Face Up to Portrait Fears

Recently I’ve been asked to shoot a lot, and I mean A LOT, of corporate portraits for many different clients. It tends to go like this; slightly nervous office staff shuffle into the broom cupboard I’ve been assigned to as my portable studio for the day, and I have to stop them hyperventilating with fear at least until I can get a nice photo of their smiling face, preferably with eyes open and a minimum of sweat shine on their noses.

I understand the fear. I too am not delighted when someone points a camera at me, so I feel their pain. That’s why I try to settle the sitter, crack some bad jokes, and be as quick as possible.

However, there is another way. Not to say that the standard portrait isn’t important and useful, but if you’re trying to arrange a photo shoot for a collection of colleagues who break out in hives at the thought of looking into my dead, glassy eye, perhaps the candid portrait would be a better option.

In this scenario you can gather a selection of people around a table and get them chatting while I work around the group, capturing smiling, positive expressions. Lay on some coffee, biscuits (cookies for our American friends), or water and let people chat, relax and forget that I’m there. They might use the time to discuss some project that they’re planning, or just have a bit of a social. Within minutes they’ll forget I’m there, and it’ll show in the photos.

relaxed corporate portrait

Chatting to a colleague takes the mind off being photographed.

Another option is to have colleagues come to me in pairs. One of the pair will be photographed while the other chats to them, tells jokes and makes them laugh and interact. They won’t be looking into camera, but as with the round-table discussion shots it’s a way of relaxing people into the photo session. It creates more dynamic images which can be useful for more than just the About Us section of the website, and you’ll have a broader choice of angles and expressions so pictures on the website can be periodically refreshed, and pictures in a brochure can be different from those on the website.

In any event, I can always finish off with a final shot to camera, by which time the sitter should be relaxed enough to give a more natural smile.

I’ve blogged before about why decent portraits are important, but at the risk of repeating myself, these photos are generally used on business websites in the About Us section, or in corporate literature. They are the World’s window on the people that make up the business and those photos are the first impression anyone gets of the business. The photos will be used repeatedly and different contexts, each time making a first impression on someone new. So if you’re going to spend good time, money and fear on corporate portraits, consider the options I’ve set out. It really doesn’t need to be as painful as route canal work. At least not always.

Ah, the jet-set lifestyle…

Being the top-end commercial and corporate photographer that I am, you can imagine all the pampering I get.

My clients delight in sending me chauffeur-driven cars to take me to the heliport so I can be flown in style and at the greatest possible speed to my next assignment. The girls on-board the flight spoon feed me the finest caviar while massaging my temples so that I arrive relaxed and ready for anything.

If only…

Of course the reality is much more down-to-earth, but you know I wouldn’t enjoy knowing that my mode of transport was powered by liquidized baby Pandas while the inflight meal was the result of nine-year-old girls squeezing eggs out of fish for a penny a day (and that’s the middle-management wage for the fish-squeezing industry).

So I pootle along to my assignments in my trusty, and actually rather economical, diesel Ford Focus. Another Panda gets to live, a fish gets to lay its eggs where fish eggs should be laid, and the circle of life remains largely un-interrupted by my activities (until I hit a pheasant on a B road, which is always a bit distressing).

I’m the kind of person who is pathologically early to assignments. I’m either ten minutes early (rare) or, more commonly, an hour early. Well, it gives me time to find the last parking space in the universe and work out the mathematics of 20p for every 12 minutes at the parking meter, discover I need a small mortgage and a hundred weight in £1 coins to park the car long enough to cover the hour that I’m early, plus the 4 hours I need to do my job, at which point I discover the maximum stay is 3 hours with no return allowed before the next equinox at which point my head explodes and I start to daydream of helicopters, caviar and temple lobe massages.

chicken's arse

I’ve photographed some weird things, including a chicken’s bum for thechickenvet.co.uk

All this stress is more than made up for though by the joy of making pictures and pleasing my clients (aw). And even if most of my work seems routine when described in terms of portraits, people at work, processes and the like, believe me nothing is ever routine. It may not all be glamour and excitement, but receiving an enthusiastic response to my photos makes it all worth while. And sometimes I get to do some really fun stuff too. I get to see things not many people see. Some of which I would tell you about, but it’s top secret and it would take me too long to kill you all.

So next time you want to lavish me with helicopters or First Class travel, save your fish eggs, dancing girls and gift boxed Rolex. A parking space will do nicely.

I’ll be away next week, but will return refreshed and ready to blog again.

Take care, each and every one of you…

How big is the ideal chip?

Which do you prefer? Big, fat, crunchy chips, or crispy, delicate, skinny fries? Personally I go for either, so long as they’re cooked well and not dry and mealy.

Of course this is a clunky metaphor for the chips in digital cameras, a subject I’ve covered before, but this time I’m going to demonstrate the difference between a large chip on the Canon 5D (identical in size to a 35mm film negative) and the smaller chip in the Canon G11 compact camera and how this relates to depth of field in photography (how far behind and in front of the point of focus is also sharp). Now bear in mind I’m not talking about the pixel count, but the physical size of the chip.

Also, this isn’t a camera review. You can read dozens of those on sites such as dpreview.com which do a grand job of organising all the geeky info, doing bench tests and what-have-yous. I merely want to show the difference that chip size has on how pictures look.

So to continue the foodie theme, let’s get to the meat of the issue. Here you see two very similar photos. One taken with the Canon 5D (a full-frame SLR) and the other with the G11 compact camera.

commercial photo of electric scooter in sicily

Canon 5D background is softer.

Electric scooter in Sicily

G11: Background is clearer.

What you’ll notice is that the background in the shot taken with the 5D is much more out of focus than the shot taken with the G11. Factors which affect this depth of field are aperture, lens focal length and chip size.

The focal lengths aren’t massively dissimilar; 135mm on the 5D, 115mm on the G11, and the apertures are f5.6 and f4.5 respectively. But the biggest influence on making the bike “pop” out of the background is the effect of the chip size on depth of field, and this is where the D5 has more control. Not necessarily a bad thing that the G11 will always have a deeper depth of field. It means more of the bike can stay sharp, while the lens can use a larger aperture and gather more light to gain the same exposure.

Photographers will use a fine depth of field to emphasise certain elements of an image, but other tricks can be used when you have less control of depth of field, such as switching to a more dramatic lens angle and simplifying the background, which is what you see in the photo below.

electric scooter in sicily

G11: Change of angle + darker background = more drama.

I said this isn’t a camera review, but I have to say I was very impressed with the G11 once I’d learned how to squeeze every ounce of quality out of its tiny chip. It’s not as quick as an SLR, but if you can anticipate well it’ll give you results you’d find surprising. I love that I can trigger my portable studio lighting using wireless triggers on the G11’s hotshoe, and that I can fire flash at higher shutter speeds than are available in normal flash modes on the D5. The only downside is that pulling the image up to 100% on screen shows the quality difference between the G11 with its tightly packed 10 million pixels, and the D5 with 12.8 million with more room to breathe on a bigger chip, but for web images it’s stunning.