SO, WHICH WAY WOULD YOU LIKE ME TO FACE? 5 facts about a portrait sitting your (conscious) mind was unaware of

‘So which way would you like me to face?’

A question every photographer about to shoot a professional portrait, is asked as soon as the model arrives in the studio.

The problem is that there is no simple answer to this seemingly simple question. Should the photographer:

• Position the client according to the lighting configuration he or she has set up to achieve a particular outcome or because the location demands it?
• Accommodate the client’s preference for a particular side? People often feel they have a good side that looks better on a photo.
• Take into account facial features that might make the image less aesthetically pleasing e.g. turning the model’s head so that a larger eye is further away from the camera?
• Listen to what neuro-anatomists and cognitive psychologists tell us about portraits?

What your subconscious knew but did not tell your conscious mind 

Here are 5 interesting facts about portraits that you probably don’t know. At least not your conscious mind but if you had to dig up some old photographs, you see that your subconscious had known a thing or two all along.

1. Most of the time we choose to be photographed with the left side of our face, facing the camera. Why? Not because of any cosmetic or physical attributes that we favour but because the left side of our faces show more emotion than the right and we are hard-wired to experience intense emotional responses more aesthetically pleasing. According to a study published in Experimental Brain Research the left side of the face shows more muscle movement in response to emotions. That is because the right cerebral hemisphere tends to be more involved in the perception and production of emotion than the left.1) And more emotion makes for better portraits, the theory goes.

2. The left-side bias has been known to naturalists and artists for a very long time. The theory of that which we seem to instinctively know about portraits, has been the topic of neuro-anatomy and art theory for hundreds of years. It was Darwin who first observed that the two sides of the face do not move and express emotion in the same way. His observations have since been confirmed by experimental and physiological studies. 2) For example in their study Turning the left cheek, researchers McManus and Humphrey indicate that 60 % of portraits painted since the 16th century show the left side of the sitter’s face. 3) We seem to prefer seeing and rendering a person’s more emotional side in a painted portrait. And the same goes for photographs.

3. But not always! We seem to have a different face bias for self-portraits depending on whether we are artists or non-artists. According to Bruno and Bartomini’s surveys of art books and exhibitions, show the majority of artists featuring the right side when composing a self-portrait, a phenomenon that is considered an art convention. Historically, painting or drawing a self-portrait required working of your own image reflected in a mirror. This method reverses the image you work from hence the right side bias. Nowadays artists most probably work from photographs which in the long is bound run to change the self-portrait posing conventions taught at art school. 4) This is what neuropsychologists Nicola Bruno and Marco Bertamini found when they observed people using smart phones to take ‘selfies’. Non-artists prefer the left side more often than the right even if you have to contort your body to get the shot. 5)

 4. Portrait type, social position and career choice also influence our choice of left or right facing portraits. When we are posing for a more informal family portrait when go for the more emotionally expressive left side. 2) But there are times when the sitter prefers to not show their softer, sensitive sides. It might be for reasons of status, for professional reasons or as a result of convention. Several studies have shown that natural scientists, chemists and engineers tend to show their less emotional right side ‘more in keeping with the stereotyped pose of a professional rationalist’. 3) Academics in the human sciences e.g. language and psychology departments tend to show the left side of the face probably feeling more comfortable showing their most emotional aspect to the world, unlike the engineers who want to ‘appear more rational and suggests that these hard scientists seek to display themselves to the world as the unemotional clichés of popular myth’. 3)

5. Sex may also help determine the cheek of choice - Male academics in the Churches tend to prefer showing the right cheek while female academics tend to show the left cheek more often. It is possible that the observed biases were the result of ingrained cultural and stereotypical gender roles depicting women as more emotional than men 2)

References:

1. Show Off the Left Side of Your Face for Better, More Emotive Pictures
2. How Academics Face the World: A Study of 5829 Homepage Pictures (2012)
3. Turning the Left Cheek
4. Turning the Other Cheek: Profile Direction in Self-Portraiture
5. Self-Portraits: Smartphones Reveala Side Bias in Non-Artists
6. Posing Intellectuals: Academic Profile Pictures Reveal More than You Think

STUDIO WORK IN STRAND / SOMERSET WEST: Chante

Photographer & Retoucher: Martin Van Niekerk
Model: Chante
Hair stylist: Rene Erwee, Salon Elan in Somerset West
MUA: Candice Harker
Photographer's assistant: Dominique van Wyk

Sometimes it takes the merging of more than one image to create the look you are after. That is what happened with this photograph which was taken in my studio recently. 

