Photography, introspection and interaction

Our skills as portrait photographers often develop in tandem: we have a knack for forming strong connections with our subjects and the talent to capture a nuance of their feelings or mood.

Being able to create a harmonious relationship with the person in front of our camera is an important competency. For the lucky few, it can come quite naturally, but for those who are timid, it can be something of a challenge. Others - who may appear confident - may still be nervous underneath.

When looking at a portrait, we often take a moment to pause and analyze a person's expression, trying to figure out their feelings. According to Darwin's The Expression of Emotions in Man and Other Animals (1872), our 46 facial muscles give us the ability to express an infinite range of moods. It is a language we are intuitively familiar with, which is why we are captivated by the attempt to decode the face of another human being.

A portrait that captures our attention

Our eyes tend to be drawn to the most striking expressions. There are pictures in which the subject is barely present or has a strained smile, or seems to have no connection with the photographer and hence with the viewer. Such photographs rarely captivate us or arouse our curiosity. Sometimes, however, we may recognize something familiar in a portrait and be moved by it. Or, even if we are not consciously aware of it, a portrait may remind us of someone we know. It can also happen that we find the image captivating because of its unfamiliarity, and we want to know more. These portraits often manage to capture our attention.

The person behind the lens

Shooting a portrait can be an intense experience for the photographer. The people we photograph have the power to evoke in us curiosity and excitement. Or even fears, insecurities and a range of emotions. Establishing a good relationship with the subject can make or break the final result of the picture. Therefore, it helps to feel comfortable while building a connection with the person in front of our camera.

Photography requires us to assess the situation and determine what are the most appropriate manners to make our subjects feel at ease. It is important to adjust our behavior to build trust and ensure a good experience for our subjects.

Photographing people can be a challenging task because their reactions to the camera are never certain. Having a lens pointed at us rarely leaves anyone indifferent.

Some may revel in the attention, others may shy away, and still others may try to control the process. Each situation is unique and involves not only the subject, but how they make us feel. Anxiety, embarrassment and other emotions can hinder our ability to take the best pictures. Fortunately, there are times when we get to work with people we admire, though it's possible to get so caught up in the moment that we forget to look at what we should be carefully checking.

What is that annoying spot in the background? Why didn't I see it when I was shooting?

Portrait photography offers a unique advantage: the opportunity to interact with a variety of individuals and understand how we respond (or react!) to different triggers. This is a special gift because it allows us not only to get to know someone else but also to gain a better understanding of ourselves with each portrait we take. A remarkable benefit.

Technique is important, but...

A good camera and an understanding of technique are important, but they're not enough. You won't get far without an authorial sensibility and image culture. Many famous photographers have created iconic images using very basic equipment. Besides technical skills, the author must be able to choose what to include in the picture and what not to, the right moment to take the shot and, very importantly, how to interact with the subject to capture a particular nuance or aspect of their character. These aspects go beyond technique.

It's easy to place too much importance on the camera, forgetting that it is the photographer's point of view that is communicated through its use. This is a big responsibility because the choices they make can influence how the subject of the photograph will be perceived. Whether the image is kept as a personal memento or printed in a magazine, the captured memory will remain for posterity. The photographer's ability to identify and sympathize with the subject will determine whether the image reflects only their physical features or something more.

Despite the focus of many photographers on achieving technical accuracy and visual harmony in their photos, the relational aspect is often neglected or given little attention. Why is this the case?

A (not necessarily conscious) choice

Memorizing programmable functions and studying manuals are part and parcel of the logic that we are taught from an early age. There may be some difficulties in learning the technical elements of photography, but they are usually manageable. Relationships, however, are a different matter entirely, as they involve our sensitivity and ability to empathize - something we cannot adjust like ISO or aperture. We often favor and nurture the logical and disregard the non-logical because it's in our culture. But to determine what behavior is most suitable for a subject, we must rely on our sensitivity and intuition, which don’t come with an instruction manual.

Finding a connection with our subject

Would you trust a photographer who appears indecisive, unsure or hesitant? It really helps if we can make the subject feel comfortable and convey confidence in order to create a harmonious atmosphere. This skill is acquired gradually and must be developed over time. What are the key elements of this?

Preparing the ground

First, we need to create an environment that is conducive for our subject to thrive and grow. This means making sure that the atmosphere is suitable and energizing, as well as having the opportunity to give our subject the focus they require. Regardless of whether we have plenty of time in the studio or a speedy portrait on location, our subject needs to feel relaxed, and this will not be the case if our concentration is scattered or we are preoccupied with something else.

Inviting a certain mood

To coax a certain emotion out of our subjects, we must first connect with it ourselves. Are we trying to capture a certain stillness in our subjects? Let's start by taking a few deep breaths. Laughter will likely spread, similar to how yawning does. Just take a moment to tap into the atmosphere you're looking to capture and it should come out naturally in the shoot.

