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Ed Verosky Portrait PHOTOGRAPHER Advice for The Aspiring

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Ed Verosky

Portrait PHOTOGRAPHER

Advice for The Aspiring

Advice For The Aspiring Portrait Photographer. Copyright 2015 Edward Verosky. All rights reserved. No part of this book may be reproduced in any form or by any means, electronic or mechanical, including information storage and retrieval systems, without permission, in writing from the author/publisher.

Learn more about Photography at edverosky.com

Contents

The Art & Craft of Portraiture ............................................................... 4Classic Lighting and Posing ........................................................................................4Contemporary Portraiture ............................................................................................6It Used To Be Harder To Get In ...................................................................................6Now It’s Harder To Stay In ...........................................................................................7Everybody’s Doing It ....................................................................................................7

Your Portfolio ......................................................................................... 9Your Body of Work is Your Story..................................................................................9Your Portfolio is Your Showcase .................................................................................9Portfolio Presentation ................................................................................................10

Portfolio Building ................................................................................ 12Start An Art Project ....................................................................................................12Experiment Whenever Possible ................................................................................13

Finding Models .................................................................................... 14Trading Services ........................................................................................................14Where To Look For Subjects .....................................................................................15What to look for in a potential subject .......................................................................16Model Releases .........................................................................................................18

Working With Models .......................................................................... 19Inspire Your Subject...................................................................................................19Make It Personal........................................................................................................20The Basic Portrait Setup............................................................................................21Set Limits for Better Results ......................................................................................22

Post-Processing .................................................................................. 25Capture The Most Information ...................................................................................25The Basics .................................................................................................................25

Developing Your Style ......................................................................... 27Mastering Your Tools & Techniques ...........................................................................27Simplify and Standardize Your Process.....................................................................28Think Like An Artist ....................................................................................................28Free Yourself .............................................................................................................29Your Vision, Your Style ..............................................................................................31

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The Art & Craft of Portraiture

We look at each other. That’s what human beings do. In each other’s faces and forms we find cues, read emotion, feel attraction or unease, and ultimately recognize ourselves. The portrait makes it possible to look at someone as they appeared at the time and place, and under the conditions the image was made. We, as viewers of the portrait, mentally process it in a way that tells us that we are looking at another person, not just a two-dimensional print or projection. Any portrait can give us that sense, however a well-made portrait can create a much stronger sense of connection.

The craft of portraiture has evolved over time and skill sets have necessarily changed as new technologies and mediums emerge. What was once the province of those who could acquire and handle the complicated hardware, technical, and chemical processes, is now accessible by virtually everyone. The general public is now able to take good pictures with little effort or expense, and there is a wealth of instruction on producing skilled portraiture, available in books and on the internet, to anyone interested.

This is a book focused on the topic of portraiture artistry but here, we’re referring to portraiture as craft, too. Not all photography results in art, and it doesn’t have to. There is a time and place for basic, skilled, conventional portraiture as well as innovative portraiture that was once an artistic instance but evolved into a template for craft. There’s also a time and place to break away from it.

Here, I’ll talk about how the fundamentals of portraiture lighting establish a basis for all portraiture. I’ll also discuss how contemporary portrait photographers approach their craft and offer reasons why going beyond the basics of conventional portraiture may be a necessary jump. The message is simple: You should know the basics so you can transcend them. You should be capable of being skillfully unique.

Classic Lighting and PosingClassic lighting patterns, together with traditional posing, are two elements of photography that define certain long established conventions for portraiture. Here, we’re less concerned with covering traditional “shots,” such as one might expect to see in a wedding or family album, and more interested in covering the classic lighting styles and poses that can be applied generally to any subject.

Photographic portraiture has been a viable means of capturing the likeness of a person since the 1840s. By that time, the processes used to chemically fix a permanent image projected through a lens and onto some material had already been discovered. The skillful application of this chemical and mechanical technology made it possible for anyone with the right materials and technical background to make a career out of portraiture.

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A photographer could setup a studio, or work as a traveling practitioner, and service a market that ordinarily wouldn’t be able to afford traditional painted portraiture. Photography made it possible for more people than ever to have realistic portraits of themselves and their loved ones. It was a new way of seeing, remembering, and sharing human connections that really changed the way people experienced life. From then on, it would be hard to imagine a world without photographs of the people you love and the times you shared.

Still, the work of oil-and-canvas artists served as the original archetype of portraiture. Even today, we still refer to one type of lighting pattern as “Rembrandt,” based on a style of lighting used by a Dutch painter working some two-hundred years before the proliferation of photography.

Early on, photographers had little else than paintings and realistic drawings to model their portraits after. Similarly, their clients had expectations for photographic portraiture that were largely based on paintings they had seen. But eventually, photography would build its own reference points and establish its own conventions of lighting and posing. The development and use of these conventions would be largely dependent on the availability of natural and artificial light, and the capabilities of the cameras themselves. As technologies improved, photographers experimented and refined their methods, and the most useful portraiture techniques survived the test of time.

Contemporary styles of portraiture are sure to change from time to time, but the basics never really go completely out of style. Human faces and figures, and the general criteria we measure beauty by, remain amazingly consistent from generation to generation.

The way we prefer to see light and shadow fall across another human face must also be somehow hard-wired into us. So, it stands to reason that certain traditional lighting patterns, first discovered and distilled by other visual artists, were not invented arbitrarily, but identified over time as the most appealing and eventually made their way into the standard methodology. The basic five lighting patterns you should learn are generally considered the most instructive and useful. These are:

• Short Lighting

• Broad Lighting

• Butterfly (Hollywood/Paramount) Lighting

• Split Lighting

• Rembrandt Lighting

Take a look at Ed Verosky’s Guide to Flash Photography for in-depth instruction on lighting and the five portrait lighting patterns.

Of course, lighting isn’t the only tool used in creating a portrait. Posing is the other key component. After the first years of requiring sitters to remain completely still -- sometimes supported by posing braces -- eventual improvements in exposure speed would free both photographer and subject from the stiffness and uncomfortable expressions seen in photographs. Poses are still tied directly to lighting patterns as you can’t have shadows fall correctly under a stationary light, if the subject moves

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out of position. Camera position also plays a role. For example, a broad light pattern from one camera angle can essentially be a split light from another.

Although traditional lighting and posing are sometimes either regarded as a sort of kitsch or as a technique used for artistic (classical) effect, the techniques have useful applications in various degrees in all types of portraiture.

Contemporary PortraitureModern portraiture has come a long way from the old constraints of static poses and cookie-cutter lighting. But classic lighting patterns and traditional posing still have their place. Corporate headshots and executive portraiture, for instance, are still expected to have that traditional look that makes shareholders feel like their interests are in safe, capable hands. Brides often want at least one very traditional pose of themselves in their wedding gown, even if only out of consideration for their mothers. And sometimes old styles of posing and lighting (and environment) are employed for a retro, vintage, or classic appeal.

But overall, the majority of today’s portrait photographers are less concerned with following old lighting and posing formulas than they are with just making great photos. Many working photographers and hobbyists aren’t even familiar with the fundamental techniques of photographic lighting. But, without a working knowledge of the basics of lighting, creating those great photos can be a hit-or-miss activity. So, the photographers who are getting the most consistent and predictable results are either instinctively aware of the lighting patterns that work best, or they deliberately use them to help create their portraits. Either way, knowing why and how something works is usually better than just relying on luck.