In the image that I liked best, the one in which her hair did what I had envisaged, Chante's eyes were closed. So I selected elements from another photograph to merge with the preferred image.

I then added a textured background made up of a repeated pattern of spring blossoms as well as layers of graduated filters, and the image on my screen became the one I had in mind  for the shoot.

The final product

The top two images were combined to create the third.

Left, Rene Erwee of Salon Elan creating the hair style I had envisaged for the shoot.

PROFESSIONAL PORTRAITS HELP BUILD BRAND IDENTITY

How to be actively involved in the creative process

In a previous post Facing up to social media - Why professional people need to post images on their social media profiles, I discussed the importance of posting your  image on social media such as LinkedIn and Facebook. 

But these professional portraits (also called business or executive portraits) can also be put to good use in a variety of ways - your website, business cards, advertising, press releases, company brochures, blogs, media articles and even your resume when applying for a job.

I also made a case for employing professional photographers to help you create high quality and appropriate images which portray you in the best possible light and which are aligned with your brand strategy.

Now let’s look at what happens during a professional portrait shoot and how to prepare for it.

Briefing the photographer

Once you have done your homework and selected the photographer with whom you feel comfortable and who has the professional and technical skills you require, it is time to brief him / her. Unlike for example fashion shoots where the art director and photographer make all the decisions and the model performs, you as the 'model' in a professional portrait are intimately involved in the conceptualisation and execution of the shoot.

Sending an email is fine but I prefer to discuss the shoot with my clients personally either over the phone but preferably in a face-to-face meeting. 

Either way, make sure you have identified your needs and requirements beforehand. A trial and error approach is neither an efficient way of going about it nor does it contribute to a stress free experience.The better the brief the quicker and more effortless we can do the job.   

Consider the following:

• Which audience would you would like to reach? Colleagues? Other professionals and businesses? Clients or consumers? All of the above? 
• What tone would you like to set?  Serious, less formal, powerful, friendly, approachable?
• What would you like the images to say about you?  This off course is also influenced by the type of company you represent as well as the audience you want to reach.  

A more formal, traditional portrait for a financial institution...

... compared to one for a company that manufactures

hand-crafted and hand-painted candles and ceramics. 

For this photograph I used two soft boxes and a reflector.

It was shot on location.

• For internal communications e.g. company newsletters and websites as well as official press releases you might have to follow an established style. To ensure continuity, find examples of other shoots done for your company to show the photographer.
• Look for images on other websites or in trade magazines that appeal to you. This will help you see what the latest trends are (yes, even portrait shoot styles follow fashion!) and it will help the photographer visualise what you are after in your portrait shoot. Do you prefer more traditional, formal poses? What about the photo-journalistic style that makes it look as if the person was caught in the moment? 
• Consider different lighting styles. Do you like darker, mood lighting or bright beauty lighting?  The photographer will work out the technical aspects and will probably change the lighting to give you a variety of looks but it helps to know what you prefer.

Using ambient light only ...

... compared to using one small soft box for more contrast but without making
it over-dramatic  and inappropriate for a professional portrait.
 Both portraits were shot on location.

• Give some thought to the location. Even though a portrait photograph is usually cropped to focus on the upper half of the body, the background and location can tell a story too. It gives context to the story you are telling. Would you prefer a studio shoot with more traditional lighting or would you rather have the photographer come to your office or in the garden outside your office? What about positioning you in your workplace or a section that tells the viewer what business you are in? Look around for interesting and appropriate locations. The photographer might have his own ideas but especially if I have never been to your offices before, it helps me a lot.

Without intruding on the photograph, the figure in the background wearing a hard hat and overall says industrial setting, not corporate offices. The model's choice of outfit confirms this.

  This image was shot using ambient light only.

