How do I make people relax in front of the camera?
November 22, 2008 8:19 AM Subscribe
How do I take better portraits? No, wait - how do I make people more comfortable around me and my camera so that portraits turn out better? I'm thinking in informal situations, like parties, protests, etc.
I just got my first DSLR, and while I'm not totally new to photography I'm just now getting used to working without the constraint of film or a point and shoot camera. I guess this is less a photography question than a social skills one - How do I make people comfortable enough that they don't give me fake smiles or try too hard to ignore the camera? What do I say to get them to relax when they know I'm taking a picture?
I just got my first DSLR, and while I'm not totally new to photography I'm just now getting used to working without the constraint of film or a point and shoot camera. I guess this is less a photography question than a social skills one - How do I make people comfortable enough that they don't give me fake smiles or try too hard to ignore the camera? What do I say to get them to relax when they know I'm taking a picture?
I have a few tricks that I use.
If they see me and turn my way and smile, sometimes I will just shoot it, walk away then come back a minute later. If they do it again, then I just straight up tell them, I am looking for candid here.
The other one is if they notice me turn and smile or react to me, I just wait. Camera up, still pointed at them. They will usually look around and try and figure out what you are pointing at, then forget about you. Another way to get them to look away from you is to keep the camera pointed at them but pull your face away and look off to the side like something just caught your attention. The subject will usually follow you or ignore you and go back to what they were doing. Then I just shoot and scoot.
Lastly I will sometimes just not shoot it if they stop and look at me. I just walk away. Seems kind of rude but you can pretend like you didn't notice them by acting like you were looking at something behind them or whatever. Then come back and hope they have gotten used to you.
Really the best way to get what you are after is to work fast. Line up the shot, compose it click and move on.
One thing for sure though is you can't always hide behind the camera. If people want to engage you, then talk to them, tell them what you are doing and why you are doing it. If you are just slinking around with the camera and using all the above tricks without occasionally chatting with people and smiling at them or whatever then it just won't work. That is the one thing I love about photography, I get to meet a lot of people who I normally never would have talked to because I am pretty reserved without a camera around my neck.
posted by WickedPissah at 8:40 AM on November 22, 2008 [2 favorites]
If they see me and turn my way and smile, sometimes I will just shoot it, walk away then come back a minute later. If they do it again, then I just straight up tell them, I am looking for candid here.
The other one is if they notice me turn and smile or react to me, I just wait. Camera up, still pointed at them. They will usually look around and try and figure out what you are pointing at, then forget about you. Another way to get them to look away from you is to keep the camera pointed at them but pull your face away and look off to the side like something just caught your attention. The subject will usually follow you or ignore you and go back to what they were doing. Then I just shoot and scoot.
Lastly I will sometimes just not shoot it if they stop and look at me. I just walk away. Seems kind of rude but you can pretend like you didn't notice them by acting like you were looking at something behind them or whatever. Then come back and hope they have gotten used to you.
Really the best way to get what you are after is to work fast. Line up the shot, compose it click and move on.
One thing for sure though is you can't always hide behind the camera. If people want to engage you, then talk to them, tell them what you are doing and why you are doing it. If you are just slinking around with the camera and using all the above tricks without occasionally chatting with people and smiling at them or whatever then it just won't work. That is the one thing I love about photography, I get to meet a lot of people who I normally never would have talked to because I am pretty reserved without a camera around my neck.
posted by WickedPissah at 8:40 AM on November 22, 2008 [2 favorites]
I've heard a good technique is to have the subjects close their eyes and then open them on a count of three, snap the pic on the four count.
The way I take photos is to set my camera to take multiple shots at once. But that's generally because I'm snapping children in action.
As for what to say, Cheese is passe and, I think, causes some people to tense up which doesn't make for a good photo at all. I try something they aren't expecting, like Hassenfus or Monkey dance or Pillow fight.
posted by fenriq at 8:40 AM on November 22, 2008
The way I take photos is to set my camera to take multiple shots at once. But that's generally because I'm snapping children in action.
As for what to say, Cheese is passe and, I think, causes some people to tense up which doesn't make for a good photo at all. I try something they aren't expecting, like Hassenfus or Monkey dance or Pillow fight.
posted by fenriq at 8:40 AM on November 22, 2008
I always think about this.
posted by These Premises Are Alarmed at 8:41 AM on November 22, 2008 [1 favorite]
posted by These Premises Are Alarmed at 8:41 AM on November 22, 2008 [1 favorite]
Oh and at a protest, people expect to be photographed so they will usually ignore you. If they don't then move on to someone else that will.
posted by WickedPissah at 8:42 AM on November 22, 2008
posted by WickedPissah at 8:42 AM on November 22, 2008
I've found that I actually take worse portraits with a DSLR. My subjects tense up and it may be due to the fact that the camera is so weighty and imposing, and this translates to losing that intimacy with the subjects.
