In a Moment
By Elizabeth Salib
7 Nov 2008
As a photographer who started in the field of self-portraiture, I found the greatest difficulty of my transition into emotive portraiture to be that of directing. My self-portraits had been, primarily, spontaneous emotions or actions. These were typically decided in the ten seconds it took to press the button on the camera and run to the location before the shutter would release. Nonetheless, it seemed that when I took up portraiture, people expected to be told what to do: which way to stand, whether or not to smile, absolutely everything that I should have "pictured" in my head before I snapped the shot. This is far from what I was used to, and even if I did have an image in my head, I often found it awkward and difficult to direct a person to do what I had been thinking. Generally, the actions and emotions would be those typical for me to show, and not necessarily the same ones my model would be comfortable mimicking.
I have recently come to terms with this "inability" to direct models. Although most people I photograph originally begin by awkwardly asking me which way to turn or whether they should look toward or away from the camera, they gradually learn to abandon these questions and act as naturally as possible, which is exactly what I want. To me, the most rewarding photographs are those that are captured when a person is in their most ordinary state: when they behave and show the emotions that they typically would, especially when no one is watching.
Although infrequent, there are always ways to increase the likelihood that these moments will occur. The most obvious way is to make sure that your model is comfortable. Talk to them as though you are simply friends having an outing, and try to distract them from the huge lens inches away from their face. It is far from easy, but if you can distract them for long enough, you may end up with a real laugh or two, giving you a fountain of genuine emotion.
Try forewarning them that you will not be giving them very much direction. Tell them where to stand, but do not tell them whether to smile, to look at you, or to look away, unless they specifically ask. There will be plenty of moments in between "directed" shots where the model will be fidgeting, trying to move out of a space, or will simply be distracted. Take advantage of all of these times as much as possible.
Although these occasions are rare, I try to find them whenever I can. I say that I find them because you cannot make them. These moments are not ones you create, but ones you simply stumble across. In a moment they are gone, and you are left either with a permanent proof of their existence, or with a fleeting memory of having let them slip away.
5 responses
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David Eastham gave props (7 Nov 2008):
Well put together. Voted yes.
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dominic serrao gave props (11 Nov 2008):
well done!!
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Klas Enochsson gave props (5 Dec 2008):
Great pictures and story. Voted! =)
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Kushal Ruia gave props (12 Dec 2008):
well said. i could not agree with more with your approach! and yes..great pics!;)
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Bryan Cole gave props (27 Mar 2009):
Great Story! I have had similar problems. I'll try these tips out!
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