The highest point of contrast in your composition: This area draws in viewers' eyes first, so place your subject on or near this point to assure she gets the most attention in the scene.
The relationship between the size of your subject and the other elements in the scene: If you want to make your subject dominant in the scene, make her the largest element. If you feel that the piano she plays defines who she is better than she does, make that the biggest element in the scene.
The effect of color on your composition: Choose a color scheme that fits your subject's persona. For more on color schemes, check out Chapter 6.
The place where your compositional lines are leading your eyes:
Make sure you use the compositional lines in your scene to direct your viewers' eyes to your subject. Read more on this topic in Chapter 4.
Chapter 7 provides more information and techniques to focus the main attention on your subject.
In Figure 13-2,1 placed the woman in front of the bright open doorway so the shape of her body would stand out as the most dominant shape in the image. The environment tells you that she's a surfer and that she lives in a tropical area, but it doesn't take away from her as the subject.
Figure 13-2: Using the environment to support the subject.
Getting Great Results from Both Candid and Posed Portraits
Photographers typically take two types of portraits of people: posed and candid. In a
Making a case for candids
The easiest way to capture a moment of genuine emotion is to photograph your subject when she has no idea that you're taking her picture. This method has its ups and downs and isn't applicable to most photographic situations. It's most useful in photojournalism, party and event photography, and perhaps in some lifestyle photography. It's difficult to use candid methods for commercial photography because the results aren't guaranteed — you have to rely too much on random occurrences.
To get a candid portrait of someone, you either have to be really good at blending into your surroundings, or you have to get the shot before the subject notices your presence. You often get only one shot. That's because if you get one shot of the subject and then he becomes wise to you for the second shot, you'll most likely notice that the facial expression in the first photograph looks sincere and the second one looks forced.
Here are some things to keep in mind when attempting a candid shot:
Make sure your exposure settings are correct for your scene before trying to photograph (and risk being seen by the subject). Take a few test shots in an area to see how your lighting is before going in for the true shots.
Get your subject in focus on the first try. An image that's genuine, expressive, beautifully composed but not in focus is a big disappointment. If you're using autofocus, ensure that your focal point is locked in on your subject by pressing your shutter release button halfway with the subject in the center of your frame. Then (keeping your shutter release button pressed halfway) compose your image and take the shot. For more on using your equipment, check out Chapter 3 (and, of course, your owner's manual).
Wait for the decisive moment. In other words, don't rush. If you're going to get only one shot, try to capture a moment you'll be happy with. For instance, if you rush and take the picture while your subject is blinking, she'll probably notice your presence by the time you press the shutter a second time. And then you'll be left with a photograph you're unhappy with.
Choose your perspective wisely. Make sure you have a perspective that shows the subject in a way that pertains to your intended message. When shooting candids, you may want to rely on your zoom lens for getting closer to a subject (rather than physically moving closer). Doing so may help you to stay unnoticed. Also be aware of your surroundings when moving into position. You may find descriptive, supporting elements surrounding your subject that would work to enhance your photo's message. Chapter 8 provides more information on perspective and composition.
Taking control With posed shots
Although candid photography provides interesting results, it isn't a reliable way to achieve professional portraits. Setting up your shot lets you take control of your lighting, allows you to choose your background, and provides a scenario in which you can direct your subject.
A portrait that you set up doesn't have to give you stiff, traditional results. You can get those results if you want them, but think of a posed portrait as one in which your subject is fully aware of the fact that you're taking his photograph. The two of you are working together to create something worth photographing.
The combination of your background, lighting, scene, subject, and composition determine your message and whether you get a good shot. So keep each of these elements in mind as you're planning your portrait. Here's some explanation for each:
Background: Setting up a great portrait depends on choosing a good background or environment. Notice your surroundings and be aware of colors, shapes, lines, patterns, and textures. Redheads, for example, look great in front of blue or green backgrounds. And a busy subject looks best in front of a simple background or environment. Check out Chapter 9 for more on choosing a background.
Lighting: Typically I use light to determine where I place my subject. If you want soft light, for a baby portrait for example, keep your subject out of the direct sun. And if you want hard light, position him directly in the sun. The direction from which the light falls is important, too. For instance, curly hair glows when it's backlit by the sun, and direct side light from the sunrise looks amazing on cowboys. You may have to rotate your subject or yourself to get the lighting you desire. See Chapter 10 for more details about lighting.
Scene: Choose a scene that best suits your subject and your intended message. If you're going for a light, airy feel, don't shoot in a dark and dank abandoned building. The possibilities for pairing people and scenes are infinite. You may take a lawyer's headshots in an urban, downtown area, and a bikini model's headshots may be best photographed on the beach.
Subject: In order to get the most from your subject, you need to direct him. Find a way to inspire him to be excited about the photograph, or just let him be who he naturally is. If you involve your subjects in the creative process, you help them care about it as much as you do. Also, instead of having someone sit still in a pose for several shots, encourage him to switch positions in between each one. Doing so keeps him from getting bored or tense. It also gives you more options to choose from. By taking numerous images, you ensure that you have a great one. After all, the more you have to choose from, the more likely you are to find one that you and the subject both like.
' Composition: Composition is the combination of all the points discussed in this list and how they relate to one another. Your composition determines what in the scene is included in your frame and how. For instance, how you pose your subject determines how he fits into the background and how the lighting looks on him. His pose also says something about who he is.
In Figure 13-3,1 captured an informal moment while still posing the scene and the shot. I maintained control