However, I do like AV's suggestion to get your subjects used to the camera enough to ignore it.
posted by cazoo at 9:01 AM on November 22, 2008
However, I do like AV's suggestion to get your subjects used to the camera enough to ignore it.
posted by cazoo at 9:01 AM on November 22, 2008
Get comfortable enough with your camera's operation so that you at least look like you know what you're doing. Really.
You're only going to get so many great fleeting "looks" from your subjects, so you want to be able to take advantage of them when they happen.
Having been in the business for many years, I can nearly always differentiate a legitimate working photographer from the legions of others at public events regardless of the equipment being used. The pros' eyes are usually surveying the scene looking for the next great moment, and they're subtly making camera setting changes, etc. on the fly.
The amateurs are either chimping their last shots or digging into a bag to figure out which lens to mount next.
The pros will tend to have an air of belonging around them. When they see a shot the camera comes up to the eye and the picture is taken before most people even realize it. Then, the photographer is looking for the next great shot. They tend to move around the venue in a smooth low key motion; always on the prowl.
Also, force yourself to be uninhibited. If I'm shooting a corporate event, I'll say pretty much anything to my subjects to make them relax, or to ignore me if that's what I'm after.
If I'm shooting environmental portraits and don't want my subject making eye contact with the camera, I'll sometimes say, "Don't just look here and talk to me, you're leaving out my imaginary invisible friend who's also part of this conversation". I'll then gesture to my right or left where my imaginary invisible friend is standing.
posted by imjustsaying at 9:07 AM on November 22, 2008 [2 favorites]
You're only going to get so many great fleeting "looks" from your subjects, so you want to be able to take advantage of them when they happen.
Having been in the business for many years, I can nearly always differentiate a legitimate working photographer from the legions of others at public events regardless of the equipment being used. The pros' eyes are usually surveying the scene looking for the next great moment, and they're subtly making camera setting changes, etc. on the fly.
The amateurs are either chimping their last shots or digging into a bag to figure out which lens to mount next.
The pros will tend to have an air of belonging around them. When they see a shot the camera comes up to the eye and the picture is taken before most people even realize it. Then, the photographer is looking for the next great shot. They tend to move around the venue in a smooth low key motion; always on the prowl.
Also, force yourself to be uninhibited. If I'm shooting a corporate event, I'll say pretty much anything to my subjects to make them relax, or to ignore me if that's what I'm after.
If I'm shooting environmental portraits and don't want my subject making eye contact with the camera, I'll sometimes say, "Don't just look here and talk to me, you're leaving out my imaginary invisible friend who's also part of this conversation". I'll then gesture to my right or left where my imaginary invisible friend is standing.
posted by imjustsaying at 9:07 AM on November 22, 2008 [2 favorites]
I tend to tense up around cameras. The best photographers are those who both keep taking pictures and keep talking with me as they're doing so. That way, I begin to disregard my feelings of total awkwardness and instead focus on the conversation. Don't just take one picture and move on, though--the first couple are bound to be a little stiff, until your subject gets comfortable.
This entails having a certain level of expertise with your camera, of course, so that you can do both things at once.
posted by PhoBWanKenobi at 9:30 AM on November 22, 2008
This entails having a certain level of expertise with your camera, of course, so that you can do both things at once.
posted by PhoBWanKenobi at 9:30 AM on November 22, 2008
I usually only do portraits of people I know well, street photography being something I'm still kinda shy about. (Ok, TOTALLY shy about.) I whip out the DSLR and have it hanging it around before I start snapping, generally that will induce conversation *about* the camera. I invite my friends to snap a pic or two if they want.
That breaks the "OMIG-D there's a CAMERA" ice. And generally, I can get people to just go with it when I DO get the camera out. Of course, people still tense up, but if anyone looks posed, I just won't shoot. End of story. I also work a lot with children and "pretend" to take a picture when they pose, to make them happy, and then take the real photos once the "CHEESE" face has been dropped. And yes, keep talking. The camera just becomes a sort of weird facial tic instead of an intruder on the conversation after a while.
I use "action mode" when doing any photos of people - fast fast fast shutter and 3-4 shots fired off at once. I can do a few quick shots this way and generally get ONE that's in focus with no one blinking.
