A TRICKY PORTRAIT SESSION

Mr and Mme Meze / 1995

A couple of months after my first non-official wedding my step-mum introduced me to a woman who wanted portraits of her parents: they were quite old. Like any amateur photographer I would use my closest relatives for subject. And many times I would ask my grand-parents to pose for me. They were patient, kind and beautiful. My step-mum knew of my passion for people and also knew that I had to practice as soon as possible with strangers. This task was an other real opportunity to shape my approach and apply my few skills. Nevertheless this project was not easy to handle. I was not very sure if I had the courage to face strangers at the end of their lives. This experience taught me how to walk on the rope.
Today I can say that taking couple' shots is easy compare to such situation. People are younger, about to get married, a whole life ahead of them. It is a light weight scenario compare to that first portrait session. So, I arrange to meet them at their house one afternoon. It was Summer. They knew of me I guess, and were ready for the session. I choose a TMX 400 Kodak after realizing I used a difficult 100 for the previous wedding. Iford delta had a fine grain but short tolerance of greys, and used with a flash details were lost. I decided to work with a safer flexible 400 film and natural light. I also bought recently a 24mm Nikon 2.8 and wanted to try it. Young photographers always want a wide angle lens, it's kind of fun or cool !
Anyway, I introduce myself and understand instinctively that I have to follow their slow pace in order to gain their confidence. They are not very talkative and cannot move easily around. I start with very simple poses in trying to frame their presence with the interior and symbols (clock). I quickly realize how important it is to take time with people. To work fast and giving too many directions would have disturbed them. I had to adapt to be accepted, to engage a dialogue. I can also see they are not at ease to pose together. Nowadays people are not so afraid to hold hands and kiss. For older generations it was something not to be shown publicly. And therefore the proximity of two of their fingers was something quite remarkable and emotional at the same time. I suddenly realize how shy they were. I decided to talk about everything and nothing to make them forget about the photo session.
To create a zone of comfort is the photographer's duty if he/she wishes to capture truly his/her subject. The technical side is one thing, the other half is about communication. If there is no interaction, there is no results. I keep on working indoors with different props that remind them of their professions. My first poses always put my subjects on different level, one standing while the other is seated. I vary this combination and finally ask them to seat next to each other. I am always using the natural light. It suits more their generation, their life style, their charm. They have a genuine beauty to be pealed delicately. Then I decide to take them outside. The sky is overcast, it's warm. That's perfect for them. They will be able to open their eyes normally and they won't get a cold. Those details might sound odd for many but that is very important. Your subject has to feel relax. Weather conditions can affect dramatically the experience. Always pay attention to your model, like of your child. If they are happy and feel confident you increase your chances. It's natural and simple; it's simply human.
As we were outside we had a bit of fun with old fashioned tools. I had been taking photographs for almost 2 hours and felt that we had to finish now. They were probably tired, I didn't want to bother them anymore. I had to go. It had been an emotional experience for both parts. But before leaving I asked them to seat next to each other in the garden and talk, just talk...under the tree. I was fading away from their vision. I would take pictures from the back like the end of a chapter. Like a backward traveling from a Fellini movie. I thanked them for their time and generosity. I was relieved and happy. I hoped I captured the right tone, their personality and bound.

To photograph in a reportage way is about creating a dialogue between two bodies in creating a common third way. It is impossible to do reportage without compassion.