Not all photo shoots are the same
The other evening I was invited to a friend’s house and we wanted to cook together. I was responsible for the salad dressing, but when I was tasting it, I realized that my vinaigrette tasted different than I had expected, even though I had used the same ingredients that I use at home. But of course my friend didn’t have the same brand of olive oil as me in her kitchen, the same vinegar or the same mustard. In fact, I have often found that preparing salad dressing in someone else’s kitchen is ungrateful and involves a certain amount of risk. Little things can make a decisive difference to the taste. The overall result, based on the taste of the salad and the quantity and type of ingredients, is never the same, even if you think you have done everything the same way as always.
And, even if it may sound strange at first: What applies to salad dressing also applies to photography and filming. At least when there are people in front of and behind the camera. Because even if I always use the same ingredients and control the conditions as much as possible, the result is not always exactly the same or predictable. The vinegar and oil in the salad dressing are like camera technique and lighting in portrait photography: the chef (photographer) can conjure up completely different dishes (pictures) from one head of lettuce (people). All he has to do is be aware of various things that have little to do with technique and a lot to do with psychology. In detail, these are: the expectations of the photographer and the person being portrayed, the interaction between the two, the photographer’s communication style, the ambience of the location and, last but not least, the technology. In this text, I will take a closer look at these various “ingredients” in relation to portrait photography.
Expectations
The photo shoot always has one goal: the person in front of the camera wants a “beautiful” photo of themselves to use as a profile picture on their website, in a business report, on a dating site or via social media. Or perhaps they simply want to give it as a gift to friends and relatives or keep it for themselves as a memento, or they have another very specific goal. Nobody has their portrait taken for no reason at all. And what someone finds beautiful is relative. Therefore, take I me, if always possible, time to clarify the expectations. This ideally happens in a conversation before the actual shooting date.
Sometimes it turns out that my clients don’t have any precise ideas about their desired image and want me to inspire them. I then show them various possibilities and ways using concrete examples of pictures so that they can see what posture, clothing, accessories, lighting mood and background can have what effect. For example, I remember a very specific conversation about plants or flowers in a picture. The customer loved flowers and had the idea of expressing this somehow in the picture, for example with a bouquet in her hand or a houseplant in the background. We went looking for ideas for pictures that did this well, but didn’t find anything really convincing. When in doubt, my approach to portrait photography is to leave something out rather than add something. I like reduction, concentrating on the essentials. Such photos usually have an effect that goes beyond the present moment, that is timeless. We both noticed that a bouquet of flowers in your hand always has to have an occasion. For a wedding photo, it makes sense for the bride to hold the wedding bouquet in her hand. At a competition or an anniversary, it makes sense for the person to proudly present the trophy or the huge bouquet. In a studio without an occasion, however, it makes no sense, especially as flowers only bloom in a certain season and therefore also bring a seasonal aspect into the picture. Accessories often distract too much from the face and only make sense in very specific cases. I am always very happy to take suggestions from the model. These can be photos from previous shoots or examples from magazines or the Internet. For me, it is very advantageous and pleasant to have a starting point for orientation in order to see what ideas and requirements my clients have. Both sides save time and trouble if they realize right at the beginning how far apart their ideas are and whether there is enough trust to start the project.
When preparing for the shoot, it is very important to be clear about the statement of the photos. Not wanting to say anything specific is simply not possible. You can’t not communicate.
Interaction
For me, interaction means guidance: as a photographer, I provide a framework for action, make an offer within the framework of the discussed statement that the portrait should have. The person in front of the camera can and should interpret this offer and develop it further. They should play with it, deviate from it and also return to it. Sometimes boundaries that were thought to be safe are shifted and new possibilities are discovered. On both sides, being open to trying out new things and leaving familiar paths requires a certain amount of courage. I don’t throw anyone in at the deep end, but push possible boundaries slowly and never without consent. Everything can, nothing has to. Sometimes a flow arises that you can be pulled along by, sometimes not. For example, a chair or armchair can be a very inspiring prop, depending on how you use it. Quite conventionally, with the backrest forwards, sideways, standing or sitting on the floor, leaning against it, supporting it and so on. You can snuggle up in a coat, throw it over your shoulder, hide behind the collar or take it off sensually. Shooting with efficiency is okay if the task is very clearly defined and the time allotment is limited. But it’s not my ultimate goal. I take the time that is required and I strongly recommend that the model goes into the shoot with a sufficient time buffer and without stress. Ideally, our interaction is then playfully light and nobody tenses up or has to prove anything to the other . The mood is immediately poisoned if one person realizes that the other is consciously or unconsciously being forced to do something and is acting against their inner voice.