Best of luck, this is certainly one area of photography where I'm still trying to hone my own skillz!
posted by grapefruitmoon at 9:57 AM on November 22, 2008
That breaks the "OMIG-D there's a CAMERA" ice. And generally, I can get people to just go with it when I DO get the camera out. Of course, people still tense up, but if anyone looks posed, I just won't shoot. End of story. I also work a lot with children and "pretend" to take a picture when they pose, to make them happy, and then take the real photos once the "CHEESE" face has been dropped. And yes, keep talking. The camera just becomes a sort of weird facial tic instead of an intruder on the conversation after a while.
I use "action mode" when doing any photos of people - fast fast fast shutter and 3-4 shots fired off at once. I can do a few quick shots this way and generally get ONE that's in focus with no one blinking.
Best of luck, this is certainly one area of photography where I'm still trying to hone my own skillz!
posted by grapefruitmoon at 9:57 AM on November 22, 2008
Shoot a lot of pictures. People soon get used to it. I wouldn't try to direct them at all. If they pose, shoot. But reposition and shoot again to get a candid. They will stop posing. Be friendly, smile, chat, then move on.
On the mechanical side, learn to use manual focusing and hyperfocal distance. If you set your focus and aperture to manual, you can take a great range of photos without messing with the focus at all. Auto-focus works pretty good these days, but there are times it can slow you down, such as dim light, movement, low contrast, etc.
This depth of field table will come in handy, especially now that most lenses don't include markings on the barrel. For example, my Nikon D40, if focused at an object 4 feet away, at f 8 will yield anything from 2' 6.1'' to 9' 10'' in-focus. This would allow me to shoot very quickly, maybe even literally from the hip.
If possible, shoot without flash. My favorite thing about DSLRs is the ability to shoot at high ISO settings with good results.
posted by Fuzzy Skinner at 10:21 AM on November 22, 2008 [1 favorite]
On the mechanical side, learn to use manual focusing and hyperfocal distance. If you set your focus and aperture to manual, you can take a great range of photos without messing with the focus at all. Auto-focus works pretty good these days, but there are times it can slow you down, such as dim light, movement, low contrast, etc.
This depth of field table will come in handy, especially now that most lenses don't include markings on the barrel. For example, my Nikon D40, if focused at an object 4 feet away, at f 8 will yield anything from 2' 6.1'' to 9' 10'' in-focus. This would allow me to shoot very quickly, maybe even literally from the hip.
If possible, shoot without flash. My favorite thing about DSLRs is the ability to shoot at high ISO settings with good results.
posted by Fuzzy Skinner at 10:21 AM on November 22, 2008 [1 favorite]
When I want a smile from someone (so not a candid, as they were shot), I'll vamp, completely over the top:
"Oh yeah, baby, show me what you got, that's gorgeous, you're a STAR, keep it going, hold that pose, BRILLIANT."
When you keep going like that, they inevitably start laughing and their real smile shows through, even if it's a bit embarrassed at first, because they're actually laughing and not just holding a terrible grin. Works every time.
posted by disillusioned at 11:12 AM on November 22, 2008 [1 favorite]
"Oh yeah, baby, show me what you got, that's gorgeous, you're a STAR, keep it going, hold that pose, BRILLIANT."
When you keep going like that, they inevitably start laughing and their real smile shows through, even if it's a bit embarrassed at first, because they're actually laughing and not just holding a terrible grin. Works every time.
posted by disillusioned at 11:12 AM on November 22, 2008 [1 favorite]
When people don't know you're there, because they're focused on something else (i.e. events and protests) it seems easier to just focus on the photo and deal with the people as an afterthought. For example-- my first documentary project, I shot at a senior's home. The first day, I felt really awkward because they were all staring at me, this random person with a camera. The second day, I was sitting in on an exercise class, saw a really cool photo, and just started snapping. When I finally came up for air I realized they were all staring at me, but I got over the awkwardness, because I got a good photo out of it. Eventually, when people realize you're there to take pictures, they'll get used to the camera and you'll blend in.
