2.1. Assignment: People

Photographer Jay Maisel quips that he always carries his camera with him because "it's hard to take a photo without a camera" In a similar spirit, it's hard to make a portrait without a subject I can see this sung to the tune of the Barbra Streisand lyric "People who need people": if you are going to make photos of people, you need people, or at least a person.

So, it's pretty obvious that as a portrait photographer one must become comfortable photographing people But unlike flowers, trees, landscapes, and still life subjects, people have their own ideas People talk back, they move around, and can be smelly, dirty, and loud People you approach to photograph may think you are flirting with them, rather than approaching on a photographic basis In short, the interaction between a photographer and a portrait subject is fraught with the entire gamut of complexities that enters into any relationship between people.

In some cases, this interaction between photographer and portrait subject begins in a straightforward way If someone has hired you to make a portrait, or if you have hired a model, there's certainly no guarantee you can make a great or revealing portrait But at least the initial parameters of the relationship are clear (see pages 14–27 for more about the psychology of photographer-subject interaction).

It's a whole different story when you photograph a stranger who has not asked to be photographed If the thought of going up to someone you see who looks interesting and asking whether you can take their photo makes you nervous, then to become an effective portrait photographer you need to work on this A little bit of nervousness is a good thing—it keeps you on your toes—but too much can be paralyzing.

My oldest son and I went looking for a firefighter to photograph. Everyone at the first fire station we visited was busy—after all, they do have more important things to do than model for a visiting photographer. But the lieutenant suggested we visit another station in the hills that tended to be less busy.

At the second station, this veteran firefighter graciously donned his full turnout gear and posed for me. I photographed him by the natural light in the garage filled with fire engines.

1/80 of a second at f/4.8 and ISO 640, hand held

Pages 56—57: I like to use gauzy fabrics as a prop in my portraits. Many colors work well, but white is probably best—white transparent fabric adds a nice romantic light. And what could be more romantic than a white wedding veil? The only thing to be careful about is creases in the fabric—these should not cover important facial features.

This bridal portrait was created using natural light against a stone monument, with the breeze blowing the veil around. I selectively desaturated the image in Photoshop (keeping the color in the bride's face) to emphasize the impact of the veil.

1/250 of a second at f/5.6 and ISO 200, hand held

Becoming comfortable photographing people without an official photographer-subject relationship pays dividends across many kinds of photography Not only will you be better at people photography, you'll also have more confidence in approaching static subjects, and in photographing models Photographing people you meet casually requires improvisation and the ability to be quick on your feet—good skills for any photographer to have.

2.1.1. Approaching People

The best way to get comfortable approaching people with photography in mind is to get out there and actually approach people. "Gee," I can hear you saying already, "thanks" a lot Harold for that pearl of wisdom.

Okay, you don't have to get snippy with me Here's what I have in mind.

Approaching someone you don't know—or maybe only know slightly—with any request brings up the gamut of emotions we carry around since we were kids in the school yard Will we be rejected? Will we be taunted? On the other hand, acceptance means cathexis, the creation of an emotional bond between yourself and the other person, howeverslight and transient Both rejection and acceptance have powerful effects to our psyche.

The only way to get past fear of rejection and embarrassment is to practice approaching people There's no substitute for actually going ahead and walking up to someone Look at it this way: what's the worst that can happen? You might get rejected So what? There are millions of people out there for you to photograph.

In my workshops, I suggest some simple exercises to get comfortable photographing people. Here are two ideas:

• Take your camera to a busy street corner. Make portraits of five people, asking their permission first.

• Think of a job that involves physicality that interests you; for example, being a fire fighter, carpenter, or cook. Now go to a related work place (fire house, construction site, or restaurant) and ask for permission to photograph (obviously, your shots should include people).

2.1.2. Model Releases

If you are planning to license your photos—or think there is a chance that you might want to license your photos in the future, for example through a stock agency—you need to get a signed model release from your subject It's usually better to get the model release signed before you start taking photos—or at least to get an agreement in principle that a release will be signed—before you push the shutter.

On my first afternoon in Havana, Cuba, I wandered the tropical streets in a bit of a daze. From out of nowhere this man appeared and offered to show me some "things tourists don't usually get to see." I wasn't sure whether to trust him, and I think he sensed my uncertainty—you can see this in his guarded, partially closed eyes and the overly forced smile.

I shot this photo in bright shade, overexposing a bit more than I would have for someone with a lighter skin tone.

36mm, 1/160 of a second at f/6.3 and ISO 100, hand held

However, don't let the need for a release stop you from taking photos Even after the fact it is usually easier to get people to sign model releases than you might expect It is better to snap first and negotiate for a release later than to miss the opportunity for a great shot.

I carry a small stack of model releases in my camera backpack as part of my kit so I'm always ready to get a release when the situation arises Don't forget to pack a pen as well, so you aren't wasting time fumbling and trying to find one.

My model releases are printed one per page, so each person I photograph signs their own release Another viable scheme has the language of the release printed on the top of a form with a list of signature lines for subjects to sign Sometimes the comfort of having other signatures on the form will help induce reluctant subjects to sign.

I approach the topic of model releases with photographic subjects in a straightforward and open fashion I explain that I am a professional photographer, and that I have no current specific use for the photos I am taking (assuming this is true) I hand out a business card with the web address for my portfolio I explain that if I want to use a photo in the future, I'll need to get a release I try not to make too many specific promises about sending copies of my photos in exchange for the release—frankly, my life is busy enough without adding this commitment to my list—but I will offer to send files if that's what it takes to get the release I make a note of anything I've said I'll do on the signed release form so that it doesn't get overlooked.

As long as they understand what you are asking, most people are happy to sign your release form.

If you are photographing someone under eighteen, make sure that a parent signs the release.

You can easily find sample model release forms by searching online, or from professional associations such as the American Society of Media Photographers (www.asmp.org), or stock photo agencies such as Getty Images (www.gettyimages.com).

A recent innovation that can make the process of collecting model releases easier is an industry-standard model release application for the iPhone and iPad. To find a mobile model release app, go to http://itunes.apple.com.

Marcus works at Gioia Pizza, the best place for pizza-by-the-slice in Berkeley, California (if you are ever visiting Berkeley, stop by and try a slice). I found his face and friendly nature interesting, and asked if I could photograph him. I used a small flash unit mounted on top of my camera to make this portrait in the low-light conditions of the pizzeria.

Top: This distinctive crop shows Marcus's eyes to good effect. I liked the expression in his eyes a great deal, and to fully capture it I was willing to "break the rules" by cutting off his mouth, though leaving a hint of a smile.

Bottom: As Marcus worked, I pointed the camera down to create a photo that shows someone who is contemplative and focused on his job, not the camera.

Both: 105mm macro, 1/60 of a second at f/6.3 and ISO 200, hand held