Candid Photographic Portraiture

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ABOUT

THE BOOK

The uninhibited candid portrait, which is so much

a feature

of modern

camera

reporting,

requires more of the photographer than mere familiarity with equipment and technique. It demands a high degree of anticipation and perception and, most of all, the ability to handle people. For the first time, a book is published which sets out to examine not only the camera technique associated with the candid situation, but also the psychological aspects of photographing strangers, the establishment of rapport between photographer and unrehearsed subject, the aesthetic qualities of the candid portrait, and the legalities and ethics of candid shooting. Few books on photographic portraiture do more than touch briefly on the candid portrait and its unique problems. Few authors have tried to delve into the photographer's mind and break down the mental block which prevents so many from even attempting this most satisfying approach to portraiture. We believe that this book breaks new ground in attempting to define and explain the more abstract qualities of candid photography.

CANDID PHOTOGRAPHIC PORTRAITURE presents a host of new ideas for subjects and treatment. It will equip the reader both technically and mentally to handle with greater confidence and success that most exciting subject that challenges us every moment of the day ... our fellow man. The next time you see ticularly good photograph magazine, you'll be certain era at hand, you could do

and admire a parin a newspaper or that with your camjust as good a job.

AMPHOTO New

York,

N. Y.

10010

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Candid Photographic Portraiture

CANDID

Photogra phic Portraiture BY KEVIN L. ASTON

AMPHOTO / New York American Photographic Book Publishing Co., Inc.

Copyright © 1965

Kevin L. Aston Published in New York by Amphoto, and, simultaneously in Toronto, Canada, by Ambassador Books, Ltd. All rights reserved. No part of this book may be reproduced in any manner without the written consent of the publisher.

Library of Congress Catalog No. 65-17127 Manufactured

in the United States of America

Preface Before adding yet another to the wealth of textbooks published on photography, the author should ask himself whether or not he is presenting something new and of value, or merely seeking to add Azs opinions to the weight of diverse opinions already in print. As an avid reader of photographic books and magazines, the writer has searched in vain for the material that has been attempted here. There have been endless writings on the subject of photographic portraiture, most of which labored over correct placement of lights and all the mechanical considerations, but paid scant attention to the more abstract problems of breaking down the subject’s camera consciousness, capturing spontaneous expression, and picturing our fellow man in such a way

that even the most casual viewer could participate in the mood of the

moment. My experience has been that by serious application most photographers can master the mechanical aspects of portraiture and produce a technically competent study. But having reached this point, many feel dissatisfied with the sameness of expression that they manage to extract from

their subjects. It is necessary to sharpen one’s perception, and having learned to handle lights and camera with subconscious efficiency, devote more atten-

tion to establishing greater rapport with the subject. Because every subject is a unique personality, the plan of action cannot be laid out as clearly as an exposure reading, but it is hoped that this book will help to fill in some of the gaps in the reader’s knowledge of the modern candid style of portraiture.

— K.L.A.

Contents The Nature of the Candid Portrait Establishing Rapport

27

Lighting in Candid Portraiture Composing the Picture Equipment

32

46

62

The Training Program

73

Exposure Determination Indoors Taking Quality Shots

87

Making Quality Prints

94

10

Candid Portraits and the Law

11

The Right Frame of Mind

Epilogue

78

Concerning Inspiration

118 123

140

Introduction Life on a desert island is, for most of us, a dream situation that we often contemplate but would not really wish to come true. Although we might express the desire to “get away from it all,” we retain a horror of our own company, and we endorse this fact by making solitary confinement one of society’s worst punishments. The simple fact is that each of us craves the company and attention of our fellow man, no matter how much we might deny this dependence on others. Is it any wonder then, that most of man’s creations are for the enjoyment of his neighbors as much as for himself? When we take a photograph, it is doubly satisfying if it is admired by others, and it will be admired by others if it is comprehensible to them. Many photographers put loving skill into brilliant, technical studies of a coil of rope, or ripples on a sand hill, but who appreciates these pictures and understands why they were taken? Often photographers, competition judges perhaps, but the next-door neighbor? He may admire the author’s skill with camera and enlarger (if he has any inkling of what is involved) but he will secretly wonder why one should waste so much time on subjects of little consequence. Show him pictures of other people, however, pictures which teach him how people look and live in other walks of life, and his interest will be more than polite. He will have something to understand, something to compare with his own lot. Long after you have run out of subject ideas, long after you have photographed every scenic spot and landmark in your home town, there will still be a limitless supply of interesting people to keep your camera and your imagination busy. You will have a subject that interests everyone, a subject with a million moods and expressions,