Communication style
It is important to me to communicate to the person in front of the camera what I see as a photographer, which image detail is important to me at the moment and how I feel about it. I want to involve the person in front of the camera intellectually as well. This builds trust, is appreciative and motivating. If at all possible, I immediately transfer the data from the camera to the computer so that we can look at the results so far together and develop them further. Four eyes see more than two, and if a make-up artist is present, she in turn has a different view of the shots. This not only gives the photographer a good portion of certainty as to whether the path is the right one. The multi-eye principle also makes it clear to me more quickly whether it’s worth photographing more variations or whether it’s not necessary.
Ambience of the location
The general atmosphere in the studio or on location creates important framework conditions: Changing facilities, toilets, chairs, cushions, warmth, cold, smell, music, lighting mood, decoration, food and drink and even the appearance of the equipment are important. This means not only whether the condition of the technology looks neat or shabby, but also what characteristics it has. Artificial light, i.e. continuous light, appears warmer, more intimate and less technical than flash light, especially when the generators beep after charging. With flash, there is more of a feeling of “shooting” photos. The same goes for the shutter sound of the camera. Mirrorless digital cameras allow you to shoot completely silently, and that can be a whole new experience for both model and photographer.
Borders & portrait photography
My professionalism reaches its limits when things are beyond my control. These could be weather conditions or difficulties with my model’s journey, for example. Personal experiences that have an impact on the well-being of the photographer and model are also part of it. But the most important thing is the inner attitude. If the person in front of the camera is unhappy with the situation, with themselves and their life, or if they are anxious, they will radiate this, no matter how favorable the conditions may be. The outside is always a part of the inside. Wrinkles in the skin, tired eyes or drooping corners of the mouth can’t just be quickly touched up. Of course, a receding forehead or a large nose are more noticeable in a profile view than in a frontal view. Skin folds are more accentuated when the light is directed from the side than when the light is soft from the front. The double chin recedes somewhat into the background when I photograph from a slightly elevated position, but it doesn’t disappear. It is always the sum of the details that make up the overall impression.
Technology
A lot of attention is generally paid to technology in particular – in most cases too much. Technical details virtually challenge the photographer to observe and compare them. So there are then measurement results, i.e. lots of sober facts and figures that can be viewed one way or another. This usually ends in a rather philosophical discussion, which I don’t want to go into here.
Dancing & portrait photography
It’s the same with dancing and especially with salsa dancing. I myself have been an active dancer for a number of years and have observed time and again how different the product of interaction can be. Every man and every woman can learn the same figures, practise the technique and gain experience, but the result, i.e. the dance they dance together, will not always be the same. Sometimes it is the music, sometimes their own mood or the “chemistry” between the dance partners that leads to different results.
Salsa is like photography: It’s the whole process that counts – the journey, not just the destination. That’s why it’s important in salsa dancing, as in photography, to let go of the idea of having to deliver a specific result. Dancing becomes beautiful when no concrete result has to be achieved – when it’s about the joy of creating something together. It’s the same with photography: When the person in front of the camera can free themselves from having to look good, and the photographer can free themselves from having to take the perfect picture immediately.
How can this succeed? It starts with both parties consciously recognizing and questioning their expectations. The photographer can create the framework conditions for this: With his communication style, his interactions and the ambience as described above. This playfulness is important in dancing and photography. As a dancer, I can make sure that the dance partner feels comfortable, is not overwhelmed or underchallenged and looks good at the same time. I can also have a bit of fun, be provocative and push boundaries without overstepping them. I’m also aware that I can’t control everything when I’m taking photos and filming and that the request “Now please smile kindly” isn’t really effective.
Despite all the similarities, there is also a significant difference between dance and photography: I get a fee for taking photos and a smile for dancing – or not. The photos and films have a lasting value because they capture a certain moment, remain in the memory permanently and can be shared with other people. The aspect of sharing and passing on is of particular value, whereas the experience of dancing is always fleeting and cannot be shared. In this respect, a fee for photography is justified, and the more value the resulting photos have or the greater their reach when shared, the higher the fee can be.
If I’m then told: “You look like you’re having fun at work”, then that’s a good starting point for mastering the challenges ahead.
Conclusion
Ultimately, all this means that the result in portrait photography is never exactly predictable or repeatable. It is the result of an interaction between people at a very specific time in a very specific place with all the given framework conditions.
My understanding of dance has influenced my view of photography and filming, or perhaps vice versa. And that’s why I take a very relaxed and open-minded approach to preparing salad dressings in other people’s homes, which is definitely good for the mood while eating. The fact that salsa translates from Spanish as sauce should only be mentioned in passing.