• The backgrounds should complement the style and colour of your outfit and make-up. Usually neutral colours solid blocks of colour backgrounds are preferred but bright colours that say vitality and enthusiasm can work in particular circumstances. Avoid including objects that will divert the eye away from the face. On occasion however, I have included objects in the shot if it added context such as the stethoscope in the image of the medical practitioner. It can also help people as it gives them something to do wit their hands.  

Preparing for the shoot

I realise most professional people are not really keen on the photo shoot thing and can’t really spare the time either but as with any project, the better you prepare the better the results will be. Preparation starts a few days before the actual shoot.  Basic things that apply to professional models are also important for a professional portrait shoot.

Self care: 

• Make sure you eat properly and get enough rest the nigh before. The skin and eyes reflect our state of health and with the new generation cameras with 36.3 Mp resolution, every detail shows up including tired eyes and blemished, dehydrated skin. Yes I can edit the images afterwards but there is a limit to how much I can alter a professional portrait. It cannot end up looking like a fashion magazine shot.           

What to wear: 

• Choose a few outfits or variations on a basic outfit (different jackets, ties, jewellery etc.) that says what you want to portray. I suggest about three to five variations. Rate them and start with your least favourite. That way you leave the best for last when you are more comfortable in front of the camera.  

One blouse and one jacket, two different looks. Removing the jacket and slightly adjusting the hair style gives you a very different feel  in the second photograph. 
These images were shot in the studio using two soft boxes and a beauty dish. 

• Unless you are employed in a creative field, stick to classic, clean lines like a tailored blouse or jacket for women and a suit jacket or dress shirt for men.
• Long sleeves are more flattering than short sleeves and besides not being appropriate, spaghetti straps, halter necks and complicated designs may cause unflattering folds and lines. 
• Select shirts or blouses with visual interest around the collar and neckline but not so much that it divert attention from your face.

What colours to wear:

• Choose solid colours rather than busy patterns and colours to keep the focus on your face rather than your outfit.
• Avoid very bright colours such as orange, red and yellow. Also people with lighter skins should rather avoid white and flesh tones such as tan, pale pink, grey, peach and beige against the skin and darker skins should steer away from browns and black against the skin . Having said that, there are always exceptions to a rule so if you know you look good in bright green, go for it!

Despite the bright colour of the jacket, this portrait works

 as the garment has a classic cut. But also it complements  the model's

 cheerful smile and funky hair style. This images was created on location

 using two soft boxes, barn doors and a  reflector.

• Jewellery should not distract the viewer but if selected with care and worn with style, it can enhance your portrait. Less is more. Necklaces should follow the neckline of your blouse.

Make-up:

• Just like jewellery, make-up should not be distracting but it definitely enhances your photograph especially under photographic lights. The secret of good make-up is exactly that – it should draw attention to your face not to the make-up itself.
• Consider using the services of a make-up artist. Normal, everyday make-up is not appropriate under studio lights and MUAs know exactly how to enhance your strong features without making you look like you are going to a party.
• And it doesn’t only apply to women. Men can benefit from some subtle make-up to even out skin tones and imperfections.  Ask the photographer for the number of a good MAU. 

On the day of the shoot

Relax and take it easy! As business and professional people are not always comfortable posing in front of a camera, you might be nervous about the process. To make sure you are as relaxed as possible keep the following in mind:

• Take time to get ready for the shoot. Try not to rush from one appointment to the next and squash the photo session in between. The camera will pick up your frazzled frame of mind.
• Avoid interruptions. Phone calls and breaks to talk to colleagues disrupt the flow of a shoot and results in both of us having to spend longer on the job than necessary.
• I try never to schedule less than an hour for a session if possible. This gives you time to get used to the process and way I work. However I make sure that when you arrive for the shoot, I have already set up the lighting (if required) in the chosen location and that we are ready to roll.

PS. Also have a look at this blog post:

GOING FOR A PROFESSIONAL PORTRAIT SHOOT? 15 guidelines for great images

http://martinphotostrand.blogspot.com/2013/11/going-for-professional-portrait-shoot.html

FACING UP TO SOCIAL MEDIA PORTRAITS

Why professional people need to post images on social media profiles

Should I or shouldn't I spend the money to employ a professional photographer for social media profile portraits? In fact, why bother adding an image to my social media profiles at all? 

