Perhaps one of the greatest skills for a ‘portrait’ photographer is to ‘connect’ with the subject.
Some people I’ve met seem to have a natural aptitude for bringing out unique character traits of their subject. A smile, nod, hand movement, a word or two, and suddenly there waiting for the press of the shutter is the ‘essence’ of the person’s personality.
There are so many reasons why people often (always!) say, “Oh, I don’t take a very good picture!” Too true.
We want to have a candid photo approach, but we don’t want a candid result.
Yousuf Karsh, a Canadian portraitist from the 1930s to when he retired in 1992, was a refugee from Armenia. He apprenticed to first his uncle and then a prominent American celebrity photographer.
His photographs of the great and near great of his time include, what is regarded as the quintessential portrait of Sir Winston Churchill. The story of the making of the portrait is as great as the moment recorded.
Churchill, it is told, turned up at the photo session with his signature cigar. Just as Karsh was about to make the exposure he walked up toChurchill and removed the cigar from his hand.
The result shows a ‘miffed’ Churchill, yet one that brings out the essence of the subject.
Different time, different subject, different circumstances.
Martin Luther King,
King’s life can only be described as frenetic. Always on the move, always surrounded by helpers, people congratulating him, or commiserating. The famous portrait was made a quiet corner of a church. The simple setting enabled Karsh to bring out the qualities of leadership, visionary and engaging personality.
Another that is quite confrontational, and given the subject, so it should be is Fidel Castro. Frame filling, piecing eyes and wisps of shadow glancing over the facial planes make a compelling image.
See more his portrait work here.
If you do visit this site, be sure to click on the Sittings page, and type in the name of one of the studies. Then click on image and it will open up to a little of the background to the portrait. Fascinating.
Here are a few Karsh quotes.
Within every man and woman a secret is hidden, and as a photographer it is my task to reveal it if I can. The revelation, if it comes at all, will come in a small fraction of a second with an unconscious gesture, a gleam of the eye, a brief lifting of the mask that all humans wear to conceal their innermost selves from the world. In that fleeting interval of opportunity the photographer must act or lose his prize.
I try to photograph people’s spirits and thoughts. As to the soul-taking by the photographer, I don’t feel I take away, but rather that the sitter and I give to each other. It becomes an act of mutual participation.
Light thinks it travels faster than anything but it is wrong. No matter how fast light travels, it finds the darkness has always got there first, and is waiting for it.
And just because we’ll allow him a sense of humour,
The trouble with photographing beautiful women is that you never get into the dark room until after they’ve gone.
I’m often quoted—or misquoted—for wanting to bring out the character of the birds that we meet.
Some birds can be cooperative and its possible to spend sometime making sure things like, lighting, background, pose and the like are helpful. Others, are fleeting and gone.
If nothing else Karsh’s work hints at the need for outdoor photographers to adapt the camera to the subject. We don’t have the luxury of the formal studio portrait.
Yet that mobility enables us to be flexible and capture natural moments.
Bronson is a hard working Dad. We have had the good fortune to work with him through three clutches, and our presence is no longer seen as a threat.
I do therefore, take some liberties with his patience. But always out of respect.
No photo is worth agitating a bird.
I am, I guess I need to add, quite a critic of my own close approaches, and like to think I have over the years become attuned to a wing flip, leg move, head shake or downright glare that indicates I’ve crossed a line. Apologetic I retreat.
He sat in the soft early light, and the thought of “Elegance” struck me. I then worked about to find a suitable background. The small tree behind gave me an isolation for the head, and the branch gave him a feeling of place.
Waiting is something a Black-shouldered Kite is gifted with. I too needed to wait for the head turn, the piercing eyes surveying the field and the relaxed body.
Any relationship between this shot and Karsh’s “Grey Owl“, is purely coincidental, and no comparison is intended or suggested.