a challenging subject that demands skilful observation and that will

really test your photographic technique. You will be joining the evergrowing ranks of enthusiastic cameramen in the field of candid portraiture. And if you need any further convincing that this is one of the most satisfying and worthwhile of photographic activities, consider all the media of entertainment — the daily press, illustrated magazines, television, the

theater— how seldom they portray our greatest interest Candid portraiture—a with a camera — today has

use ripples on a sandhill, and how often they in life— our fellow man. practice that once implied a Peeping Tom a new status, and a new significance. Our

illustrated magazines have probably contributed most to the wide acceptance of the candid human interest picture; so much so, in fact, that the amateur photographer is now as much concerned with candid portraiture as is the professional news photographer. This subject, however, requires more of the photographer than is generally appreciated. It calls for certain skills that the amateur does not normally develop: intimate familiarity with one’s equipment, to permit instant action; complete mental freedom to concentrate

on the subject;

ability to quickly appraise a human-interest situation and act upon it, and thorough understanding of exposure and processing techniques for unpredictable lighting situations. Add to this a pinch of basic psychology and you have the ingredients of which this book is made.

1 The Nature of the Candid Portrait What is the principal ingredient of a good candid portrait? What quality distinguishes it from the formality of a posed studio shot? If we could find a single adequate word, it would surely be spontaneity. Our prime purpose is to capture (and often create) spontaneous expression. This expression need not necessarily be entirely facial. It may be expression of the hands or the eyes, or a subtle movement of the mouth. These three physical features are the instruments of man’s expression; with these he reveals much of his character and tells the world how he feels about things. It is the reaction of these instruments which should hold the attention of the candid portraitist, and through his interpretation, the attention and interest of those who view the resultant photographs. Let us now discuss the reasons for, and the circumstances of, candid

portraiture.

Driving Interest in Fellow Man Many of us will enjoy photographing both friends and strangers under any situation because portraiture is our chosen field and because we are fascinated by people. These pictures may be intended for exhibition or publication, or they may be purely for personal satisfaction. Before we go any further, it should be clearly understood that a candid portrait does not necessarily mean an unscheduled picture of a total stranger

(although such constitutes a fair proportion of this text). For

several reasons, it may be considered desirable, or enjoyable, to adopt a candid approach to known subjects who are perfectly aware that they are being photographed.

A Case of Necessity Some people have an unfortunately acute camera consciousness

(call

it ‘stage fright’ if you like) and it is impossible to portray even an honest likeness of such people, much less a revelation of mood or character, except by a candid approach. Other people become compulsive actors at the sight of a camera: they “ham it up” or assume poses not in true character. This situation often appears in child photography. In either case, the subject is unable to remain unaffected for a conventional portrait, and unless the photographer is unusually gifted in breaking down camera consciousness, the candid approach is more satisfactory.

The Remote

Subject

A special “necessity” category arises when the subject is not the “‘exclusive property” of the photographer. The subject may be in a crowd or a celebrity surrounded by entourage or admirers. For one reason or

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Very much a “grab shot” this picture of young Jap: nese girl in Sunday-best kimono has _ technic: shortcomings but author feels satisfied by deligh ful expression of hand and face.

another, the photographer cannot physically reach his subject and must therefore make the best of difficult circumstances with a candid shot.

In this situation, it will be necessary to choose the decisive moment by close observation of the subject’s actions and to isolate the portrait by extreme enlargement, use of a telephoto lens, or by selective focusing.

The

“Posed”

Candid

As contradictory as it may sound, some of the finest candid portraits of all time have been posed! A skillful photographer and a “natural” actor can stage good spontaneous situations. Many people have the ability to remain completely natural in the face of a camera, and the photographer who recognizes this quality can direct the posing while retaining a candid

=

flavor. Many press photographs are handled in this way. In fact, some of the best stage managers

are photographers

(or vice versa). Don’t

overlook the possibility of actually directing a candid portrait situation. Some years ago a Sydney press photographer of my acquaintance was sent to New Guinea to cover the eruption of the Mt. Lamington volcano, in which many lives were lost. After completing the assignment, he was

stranded in Port Moresby for two days, awaiting a plane back to Sydney. Anxious to have an exclusive shot to upstage the other photographers on the same assignment, he went to the local hospital and “borrowed” three patients: a man, a woman and a child. They were swathed in bandages and made a very plausible “family” of refugees from the “far-distant” volcano

(in fact, it is doubtful if they had ever seen Mt. Lamington).