When asked, most people will tell you that we join social media such as LinkedIn, Facebook and Twitter to network. We want to grow our businesses and extend the reach of our brands.

But what we are really doing is making friends. We want to foster friendships that can help us achieve our business goals. But also chums we can chat to because we like them and we like what they do. Social media makes it possible for us to link up with people we may never have met in places we would never get to in real life. Once we have got to know one another better, sooner or later we might do business together. 

Research has shown that twitter accounts with a profile picture have ten times more followers that those without.

How do we go about connecting with new people and colleagues on social media? 

Well, it seems the same way as we would in real life - we want to look them in they eye. From infancy, human beings are hard-wired to recognise faces.  There are billions of people on earth and many share the same name but each person’s face looks different. Recognising faces is a very complex process combining cognitive and emotional aspects to not only identify a face but also to interpret feelings.

If beauty is in the eye of the beholder, so is credibility and integrity it seems.

The first thing we do when scanning a person’s face whether in the flesh or on a social media page, is to focus attention on the eyes, or to be more accurate in the vicinity of the eyes. What we are really doing is ‘reading’ the other person’s eyebrows. According to some researchers, eyebrows seem to do more than protect the eyes against rain and perspiration. It acts as important visual markers during face recognition, when expressing emotions and social signals and therefore in voluntary and involuntary non-verbal communication. We convey a number of different emotions by merely moving our eyebrows such as confusion, astonishment, anger. Just think how effective eyebrows are used in the different emoticons we use in electronic communication. The eyebrows also add to the aesthetics of faces and help us distinguish between sexes.

Once we have ‘read’ the face, our decision as to whether or not we like and trust that person happens lightning fast. And according to Graham Jones in his blog InternetPsychology we make a decision within 100 milliseconds. So it seems it really is true that we have one and only one, very short, chance to make an impression.

It is therefore vital that we have a full face portrait picture on all our social media profiles but it follows that the kind of image we have on our website or on our social networking profiles will influence whether people wish to connect with us.

What must this portrait picture look like?

What should this photograph that is strong enough to impress a visitor to my website or social profile look like?  

Understanding that our eyes are instantly drawn to someone else’s eyes, it makes sense to rather use a head-and-shoulders portrait rather than a full body shot. In fact researchers from the Hebrew University of Jerusalem tell us exactly what our profile pictures need to look like to foster trust. According to these experts we all prefer looking at a baby-faced image with the wrinkles ironed-out.

But hold on! Before cranking up Photoshop to smooth out and flesh out those portrait photographs, (unless you do it for a living) and probably ending up looking nothing at all like your real life self, there is safer way of ‘enhancing’ profile photo. Why don’t you consider the services of a professional photographer?

Why bother with paying a professional photographer for an image you are going to use on social media? 

As a professional or businesses owner, you are your brand. Everyone of your actions conveys a message. Everything you do and everything you say becomes an expression of your brand. So does the way you look. And knowing what we know about how humans appraise each other on sight, your visual representation is vital. This is especially so on social media where you have only one chance at making an impression and that in a tiny square next to your name.

Just as a graphic designer aligns your corporate identity with the brand objectives and the career copywriter helps you take control of your written and spoken communication, employing a professional photographer provides you with appropriate profile photographs and other images that convey appropriate and effective visual messages.

 What makes a professional photographer’s images so special?

The obvious reasons include the professional photographer’s superior equipment (a cell phone image just can not compare with a professional cameras and lenses), technical experience to project your image in the best possible light (literally) and professional skills to set you at ease and take up as little of your valuable time as possible.

But it is the combination of all of these factors that makes the real difference. In some ways, photography is like gardening. It is the sequencing of steps, one building on the other, that creates a magnificent final product.

The process of taking a professional portrait starts before the shoot, not during the shoot and definitely not with the digital manipulation process afterwards. The success of each step is influenced by many factors starting with a clear brief and thorough preparation by both the subject and the photographer. The two of you have to select the right time, the appropriate (but original) setting, the appropriate outfit and whether make-up and hairstyling is required.

Besides turning up looking your best on the day, there is not much more you need to do. It is up to the photographer to create a portrait that will jump-start the conversations on social media.

Next time we will look in detail at how to prepare for a portrait shoot.