It Used To Be Harder To Get InGetting lucky, as it turns out, is part of the process these days. But before digital was king, it was harder and much more costly to shoot until you stumbled upon a few good shots. A 35mm film SLR held at most 36 shots to a standard roll; medium format cameras were capable of considerably less frames before they had to have their film carriers switched out. Put that together with the cost of film, processing, and proofs, and you can see why a professional photographer wasn’t likely to shoot any more than necessary to complete a portrait job. Shooting was expensive; photographers had to develop a solid methodology of lighting and posing to keep things profitable.

Digital shooting also incurs expense, but of a different kind. It costs time and money to edit, make standard RAW adjustments, post-process, store, and backup image files. Where professional photography is concerned, there are a variety of vendors who also take their cut for things like web proofing, design, print sales and fulfillment services, etc. But the real game-changer was how digital completely altered the learning curve of photography. The instantaneous feedback provided by the preview monitor on the back of the camera now allows a photographer at any level to see how they can improve their images as they are shooting a scene.

Exposure problems are now immediately evident with digital cameras and can be corrected on-the-spot, as can lighting issues. These are areas of photography that, in the days of film, took so much

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trial and error, and time and expense to learn, many aspiring photographers gave up their dreams of going pro after just several rolls had been spent. The benefits of Polaroid tests were similar to today’s instant preview screen feedback but were available only to those who could afford the extra gear and film.

Now It’s Harder To Stay InThis is part of the reason that many of the old pros who paid their dues in film with considerable time and expense are unhappy with the state of the contemporary portraiture market. Many of the old barriers to entry to becoming a professional photographer have fallen away (albeit there are some new ones). Put that together with the technological breakthroughs making it easier to take nicely exposed pictures, and the willingness of new people to enter and compete in the marketplace at price points that often defy fiscal logic, and you can see how the old pros might be a little put off. To them, it seems like too many photographers are flooding the portraiture market to make it viable.

They feel these new competitors are either lacking in proper gear, technical ability, business sense, an understanding of customer needs, or a combination of the above. In some cases, they’re right. It’s really always been that way; new photographers have to start somewhere. There are just more of them out there now. So, like it or not, that’s the photography market we live with these days. Want to stay in the game? You’re going to have to find a way to make it work for you.

Everybody’s Doing ItIf you’ve already put out your shingle and declared yourself a professional photographer, you’ve no doubt jumped online to check out what other photographers are doing. You might have also noticed that many of their web portfolios look absolutely amazing, some more than others, but still quite impressive. Many of these professionals have even mastered the art of projecting an image of incredible success, too. Some even seem to define it.

Interestingly, once they define what success looks like, that look is going to be emulated. And that fact is recognized and exploited to the extent that some of these successful photographers will even market ways to help others copy their popular styles. More than a few of these photographers have employed a little entrepreneurial creativity to cash in on the desire of others to emulate them. Just look at all the post-processing presets and actions available now that allow you to get the “same look” as these professionals. Still others sell kits and lessons on how to build marketing programs just like theirs.

So, yes, there are plenty of people out there who are making money one way or another, while making technically beautiful images that others want to emulate. Prospective clients will find no shortage of great-looking portfolios when looking for a photographer to hire and will make their decisions based on what they like out of the available choices.

But with all of these photographers, making all of these great pictures, in just about the same way, what are the final hiring choices going to be based on? With the photography being so similar in look and style from one photographer to the next, other factors will have to be considered. Unless you’re one of the few who are able to compete primarily on good looks, charisma, and marketing savvy,

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clients start looking at things like price to help narrow down the choices. For the photographers who fall into this bucket, they have to now face the fact that they are competing on price, not photography. Most of us didn’t come here to do that.

We want to be in demand on the merits of our skill and talent and creativity. We want to be hired because we bring something unique to the table, not because we are the cheapest option amongst similar photographers. We want to be paid well for what we can do because we are the only ones who can offer our particular brand of photography.

If you’re frustrated with your images looking so similar to everyone else’s, that it’s hard to compete as “unique,” or you feel your images don’t quite make the cut, it might be a good idea to get past wanting to meet the current standard, and move forward into your own space. Contemporary portraiture is too often about sameness. And that’s why you can really make your mark. By developing your offerings into something unique, you can find yourself way ahead of the game.

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Your PortfolioYour portfolio is a statement; it’s your way of telling others who you are as a photographer. And, it’s often the basis for someone’s decision to work with you. Your portfolio shouldn’t be a huge collection of good photos, but a concise showcase representing the quality and style of the work you can offer. Sometimes, you’ll want to pull together a specially edited collection of images targeted to a specific client or editor when you’re not sure that the general portfolio will hit the right note. But for the most part, your main portfolio should be the best representation of your work and vision.

With so many places to post your images online, the idea of a single, most important collection might seem strange or even counterproductive. You might think the more images and collections you have out there, the better your chances are that someone will see something they like and want to work with you. I think there’s some validity to that argument. However, I also think that there should be some way to clearly differentiate your regular work from your best work. There should be some way to share as much of your photography as you want, while maintaining a clearly defined portfolio so others know what you consider your best current work.

The real power of your portfolio will be its ability to push you forward as you build and improve on it. Reaching for images that are worthy of being labeled your “best work” forces you to stretch your creativity and skill set. For some, getting paid for doing the same shots over and over again with different faces might be enough. But you want more from yourself as a portrait photographer, and you know your best is yet to come. Each time you add a new and important piece to your portfolio, you’ve taken a step forward in your photography.

Your Body of Work is Your StoryAll of your good work, including some of the earlier and less important images, make up your entire body of work, an overall story of who you are as a photographer. It’s your story as an artist, and depending on how much your photography is intertwined with your life, it may be your story as a person, too. You have a special responsibility to your body of work. Think of it as a living thing that parallels your life, is a record of your experience, and defines you as an artist. If you ever feel like you need something to push you through a creative rut, just remind yourself that your body of work deserves to be cared for and maintained. That means you need to keep adding to it.

Your Portfolio is Your Showcase Your portfolio is a constantly filtered and changing subset of your body of work. It’s a snapshot and showcase of your best and presently most favorite work. It’s the product of your art and one of the reasons you need to move forward in your photography.

Your portfolio does not benefit when you repeat yourself. Yes, if you’re a professional photographer, you need to earn a living, and clients will often expect you to reproduce some of what you show. But that is the craft that comes from making the art. The object is to create good work, then to create some new and hopefully better work. The art provides the tools for the craft. Keep adding to the art.

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Keep progressing. Don’t shortchange your body of work and don’t forget about your art. If you follow this advice, you’ll have plenty of good pieces to pull from for each version or iteration of your portfolio.

Portfolio PresentationThere are plenty of experts who are willing to give (or sell) you their advice about your portfolio presentation. Where it concerns your portfolio, they can offer an opinion on what they see based on their point of view. That’s it. They might suggest you rearrange it, throw some pieces out, make it flow better, tell a story, start strong and end strong, don’t use anything that would be considered “filler,” design for your market, design for a future intended market -- you get the idea. Depending on what you’re trying to accomplish with your portfolio, many of these canned suggestions could apply to you.

My advice is simple: Show your personal best. Things like the order of the images, telling a story, etc., are okay to consider, but not everyone who views your portfolio is going to see a story as they quickly flip through your pages or click through your thumbnails. What they will see is a collection of individual images that, when taken as a whole, offer up an idea of your vision and execution.