His dramatically staged news picture made the front page and was hailed as the most heart-rending shot to come from the Mt. Lamington disaster. One can’t help admiring this photographer’s initiative even if not condoning his ethics.

DR

If one can organize backstage entry to local theatres, there are wonderful stage candids to be made from the wings. Star flamenco dancer of the Luisillo Spanish Dancers was captured at climax of fiery performance. Mamiyaflex camera, 180mm lens; exposure 1/60th second at f/4.5 on Ilford HP3 film.

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Jim Mead made this arresting candid child study in a neighborhood restaurant, assisted by diffused daylight from windows both front and rear of subject. Jim exposed Adox R17 film in Rolleiflex T camera.

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Magnetic Subjects There is a magnetic attraction about people who are different from ourselves. Facial structure can quickly reveal a man’s race; his clothes can denote nationality or social status. We have a natural curiosity about people of other lands and of other callings. A correspondent to Photoguide magazine once expressed the opinion that the world’s most photographed

women are not film stars or bathing beauties but nuns! Feminine pulchritude is fairly plentiful, but the medieval habit of a nun still remains an eye-catcher, in addition to telling far more about the wearer than does a bathing costume. However, not everybody is an interesting subject, not every face sufhciently striking to warrant more than a passing glance. We must admit

that not all of us are facially distinctive (we have all been mistaken for someone else at one time or another). There are many faces which could have been stamped in the same mold, and we must realize that “average” faces are not usually good picture material. Because love blinds us to

another’s faults, it is often unwise to use members of our family as portrait subjects — they may well fall into the “average face” category, although our loyalty rejects this possibility. On the other hand, if an unknown face appeals to the photographer, there is a fair chance that other viewers will also react sympathetically. Above all, we must strive for universality of subject appeal, for the candid portrait is a failure if it needs an explanatory caption, or if its meaning is not immediately obvious to a viewer on the other side of the world.

Portrayal of Character We have often heard it said that a portrait reveals the sitter’s personality. But can a photographer really succeed in probing so deeply into the human structure, or is this popular conception built on the shaky foundations of fanciful copywriting? The author feels strongly that in photography, as in all the arts, both practitioners and patrons have largely been duped into widely held misconceptions by the publication of hogwash. 16

Can the police pick a murderer by the structure of his face? Can you pick a perfect wife by her smile? Can you pick an honest man by his eyes? How can you therefore believe that a photograph could possibly reveal true character? Rather let us say that we can succeed at most in presenting

the zmagined character of a known sitter. If Jones is accepted as a friendly jovial fellow by his acquaintances, a friendly jovial portrait of Jones will be said to capture his personality. For all we know, the same Jones may be quietly defrauding his employer, or stealing his neighbor’s wife, or planning (as he smiles at the camera) to knife his brother. Editorial caption-writers for photographers’ magazines will often tell us that a published portrait is ‘sensitive,’ and from this we may assume that the photographer has penetrated his subject’s outer image in some unexplained way. What is more likely is that the photographer has become aware of certain characteristic expressions of the subject and has been patient enough, and sufficiently quick on the trigger, to catch one of these

moments. We may also hear a person viewing another’s portrait and saying: “That's Jim all over!”” Does this mean any more than: “That’s a fine like-

ness of Jim?” Jim himself, will probably not like this shot because the image he sees in his shaving mirror is seldom the image beloved by his parents and friends. When a portrait draws such enthusiastic response, it is principally in recognition of one simple fact: the photographer has skilfully broken through the camera-consciousness of his subject. Man’s character is so complicated and perverse that to clearly express it in a single photograph is surely an impossibility.

The Eyes Have

It

“I don’t trust that man; he has sneaky eyes.” “She was lying. I could see it in her eyes.” Do these expressions sound familiar? They should. You’ve heard some-

thing similar in daily conversation, or in the movies; or you've read them 17

Young Japanese chef greets customers at the entrance to Tokyo eatery. Japanese characters are generally found to have pleasant design possibilities by Western photographers who don’t know what they mean. Author used Mamiyaflex camera with 105mm lens.

