This document summarizes notes from a photo walk focused on environmental portraits. It discusses key elements for creating environmental portraits including dynamic compositions, working with available light, and building rapport with models. Specific techniques are covered such as using elements in the environment for posing, moving the model to find the best light, and getting multiple compositions at each location. Storytelling techniques for environmental portraits are also briefly outlined. The photographer emphasizes choosing graphic elements in the background first before adding the model.

1. Notes on August 12, 2019 Photo Walk with Kimberly O’Bryant
Environmental Portraits

3. What does the photographer need to
create an Environmental Portrait?
1. dynamic compositions
2. exposure - control available light
3. build rapport with model

4. The photographer needs to:
1. see the setting as interactive
2. see the world as graphic design: color,
shape, texture, pattern
3. see light as shape (as well as exposure)
4. create tension within the frame
DYNAMIC COMPOSITION

5. WORKING WITH LIGHT
The photographer needs to:
1. see light as intensity, color and direction
2. make light priority above background or
the model.
3. move the model to be in the best light
4. move her/his feet to line up the
background, only after light is considered.
5. use fill flash, once natural light is mastered.

6. The photographer needs to:
1. ask the model what they see in the environment
2. let the model interact and praise their ideas. This builds a sense of collaboration.
3. remember to communicate with the model, even when dealing with technical issues.
BUILD RAPPORT

7. Anytime the model can touch something in the setting it ‘links’
them to the city.

8. • The key to environmental poses
is for the model to base her
pose on what is found in the
setting, acknowledging the
urban structures and details.
• Here she wraps her arm around
the traffic mirror.
• In other photos she could use
rails and window ledges, light
poles and statues for support.
Using what’s there:
Posing

9. For each set up (location and
pose) get several compositions:
vertical and horizontal
orientations, wide and close
crops, canted angles, and high
and low perspective shots.
This is economical and creative.
You took the time to put the
model there and pose her, so
get a variety of images before
taking the time to set up the
next location and pose.

10. 1. The architecture provided this diagonal
element to frame the left side of the
image.
2. The slight angle gives tension and creates
a leading line toward the model.
3. Obscuring the model with the environment
makes the viewer linger over an image they
might glance right past.
USING WHAT’S THERE

11. Ambient Light
• We schedule photo walks to
coincide with Magic Hour/
sunset.
• At dusk light begins to come
from the side and is orange,
rather than during the day when
light comes from above and has
a blue cast from the sky.
• You can anticipate the light
changing every eight minutes
because of the rotation of the
earth.

12. • Working with natural light you
will have to make it a priority in
the sequence of building a shot.
• Where is the light coming from?
• How does it look on objects?
Metal, glass, buildings.
• Last put your model into a shot
so her face is turned either
toward the ambient light source
or away from it, if you want her
backlit.
Ambient Light

13. • I saw the sun coming in at a low angle, creating a spotlight on the pattern of
the parking garage.
• Next I moved Kimberly to stand in front of the building so the sun pattern
becomes the graphic design to fill the negative space.
• The canted angle gives the image dynamic triangles and tension.

14. The way I build environmental portraits is:
• First background composition.
• Second model placement to leave negative space for the element that
will give it an urban setting.

15. • I saw the strong graphic line of
the staircase and asked
Kimberly to step into the shot.
Building a shot

17. • If you position your model away from
the background, think of it as a Monet
painting. The colors and shapes
become impressionistic.
• I encourage you to set your lens to
manual focus and turn it out of focus.
• Rotate in 360 degrees and look at the
world as an impressionistic
background.
• If you see an interesting pattern or
bokeh, than put the model into the
shot, knowing the background has the
Monet/graphic design/urban element
which you chose first in building your
shot.
Building a shot

19. • If you position your model away from
the background, think of it as a Monet
painting. The colors and shapes
become impressionistic.
• I encourage you to set your lens to
manual focus and turn it out of focus.
• Rotate in 360 degrees and look at the
world as an impressionistic
background.
• If you see an interesting pattern or
bokeh, than put the model into the
shot, knowing the background has the
Monet/graphic design/urban element
which you chose first in building your
shot.
Building a shot

20. Storytelling
The basics of storytelling are:
1. Person has a goal
2. Conflict keeps from goal
3. Disaster
4. Character learns and tries
again
5. Resolution- Story question is
answered yes or no: Will she
put a curse on her enemy?

21. Storytelling - Goal: to get on the train.

22. Storytelling- Conflict: the train passes her by.

23. Storytelling- Disaster: she fails to deliver the curse.

25. The serendipity of the three businessmen walking behind the model
help to populate the shot.

27. Models appreciate being tagged in social media.
Instagram: @kim_991133

28. Your assignment:
*Look for elements in the environment
and to obscure the subject.
*Choose one city block and notice
how the light changes over time.
*Think about how much background
variation you can achieve in one
location?

29. Thank you for coming to the
Environmental Portrait Workshop.
We rotate different models and
locations to keep your experience
dynamic.