Prairie Light Images

It’s all about the eyes: 3 tips for eye catching portraits

Catching the eyes just right can turn a good portrait into a fantastic one.  Sometimes feels like it is easier said than done.  Waiting for that “just right” look harkens to Henri Cartier-Bresson’s “decisive moment” when all of the elements for a great photo come together in a split second and the photographer has to push the shutter without a moment’s hesitation.  But, as in most things photographic, preparation plays a huge role in our relative success rates, and taking a few pre-planned actions before even focusing the camera can increase the chances of getting the eyes that talk to you.

1)  Use the single area Auto Focus on your camera

Most cameras default to the matrix focus feature and many photographers never change it.  The matrix focusing is designed to let the camera use its built-in exemplar database to compare the composition of the scene and select the best combination of focus point and exposure.  Unfortunately, when using a narrow depth of field (that is, wide open aperture) the point of focus can become more of a lottery than you really would like.  The camera may (and often will) select a focus point other than the one you would like because it has to make a decision about relative contrasts and what is the easiest element of the scene to focus on within the database parameters (such as a chin, nose or other facial feature).  If using a narrow aperture, this will not necessarily pose a real problem as most of the face will be in acceptable focus.  When using a wide aperture, however, the depth of field becomes much narrower such that the difference between focusing on the eye vs. the nose can make a portrait look just a little strange (unless you intended to focus on the nose)

The single area AF feature of your camera is designed to let the user determine where the focal point will occur within the frame.  It takes a few seconds to position the focus element in the right position of the viewfinder, but once there, placing that element over the subject’s eye will ensure that that is the feature that will be locked onto when the autofocus is activated and the shutter is pressed.   In the picture above, you can see where I had positioned the focal element for this photo session, resulting in a beautiful capture of those baby blues.

2) Make multiple exposures.

I need to distinguish between the term making multiple exposures and relying on the multi-frame rapid fire mode of your camera.  Use of the multi-frame rapid fire mode is often just a lazy, pray and spray kind of approach that “might” get you the image you are looking for.  While the statistics might work in your favour occasionally, I do not believe in leaving portraiture to chance.  My concept of making multiple exposures is to take careful focus, make the shot, then repeat.  Each repetition should be an independently composed photograph where you wait for the right look and make that decision to capture the image.  I like to make several exposures, especially when using a narrow depth of field, to make sure that I have a good capture.  Sometimes the subject moves, sometimes the photographer moves or jiggles the camera and sometimes the subject just changes their expression (especially in candid photography).  By taking multiple exposures in a short timeframe I increase my odds of making a quality capture under the best possible conditions.

3) Try to include catchlights in the eyes

Catchlights are those reflections of the light source you can see in the eyes of the subject.  They tend to add that sparkle to the eyes that make them jump out at the observer.  While you can still have excellent portraits without catchlights (indeed, some portraitists prefer to not include catchlights in their excellent work), I tend to think they add a lot to portraits of children especially.  Lack of catchlights lend a serious element to the subject which is often not appropriate for some subjects.  In the end this is an artistic choice some of the time, but can also be a necessity of the lighting conditions of the photo.

When using artificial lighting or flash or reflectors for fill lighting, the catchlight is easy to include with care.  When using natural light in candid situations, sometimes it is just not possible to get a proper catchlight without repositioning yourself to make the shot.

 

Above all, be patient

As in most types of photography, patience yields the best results.  This often works better when making candid photos.  In a more formal portrait session, the subject will be more self conscious and you will have to find a way to relax them.  Take a page from the fashion photographer’s arsenal and have your subject go through a set of motions that you can prescribe, like picking up a prop and looking at it and then turning to look at the camera.  Just don’t be in a rush to move on to the next photo until you have given the subject a chance to open up to the possibility of giving you that decisive moment.

They eyes are the windows to the soul.  Capturing the eyes can give us a more intimate glimpse into the unique individual being photographed.  As photographers, we need to respect the soul of the subject and not neglect it.

What techniques do you find helpful in getting great portraits?  Let us know in the comments section.

 

 

Posted on Wednesday, October 5th, 2011 at 8:32 pm. Filed under: Photography, portraits, the art of photography Tags: criticism, Flash, light modifiers, lighting, Photography, technique RSS 2.0 feed.