19

in books. You can probably think of a dozen others which all tell the same that the eyes —er —a story important to the portrait photograph story are the soul of a portrait, the center of expression. The eyes can transmit a multitude of emotions, reflecting joy, grief, trust, doubt, agreement, dissension, boredom, excitement. Consciously or

not, we invariably judge the character of people we meet by their eyes — and it generally turns out to be a pretty accurate gauge. Not only do we

focus the camera lens on our subject’s eyes, but we should also focus our attention on them, in endeavoring to portray moods and apparent character. Of course, the eyes, like the camera, can lie. We have all experienced speaking to someone who is looking at us but not seeing us; his attention is elsewhere. We say: “He looked right through me.” But one’s inner thoughts are often expressed in the eyes. Advertising agency “depth researchers” have made candid studies of the eyes of shoppers. As a result, they can ascertain mental reaction to product packaging and promotion by observing dilation of the pupils and by measuring the blink rate. Indeed, your eyes can “give you away’ —a

fact which the

candid portraitist can, and should, turn to advantage.

And

the Hands

Some people have mobile faces. They pull their mouths this way and that according to their thought processes. I am never conscious of it, but my family tells me that I stick the tip of my tongue out when I am writing. Others do the same thing when threading a needle; some bite their lips in moments of excitement. These are mannerisms worth watching. But how about the hands? Some people speak with them. We usually think of this trait as being uniquely Continental, but it is yet another mannerism found in all races, particularly in those people who are unskilled in expressing themselves with words. It is quite fascinating to watch somebody engaged in describing something he has bought, or made, or done, and which he tries to picture with hand actions. Animated conversa20

tion of this type is an excellent candid situation because the subject is usually so busily engaged that he can be approached from close quarters without his noticing the camera.

The

Hands

Subdued

Since we have introduced the subject’s hands into his portrait, it might be well to consider a few cautions: Natural placement of the hands is an extremely difficult thing to accomplish. Many photographers are aware of this fact and purposely keep the subject’s hands out of the picture area. Karsh is one of the very few topflight portraitists with the ability to include his subject’s hands in the picture without allowing them to distract attention. Stand in front of your mirror and place one of your hands with the palm against the face. Peep through your fingers, and you will notice something that may not have impressed itself on you before: the hand is approximately the same depth, from finger tips to base of the palm, as your face, and with only a slight spreading of the fingers, it is just about as wide. This means that if the hand is introduced in a portrait, in close proximity to the face—an area of almost same size and similar tonal value — it becomes a strong distraction. For this reason, it is a common practice to subdue the lighting on the hands where possible, or to print these areas to a darker tone when enlarging the negative. In the completely candid situation, there is little control over the situation, and it becomes a matter of waiting, if possible,

until the hands are away from the face or turned at such an angle that the area facing the camera is considerably reduced. Perhaps you are asking yourself, “How can one be worried about the hands when attention is focused on capturing a certain facial expression? Or, what if one is after a certain gesticulation which supports the facial expression?” The answer here is, first, that a skilled photographer has developed the ability to watch more than the subject’s face and to shoot when every facet of the scene is at its best; and, second, that if one must 21

Interesting example of an environmental background is this study of a science

teacher in his classroom. Photo by Geoffrey Reedy, A.F.1.A.P.

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shoot without having all points covered, it is recommended that the tonal value of the hands be darkened in printing.

Environmental

Backgrounds

Having already questioned the suggestion that a portrait can reveal anything more than apparent character, we might consider what can be achieved by accentuating the character of a known subject. Perhaps this could justly be termed characterization. For example, few photographers would consider Yousuf Karsh as a candid portraitist, and yet, if we read some of his own commentaries on how he “handled” his famous subjects, we quickly realize that he has adapted a strong element of candid technique to present these people in

their public likeness. Consider Karsh’s immortal portrait of the late Sir Winston Churchill. The incident of the cigar is widely known in its several versions (Karsh is said to have yanked the cigar from the astounded stateman’s mouth), and from this we note that he introduced shock tactics to coax Churchill into the bulldog expression that typified the great statesman’s public image. From this portrait one might imagine that Sir Winston was perpetually gruff and unsmiling, a dour individual. In fact, only one of the facets of Churchill was revealed in this enduring study, for it is also known that this fighting leader had his sentimental side as well as a droll sense of humor, yet he was rarely photographed smiling.

d Australian aboriginal woman was photographed veranda of humble home on a Government Rerve. Author used flash fill-in to brighten eyes, lich were already dimmed with age and hard outor life. Mamiyaflex camera with 180mm lens, lox R17 film.