When it's more of a one-on-one situation, like an EVP, I find it's best to actually tell the subject(s), "pretend I'm not here." In a recent meeting with a photo editor I was told to do things like ask them to look down the street, if you want them to turn away from the camera. There's always going to be a level of control in a portrait like that, and it's not going to be truly candid, but it doesn't have to be posed, either.
posted by riane at 11:14 AM on November 22, 2008
When it's more of a one-on-one situation, like an EVP, I find it's best to actually tell the subject(s), "pretend I'm not here." In a recent meeting with a photo editor I was told to do things like ask them to look down the street, if you want them to turn away from the camera. There's always going to be a level of control in a portrait like that, and it's not going to be truly candid, but it doesn't have to be posed, either.
posted by riane at 11:14 AM on November 22, 2008
If you plan to take a lot of pictures of people you know well - friends, family - I think it helps if you respect your subjects (so to speak.)
I take a ton of pictures when doing things with friends, and at first they were nervous about the camera. But I don't put bad pictures of people online and I always try to take pictures that I think they'll really appreciate. So now when they see me taking photos they are okay with being natural and not posing or running away because (I think) they know I won't be a jerk about what I take and post.
posted by Solon and Thanks at 11:29 AM on November 22, 2008
I take a ton of pictures when doing things with friends, and at first they were nervous about the camera. But I don't put bad pictures of people online and I always try to take pictures that I think they'll really appreciate. So now when they see me taking photos they are okay with being natural and not posing or running away because (I think) they know I won't be a jerk about what I take and post.
posted by Solon and Thanks at 11:29 AM on November 22, 2008
Buy a fast prime--Canon (and I think Nikon) makes a 50mm 1.4. Buy that. I hate using flash, and nothing is more likely to stop subjects from acting natural. Hey! Bright Flash=Camera Time! You'll be surprised at how much light you can squeeze out of a 1.4. You can pick up the Canon 1.4 used off of Craigslist for $250 or so and it is, in my opinion, a fantastic lens. If $250 is too pricey, you can pick up Canon's 1.8 (which is not as solidly made) for maybe $75 used.
Then...
When you're using a prime lens, familiarize yourself with the concept of hyperfocal distance and use it to set the focus on your camera instead of the AF. At any given f-stop, there is a distance (the hyperfocal distance, natch) beyond which everything is in focus, and half the distance in front is in focus. That sounds confusing, but take this example: if you are using a 50mm lens at f16, the hyperfocal distance is 17.3 feet. This means everything 8.65 feet away from you (i.e., half the hyperfocal distance) and further will be in focus.
The shorter the lens, the shorter the hyperfocal distance. The smaller the aperture, the shorter the hyperfocal distance.
Knowing about hyperfocal distance is particularly useful for street photography where you may have better light, allowing you to step down the aperture and reduce the hyperfocal distance). Why? Because you can always shoot right from the hip. AF will often pick up the wrong thing, if left to its own devices. But the hyperfocal distance produces a constant result. You almost don't even need to look through the viewfinder: just point in the right direction, and click. Because you don't need to have the camera to your eye, it makes it seem less like a picture is being taken, and people stay more relaxed.
Here's a site that calculates the hyperfocal distance for you given different variables. There will be a mark on the barrel of a prime lens to show the hyperfocal distance at different apertures. The principle applies to zooms, too, but the distances are not marked on the barrel.
posted by Admiral Haddock at 8:44 PM on November 22, 2008 [3 favorites]
Then...
When you're using a prime lens, familiarize yourself with the concept of hyperfocal distance and use it to set the focus on your camera instead of the AF. At any given f-stop, there is a distance (the hyperfocal distance, natch) beyond which everything is in focus, and half the distance in front is in focus. That sounds confusing, but take this example: if you are using a 50mm lens at f16, the hyperfocal distance is 17.3 feet. This means everything 8.65 feet away from you (i.e., half the hyperfocal distance) and further will be in focus.
The shorter the lens, the shorter the hyperfocal distance. The smaller the aperture, the shorter the hyperfocal distance.
Knowing about hyperfocal distance is particularly useful for street photography where you may have better light, allowing you to step down the aperture and reduce the hyperfocal distance). Why? Because you can always shoot right from the hip. AF will often pick up the wrong thing, if left to its own devices. But the hyperfocal distance produces a constant result. You almost don't even need to look through the viewfinder: just point in the right direction, and click. Because you don't need to have the camera to your eye, it makes it seem less like a picture is being taken, and people stay more relaxed.
Here's a site that calculates the hyperfocal distance for you given different variables. There will be a mark on the barrel of a prime lens to show the hyperfocal distance at different apertures. The principle applies to zooms, too, but the distances are not marked on the barrel.
posted by Admiral Haddock at 8:44 PM on November 22, 2008 [3 favorites]
Well... you can put a long lens on and shoot from afar for candids. That way you're not, you know, in their face which helps a lot with the relaxing.