They will assume that the images you’ve included in your portfolio are what you consider your best work, so make sure that’s the only thing you’re showing. Don’t use your portfolio as proof of your ability to do a job. That should be a given. Your portfolio is about how you are different from everyone else who can take the required photos.

I think it’s okay to have your online portfolio divided up into a small number of categories, too. This is especially useful for general portrait photographers who want to show their best work by subject (e.g., weddings, boudoir, children) since all types of images don’t work well side by side. Many photographers will even break their portfolios up into logical groups even if they specialize in only one or two areas.

Once you have your collection of portfolio images together, you should be prepared to show it in any number of ways, including:

• Website. Make it clean and easy to view on any device. I’ve had clients hire me off viewing my site on their smart phones. Some portfolio hosting services claim to be able to deliver a good viewing experience to many types of devices, but there are sometimes problems with these setups. Fancy features might impress you but sim-ple is usually best. After all, the most important feature of any portfolio is its ability to display images.

• Tablet. If you have an iPad or similar, you can load your portfolio into one album, or separate albums, if divided by categories. This is a built-in feature. Digital tablet devices like this are becoming increasingly acceptable for showing your work and are more elegant than using a laptop.

• Physical prints. Usually in a classic book cover with or without sleeves. There are differing views about whether or not to use sleeves. I can only say that some of the best working photographers who are showing their books use sleeves. There is just no other way to prevent the marking and tearing of pages and prints as a book

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makes the rounds. If you are always able to show your book in person, to clients who are careful about handling your portfolio, then by all means, feel free to skip on the sleeves.

There are many other ways to present a portfolio, including PDF documents, specialty print items, and print-on-demand books. The print-on-demand (POD) option might be a good choice for drop-off books if your budget allows, and you don’t anticipate making frequent changes to your portfolio.

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Portfolio BuildingThe idea of putting your first real portfolio together might seem daunting, especially if you feel you have nothing great to start off with. But there are plenty of ways to get started and stay motivated. Just giving yourself some interesting assignments and projects to work on can make a difference.

Start An Art ProjectOne of the best ways to expand your body of work, as well as come up with new imagery that you otherwise might not have thought of, is to start a photo art project. Starting with just a simple idea or theme, you might find yourself discovering many different ways to express it. Even a very general concept has a tendency to build upon itself as it becomes, at the same time, more defined and diverse. This process of creation and discovery can only enhance your artistic vision and technique.

As you progress and add to a project, you’ll find repeating patterns as well as areas of divergence which can lead to new projects, or at the very least, new discoveries about your work. Generally, art projects are not organized into sets of tasks with obvious completion points, so over time you might begin to realize that starting and working with a project is much more important than actually completing it. Like the idea of the journey being more significant than the destination, the images you create along the way will be the reward. At some point in a project’s life-cycle, a few images will be obvious standouts and the rest will simply be supporting pieces or building blocks that lead to the final selections.

What’s also interesting to note is that a project or series isn’t always obvious at first. Sometimes, with enough work under your belt, especially in an area of interest, you’ll find you have enough images that share a common theme to organize a series where you didn’t plan for one. Either way, it’s very satisfying to eventually end up with enough pieces to present as a collection in the form of a book or exhibition.

One of the great things about starting an art project is that it can attract the attention of other people who want to get involved. I’ve been offered the help of several people at a time by simply mentioning that I’m working on a new project. Once your project starts to pick up steam, and you have a few images to show where you’re going with it, more people may want to get involved. These things have a tendency to take on a life of their own.

I really feel that getting a serious photo art project started can be the catalyst for many new and important images for you, and lead to opportunities for working with new collaborators as well as clients. People take notice when someone is on a mission to do something different. When you announce that you’re working on a new art project, you’re letting people know that you are an artist with something going on. You’re telling the world that you love what you do enough to elevate it to a higher level.

When I’m creating imagery that speaks to me I remain interested and passionate about it. Working with subject matter and techniques that you’re excited about will likely result in images that resonate strongly with some segment of the population. These people will be your natural audience. You won’t have to work hard to attract them as clients and fans of your work because the attraction is built-in.

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Experiment Whenever PossibleI’m a big believer in experimentation as it applies to the technical aspects of photography like lighting, ways to use the camera, and post-processing. But I think it’s also important for photographers to push themselves creatively. You can certainly use an art project to develop a creative idea, but the opportunity to really use your imagination and push against the creative boundaries is always there.

Fortunately, many of the people who get in front of your camera will be willing to play along if they feel that you know what you’re doing. If there’s a reasonable chance that one of your ideas might actually turn into something interesting and have some artistic value, people tend to be up for it. If your work is any indication of your willingness to push the boundaries, you’ll find that many of the people who want to work with you choose you for those unconventional images. These are people who want to work with someone interesting and creative. Even if all they’re looking for are headshots or lifestyle portraits, something about how you present yourself through your work has made an impression on them enough to want to work with you over someone else.

Your photography is your chance to show your adventurous, silly, or unusual side. Indeed, it gives you the opportunity and license to explore self-expression through the help of those willing to pose for you. There are benefits for these people, too. As the artist, you are in a unique position to give them the permission and confidence to express themselves in an artistic, sometimes cathartic way.

One of the best ways to stretch your creative muscles is to simply ask your subject -- any subject, even a client -- if they’d like to try some creative pictures. Explain that sometimes trying something unconventional can make for some surprisingly interesting portraits. If you enlist the help of a model or actor who is willing to try out some creative ideas with you, there’s no telling what you might end up with. These are people who are used to playing characters.

I love to collaborate with other creatives like this. The slightest suggestion from me can start the ball rolling on a great shoot. Even if several of the ideas don’t completely work out, you’ll know that some of them might have just barely missed the mark for one reason or another, and you can expand on those ideas in a subsequent shoot, with the same subject or someone else.

The direction and degree to which you push the boundaries are a personal choice, but where it is within your artistic sensibilities, allow yourself to explore. Some of your subjects will be less interested in participating in your creative exercises than others. There will also be some who are interested in being photographed in ways you have no interest in being a part of. But more often than not, you’ll find people who will be just as happy to try some of your ideas, as you will be to try theirs. That’s when all sorts of magic happens. Photography can become an amazing adventure for you and your subjects when all the pieces just fall into place. And many of the resultant images can be great additions to your body of work and possibly your portfolio, too!

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Finding ModelsMaybe you got into photography when you realized how much fun it was to take pictures of your family and friends. At some point you advanced from simple snapshots and became interested in doing more serious portraiture. You started to think beyond the click of the shutter button, and became more aware of things like composition, lighting, exposure, and the arrangement of people and faces within the frame. You became a photographer when taking pictures became just as much about the photograph as the subject. And while the photographs are what you’re really after, you know it can’t hurt to have a great subject posing for you.

Most working portrait photographers don’t always have the luxury of being able to pick and choose their subjects where paying clients are concerned. Some clients naturally shine in front of our cameras and some, well, not so much. But we do the best job we can with whatever we have to work with. That’s part of the adventure -- and it’s how we pay the bills. It’s a great day when you get a client with an amazing look and the shoot results in incredible photos that you can’t wait to share. But, of course, that doesn’t always happen. To turn the odds in your favor and to work with great people willing to help you realize your vision for an image, and not just theirs, it’s up to you to find the right people for your shots. They’re out there, you just have to know where to look.