25

One important ingredient of characterization is often overlooked, and that is the environmental background. It is used to great effect by Arnold Newman, who set a trend by including a background suggestive of the subject’s occupation or hobby. Obviously this introduces a problem, for the associated objects must be harmoniously molded into the composition, lest they overshadow the subject himself. Newman does this very effectively, and a study of his work is rewarding. Reference to most dictionaries will show that a portrait is commonly

defined as ‘‘a likeness of a person.” There is no qualification to the effect that the likeness must be of head and shoulders only, and yet many people feel almost bound to present each and every portrait in this manner. A portrait may, in fact, be a full length figure, and it may certainly include an environmental background to support the characterization of the subject. Alone, the environmental background is insufficient, and it must be

complemented by the subject’s apparel, thereby positively linking the subject with the suggestions of occupation or hobby. Even the foreground may play its part, as one might employ a prop, as it is also indicative of the subject’s interests in life.

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2 Establishin 1g Kapport The most elusive aspect of candid portraiture is the photographer/ subject relationship. Inability to establish rapport can be one of photography’s greatest frustrations, and it is unfortunate that skill in handling people does not necessarily come with skill in handling cameras, although the latter attribute is conducive to developing the former. The first step in the right direction is to exhibit a genuine interest in the subject as an individual. In a candid-style portrait sitting, no time should be lost in ascertaining the subject’s personal interests — the things which count in his life: family, work, hobbies. If these interests prove to be mutual, so much the better, for it will make conversation that much easier.

Top-flight photographers often go to some trouble in collecting a dossier of this information on intended subjects. It is easy to picture the friendly reaction of even the most dour subject when the cameraman’s conversation reveals such unexpected interest.

Ralph Steiner, writing in Graphic Graflex Photography, gives a classic example of this practice: “I was warned that my next sitter, H. V. Kaltenborn, would stay for only two shots; he was a busy man and thousands of portraits had run under his bridge. My wife brought me Kaltenborn’s latest book the night before. In it, he spoke of something he’d enjoyed ever since his early Midwestern youth. Next day when he arrived at the front door I introduced myself: ‘I’m Ralph Steiner, Mr. Kaltenborn; have some hot popcorn.’ He drew back; then he grinned broadly. ‘How'd you know?’ ‘Read your book.’ Two hours later we'd finished the pictures and were still having fun talking.” The important point is to coax most of the conversation from your subject by judicious inquiry and to be, above all, a good listener. As this pattern is developed, the atmosphere for successful and meaningful candid portraits becomes more suitable, and the photographer can shoot his pictures quite unobtrusively. A good portrait should contain an element of action, and this quality can be induced by giving the subject something to do. It may be as simple as smoking a cigarette — anything which keeps the subject’s hands active will help to keep his attention away from the camera and his facial expressions spontaneous.

An ideal situation is to have the subject actually engaged in his, or her, occupation or hobby interest. In addition to the obvious reduction of camera consciousness, props and backgrounds will have a significant relationship to the subject. A great number of the magnificent portraits of famous personalities by Yousuf Karsh were taken in the offices and homes of the subjects, often with a mere 20 or 30 minutes available to the photographer. Much can be learned from a study of Karsh’s work, for, among other things, it reveals this use of familiar objects to put the sitters at ease.

The Decoy A successful newspaper practice which can be put to use by the candid portraitist is the use of a reporter as a decoy. In newspaper procedure, 28

of course, the reporter is usually developing a story which the photographer illustrates, but there is nothing to stop the reader from holding a mock interview for the prime purpose of making successful candid portraits. Choose as your assistant someone who is able to talk at all levels and stimulate conversation. The first 60 seconds can be the most crucial, for

in this time a sitting can already start to die unless the sitter’s interest is

This young lady sports the “Beatle” hair style and was photographed by author among the audience at rock and roll festival. Mamiyaflex camera and 180mm lens, 1/500th second at f/8 on Adox R17 film in summer sunlight.

captured. As the photographer can break the continuity of the decoy’s work by interrupting with an instruction to “keep talking and forget I’m here, but please look at the window,” it is also wise to arrange a system of hand signals by which the decoy will know that he should move to another part of the room in order to draw the sitter’s eyes to the position you require.

