Also known as, “A face in a place”, is by far my favorite type of picture I am asked to take. The reasons are varied; I like dealing with interesting people, I enjoy traveling to new and different locations, and most importantly I like the opportunity to tell a story with my photos.
As photographers, we usually go into a new project with a mental check-list, or to-do list, of what we want to accomplish. With environmental portraiture, the most important ‘to-do’ is the part regarding the story telling aspect of the photo I am about to take. The idea here is simple: Take a photo that tells the viewer something important about the subject. Nat Geo photographers are gods at doing this. Annie Leibovitz, someone I deeply admire, is another artist who just knocks her photos out of the story-telling-park every time.
I used to think the story telling aspect would be hard part of the process, and it can be in some very special circumstances. However, with just a little practical self-control (i.e., just keepin’ it simple) you can turn the story telling phase into something that can happen quickly, easily, and enjoyably.
For my example here, I am going to use the guys over at Warrior Beat as my example. Warrior Beat is a non-profit organization that provides professionally facilitated drum circles to US Military Veterans who are suffering from either mental or physical disabilities. They do a lot of great work and are one of the few for-veteran organizations who use art in healing. (Disclaimer: I not only help and work with the boys and girls at Warrior Beat, but I also designed their logo and act as a co-founder.)
Most of the members of Warrior Beat are veterans themselves, having served over seas, fought in battles, and returned home with scars of their own. They are also an organization who’s public profile is rocketing faster than they expected due to the good, and unique, work that they do.
When the time came that they needed some updated member photos, the challenge was set; how do we take portraits that will give viewers, (who may also be potential donors to their charity), an at-a-glance idea of who they are and what their message is?
The first step in environmental portraiture is the story.
Ok, so putting that to use here’s what we know about Warrior Beat’s story:
- US military veteran based service
- Many Warrior Beat members also have a military background
- They use drums in a therapeutic setting
With these three simple, but important facts we can start to paint a picture for our photos. We want our story to hit as many of these bullet-points as possible.
Next Step: Location
The next most important part of an environmental portrait? The environment, of course! So, what better place than a military museum? The MAPS Air Museum to be precise.
A quick note on securing locations
A lot of locations will be happy to donate their time to worthy causes. A military-based museum will more than likely donate their space to you for photos when your subjects are also military vets. This applies to a lot of locations and situations. To repay the favor, offer to send them copies of the photos for use in their own social media, or print publication usage. Be sure to give them a social media thanks (with a link!). Those types of gestures go a long way into building a rapport with groups who may seek out your services later once they see how awesome your photos are!
We walked around the museum for about 20 minutes, trying to find a good location, and quickly realized our best bet was a Cobra helicopter sitting in front of a 2 story US flag. The Cobra helicopter was used in multiple branches of US military services, and the flag itself was just too good to pass up. It totally reads as military, as patriotic, as veteran; right off the bat we can check off two items on our story telling list.
The last item on our check list, tying our subjects in with their facilitated drumming service to veterans, would be as simple as just having the Warrior Beat CEO hold up a drum for his portrait.
Photography Gear and Setup
For my gear I used the following:
- Canon 5D Mark II and III
- Alien Bees B800 Flash Head
- Einstein Flash Head (Read my review here)
- C-Stand with boom arm
- Standard 9 foot flash stand
- Sigma 70-200mm f/2.8
- 4ft strip box with grid
- Beauty Dish with Diffusion sock
- Vivitar 285HV flash with optical slave eye
- Cyber Commander wireless flash sync
The good news was, I didn’t have to light the ginormous flag. There was a bank of windows behind it that would take care of that issue for me. But, what that does mean is that, I now have to light my subjects to work with what’s coming through the windows.
Luckily, with just 3 flashes and some basic know-how on lighting ratios, I was able to dial it in. Specifically, I used the Einstein and beauty dish as my main light for my subjects. I was shooting slight up at my subjects to give them a little more gravitas and presence within the photo frame. This meant I was able to bring the light down a little more than usual to help keep shadows to a minimum. I didn’t want to remove all the shadows, however, since I felt a little sharpness in the photos would help translate the perception that these guys have seen some sh*t, which they have, and have been changed by it, which they also have.
The second light, an alien bees b800, inside of a 4 foot strip light, acted both as a slight fill light as well as kicker light for the helicopter. I needed to brighten up the details of the Cobra, so I just turned the light little by little until I was able to get just the right ratio of light spilling between the copter and my subject.
The last light was a small Vivitar 285HV on the ground near me that just barely threw a little extra oomph at my subjects. Again, I wasn’t trying to eradicate the shadow, but I did want to fill in a little detail in the darker spots, like under their chins, to help define their faces a little better.
I used my 70-200mm lens so I could compress the distances between subject and background. The idea here is to give my subject a greater sense of scale so he can compete better between the larger helicopter and flag in the background.
Once the lighting is all dialed, (remember, we’re exposing for the natural light that’s coming in and hitting the flag), it’s time to take some photos and, hopefully, capture a story!
Crafting a story doesn’t have to be the hard part of environmental portraiture. Instead, use some very basic ques from your subject to help guide the narrative. Sometimes you need to go over board and spend a good deal of man-hours and money to handcraft the perfect story telling photo, but other times you can rely on more modest techniques to conquer the same problem.
Benjamin Lehman is a commercial photographer who works in the San Francisco, California, Canton, and North East Ohio areas.