Working with models definitely has its advantages. This often allows you to bring your creative ideas to a shoot while working with someone who is likely better in front of the camera than the average person. If the model has hired you, or if you have hired the model, one of you is doing work for the benefit of the paying party. But there are also more cooperative model/photographer arrangements where each party works to help the other achieve certain goals. In these cases, agreements are made to exchange services instead of money. I find that I meet some of my best subjects this way.

Since finding models willing to be paid for their services is pretty straight-forward, we’ll focus our discussion on how to find people willing to be photographed on a trade basis. In this case, for me the goal isn’t to save on model fees, it’s just that sometimes the most creative and collaborative subjects are people who are actually interested in helping you create art, where they can feel engaged in the process and be proudly featured as the subject of your work. Professional models are, by definition, in it to make money. But sometimes it’s the strength of a photographer’s work and the promise of outstanding images that is the big draw.

Trading ServicesThe easiest way to find someone to pose for you is to look for people who are actively seeking the services of a photographer. If you seem to know what you’re doing, and are willing to do it without charging a fee, there are plenty of people who will be happy to pose for you. Usually, all they want in exchange are some good pictures of themselves.

Aspiring models, actors, musicians, and others are often in need of new, or better, pictures for promotional purposes. And, there are also people who would simply like nice photos of themselves, especially if they don’t have to pay for them.

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Trading services in order to build your portfolio is a smart thing to do. You earn an opportunity to experiment, work on your technique, create something of your own vision, and make pictures that showcase your style and abilities. Your model gets some pictures from the shoot, for her own use. I usually provide a generous number of images (some retouched) for a model’s personal and promotional use. My agreement specifies that she is allowed to share the images freely with family and friends, on-line or otherwise. She may also use them to promote her professional efforts, if any. The only thing she is not allowed to do is sell, or otherwise make money directly off the images without permission. This type of trade for services is generally referred to as TFP (Trade/Time For Print), TFCD (Trade/Time For images on disc/CD), or TF* where the asterisk stands for the type of media to be determined. Sometimes the term, testing or test shoot, is used.

There are arguments for and against the uses of these labels to describe what is essentially an agreement between one person and another to trade services. One person provides the services of a model, the other provides the services and products of a photographer. Use the terminology and agreement most appropriate to your situation.

There is also the option of paying your subject to pose for you. In these cases, one could make the argument for not having to provide the model with any images for her own use since her compensation is in the form of money. This is something you’d have to work out with the model, but there are all types of agreements you can explore with regard to compensation for services.

Where To Look For SubjectsSo, where do you find people who will be willing to pose for you? Places to look include online networking sites like Model Mayhem, that exist to help models, photographers, stylists, and others connect and begin working with each other. Craigslist can give you the opportunity to connect with complete strangers, which can be interesting.

You can use social networking sites and services to do the same thing. A site like Facebook allows you to put the word out to a more known group of people, namely your “friends” and friends of friends. You may have met some of these people at one time or another, and some you may only know via the network. But by posting your call to have someone help you with a photo project, you’re likely to get some volunteers. Since some level of familiarity exists between you and the person viewing your posts there’s less of the unknown factor that can make some people apprehensive.

I’ll also occasionally dig through my list of friends, to see if any of their friends might be good candidates for photos and projects at some point. If I find people that seem to have a good look, or adventurous attitude, I’ll send them a friend request. Eventually, I might contact them directly to ask if they’d consider posing for me. General postings and personal requests have led to several new friendships and lots of great images!

Of course, I’ve always liked the direct approach, too. Do you know of someone who might make a great subject? Why don’t you just ask them if they’d like to pose for you? If you’re a little shy, it’s not the easiest thing in the world to do, but if your approach is sincere, you’ll find that people are often willing to help out if they can get some pictures out of the deal.

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What to look for in a potential subject It’s hard to say what qualities make for a good portrait subject. That’s because it depends on what you’re looking for in the pictures you’re trying to make. Certain people are obvious choices for certain looks. But still, not everyone who seems like the obvious choice is a good candidate. One thing to keep in mind is that the minimum requirement for a successful photograph is to have a subject that looked right for the image in that instant you captured it. Discounting bonuses like enjoying the experience of the shoot, getting a variety of looks, or anything else other than the practical execution of a particular shot, the only thing that might matter is that you ended up with a shot that worked. Sometimes, that’s what it all comes down to. Sometimes that’s the best that you can expect.

But what if you are striving for more than the lucky shot that happened to work? The best advice I can give is for you to maximize on your chances for several great shots to choose from by developing a good working relationship with a model. Good rapport can carry over and build a foundation for even better photos in future projects. The more you work with someone, the more you get to know their way of working, their strengths and weaknesses, and the more comfortable both of you get, so trying new ideas will be easier.

A Good Subject Is:

• Expressive. A willingness to show or portray a range of emotions.

• Confident. A belief in their own ability to look good for the camera.

• Adventurous. Enthusiasm for unconventional ideas.

• Creative. Understands and wants to help in the creative process.

• Attractive or Visually Interesting.

• Extrovert. Likes to communicate and be seen.

A Poor Subject Is:

• Naturally uncomfortable in front of a camera. Hard to get to play the part.

• Self-conscious. It’s hard to work with someone who is over-thinking their expres-sions and poses.

• Distrusting. Has a hard time giving up to the process, or to the photographer.

• Uninteresting where the camera is concerned. I realize this sounds like a harsh statement, but it’s a truth. Beautiful, attractive, or otherwise unique or interesting people make for more visually appealing images.

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It’s important to work with better subjects because they tend to give you more opportunities for better pictures. Another thing to realize is that it’s easy to agree to do a photo shoot, but it can be energy consuming, expensive, and ultimately a huge waste of time if you’re not careful with selecting your model. Being nice, and agreeing to even a quick shoot with someone who you are fairly certain isn’t the best subject for your needs, could eat up several hours of your time, or more, trying to make it all work. This includes everything from organizing the shoot to trying to salvage images in post. Work with good models and positive people as often as possible.

The Actor FactorAspiring models and actors are always looking for updated photos to provide to their agents or directly to other people in their industry. They are often willing to do some posing for your purposes in exchange for some good headshots. I like working with performers because I know that they enjoy being the center of attention and will give their best to the camera. It makes my job much easier when the subject can put it out there and really have fun with the process.

Someone looking for headshots will likely bring several outfits with her to a session. Most of the time, this is not just because she wants variety, but she’s looking to offer you choices and to get your opinion for what might look best. After all you’re the photographer, you’ve got the eye for this sort of thing.

I find it best to stick to the basics and use common sense. For headshots, it’s a good idea to go over these tips with your model (or client) before she shows up to the session:

• Solid Colors. Wear solid colors or at least something that isn’t so distracting that it takes attention away from the face.

• Appropriate Colors. Really, I like to stick with darker or neutral colors. Neon Green or Hot Pink might just take over the whole image. Lighter colors can work, too, even white. But since the eyes of the viewer tend to be drawn to lighter areas of the image, make sure that you are composing, lighting, and focusing the image so that the subject’s face and eyes are the real areas of interest in the picture.

• Character Clothing. Sometimes actors and models bring along character costumes as a way to help drive home the point that they can play a cop, doctor, femme fatale, or firefighter. This is their call. They, together with their agent, need to decide what their headshots are going to look like. But, while a worn leather jacket or a suit and glasses might really help make a point about the characters they can play, a cheap costume or something similar might end up looking silly. Costumes and character attire can work if they actually look authentic.

