I Still Shoot Film

As a professional photographer, people will ask you to shoot all sorts of things… and it won’t always be gorgeous models or extremely interesting street scenes. One of the biggest sources of revenue for me personally is in shooting portraits of regular people who need photos for all sorts of things. I also get asked by magazines to shoot regular people for lifestyle stories, so it’s important to get a final image that looks natural and not contrived. The problem is that most people are not very comfortable being photographed, which makes getting a natural looking portrait somewhat of a challenge.

Personally, I am not a big fan of portraits that look stiff or posed. Sometimes it can work in the right context, but more often than not it looks awkward. There are several things that I do to avoid this while keeping my subject feeling comfortable:

1. Get to know your subject.

(Emeline Piot, Fashion Stylist)

I always, always, always talk to the person I’m photographing. About life. About music. About the weather. Whatever. I like to get a conversation going because it gets a rapport going - and a photographer must have a rapport with the subject. Talking helps people relax and frequently helps you learn something about them which can in turn  help you make a stronger portrait. I would say I chat with subjects for at least 15 minutes before I even take out my camera. That way the ice is broken before we start shooting.

The above image is of Emeline Piot, a very talented (and adorable) fashion stylist based here in Paris, who I was photographing for Marie Claire. It turns out that Emeline hates to have her picture taken, so I wanted to make her as comfortable as possible. We joked and talked about life while I photographed her for a couple of hours, and at the end of the shoot I had her sit down at a cafe and that’s how I got this shot. After she felt comfortable.

2. Allow some prep and warm-up time.

(Alexandra Guerre-Joly, Photo Editor, BE Magazine)

The worst thing you can possibly do on a portrait shoot is to show up and whip out your camera. One key to shooting a “natural” looking portrait is evaluating the space you are shooting in, whether it be outside, at the subject’s home, or at the subject’s office. If you don’t take the time to choose a good setting for your subject and analyze available light in relation to that setting, your portraits will look rushed and awkward. It may actually even take you longer to shoot rather than if you had just spent 20 minutes looking around in the first place. 

For the above shot, the story was on successful women who are addicted to shoes. After touring Alexandra’s gorgeous Parisian apartment, I decided that in front of her shoes was quite fitting.

3. Movement is a good thing.

(Isabel Marant, Fashion Designer)

As photographers, we often want our images to be as crisp and sharp as possible. But alas, straying from the scholarly path can actually make for a great portrait. I had the pleasure of shooting Isabel Marant a few years back and, while I have many other shots of her, this one is my favorite. For me, the movement and motion blur are what makes it a “real moment.”Try walking around with your subject and photographing them at the same time. Sometimes, mid-action makes a far better portrait than if the subject were still.

4. It’s OK to smile.

Many portrait photographers have a profound belief that asking your subject to smile makes for a cheeeeeeeezy portrait - which is not technically untrue. Except for the fact that 9 times out of 10, if you send a client a smiley photo within the selection they take it. Take the previous photo of Isabel Marant for example: the fact that she’s laughing makes it happy. And fun.

Instead of going for dead-on cheese, ask your subject to fake laugh. It sounds stupid, but it really works. You can also tell jokes if you think you’re funny enough to make the subject laugh naturally. Not all photographers are funny. Keep this in mind.

5. Provide direction.

(Valerie Laderriere, Creative Director, L’Oreal China)

Most people don’t know which is their good side, bad side or best angle. They also don’t know if they have a weird mouth or eye twitch every time you press the shutter. Providing your subject with ample direction helps you get the shot while helping your subject feel reassured. I usually tell my subjects to follow my finger with their nose, chin or eyes to get the exact position I want. For portraits, it’s important to pay attention to details such as hand position (claw hands are the worst), slouchy shoulders or bulging fabric. It’s the type of thing that can ruin your portrait when you think it’s great, and you only realize when it’s too late.

For more photography help and how-to’s, check out I Still Shoot Film’s Help & How-To page.

Step 1: Choose a local one-hour photo lab that still sells and processes film (as in 4x6 prints for the old ladies that still order them)

Step 2: Be super friendly and establish a relationship with the lab’s owner or manager. 

Step 3: Pay attention to which films are not selling.

Step 4: Ask if they have any expired or extra film that they’d be willing to sell at a discount. Offer to buy in bulk. 

Step 5: Jackpot!

