherness of the family -- having them all in different tones makes the group appear chopped up. I emphasize that I DON'T want them to all wear matching clothes. The rule of thumb is that you don't want the clothes to dominate the portrait.

- CJ
 
Just thought I'd let you all know that the portrait session went pretty well last night. I've only had a chance to briefly look at the results but I definitely got some really nice ones of the kids and some fairly standard ones of family groups. I forgot all sorts of stuff that I had intended to do but remembered enough and kept cool enough to make the session fun. I spent most of it with a couple of helium balloons tied around my wrist to get the attention of the 18month old infant!

I know I can improve an awful lot, but for a first shoot I'm reasonably pleased. I wouldn't say that the photos have a distinctive style that would differentiate me yet but I do feel that will develop as I improve and can relax more during a shoot. Even after just 3 weddings I already feel that I have a strong style developing which is great as it gives me something to differentiate myself from the market and it's not a style that is at all forced, it's just what has come naturally.

The family really enjoyed and said that they chose me over another photographer because I was the friendlier, that was nice to hear.

CJ - Your advise about the touching rule was a great one - it went down really well! The head shaking was also very successful.

I have already come to the conclusion that portrait photography is more about being able to quickly build up a rapport with people than any technical ability with the camera. If you can't make people relax and have fun then it will show through in the pictures no matter how good your technical abilities. Fortunately I am good with people and useful with a camera which gives me a good base to start from.

I will post some results here once they have been edited.

Thanks again everyone for your advice. I really can't overstate what an important part it played in giving me the confidence in myself to make a success of it. Thanks.:thumbs:
 
CJ - now that was the sort of answer I was after to a question I had not been able to put together..
Get that book written, and hurry on over to the Uk ..

Good luck Jhob !
 
Only thing to add to all this wonderful advice is watch out, really watch out for the background. So much stuff (lamposts, bins, rubbish on the pavement, signs etc) seem to magically appear in photos when you get them back home and photoshopping them is tedious.

Always scan the background before pressing the button. After a while it becomes second nature :)
 
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