• Hair, makeup, and grooming. Your client should understand that the camera lens picks up more detail than what people normally notice in everyday life. They should take extra care to make sure everything looks good for the camera. But, don’t let her get too worried about that. Reassure her that retouching will take care of little things like a surprise pimple or blemish should they appear just prior to the shoot.

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Model ReleasesWhether you and your model have decided to trade for services, or money is being exchanged, you should make sure you have something in writing which spells out the details of your arrangement.

You should at least have a model release that states exactly who gets what; it should specify the permissions she is granting to you for use of her likeness and the usage rights you are granting for use of your copyrighted images. The model release should be fair, meaning if you are not willing to let her use any, or enough, of your images, you should provider her with some other form of valuable consideration.

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Working With ModelsWhether your portrait subject is a client or a collaborator in your next artistic vision, it’s very important to get them excited and on-board with your ideas for the shoot. They are the actor in your drama, the star of your movie, even if your “theater” is only an ad-hoc studio setup, your subject’s confidence and enthusiasm are key ingredients for a successful shoot.

It’s not always necessary but it can definitely make a difference to turn a portrait subject into a creative partner who shares your goals for an inspired set of images. Successful portrait photography is just as much about psychology as it is about using your camera. In this chapter, I offer a few tips on getting the most from your subject by inspiring confidence and enthusiasm in them.

One thing you can do is prepare a set of reference images that will help you communicate your ideas for the look and feel you’re going for. Gather them from any source -- magazines, web sites, or your own portfolio -- and show them to your subject. Maybe one of the images contains an element or style that helps explain a feeling you’re trying to evoke. Another might help describe a look or pose that comes close to the idea you’d like to try. When you’re dealing with clients, a set of reference images is a good way to zero in on the type of shots desired.

Another technique to use with models and clients is to communicate ideas for the look and feel of the images using simple adjectives. I like to use non-photographic terms, especially with clients, to communicate a sense of what the pictures should look like when finished. For example, I ask my boudoir clients to tell me what words they’d use to describe how their photos should look. I give them a list that includes words like coy, sensual, strong, playful, sultry, and sophisticated, and ask them to pick the ones that match up to what they’re looking for.

It’s always best to talk over ideas to find out if your client or model is comfortable with the looks you want to portray. If your pictures will be a little risque or feature nudity, for instance, you’ll want to make sure your subject is comfortable with the ideas so neither of you feel awkward or surprised during the shoot.

Ask your subject to share any ideas they might have, too. I can’t tell you how many times I’ve been surprised by the ideas my models and clients sometimes come up with. Someone you might have pegged as very conservative or traditional might suddenly come up with a very off-the-wall idea that turns out amazingly well. I love surprises like this!

Photography has a way of giving people permission to express themselves in ways they might not otherwise. If you’re open to ideas, and your subject knows they can trust you, you never know what kinds of images you might get out of a shoot for both of your purposes. This, of course, depends on the subject’s willingness to allow you to ever use or show the images. Without that permission all you’ll have is the experience of taking the pictures, and possibly something to build on for ideas for a future shoot.

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Make It PersonalPhotographing the things and people most important to you is probably what got you interested in photography in the first place. This is something that you should never stop doing. You’re the photographer around your friends and family so you have license. Why not use this special and intimate access you have in order to create the most personal imagery possible? Photographers like Elinor Carrucci, Phillip Toledano, Sally Mann, Annie Leibovitz, Nan Goldin, and many others have made some amazingly intimate and beautiful work this way.

Family and the People Closest to You Your first and most deeply affecting relationships are with your family members. From the most cherished and positive relationships, to the heartbreaking, to the downright dysfunctional, they are all in some way significant. For the photographer and artist in you, these familial relationships can provide a wealth of material to draw from for posed as well as candid portraits.

For your would-be subjects, understand that having a photographer in the family can be at times very convenient and at other times very annoying. But everyone’s got something that’s a little annoying, and we all just learn to live with it because it’s part of who that person is. If your thing is that you’re always taking pictures, even when it seems odd or inappropriate, that’s just something people will eventually get used to. Of course there are limits and boundaries, but you’ll have to figure out what those are where your family is concerned.

Whether it’s with family or friends, there’s a rhythm you’ll find to photographing the people in your life. At some point they will realize that they’re not expected to stand and smile for every picture. They’ll start to understand that your camera is just something you use to see with, like some people use reading glasses. You use your camera as one way to pay attention, then you put it down when you’re done. Simple.

Don’t give the people in your life a reason to view your camera as a weapon, or as a means to embarrass them. Candid photography should be seen as a thing you just do almost as if it were a completely normal thing; like using a cell phone to capture a moment. Posed portraits can be created almost as uneventfully as your candids, or you can approach them as a special moment.

Don’t Make It Sound Intimidating You might think saying, “Let me take a quick portrait of you,” is a harmless enough request. But just the word, “portrait,” can conjure up a sense of formality that most people are a little uncomfortable with. At any given moment, you might see a beautiful portrait ready to be taken right in front of you. But, the subject might feel put on the spot and anything but prepared.

The people who care for you know that photography is important to you and don’t want to disappoint you with how they’ll appear in your pictures. They also don’t want to be harshly judged on their appearance in a “real portrait” where they feel the expectations are higher than they would be in a casual snapshot. You’ll have to learn how to reassure them, keeping their concerns in mind.

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You might start by not using the word “portrait” at all and opt for something more benign like “picture.” Just remember not to put too much weight on an impromptu sitting. There’s nothing wrong, however, with making a special occasion out of a portrait, if the subject is willing.

The Basic Portrait SetupI teach you how to put together a lighting setup in Ed Verosky's Guide to Flash Photography, along with the core message of how to standardize your working methodology. I understand how this might sound contrary to much of the advice I give in this and other books I’ve written. After all, how can someone who so strongly advocates experimentation and bucking the conventional suggest that you actually build convention into your process?

To get to that answer you have to understand that I recommend using standardization as a creative tool, as a way to set yourself free of technical concerns when it matters most. It’s not the only way to shoot, but it can be one of the best strategies for making great pictures almost effortlessly.

If you’ve ever spent time worrying about camera settings and lighting setups during a shoot you’ll know what I’m talking about. These moments of taking your attention off your subject and breaking a free-flowing rapport can set back a shoot and spell the difference between a great portrait and a mediocre one. The fewer details you have to concern yourself with during a shoot, the more relaxed and smooth it will be. Imagine how much you could get done if your camera and lighting just seemed to magically take care of themselves. No worries about settings, metering, light positions and distances, while you simply and confidently converse, direct, and click the shutter, knowing that the majority of the images you take will be wonderfully exposed with perfect lighting.

This is the ideal that you should strive for as you build a simple and effective go-to portrait setup of your own. You should become so familiar with every part of your setup that you can literally put it together with your eyes closed. Whether your basic portrait setup is a one-, two-, or three-light setup, you should have each setting on each individual light committed to memory.

Start with the same lens and same camera settings each time. Perhaps there is a particular background or sitting stool or some other element to this setup you always want to include. Whatever your setup consists of, the idea is that it ALWAYS gets setup the same way and you ALWAYS begin your shoot with the same camera settings. You should be able to set this up in less than five minutes without having to make any on-the-spot decisions. Then you should be able, using your predetermined camera settings, to take the first shot completely confident that it is going to be correctly exposed.

