LF Portrait Photographers: How do you put your subjects at ease?

[theBDT]

Howdy all. As some of you may have noticed in the portrait threads, I've been trying my hand at a lot of large format portraits lately. In my most recent one, more than one of my friends commented that the subject looked a little uncomfortable. This brought me to a realization: it was much easier for me to establish a rapport with subjects using a dSLR than with my 4x5. With the dSLR, there was less than a second between when I focused on their eye and when I took the shot; they didn't have TIME to grow uncomfortable, and I could afford to burn 10 or 20 shots just getting them desensitized to the shutter clicks and the process.

As I'm sure you all are aware, a LF portrait is a much more involved affair. After establishing the best lighting/pose I can, I have to focus on an eye on the ground glass, THEN tell the subject to remain as still as possible, THEN cock the shutter and select the aperture, THEN insert the film and remove the darkslide, and FINALLY trip the shutter. I can only imagine that this whole process is more intimidating to the subject. It also kind of blocks my "flow" as a photographer; before I could dance around the subject, nudging the lights here and there, all the while receiving instant feedback. NOW, it's all about previsualization (which is cool, just takes getting used to). I have to walk around the subject, virtually stalking them, to come up with an angle I find appealing; then I have to get them to move their body to align that angle with the camera, and then I adjust the lighting and begin the process of actually taking the picture.

I've found my best LF portraits, so far, have been with people I've known for quite awhile. My worst ones have been with acquaintances from school, whom I've only known superficially. Since I obviously can't be bosom-buddies with every subject I come across, what would you all recommend? What are good tricks and techniques to break the ice, and make the subject feel more natural, in spite of the fact that they will have to freeze their pose for upwards of 30 seconds (or more)?

Thanks for any help you can offer

[Daniel Stone]

you could pull a Karsh: get together and have a cup of tea? or coffee, or soda, or watch some football,etc...

http://findarticles.com/p/articles/m...1/ai_13382725/

-Dan


p.s. most people(including my close friends, who know me well), still aren't comfortable in front of the 8x10. 4x5 somewhat, but 8x10 scares the daylights out of them, until I show them the contact prints . showing a portfolio of some images you've taken generally loosens people up a bit from what I've found, because they have a somewhat-clear understanding of what you're wanting to get out of them.

are you shooting available light-wide open?

[Thom Bennett]

One of the most important things is to know your equipment so well that operating it is second nature and you are able to move fluidly from one task to the next . Equally important is talking to your subject, letting them know what you are doing, complimenting them, finding some common ground, etc. Another thing I do is let them look through the ground glass with me as the sitter. This always evokes oohs and aahs and they get a feel for what is actually going on behind that big camera.

I think the things you mention about the process of actually taking a large format portrait - composing, focussing, closing the lens, cocking the shutter, pulling the darkslide, etc. - can actually be a much more relaxing session for a sitter than someone aiming a telephoto lens at them and having a motor drive whining away with the photographer hidden behind the camera. Once everything is set for a large format portrait I like to stand right next to the lens and really watch what is going on with the subject. It's a great collaborative effort because they actually have to be engaged in the process for it to be successful.

Good luck!

[Heroique]

One of the most important things is to ... move fluidly from one task to the next ...

An oft-overlooked & important point.

Confident and reassuring "body" language helps create a comfortable atmosphere.

Much like the influence of a doctor's bed-side manner...

[Walter Calahan]

I make them sit on pins and needles. Grin.

I talk to them.

[sultanofcognac]

I get my subjects from the morgue – have never had a problem or complaint (although odors and flies can be somewhat distracting )

[cjbroadbent]

I agree with Thom Bennet and can add a bit.
Models appreciate rhythm. Easy enough with MF and slow flash but even then someone else has to load. I've found that ordinary people appreciate shooting rhythm too. At present I'm shredding hundreds of 4x5 FP4 and I remember the sessions.
A Prontor shutter. A loader to insert the holders. A stool next to the camera where to sit and encourage the model. If you are doing it right you sound like an auctioneer.
The model stands on a phone book or whatever and thus stays in frame and in focus. I shoot some empty holders,'french film', to get the model into the swing of it and keep the rhythm. (slow and easy for 8x10 - I never shoot more than 10 sheets, faster for 4x5).
Last thing. I always set up with a stand-in. I don't light the model, she lights herself - turning her nose this way and that. The light is just there, immutable, like the camera, from the moment the model walks in.
No assistant? Trained wives and daughters are more reliable. They care.

[Miguel Curbelo]

I stand or sit where they will do so and ask them to get under the darkcloth and get me in focus; the longer it takes them, the more cooperative or the less uncomfortable they tend to be once we exchange places. I like it -and I think they do too- when we both feel the portrait is a joint effort.

[Ed Richards]

> Trained wives and daughters

Things must be different in Italy.:-)

[David de Gruyl]

I stand or sit where they will do so and ask them to get under the darkcloth and get me in focus; the longer it takes them, the more cooperative or the less uncomfortable they tend to be once we exchange places. I like it -and I think they do too- when we both feel the portrait is a joint effort.

What an interesting idea...

For me, most of my large format portraiture has been with a press camera and flash / strobes... I can operate it almost as fast as a medium format camera. Possibly faster.

I recently got an 8x10 behemoth. Aside from having nowhere near enough film holders to convince the sitter that this is serious (I have 4, which is plenty for my wallet and developing time), it really never occurred to me just how much time bellows extension adds to an exposure.

So, I'm learning a method, too.