Personal

Bearing

The candid portraitist will find himself in a unique position, in that he must subjugate his personality and yet, at the same time, be firmly persuasive. He should never be overbearing. To capture spontaneous expression, he must also make himself invisible. A reasonable job can be done without resort to witchcraft; avoid unusual clothing, wear subdued colors, and dress in keeping with the company (don’t wear a bowler hat in a fish market). When seeking out people with striking faces, keep your own from drawing attention (a bearded photographer announces his presence like the waving of a red flag; yet many have a penchant for such artistic appendages). The author has seen several world famous photo-journalists wearing

necklaces of five or more cameras — attention. These same photographers teurs to use a minimum of equipment it is probable that the professionals

as effective as a spotlight in drawing write magazine articles urging amafor candid portraiture! In all fairness, are shooting black and white, color

transparencies, and color negatives for several clients on the one assignment, but their example is not recommended.

On the other hand, although it cannot be recommended that you hamper your movements (and also create an oddity of yourself by looking like a travelling camera store), the one camera which you do use for most of

your candid portraits is wisely carried in full view and used quite openly. Ignore what you may have read about “spy-cameras” hidden in boot boxes or hollowed-out books. Leave this nonsense to spies.

When a stranger arrives on the scene, the reaction of most people is to wonder who he is and what he is doing. A camera openly displayed will 30

quickly answer these questions, and your presence will no longer be a

matter of curiosity. Pretend, if you like, to be a typical tourist and take some imaginary pictures of the scenery. The people you are hoping to photograph will quickly become disinterested in you, and then your candid portrait Opportunities come more easily. When you have ceased to become an object of interest you are well on your way to being inconspicuous.

31

3 Lighting in Candid Portraiture Inevitably, the misleading term “available light” crops up whenever candid portraiture is discussed. This expression is a misnomer, for, though

it is intended to signify low-level, non-photographic light, it fails to take into account that a// light, from a single candle flame to the midday sun, is available. Certainly, the candid portraitist must make the best possible use of such light as exists wherever he may be at the time, but he should not embark on his work with the feeling that he must, at all times, shoot by

the light of a match in order to bring home a candid portrait. Even in bright sunlight, there is really nothing to prevent the use of flash fill-in to lighten the heavy shadows, except that some “experts” affect an unreasonable prejudice against flash, arguing that its use destroys the candid mood. Although many photographers emerge from the house only on sunny days, the old hand prefers the diffused light of an overcast day. It presents a much more manageable contrast ratio (especially with color) and is particularly flattering to feminine subjects. 32

Placing the Camera The significant technical difference between studio and candid portraiture lies in the photographer’s reliance upon light conditions. Because the candid portraitist cannot place lights in relation to the subject’s face, he must reverse studio procedure by positioning the camera (and himself) in correct relationship to the light source. Even diffused daylight comes from a specific direction. You cannot see the sun and there are no distinct

shadows to indicate its position, but you know the time of day and the direction of north and south, so it should not be difficult to position yourself in such a way to utilize the hidden sun as the “key-light.” Indoors, the situation is much the same, although the light source is more obvious: spotlights on a stage performer, a restaurant table lamp,

light from a window, direct and indirect fluorescents, and so on. Sometimes the photographer can take advantage of reflective surfaces, such as a white wall, a mirror, his own white shirt...even a tablecloth can supplement

low-level lighting by re-directing light to a subject sitting at the same table. In certain circumstances, flash can be employed in such a way that the candid mood is retained. Flash “bounced” from a light-colored wall can be effective without disturbing the impression of “existing” light. The

quick blink of an electronic flash is not particularly obtrusive. It is important to remember that the guide number for the particular film/ flash combination should be divided by the total distance from flashgun to bounce surface and back to the subject, in order to arrive at the desired lens aperture. In addition, bounce flash provides a soft contrast, so it is wise to widen the aperture one stop larger than that determined by the distance-

into-guide number process. Another wise precaution is to avoid bouncing the light off the ceiling. Light falling directly from above the subject’s head will leave the eyes in shadow, and as the eyes are the soul of the portrait, this effect is most undesirable. It is preterable to direct the light source at the upper part of the nearest light-colored wall. The photographer who retains the firm conviction that flash hasn’t any place in candid portraiture, and who does not wish to force film speed

38,

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through extended development might concede to another method of raising the level of indoor light. If one has access to the room before the arrival of the subject, the principal tungsten lamp can be replaced by a No. 1 Photoflood lamp (250 watts), which, in an average living room,

will permit twice the relevant shutter speed or a smaller aperture. The photographer’s principal means of utilizing “existing light” is to move around the subject until the most favorable viewpoint is found (while

not forgetting to keep a wary eye on background suitability). It is purely a matter of careful observation, and with experience, this procedure will become automatic.