UPDATE:

Did everyone see this:

(Source: istillshootfilm.org)

In the words of Aretha Franklin, “THINK.” Stop and reflect upon your shot for a minute. Is there a better angle? Are you shooting from the best location? Compose your photograph instead of just pulling a point and shoot. (This is one of the reasons I love shooting film, because you are restricted in your number of shots, so you make each one count)

Stop testing exposure limits. You all know what I’m talking about. Switching your ISO on your DSLRs to super high even though you know you will hate the noise afterward… Opening your shutter and pretending your body is strong enough to prevent camera shake… You know when you don’t have enough light, and you need to respect that.

Get close. Using a telephoto lens may be appropriate for wildlife and sports photography, but in many cases it actually separates you from your subject - which prevents your photograph from creating a connection. Try shooting with a lens that doesn’t extend over 50mm to force yourself to get close to your subject.

Use a light meter. This goes for you too, my digital pumpkins… if you think that looking at the screen on the back of your camera is sufficient for determining a correct exposure, you are mistaken. When you use a light meter, meter the four corners of your frame and various angles of your primary subject to get an accurate stop range.

Ask permission. Fear of bothering people is one of the main things that prohibits photographers from getting the shot they really want… but you would be surprised how often people say, “yes” when you just ask.

(Source: istillshootfilm.org)

(or how to wing it with a camera you don’t know how to use)

If you’ve never shot film before, or if you’re working with a camera you don’t really know how to use, there are shortcuts to help you get to the gratification of shooting without so many calculations. Obviously, these are shortcuts and do not replace actual learning, but they can definitely helpful for trying out a film camera that you have never used before.

1. Shoot black and white: black and white film is way more forgiving, you have a full 5 stops of “error margin” that will still capture information. With color negative film you have 3, and with slide film you have 1 1/2 (this is in part why slide film is considered “professional” since it requires an exact exposure). If you don’t know what you’re doing or you don’t know your camera yet, you are much more likely to end up with printable images if you shoot black and white.

2. Shoot in broad daylight outside: maybe not high noon, but shoot during the day when there’s plenty of light. Low light situations are tricky, so avoid shadows and interiors at first or you’ll probably end up with a super underexposed roll, and that sucks. This is a major one for me when I test out vintage cameras, because you can also see if there are any leaks in the seals or foam and get a clear sense of the definition at a higher f-stop.

3. Use the Sunny 16 Rule: If you don’t know how to use your meter, or it doesn’t work, or you don’t have one, this trick is a life-saver.

“On a sunny day set aperture to f/16 and shutter speed to the [reciprocal of the] ISO film speed.”

Let me translate (dummy style just in case): f/16 is an aperture number on the lens, shutter speed is on top, and ISO is the number printed on the film. For example, Ilford Delta 400 has an ISO of 400. [I’ve posted articles explaining aperture and ISO for those who are interested]

An example of the Sunny 16 Rule would be: For film with an ISO of 100, aperture at 16 and shutter speed at 1/100 or 1/125 (depending on your camera)

ISO 400 would be f/16 at 1/500 (unless your camera miraculously has 1/400)

Here’s a handy daylight exposure guide guide from the inside of some Fuji Provia (ISO 100):

4. Bracket: This is a technique taught in ALL photography classes, and it’s actually pretty useful if you really want to be sure to get “the shot.” Basically, shoot one stop at the “correct” exposure, then shoot one stop up and one stop down. For example, if you were following the Sunny 16 Rule (and you really, really, really wanted to be sure to have a great photo) you could bracket like so:

ISO 400 - 1 shot @ f/16, 1/500; 1 shot @ f/22, 1/500, 1 shot @ f/11, 1/500

(you could also bracket by changing the shutter speed instead of the aperture)

5. Avoid Portraits (just at first): I know, I know this sounds horrible, but really if you’re learning how to use film (or a new camera) the biggest challenge is exposure. And portraits usually require perfect exposure and great lighting. If you’re not great with exposure and lighting, you may be disappointed with your first portraits.

A lot of people ask me, “Where’s a good place to start” with film photography, which is a really broad question. Personally, my first experience was in the class I took when I was 10 years old, so I started off having a teacher explaining things to me… and continued that for many many years… I would recommend taking a class first and foremost, but I get that a lot of people can’t afford darkroom expenses, in which case I recommend reading. Lots of reading. In fact, I’ll give you a portion of what was my required reading list in the BFA Photography program at the School of Visual Arts:

• Black and White Photography by Henry Horenstein
• Color Photography: A Working Manual by Henry Horenstein
• Beyond Basic Photography: A Technical Manual by Henry Horenstein
• The Camera by Ansel Adams
• The Negative by Ansel Adams
• The Print by Ansel Adams
• A World History of Photography by Naomi Rosenblum
• The History of Photography by Beaumont Newhall
• Coming into Focus: A Step by Step Guide to Alternative Photographic Printing Processes by John Barnier