How accommodating should we be?

When confronted with a subject who wants to be photographed in an unsuitable manner, it may be tempting to reject their suggestion outright. However, this may make them feel disregarded or uncomfortable, and the harmony of our relationship would be compromised. To avoid this, it may be better to simply agree with their idea, shoot it, and then present an alternative option. This ensures that the subject retains a feeling of value, while still allowing us to make the decisions. If requests continue, it may be necessary to explain clearly but kindly that the photographer is the one in charge. It is important to remember that reacting may be harmful, while responding can be beneficial.

Listen carefully

Learning to be a good listener is not only beneficial for understanding the subjects of our portraits but also for ourselves. Taking the time to observe our own feelings, emotions and challenges can help us become aware of our limitations and how to overcome them. In my experience as a teacher, when I ask my students to describe one of their difficulties, they often realize that it is different from what they initially thought. They had never really stopped to define it. Recording our reflections and doubts or talking to someone about them, can help us gain clarity on what's going on inside us. What excites me when I am shooting? What makes me feel challenged or disturbed? The key is to articulate our feelings in a way that someone else can understand. If an outsider can understand it, we will understand it too.

When (we think) the subject is impatient...

Do you find that your subject is restless? A common issue my students bring up is the anxiety that the person they are photographing will become impatient, pushing them to rush through their process and forgetting something. However, most of the time, the photographer is more agitated than the subject's perceived impatience. If we look more closely, something else may become apparent. We might discover, for instance, that the photographer has doubts about their capabilities to take the desired image. By working on this, the subject's supposed impatience will also decrease: magic! Do you understand how this works? Or, if the subject is genuinely restless, we should remember that our calmness can be contagious.

Be aware of the overall and the particular at the same time

When taking pictures, it's important to cultivate the ability to assess the scene in its entirety and to inspect all the particulars without focusing too much on any one element. We must look at the large scale while examining the details. Lighting, camera settings, position of the subject, clothing, hair, expression... these are all "ingredients" of the portrait. In addition, the connection between ourselves and the subject must be considered. We can monitor it just like the other elements. For instance, there's a strong light in the background that could be distracting, and the person I'm photographing is a little nervous. We have to be mindful that neither the background nor the subject's behavior will detract from the picture.

Noticing the subtleties

Practicing being aware of even small similarities and variations can help us manage a session more effectively. Say we need to shoot a notably showy person, such as an actress. We snap a few pictures and notice that her face is attractive, but something just doesn't seem right. Figuring out precisely what it is will make it easier to improve the situation. Perhaps we realize that what bothers us is that she insists on being pictured in a certain way. Two aspects of her demeanor could be mistaken: the (supposed?) confidence and the urge to dominate. By distinguishing between the two, the circumstances become clearer to us.

We can certainly allow her to present her most attractive self, while simultaneously giving her the opportunity to reveal what lies behind that ideal. To do this, we should use our empathy. Often what people show for the camera is a clue to what they'd rather keep hidden. If their presentation is overly ostentatious, it may suggest a lack of confidence. In this case, we should try to make them feel comfortable and appreciated. With luck, they will relax and we will be able to capture more genuine facial expressions. We should, however, be careful not to play the role of a psychologist and, most importantly, not to pass judgment. After all, would you want to be photographed by someone who is judging you?

Introspection

Developing an introspective mindset can help us gain a better understanding when taking pictures. As we gain experience, our ability to build relationships with our subjects also increases. There are many elements to consider, but the points mentioned so far are a good starting point for creating harmonious interactions during shoots. Not to forget everything else, of course. For instance, it is helpful to practice before the shoot to reduce any potential obstacles that may arise. It is also a good idea to find out in advance about the preferences and habits of the people you will be photographing. Finally, it is wise to decide before the session what photography style you will use. Although having a good attitude does not guarantee that you will never encounter difficulties, we can do our part.

Shooting portraits is a responsibility

As photographers, we are given the opportunity to be let into a (potentially) incredibly intimate moment with our subjects that reveals something of themselves. Even if it's only showing us the way they defend themselves from our gaze, it's always a privilege for us, and we must take care not to betray that trust. When taking pictures, we have the power to portray certain details more prominently or to hide them. The images that arise from that moment will most likely reflect not only the mood of our subjects, but also our own.

These images will connect the curiosity of those who view them to those past moments and the qualities we managed to capture. Isn't ours one of the most beautiful professions in the world?

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Enzo Dal Verme is an Italian portrait photographer drawing on over three decades of experience in meditation. He approaches photography as a path of self-discovery and personal growth.

His portraits have been published in Vanity Fair, l'Uomo Vogue, The Times, GQ, Elle and many other international magazines.

He teaches at the Portrait Photography Retreats and has over 15 years of experience facilitating groups.