Flash and Imagination Photography is the play of light and shadow, and the photographer skilled in lighting will appreciate that the shadows, in themselves, reveal the form and structure of the subject. They are therefore of paramount

importance in giving strong modeling to the face and in emphasizing skin textures. I haven’t any qualms whatsoever about using flash for candid portraiture. In fact, I have taken, and seen taken, many successful pictures

using flash either as the sole source of illumination or as a fill-in in sunlight.

ustralian aboriginal girl was both emarrassed and pleased when author imed his camera at her. Taken in city treet

on

a

very

overcast

day

using

ford FP3 film in Pentax camera. Darkkinned people are better photographed ith fill-in flash to lighten eye shadows.

35

Leslie Uggams, singing star of the “Singalong with Mitch” television program, sang in her dressing room at Chequers Theatre Restaurant in Sydney, while the author made this simulated “performing” study. Assistant held single electronic flash some six feet to left of the camera position. Mamiyaflex camera with 180mm lens; Ilford HP3 film developed 30 minutes in D-76.

36

/Q

In the impromptu candid situation, the use of flash is restricted to newspaper-style “on camera” flash, and the operator must have his wits about

him to set the aperture quickly for accurate exposure. Certainly, some anticipation will help here, just as it does with focusing the lens. However, in the case of posed candids, or those cases where the subject is confined

to a small area, one can, and should, try to use flash more creatively. For this reason, the flash should be used off the camera whenever cir-

cumstances permit. It can be mounted on a tripod or held by an assistant, and it can remain connected to the synchro terminal by means of an in-

expensive extension lead. Using the flashgun in this manner, the photographer is also freed of the restrictions which are imposed by additional weight and bulk attached to the camera. The studio portraitist, if he uses flash, has the benefit of a modeling

lamp incorporated in the flash head so that he can assess the position of the shadows which will be thrown. On the other hand, the itinerant candid

portrait photographer will need to learn by trial and error just where the

flash should be placed in relation to the subject, in order to achieve a certain shadow effect. This is not as difficult as it sounds and will come easily with practice.

If one uses the flash to one side of the subject, and above the subject's eye-level, it is also found that the unpleasant background shadow irrevocably tied to flash “on camera” is generally thrown sufficiently low, and to the opposite side, that it may be conveniently masked out in the final print. Of course, the subject should be maneuvered into a position at least six feet away from the background, with either flash or flood lighting, in order to avoid ugly shadows behind the figure. At this distance, the photographer can arrange to have the background shadows fall to the ground instead of on the wall behind the subject. In hurried five-minute dressing room sitting, author made this mischievous portrait of singer Leslie Uggams with a single electronic flash as illumination. Note how background shadow has been avoided by off-camera placement of flashgun. Mamiyaflex camera with 180mm lens; Ilford HP3 film developed 30 minutes in D-76.

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Exposure

Determination

It should always be remembered that the flash guide number quoted by the manufacturer for the combination of flash equipment and film speed is nothing more than its name suggests— a guide! It is, in fact, a starting point for personal interpretation and must be adjusted according to the circumstances of the photograph. The guide number is determined on the basis of the flash being used in a domestic situation, let us say a room about 12’x 12’ having a white ceiling and light-colored walls, and it assumes that the original light will be amplified by reflection from these surfaces. The moment that we move away from these ideal conditions, the guide number is affected. In a large hall or in an outdoor situation, where reflective wall and ceiling areas do not exist, the guide number is cut in half. Furthermore, it is affected by the nature of the subject. A bride in white gown will require a smaller aperture than a groom in black suit (this is a constant problem for wedding photographers). Also, people with darker complexions will require a full aperture larger than those with lighter skins. The suntanned complexion of outdoor-loving people will call for more exposure than for those of more sedentary habits. Elderly women, who are inclined to wear whiter face powder than young women, will require slightly less exposure. When complexions of contrasting values

are combined in one picture, a “half-way” exposure can be a good compromise. One must learn to adjust the guide number according to experience. Bear in mind also that the correct aperture is determined by dividing

into the guide number the distance from flash to subject, not camera to subject. Don’t overlook this point when the flash is used away from the camera position. This rock fully with that good

40

young lady is screaming her appreciation of a favo and roll star, and her uninhibited enthusiasm is bea captured by John McAteer, who used a Miranda cam standard 50mm Soligor lens...which all goes to pr you don’t need to stand off with a Big Bertha lens natural candids.

