I’m still blown away by the work of Annie Leibovitz, who has a way of making her subjects look like they’re about to jump off the page¹. Her use of lighting is unparalleled, and it’s something that I think a lot of photographers struggle with. It’s not just about pointing a light at someone and hoping for the best – it’s about creating a mood, a atmosphere, a feeling. And that’s where the magic happens.
Look at her iconic shot of John Lennon and Yoko Ono, taken just hours before his death². The way the light falls on their faces, the way their bodies are poised – it’s like you’re right there in the room with them. That’s what I think makes a great portrait photographer: the ability to capture the essence of a person, to tell their story in a single image.
Posing is a huge part of that. I think a lot of beginners get it wrong because they’re too focused on making their subjects look “pretty” or “perfect”. But the best portraits are the ones that are a little imperfect, a little quirky. They’re the ones that show the subject’s personality, their character. Take Peter Lindbergh, for example, who’s known for his raw, unretouched portraits of celebrities³. He doesn’t try to hide their flaws or airbrush them away – instead, he celebrates them, and that’s what makes his photos so compelling.
Why Most Beginners Get Lighting Wrong
Lighting is one of the most critical elements of portrait photography, and it’s also one of the most misunderstood. I think a lot of photographers get caught up in using the latest and greatest equipment, without really understanding the basics of how light works. They’ll spend thousands of dollars on a fancy new strobe or LED panel, without taking the time to learn about the fundamentals of lighting. And that’s a shame, because lighting is what can make or break a portrait.
It’s not just about the type of light you’re using, either – it’s about the quality of that light. Soft, natural light can create a warm and inviting atmosphere, while harsh, artificial light can make a subject look cold and unapproachable. I love shooting with natural light, especially during the golden hour, when the sun is low in the sky and the light is soft and warm⁴. It’s like the whole world is bathed in a warm, golden glow, and it’s perfect for capturing portraits that are soft and romantic.
But natural light isn’t always available, of course. That’s where artificial lighting comes in – and that’s where things can get really tricky. I think a lot of photographers struggle with artificial lighting because they don’t understand how to use it to create a natural-looking effect. They’ll blast their subject with a harsh, direct light, without taking the time to soften or diffuse it. And that’s where the magic of modifiers comes in – softboxes, umbrellas, diffusers, and all the rest⁵.
The Power of Modifiers
Modifiers are what can take your lighting from bland to grand, and they’re something that I think every photographer should have in their toolkit. A good softbox can create a soft, wrapped light that’s perfect for portraits, while a diffuser can help to soften and scatter the light, reducing harsh shadows and hotspots. And then there are umbrellas – my personal favorite, because they’re so versatile and easy to use⁶. You can use them to create a soft, indirect light that’s perfect for capturing portraits with a sense of depth and dimension.
But modifiers aren’t just limited to artificial lighting, of course. You can also use them to modify natural light, by diffusing or bouncing it to create a softer, more flattering effect. I love using a reflector to bounce natural light onto my subject’s face, creating a beautiful, soft glow that’s perfect for capturing portraits with a sense of warmth and intimacy⁷. And then there are diffusers – like a sheer curtain or a piece of tracing paper – that can help to soften and scatter the light, reducing harsh shadows and hotspots.
It’s all about experimentation, I think. Don’t be afraid to try new things and see what works for you. And don’t be discouraged if it takes a while to get the hang of it – lighting is one of those things that takes practice, patience, and persistence. But when you do get it right, it’s like magic. You’ll be able to capture portraits that are truly stunning, with a depth and dimension that’s hard to achieve with any other type of photography.
Capturing the Essence of a Person
For me, portrait photography is all about capturing the essence of a person. It’s about telling their story, and conveying their personality and character. And that’s where posing comes in – because the way someone poses can say a lot about who they are and what they’re like. I love working with subjects who are willing to take risks and try new things, because that’s where the magic happens. When someone is willing to be vulnerable and open, that’s when you can capture a truly great portrait.
It’s not just about the pose, either – it’s about the expression, the attitude, the whole vibe of the photo. I think a lot of photographers get caught up in trying to capture the “perfect” pose, without taking the time to think about the overall mood and atmosphere of the photo. But the best portraits are the ones that are a little imperfect, a little quirky. They’re the ones that show the subject’s personality, their character.
Take the work of Richard Avedon, for example, who was known for his minimalist, straightforward portraits of celebrities and everyday people⁸. He didn’t try to pose his subjects in elaborate, contrived ways – instead, he let them be themselves, and that’s what makes his photos so compelling. They’re like a window into the soul of the subject, a glimpse into their inner world.
The Importance of Connection
For me, the most important thing in portrait photography is connection. It’s about creating a sense of rapport and trust with your subject, so that they feel comfortable and relaxed in front of the camera. When someone feels like they can be themselves, that’s when you can capture a truly great portrait. It’s not just about the technical aspects of photography – it’s about the human aspect, the emotional connection between you and your subject.
I think a lot of photographers forget about this, and get caught up in the technical aspects of photography. They’ll spend hours tweaking their camera settings and adjusting their lighting, without taking the time to connect with their subject. But that’s where the magic happens, I think. When you can create a sense of connection and rapport with someone, that’s when you can capture a truly stunning portrait.
It’s not always easy, of course. Sometimes it takes time and practice to develop that sense of connection and rapport. But it’s worth it, because the results are truly breathtaking. You can see it in the work of photographers like Steve McCurry, who has a way of capturing the essence of his subjects with a single, powerful image⁹. He doesn’t just take photos – he tells stories, and conveys the depth and complexity of the human experience.
And that’s what I think makes portrait photography so compelling. It’s not just about taking photos – it’s about telling stories, capturing the essence of a person, and conveying the human experience. It’s a challenging but rewarding genre, and one that I think every photographer should try at some point. So don’t be afraid to experiment, to try new things and see what works for you. And don’t be discouraged if it takes a while to get the hang of it – with practice, patience, and persistence, you can capture portraits that are truly stunning.
References:
¹ Annie Leibovitz, *Annie Leibovitz: Portraits 2005-2016* (Phaidon, 2017)
² Annie Leibovitz, *Annie Leibovitz: Life in Pictures* (Hyperion, 2004)
³ Peter Lindbergh, *Peter Lindbergh: A Different Vision on Fashion Photography* (Phaidon, 2016)
⁴ [Check out this article on the golden hour from *National Geographic*](https://www.nationalgeographic.org/encyclopedia/golden-hour/)
⁵ [Learn more about modifiers from *B&H Photo*](https://www.bhphotovideo.com/explora/photography/news/ultimate-guide-to-photography-modifiers)
⁶ [Read this interview with photographer *Joe McNally* on the use of umbrellas](https://www.joemcnally.com/blog/2018/02/22/the-umbrella/)
⁷ [Check out this tutorial on using reflectors from *Digital Photography School*](https://digital-photography-school.com/how-to-use-reflectors-in-photography/)
⁸ Richard Avedon, *Richard Avedon: Portraits* (Harry N. Abrams, 2002)
⁹ Steve McCurry, *Steve McCurry: Untold* (Phaidon, 2013)
