| A character photo is one that displays the character | | | | shooting people bright sunlight causes them to squint |
| and essence of who the subject really is. We see | | | | and dark shadow doesn't flatter the character you're |
| them in travel photo magazines where the subject is a | | | | trying to capture. It may be necessary to use some fill |
| wizened old man in a bright traditional costume | | | | in flash light the shadows. Hazy sunlight or shadow on |
| smoking a pipe. This is a really rewarding type of | | | | a bright day is great for lighting, as it doesn't cast the |
| photography. Here's how to get it right. | | | | harsh shadows that would spoil the shot. You don't |
| When starting out with character photography it can | | | | necessarily want to use a reflector as this just adds to |
| be difficult to find the right person. People are not | | | | any barriers between you and the subject. Good |
| always happy to have their photo taken. Here are | | | | lighting will enhance the face and character lines you |
| some basic guidelines to follow. | | | | want to capture. |
| 1. Where to find someone | | | | 7. Posing the person |
| Start close to home amongst friends and family like I | | | | This has its own problems. People often don't know |
| did. If there isn't anyone, ask. One of your friends might | | | | where to put their hands and how to sit. What was |
| just know the right person. If you think carefully there | | | | natural to them now becomes a little awkward. So it's |
| might be a street person who you know. Again be | | | | necessary to get them to relax by giving them a little |
| wary. It might be an idea to find someone else who is | | | | advice and chatting informally. |
| also a photographer. If you are near to the coast and | | | | 8. Gain the person's confidence. |
| perhaps a fishing harbour there are fisherman often | | | | This speaks for itself. A relaxed, happy person is |
| waiting for the right weather or tide sitting around. Most | | | | always the easiest to photograph. Don't pose them or |
| seamen will oblige you. The key to finding someone is | | | | get them to do anything that is out of character, as this |
| time and effort. If you seek you'll probably find. | | | | is contrary to what you are trying to achieve. |
| 2. The location | | | | 9. Props |
| The best place to shoot anyone is the place where | | | | If the prop is something they are familiar with then it's a |
| they are most comfortable. A fisherman on the bow | | | | yes. The weathered seaman cupping a pipe in his |
| of his boat with a mast or nets in the background. This | | | | mouth is natural and will add to the photo and give him |
| is where character and environmental portraits come | | | | something to do with his hand. On the contrary, getting |
| into their own. | | | | him to pretend to read a newspaper when he is |
| 3. Composition is vital | | | | illiterate is out of character and will not be a natural |
| As with other portraits, taking a photo of someone and | | | | posture. |
| placing them slap bang in the middle doesn't work. Be | | | | 10. Use a tripod |
| aware of backgrounds and clutter and look to add | | | | This has come up before. When interacting with |
| props if necessary. Most times you'll be able to use the | | | | someone it's easier to chat eye to eye than through a |
| background of the environment they work in. | | | | viewfinder. You're able to be more aware of the |
| 4. Get in close and shoot their faces | | | | scene and it's easier to direct the person while holding |
| This is where the character lines are revealed. The | | | | on to a remote cable release than with you eye to the |
| weather-beaten face or age lines is what makes the | | | | viewfinder. |
| image. Try to capture character from their faces. | | | | Character portraits make wonderful images for a |
| 5. Shoot a full body shot | | | | gallery or wall of photos. They communicate a whole |
| If their clothing or uniform adds more character to the | | | | bunch of qualities and have a soothing effect as |
| shot, then shoot full length. The gnarled fisherman with | | | | someone who has been there, done that and survived |
| his bright yellow weather suit will add colour to the | | | | the experience. I love a character shot, and would take |
| character and add to the ambience of the portrait. | | | | more if it wasn't for the extra care and time they take |
| 6. Lighting | | | | to set up and complete. But hey, you might be different |
| As with every shot you take, this is vital. When | | | | and enjoy this great process. Happy shooting! |