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Cigar-smoking young woman in dark glasses made rewarding candid for Don Whyte, who used “old black Pentax,’”’ which he carries constantly into every situation of

daily life. At 24, Whyte already has mature outlook and produces pictures which stimulate the viewer’s imagination.

42

If you feel that more

than one flash head is desirable for a picture,

it is possible to couple three units together by means of the multiple terminal adaptor manufactured by Gauthier (the Prontor shutter people). In this case, the exposure is determined by the closest, or key-light, distance. A more convenient system is the use of a slave unit. This is an independent flash head that incorporates a photoelectric cell (as used in some exposure meters) triggered by the energy created when the main flash head is ignited. It acts instantaneously so that both lights are recorded in one exposure. The beauty of this system lies in its freedom from connecting wires for the slave unit.

Synchro-Sunlight Technique When the subject is in strong sunlight, the contrast ratio between highlights and shadows is often greater than we would like, and it is therefore desirable to lighten the shadows. This can be achieved by the use of a fill-in flash suitably directed at the shadow areas (generally from the camera position). The technique is known as “synchro-sunlight” and is

much simpler than it sounds. To determine a correctly balanced exposure, we turn first to the flash guide number, which, as we have noted, is approximately half the quoted figure for outdoor use. We then divide the distance from flash to subject into the adjusted guide number to arrive at the correct lens aperture and

take an exposure meter reading of the subject highlights to find the shutter speed which matches the pre-determined lens aperture. We should not try to eliminate the shadows but merely illuminate them. A perfect balancing of flash and sun is not desirable. Having made our initial calculations, we close the aperture down one stop to slightly underexpose the flash, not forgetting to set a suitably slower shutter for correct sunlight exposure. Although these several steps sound tedious, constant practice will have you setting the exposure for synchro-sunlight with subconscious efficiency and very occasional resort to arithmetical calculations. 44

A camera that employs a cloth blind focal-plane shutter presents special problems with the synchro-sunlight procedure because of the restriction of flash-synchronized shutter speeds for electronic flash and class ‘‘M” bulbs. The only solution seems to be the use of focal-plane bulbs that have a long duration of peak output, thereby permitting the use of faster shutter speeds. Under limited circumstances, focal-plane shutters which are synchronized at higher shutter speeds (e.g., Leicaflex at 1/100th second) could cope with the synchro-sunlight situation using electronic flash or class “M” bulbs.

Color and

Flash

Flash with black and white materials is relatively easy, but there are a few extra cautions for color photography. To begin with, we must be careful of color reflections from walls and drapes, when working in a domestic situation. Light bouncing back from a colored wall will introduce an unwanted color cast in the picture, so it is highly desirable to work in a white room when shooting flash with color. A major problem experienced at one time or another by almost every color photographer is the unpleasant red spot reflected in the subject's eyes. This “red eye” condition is caused by using the flash too close to the lens (another good reason to have the flash off the camera). The red spot

is a reflection of the flash on the chorioid layer of the eye, behind the retina, and is most likely to occur when the subject’s pupils are dilated, as they are indoors under average tungsten light conditions. This problem condition can be avoided by raising the level of illumination in the scene, by placing the flash well off the camera, or by having the subject’s vision directed away from the ‘on camera” flashgun.

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4

Composing the Picture

Composition of the subject matter within has been made the subject of complete books, clined, the evaluation of artistic presentation In candid portraiture, there is a strong risk

the and can that

picture area (format) indeed, if one is so inbe an extensive study. overemphasizing com-

position can distract the photographer from capturing spontaneous expres-

sion. A sound appreciation of compositional forms should be acquired and then retained in the subconscious so that the photographer need not labor over this aspect of his work. To put composition into its correct perspective, one has only to consider a typical dictionary definition that explains the act of composing as “arranging in orderly fashion.” Anyone who is able to arrange his home and its furnishings, or his personal attire, “in orderly fashion” has a natural

appreciation of what picture composition entails. 46

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