Should this be the only way you shoot? Absolutely not. But this is an excellent way to make sure, that under any circumstances, you are able to get great portraits without even thinking about the gear. At the very least, you’ll be confident that your portraits will be technically good. The only other thing to deal with is the subject themselves. That’s what makes this standardization method so incredibly powerful. Your mind is free of technical concerns and all you have to do is take the pictures! Take advantage of this, turning a self-imposed set of constraints into total creative freedom.

How many different looks can you pull from your subject using this one simple setup? How far can you push the creative envelope? It’s all on you now. You can’t shift the blame on lighting challenges

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or camera settings, or lenses when all of that was worked out prior to the shoot. The object of this exercise (and working methodology) is to show yourself what is possible when you’ve got very little to work with. It’s a great confidence booster when you know, going into a shoot, that its technical success has already been worked out. If you start off your shoot with a standardized setup, you can easily progress into a lighting configuration more customized to the situation or adapt it for any creative ideas you come up with. It’s a matter of starting with something foolproof and just tweaking it to make it better. Your standard setup can be anything you want it to be. But I suggest you start off with just one or two lights, eventually moving to a third if absolutely necessary for the type of portraits you want to produce consistently.

For inspiration, see the work of great photographers like William Coupon, with his iconic portraits featuring consistent backgrounds and single light sources, or Platon who tends toward simple but very standardized lighting. These photographers and others who have become known for their signature styles have one thing in common: they have mastered a way of lighting that allows them to get the consistent and beautiful results they want, every time. Certainly, any good photographer can sculpt light as they see fit, but most need plenty of time, metering, and testing in order to pull it off with any confidence. The best have learned to leave little to chance where technical issues are concerned.

Remember that your setup can be anything that you’ve standardized, even constant lights, or on-camera flash. But whatever it is, make sure that it is something that would be almost impossible to make a mistake with and doesn’t rely too heavily (if at all) on exposure variables or other changing conditions. This is as close as you’ll get to a sure thing.

Set Limits for Better ResultsWhen you’re doing something you love, it’s easy to lose yourself the process. I’ve done shoots where the subject and I both completely lose track of time because we’re really focused and having fun. But it’s important to be fair to yourself (especially if you’re shooting professionally) and everyone else involved in your work, or anyone who’s affected by it, like family. Setting limits on things like time, effort, and expense will save you a lot of grief as well as help maintain a state of balance in your work and life.

Setting Limits For YourselfI’ve always found the most productive and enjoyable shoots are the ones that didn’t go on for more than two or three hours and were shot at a relaxed pace. Some of my best shoots were well-planned and conceptualized, and some were completely spontaneous and improvised. But they all had a couple of things in common: they didn’t drag on for too long and I shot on average about ten frames per idea or look. When I work this way it allows me to really take my time with every aspect of a shoot giving me a chance to make each individual shot count.

Another benefit is that I end up with fewer images to deal with in post, and most of those I’m very pleased with. This saves me some valuable time on the back-end. It’s much better than having rushed to try too many ideas and looks, or having shot too many frames for each look. Ending up with thousands of useless or mediocre shots to cull and salvage from is no fun. Giving yourself a

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reasonable time limit for the entire shoot, and keeping mindful of the number of shots you want to end up with will help you do a better, more thoughtful job resulting in better images to choose from and less work after the shoot.

Setting Limits For OthersRealize that many of the people who pose for you aren’t professional models and they need guidance when it comes to just about everything concerning a shoot. Establishing limits is important to make sure you and your subject have the best chance of achieving your goals by the time you’re done taking pictures. Most people, for instance, overestimate their ability to go for more than a couple of hours in front of the camera. And there are others who just want to keep going for much longer than necessary, potentially wasting your time during the shoot -- and on the back-end when post-processing and editing time come into play -- and adding to the overall expense of the shoot. Some areas that you should consider setting limits on include:

Photography TimeEach subject has a different threshold for how much camera time they can comfortably handle. In my experience, the lower limit is around 45 minutes. The upper limit is about two-and-a half hours. If you continue shooting once you’ve crossed your subject’s tolerance threshold, it will be show in the pictures. It might also make your subject less enthusiastic about working with you in the future. It’s always better to end the shoot with both of you wishing you could go on, rather than feel like you’re glad that it’s finally over.

Makeup & HairDepending on the type of shoot, your subject might be having hair, makeup, or some other styling taking place before arriving at the shoot location. Hair styling and professional makeup application could take up to 2 hours or more. Setting time limits here is not always possible, especially if the makeup artist and/or stylist is off-site and not working under your direction. These professionals are just as likely to require more time than they estimate to complete their jobs as anyone else involved, so plan for that. If they are working under your supervision, let them know what you need from them in terms of the time it takes to prepare one or more looks, and how, or if, they will be used during the actual photography (for touch-ups, etc.).

Wardrobe LimitsThis is an area where most people overestimate what is reasonable to attempt for a shoot. Your subject might bring several outfits with her hoping that she can be photographed quickly in each one. But she’s probably not experienced enough with photo shoots to realize that more goes into getting a variety of shots than just changing outfits. Depending on the kinds of clothing she’s brought along, there might be things to lace up, seams to line up, straps to straighten and adjust, and tags and threads to be clipped off any just-bought items. There’s also going to be accessories to consider, and possibly hair and makeup changes.

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For a two-hour shoot and four distinct looks, with an average time of 15 minutes for each change, that leaves you with only about 15 minutes to shoot each look. If you want to try more than a couple of poses, perspectives, and possibly even some lighting changes for each outfit, that doesn’t leave you much time to work with.

Other Things to Watch Out ForI’ve had editorial jobs and paying clients who want to keep a shoot going over many hours and/or locations for one reason or another. I always try to make a shoot fun, but sometimes I guess it’s just so much fun that the subjects don’t want to see it end. This can be a big problem for a number of reasons, but suffice it to say that there is a point in time when the productive period of a shoot comes to an end, and anything after that is at the very least a waste of time and money, and potentially even counterproductive to the entire job.

Again, it’s very important that you and your subject or client agree on the time and duration of the shoot before the shoot date. Also make it clear to them that you must be finished by a certain time, so any delays will cut into the photography time. The vast majority of people will set aside enough time in their day to make sure they are ready, on-time, and available for as long as you feel is necessary to get the pictures done right. But you should protect yourself from the ones who are less considerate of your time by making it clear that it is limited.

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Post-ProcessingMost of the photography produced these days is created with digital media. But even film photography has always employed some form of post-processing whether it be push/pull development processing, the use of dodging and burning techniques, contrast selection, retouching of film or prints, or more extreme image manipulations. Even the choice of film and/or use of special effects lens filters counts, in my opinion, as image manipulation. So, there should be no dilemma concerning the appropriateness of using Photoshop to “fix” or otherwise improve or alter an image.

Limitations on what someone can or should be able to do with a digital file (or an image digitized from other media); are artificial in the sense that there are no practical limitations, only self-imposed constraints. It can be argued that post-processing happens the moment a digital camera processes the data the off the sensor, and certainly when a file is converted, via some programmer’s algorithm, for view in a RAW conversion engine common in most digital workflows. Why not make the absolute most of the tools available to you, just as photographers have always done? Of course you can ruin any photograph with overdone effects or cheesy gimmicks. But used thoughtfully, post-processing techniques can help make a good picture an outstanding one.