And closer up... beer gets my vote. For real. Wait til you're a few drinks into the party before whipping out the massive SLR. People will be a lot more chilled out. And if you have a few beers yourself you'll loosen up too and be less self conscious about taking pics with your Giant Camera. Or, uh, that's what I hear.
In the absence of beer, you could encourage people to muck around while you shoot on burst. It's worked well for me with groups that I'm wrangling together for, you know, a group shot. Set your friends up how you want them, joke around a bit to get them loosened up and talking, and fire away. The trick is to keep them talking/laughing/moving around as you shoot. Depending on what your friends are like ask them to sing, tell you their names, tell you how much they hate having their photo taken, anything to keep them in motion. You'll get a lovely candid effect, especially if you can get the group laughing and talking with *each other* instead of grimacing at the camera.
As far as what you can say to make people comfortable, I take pics of a wide cross section of people in a bunch of different situations for work. Everybody has the same concerns. These are i) they'll look ugly/stupid in the pic ii) they'll look ugly/stupid in the pic and iii) they'll look ugly/stupid in the pic.
Your friends are no different. Do what you can to allay their fears. I've found it helpful to kind of make a game of it, let them see the shots, let them take a shot of me, take shots of them with whoever they want to pose with, promise (sincerely) I'll only use the nicest pics and so on.
And beer.
Caveat. Do not have so many beers that you drop your shiny new toy.
posted by t0astie at 2:23 AM on November 23, 2008
And closer up... beer gets my vote. For real. Wait til you're a few drinks into the party before whipping out the massive SLR. People will be a lot more chilled out. And if you have a few beers yourself you'll loosen up too and be less self conscious about taking pics with your Giant Camera. Or, uh, that's what I hear.
In the absence of beer, you could encourage people to muck around while you shoot on burst. It's worked well for me with groups that I'm wrangling together for, you know, a group shot. Set your friends up how you want them, joke around a bit to get them loosened up and talking, and fire away. The trick is to keep them talking/laughing/moving around as you shoot. Depending on what your friends are like ask them to sing, tell you their names, tell you how much they hate having their photo taken, anything to keep them in motion. You'll get a lovely candid effect, especially if you can get the group laughing and talking with *each other* instead of grimacing at the camera.
As far as what you can say to make people comfortable, I take pics of a wide cross section of people in a bunch of different situations for work. Everybody has the same concerns. These are i) they'll look ugly/stupid in the pic ii) they'll look ugly/stupid in the pic and iii) they'll look ugly/stupid in the pic.
Your friends are no different. Do what you can to allay their fears. I've found it helpful to kind of make a game of it, let them see the shots, let them take a shot of me, take shots of them with whoever they want to pose with, promise (sincerely) I'll only use the nicest pics and so on.
And beer.
Caveat. Do not have so many beers that you drop your shiny new toy.
posted by t0astie at 2:23 AM on November 23, 2008
1. Pay them 2. Treat it like a game 3. For smiling, tell them to cut it out.
posted by xammerboy at 12:31 PM on November 23, 2008
posted by xammerboy at 12:31 PM on November 23, 2008
My favorite trick... well... this isn't one for the kids but it's great with adults. Say this as everyone is lined up looking at your camera: "Okay everybody! One... Two... Three... Say 'Penis!'" No one expects it and they all burst into a huge, real, smile.
posted by chairface at 8:09 PM on November 23, 2008
posted by chairface at 8:09 PM on November 23, 2008
With my friends, I've been taking pictures for so long they are all comfortable around me and my camera. With strangers, it's obviously much harder to build up that level of comfort. Just having a camera out and snapping will eventually get people around you used to the idea you are taking photos. People will eventually stop paying attention and just get about what they are doing -- assuming you are reasonably unobtrusive.
That said, DSLRs are usually giant and obnoxious, so I think it's harder to get a good portrait with them. You'll probably have better luck getting candid shots with smaller and less intimidating cameras.
Also, when it comes to shooting candids with a long lens, you can sometimes get cool shots, but I think it's hard to avoid being creepy.
posted by chunking express at 9:01 AM on November 25, 2008
That said, DSLRs are usually giant and obnoxious, so I think it's harder to get a good portrait with them. You'll probably have better luck getting candid shots with smaller and less intimidating cameras.
Also, when it comes to shooting candids with a long lens, you can sometimes get cool shots, but I think it's hard to avoid being creepy.
posted by chunking express at 9:01 AM on November 25, 2008
This thread is closed to new comments.
posted by AV at 8:37 AM on November 22, 2008