What Makes A Great Portrait?

What Makes A Great Portrait?

by William Lulow

First, all great photographs have several things in common:

• Tends to hold the viewer’s attention by good composition
• Exposure is optimal
• Subject matter is interesting
• Lighting is arresting but doesn’t call undue attention to itself
• Says something about the photographer

A great portrait usually says more about the artist than the subject. Of course, the subject is portrayed in the manner the photographer wants, but that’s exactly what creates the “greatness.” Great portraits are about showing the subject the way the photographer desires. The pose, lighting, exposure and even the way the image is shown, all play a part in the viewer’s perception of the subject. Every step is important to the final outcome.

Commercial portraits (different from “artistic” portraits) usually have to be approved by the client. The photographer has to be able to show the subject in his or her “best light.”  I’ve always said that this process begins with an understanding of human beings in general. People always see themselves differently than others see them. That’s why the commercial portrait photographer needs to find out what kind of image the subject wants. This is done by asking a lot of questions or, in the case of someone more famous, doing your homework. I have always seen discussion as a tool for the portrait photographer. Even if you have to photograph someone who is well-known, I have found that having information about what the person likes to do, hobbies or other interests is invaluable in eliciting that special expression or attitude that will make a great portrait. Even if you have all your lights set up correctly and your exposure is correct, if there is no special expression or the photograph doesn’t stand out in some way, it won’t be a great portrait. Expressions play a big role in this as well and if the “eyes” aren’t expressive, then the portrait just doesn’t make it. Someone can have a great smile, but if she isn’t “feeling it” the eyes won’t show it. Expressions are definitely in the eyes.

And, the way to ensure that you will be able to capture that special moment when there is a heartfelt exchange between subject and photographer, is to be in control totally, of your shooting situation. This comes with experience and preparedness. There are many photographers these days who shoot tethered to their laptops. This is great if you are shooting an ad where the art director is present and needs to review each shot. But it slows down the act of shooting way too much for a good portrait. Great portraits happen almost in the spur of the moment. If you are checking your laptop after each shot, this will impair that essential flow, making it all but impossible to get a revealing shot.

So, a great portrait for a commercial portraitist is one that the subject truly likes and a great portrait for an artist is one that he/she truly likes.

When I was photographing New York studio musicians back in the 1970s for a New York Magazine article, I decided that I wanted to capture each with their instrument of choice. I felt that it would say something about who these people were. But I was also interested in having them interact with their instruments as well.

Here is an example using the great jazz bassist, Ron Carter:

One of my personal favorite portraits is the one I did of the well-known writer, Ira Levin. I was asked to photograph him by Random House for his book “The Boys From Brazil,” back in 1975 at the very beginning of my career:

Another portrait from a more recent shoot:

This portrait included a hair & makeup session with well-known New York stylist, Jill Harth (https://www.jillharth.com) This was an example of a portrait made for the client that she really loved. When the client is pleased with shots of themselves, it is particularly gratifying for the photographer as well. Sometimes my subjects don’t know what kind of portrait they are after. So, part of my process is to show them select images as the shoot progresses. This helps the both of us. It is good for me as photographer because I can get an early indication if I’m going in the right direction in obtaining images that the subject likes. And, it helps the subject because it draws them into the process itself.

Here is another portrait I made a couple of years ago of a writer. Again, we were engaged in conversation and he was wearing his glasses. I just suggested he remove them for a minute and as he did so, I was ready to snap the photograph.

So, one of the “tricks” to being able to get shots like this is to be ready from the very beginning of the shoot. I always make sure my lights are set up and that my exposure has been tested before the subject even gets to the studio. That way, I’m prepared for anything.