Capture The Most InformationYour camera likely allows you to shoot in a variety of file formats and capture modes. I suggest that you capture the most information available for an image on the front-end; use your highest resolution and full RAW capture. Why shortchange yourself or your client by limiting the amount picture information available to you?

It’s understandable that storage can be a factor, but that is another good reason to avoid machine-gunning your camera and rather shooting fewer images with more thought and precision. And, being able to work with high-quality captures at the earlier stages of your workflow doesn’t prevent you from dumping the originals once your final edits and saves are made. You can always move down a few notches in resolution and information, but you can’t work with it if it was never there to begin with.

The BasicsI strongly encourage you to learn as much as you can about basic image adjustment techniques because that is part of what we do as photographers; we should know how to finish out our own images. Don’t count on one-click actions or presets to do all of it for you, they’re not smart enough to make good decisions on a shot-by-shot basis. You have to know how to mange the basics yourself.

I recommend Martin Evening’s books on Photoshop and Lightroom to help you learn the specifics. While many topics are covered, the most important to our general needs involve color and tone adjustments, color conversions, selective area fixes, sharpening and noise reduction, and the basics of retouching. In order to make the most out of basic image adjustments, you should become familiar with how layers and other nondestructive tools and techniques work.

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Getting a basic handle on how image editing works will allow you to take full advantage of the aforementioned actions and presets, should you decide to use them. This is because you’ll be able to use them as starting points, making custom changes of your own, as needed. Creating your own actions and saving your own presets might follow.

As is always my advice, continue to learn and experiment. You might find exciting new avenues to explore and discover ways of making images you never thought possible.

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Developing Your Style

Many of the contemporary portraiture portfolios featuring the latest looks, perspectives, posing, and post-processing are nice up to a point. I think we’ve all been interested in viewing what others in our industry are doing. We love looking at pictures, being inspired, maybe getting new ideas. However, some of these portfolios and web sites start becoming a little less interesting, and have less visual impact as you view more of them over time.

Developing your own style allows you to set yourself apart from the crowd. Your portfolio can be a breath of fresh air, a new experience, an eye-opener. And if you’re creating strong work that is based on your unique view of the world, it won’t be generic or easily reproducible. It won’t be something someone else can do just because they have the same camera, lens, or Photoshop action. It will, however, be more distinct, rewarding, and valuable to anyone who appreciates and falls in love with it. You are the one and only person who can create your work in just your way.

If you do commercial portraiture, I realize that wandering from the pack and venturing into new territory can be a scary proposition. But, as it turns out, sticking with the same old marketing methods and indistinguishable wedding and portrait styles is not in a photographer’s best interest and isn’t a good longterm strategy. Standing out, not blending in, from the crowd is the key. If you do portraiture simply because you love to photograph people, you have everything to gain from expanding your vision and making it true to who you are as an artist.

Mastering Your Tools & TechniquesEvery medium has its materials and fundamental techniques. An artist first learns to use these basic tools and develop the rudimentary skills in the hopes of someday creating work that fully realizes their vision. If a painter, sculptor, or musician were to skip several steps, and fail to grasp the foundations of their art, they might be able to create a limited number of interesting pieces, but those naive works would eventually lose their appeal. With the possible exception of the rare genius, stronger skills usually win out in the long-run.

Learn to use your camera. I realize this sounds like overly simplistic advice. But, most people who own cameras really know very little about how to use them. Camera manufacturers realize this and put automatic, do-everything-for-you modes on most cameras. It’s okay to use these modes, but you’ll be limited as to what you can do with them because they take most of the control out of your hands. The more you learn about the specific functions and capabilities of your camera, the more tools you’ll have at your disposal.

I suggest you learn one new camera function, exposure concept, or lighting technique at a time. Trying to learn too many things too quickly is generally counterproductive. With each new feature,

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concept, or technique, make sure you spend enough time thinking about it and using it so that you fully understand how and why it works. A good test to see if you know what you’re doing is if you can clearly and correctly explain it to someone else.

Simplify and Standardize Your ProcessAs you become more proficient with your camera, you’ll find that there are certain controls you use more often than others, depending on your shooting style and usual lighting conditions. These are the controls you should focus most of your attention on. Learn to use them without having to think about using them. When driving a car or riding a bike, you don’t have to look at the pedals, steering wheel or handle bars, to get from one place to another. That smooth ability to focus on what’s in front of you without thinking about the controls is what you should strive for with your gear.

Sure, with photography, as well as with driving, you might have to glance down when operating functions you use infrequently, but on the whole, your camera should simply become an extension of your vision. Although checking the LCD monitor (chimping, lens changes, and other factors will somewhat break the flow of your work, you should be capable of executing a series of shots without having to think about the technical details.

Understanding exposure concepts and lighting techniques are also keys to becoming a complete photographer. You should really have an understanding of the basic properties of light, how aperture, shutter speed, and ISO interrelate, and how to light your subjects. These are things that take time to learn and sink in, but once you know them inside and out, you’ll have the confidence of knowing you can do just about anything with a reasonably equipped camera and a light or two. With the right knowledge and resourcefulness, you’ll also be able to quickly come up with solutions where other photographers might have gotten stuck and became unable to deliver a good shot.

Hopefully, you’ve gotten the point by now that trying to reach a technical level of proficiency is not the end-goal, it’s just a means to an end. Anyone can learn to use a camera and some lights. That alone simply gives them the necessary skills to work with. If you can learn to create a perfect corporate headshot with three-point lighting and a good pose, that’s great, but how does that make you different from anyone else who can do that, or anyone else who can learn to do that? The technical skill you can learn, and the gear you can get your hands on, won’t set you apart. Being able to create something amazing and unique with those tools will.

If you would like some in-depth advice on how to simplify the process of learning about light, exposure, and mastering your gear (including when using flash units) download my ebook, Ed Verosky's Guide to Flash Photograpy.

Think Like An ArtistOne of the first things you should do when making a commitment to developing, and possibly marketing your own style is to learn to think like an artist. That means you’ll have to start viewing yourself in a new light. You’ll no longer have a hand in maintaining the status-quo because you’ll no longer be a part of it. You’ll have to realize that your work is for some people and not for others. Most importantly, you’ll have to learn how to follow your own path.

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It’s nice to get good feedback on your work, especially from grateful clients and your colleagues. But it’s not something you should think about as you’re creating. If you’re thinking about what other people say they like about your photos or anyone else’s, you’re not really thinking about the task at hand; you’re not fully focused on your work and it will show. Creating art is about expressing an idea with your own vision. This is where you are going to produce your best and most rewarding work for yourself, and consequently for the viewers and clients who value it.

Ah, but what if your art, your best work, isn’t something clients will value? What if it isn’t going to get you the friendly, encouraging comments on the critique sections of your favorite photography message boards and photo-sharing sites? What if people simply don’t like it or don’t get it? That, my friend, is your fear talking. It’s that little voice that tries to scare you away from notions of wandering from the pack. It tries to tell you that it’s safer to be a follower and just produce work that doesn’t deviate from the standard. Listen to that little voice and you’ll never reach your full potential. Your efforts will be small and eventually so will the rewards.

