Environmental Portraiture

[Manfred M]

I'm currently enrolled in a 5-week (from 9:00 AM until noon) course on in-situ portraiture. We spent a lot of the first week discussing the different "languages" used in that genre.

For this week's assignment we had to produce two different portraits using these languages. Fortunately, we had a couple of workmen in the house doing some renovations, so I took these shots.

Both shots used bounced flash; the first shot has the light bounced off a white closet door on the camera left side and the second one has the flash being bounce off the back of a raised garage door. I had the speedlight mounted on a light stand for both shots.


1. Joe - painting the trim





2. Braden - cutting trim in the garage

[Round Tuit]

I don't understand what you mean by "languages" used in the genre.

The first picture seems to be more evenly lit. Was there additional light coming in the room through a window? I like that the light in the second shot is more focused on the worker and his tool. Was that intentional and how did you overpower the light coming from an opened garage door?

[DanK]

I too puzzled over "languages".

I think the second is interesting, although I think a different ambient/flash mix would be more interesting because the context is mostly too dark to see clearly.

The first doesn't work for me. Neither the subject nor the environment is very interesting (especially the environment), the lighting is quite flat, and the paint can looks like it's being levitated.

[Manfred M]

André and Dan - the things that you are describing are in fact the "language" used in portraits.

The first one with the painter uses the bright, light look we often find in advertising, with the product being highlighted.

The second one is a lot more moody. The garage is busy and I used flash drop-off to create a fairly dark background that shows how busy it is, without getting too much to distract from the main subject.

If you look at other forms of portraiture; weddings, street photography, fashion, glamour, etc., those genres all have their own "language" to deliver the message to the viewer.

[DanK]

I should have guessed. "Language" as a near-synonym for "style" is common in other areas, e.g., people talk about "Volkswagen's design language". I've just never heard it used in photography, but it makes sense that some people use it in that domain too.

I now understand the point of the first one. I still think the second would have been better with somewhat less drop off.

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[AntonioCorreia]

By chance, I understood from the start what "languages" meant and, perhaps from the examples shown, I can infer that for now "languages" refers mainly to portraits taken with flash.

Now, Manfred, allow me to share a few comments regarding your work.
The first image is, without doubt, a photograph in which "the painter uses the bright, light look we often find in advertising, with the product being highlighted." as you so rightly mentioned. However, this approach doesn't spark much interest in me, although it is impeccably executed.

As for the second image, it seems much more appealing to me: the dimly lit background makes the person really stand out, and, moreover, the subject is beautifully lit by the bounced flash.
I remember, many years ago, taking some wonderful images of this kind myself (allow me a bit of self-praise, ), also using bounced flash. At the time, what fascinated me most were photos taken with flash in HSS.

Well, let's get back to what brings us here: your images.
Manfred, don't you think that the light shining on the young man is a bit too cold ?