265
Epilog


266 Epilog
As a closing idea for this book, I thought it would
be productive, instructive—and fun—to give you
an assignment, one during which you could put
together all the tips, techniques, and topics I dis-
cussed on the previous pages.
Your assignment: go on location with the goal of
taking the best portraits you have ever taken. To
help you along, I thought I’d share a few on-loca-
tion portraits, each accompanied with a tip, that I
took in two Himba villages during a photography
workshop that I led in the fall of 2007.
Of course, you dont have to go to Namibia, or
some other exotic location, for this assignment,
but shooting in a new and exciting location is, in-
deed, very inspiring.
For starters, you could drop by your local fire-
house, where you would find “hometown heroes
who would make interesting subjects. Believe me;
the firefighters would love nice photographs of
themselves in their firefighting gear, posing by the
fire trucks. Of course, they’d like headshots, too.
Let’s move on with the assignment.
 267
I have found that, for me, the key to getting a good
on-location portrait is to fall in love—photograph-
ically—with the subject. That is exactly what I did
when I saw the young woman whose photograph
opens this epilog. Out of the 50 or so people who
lived in this particular village, this woman caught
my eye immediately. It was photographic love at
first site.
So, my first tip is to find a subject that you abso-
lutely must photograph, someone who moves you
to say, “Ill do anything to get that persons picture,
for myself and to share with others.
Earlier in this book, I shared with you my favor-
ite photographic quote: The camera looks both
ways.In picturing the subject, you are also pic-
turing a part of yourself. When you keep in mind
that the energy, emotion, and feeling you project
will be reflected in your subject’s face, especially
the eyes, you’ll get a high percentage of pictures
that you like.
Remember That the Camera Looks Both Ways
268 Epilog
Take Three
When taking headshots, take a head-on shot, a
profile, and a three-quarters view, as illustrated
by this and the preceding two pictures in this epi-
log. Photographing a subject from different angles
gives you different photographs from which to
choose your favorite. In my trio of photographs
of this young woman, the opening image is my
favorite.
 269
So, when you think you are close, move in closer.
You’ll be surprised at the difference in your pho-
tographs when you get up close and personal
with your subjects.
Both images capture an intimate and genuine mo-
ment in the womans life, which is another goal
you want to achieve when photographing people.
From Picture to Portrait
Compare these two pictures. One is obviously a
snapshot, and the other is a portrait. The big—and
simple—difference is that I moved in (zoomed in)
closer for the portrait. Doing so brought more at-
tention to the subjects by not only making them
larger in the image, but also eliminating the bright
(and distracting) wood trim of the hut’s doorway.

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