The truth is that you’ll never be able to please everyone no matter what your pictures look like. It’s just not going to happen. If you’re in this game for mass approval, you better get out because you won’t find it here. Other photographers will judge your work on their own personal tastes and criteria for what a “good” image is. Some will just tear your work down because it makes them feel better about their own work to do so. Others will tell you how great a shot is when you, in your heart, know it’s mediocre at best. What’s the point of this?

Clients (paying customers or buyers) are something else you shouldn’t worry about. They tend to take care of themselves where taste is concerned. Your work will resonate with some people, and it won’t with others. And if your work is strong in its execution, if you’ve really put yourself into it, it will resonate with force. When this is the case, your clients won’t just like your work, they’ll love it. They’ll become loyal fans. The others will simply move along. The ones who don’t get it, don’t understand it, or simply don’t like what you do, were never going to be your customers anyway.

I’ve seen where some potential clients object to a photographer’s images because “the background is blurry,” or “you can’t see the whole person in the picture,” or “the person in the picture isn’t centered in the middle, like they should be.” One can argue that clients should be educated, but to be honest, how can they be? When it comes to taste, people like what they like and see how they see. These tastes are likely hard-wired and personality-type driven, or otherwise etched into their beings through a lifetime of experiences. You can explain to someone why they should like something, but that’s not really going to make them like it. Conversely, people are going to love what they love, and some of those people are going to love what you, and only you, can do with your portraiture.

As you progress down a path of work that is truer to who you are, and more unique in the world, your portfolio is what will set the standard that matters. This is what your clients will judge your work by, and this is your most effective promotional tool. Because your portfolio will contain images that only you can provide, clients will have no choice but to come to you if they want your unique style of portraiture.

Free YourselfTo grow as an artist, you have to learn to free yourself which is to say, allow yourself to create your art and reject the things that keep you from doing so. This is a process, not an overnight thing. It’s

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almost a certainty that you are not creating your best work right now. There are things holding you back. Take some time to identify what is keeping you from making the type of pictures you’d love to make. Remove those barriers.

If you’re thinking the answer lies in new lenses or a new camera, you are on the wrong track. The process of freeing yourself as an artist has nothing to do with those things. It’s all about getting past the gear, the old habits, the self-doubt, and the mainstream.

Here are some things that will help you get started: Know what you’re interested in. The things you will put most of your energy into are the ones you are passionate about. What types of portraiture would you most like to do? Are you a story-teller who would like to use environment, tableau, or costumes in your portraiture? Are you interested in expressing sensuality? Do you like the classic one-light image?

The answers to these questions will guide you on your quest for more rewarding portraiture. I’m sure there are certain types of imagery that stimulate you more than others. Explore the things that interest you about people or the way they can help you express how you see the world in pictures.

Some other questions about how you approach portraiture:

• Do you look for ways to connect with your subject? How do you establish rapport?Should you try to improve this?

• What do you think about while you shoot? After a session is over, do you ever feellike you missed an opportunity for a better shot? What keeps you from trying newideas?

• With non-commercial work, how do you choose your subjects? Why do you selectthe ones you do? Is there a type of subject, or a particular person you’d like tophotograph but never have?

• What qualities do you look for in a location?

• What is your personal philosophy on lighting? Do you only use natural light? Do youconsciously think about lighting at all? Do you prefer a large setup or a simple one?

• Who are some of your favorite portrait photographers and why? What do you likemost about their images? What do you like least? Are these personal tastes evidentin your work? Should they be?

• Do you prefer to use friends or people you’ve never met before as subjects? Whydo you think that is?

What do you think your answers to these questions say about your personal preferences? What do they say about your fears and aspirations? Think about these things and see what clues they might provide about where you should be going with your art.

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There’s no right or wrong way to make a portrait. Anything that can be photographed, can be photographed in an almost infinite number of ways. For any given subject, who’s to say which perspective is the best? There is no one, perfect way to take any picture. There may be stereotypical views of certain subjects, but that doesn’t make them right. And since there is no right or wrong way to photograph someone, you might as well just photograph them YOUR way. That is the best way for you to do it.

Don’t compare yourself or your work to other photographers. There’s really no point to doing that unless you’re trying to create the same exact kind of pictures. By all means, learn or become inspired by looking at someone else’s work, but not to the extent that you feel your work is somehow inferior. If you try to emulate the work of someone who has perfected their technique over time, you’ll be disappointed. They’re probably going to be better at doing what they do best, than you will be at trying to copy them.

Forget perceived (and real) expectations. Thinking about them doesn’t help you do good work. For one thing, most people aren’t as concerned with your photography as you are. You take great pictures, big deal. And the people who do have certain expectations where your work is concerned (like paying customers) should only expect you to do your thing. That’s it. Let them know that in one way or another. They are paying you to produce portraiture the way YOU produce portraiture. If they want pictures that look like someone else’s, they need to go to that photographer.

Be open to surprises. Don’t assume you know how to portray the subject on first impression. Someone you first meet might seem more introverted and shy because they don’t know you well enough to reveal themselves on a personal level. They’re also unsure about what you need them to do in front of the camera. Keep your mind open to the possibilities and you might discover something about your subject that makes all the difference. You might also discover something new about your process.

Your Vision, Your StyleWhen young musicians first learn to play an instrument, say an electric guitar, they usually begin by trying to emulate someone they admire. This is often true with photographers. The attempt to reproduce the work of a respected artist or craftsman is a great way to learn, and it’s fun. Eventually, the guitarist wants to learn how to play his own music, to express his own feelings. Likewise, a photographer might want to express their own vision; an individual with a desire to share what they see.

It only makes sense that a photographer would want to create images that actually represent their personal vision; their own way of looking at life and people. Being one of thousands of photographers to copy the latest look isn’t going to cut it.

But how do you find your own unique expression? Style, voice, and vision, are things that reveal themselves over time. They show up as a consistency or a congruity in a series or body of work. They might show up unannounced, or somehow be prodded along. But keep working and developing your ideas along new paths and things will happen. A photographer may have several distinct styles in development at a given time, or just one.

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Whether creating a new look is a deliberate effort or something that is happening seemingly on its own, you might have to make several attempts over weeks, or even years, to get a look or technique to work out just the way you want it to. That doesn’t mean your first tries are not going to be good, or bad, they are just going to be part of the process of fine tuning.

You have to make those images in order to get to the next images. Eventually, you’ll either find what you’re looking for, or it will find you. And you’ll know how to reproduce it on-demand and create variations at will. You’ll be able to call it a personal style and apply it to a series of images, or provide it consistently to clients who come to you for that look. It will be a great tool for you.

Finding your personal vision, identifying your unique style, using your own voice, aren’t things you just say then do. It is a process and it never ends. Your view of the world changes over time, and your expression of it does, too. Not from week to week, but certainly as the years go by. The most important thing you can do is just keep working and learning from your work. If you’re worried about finding your personal vision or style, just keep going; it will show up and you’ll see it if you’re paying attention.

Be a real artist with your camera, and people who want a real artist will come to you. Achieving this goal might take a while. Be patient. Your personal vision and style will shine through if you allow them to. Know the rules, break the rules. Go against the grain. Do the great portraiture you are capable of!

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Advice For The Aspiring Portrait Photographer

Advice For The Aspiring Portrait Photographer. Copyright 2015 Edward Verosky. All rights reserved. No part of this book may be reproduced in any form or by any means, electronic or

mechanical, including information storage and retrieval systems, without permission, in writing from the author/publisher. Product and services names are the Trademark or Registered Trademark of

their respective companies.