Perhaps not enough has been said and published about the decline in standards among the general public, and especially the agencies who buy lifestyle portraits and images, on what a quality environmental portrait should look like. I have seen full pages in travel magazines and even covers dedicated to an image where the people are passably exposed, but the sky is completely blown out! Who thinks a featureless, white sky adds any appeal to a travel destination? Anyone? No? I didn't think so.

That is not the motivation for this piece, and I won't dwell on it, but as I sat down to write this I felt the need to bring it up. A professional should never strive to present an image that is "good enough"! We professionals should always strive to present images that evoke feelings, emotions and admiration!

I have been making fashion and glamour images, and portraits for…well, let's just say over 30 years now. All that time has been spent in California and Hawaii, (mostly Hawaii), and I've had the benefit of wonderful climate year round, and beautiful scenery. There are a few things I've learned along the way, and I'd like to pass on a clue or two here.

Photography has changed in so many ways over the years, but the essential basics remain the same. Photography records the way light reflects off of things. The angle of the light striking a thing, relative to an observer, causes some areas to be relatively without reflection of light, (shadows). So, how a thing reflects light is determined by the reflectivity of the surface, and the angle of the light. This will never change.

The historical Grand Master of landscape photography, Ansel Adams was so keenly aware of this phenomenon of photography that he quantified the variations of reflectivity in the language of photography, (F stops). This is known today as the Zone System. And it is just as important today as it was when the great Ansel recorded it.

Back in the beginning of photography, all was black and white…and shades of gray. Only variations in tone. No color. So how could an awe-inspiring landscape be recorded in such a way that the photograph would take your breath away with its beauty?

Ansel said that he would scout a location, and then observe it from different points at all times of the day. It was in this way that he was able to find the magical moment when the light defined the beauty of the place. I don't think Ansel was color-blind, but he was able to see in black and white. He would imagine how the image would look in its final print before he would record it. He watched as the light painted the landscape with highlights, and revealed the varying contours and textures. When it was just right for a black and white photograph, he would make the exposure.

For centuries, landscape painters have used the varying personalities of light at different times of the day to evoke a mood or feeling for the piece. Painters generally have a favorite palette of colors, so some tend to specialize in a particular type of scenic painting. The point here is that the direction and color temperature of the light do have an effect on the mood or feeling of a scene. For most of the day, and particularly at mid day, the light is bright and harsh, and imparts a liveliness and energy. In the late afternoon and early morning the light tends to be soft and warm imparting a relaxed coziness.

In the days before electricity, artificial light was provided by oil lamp or candle flame. A very warm, golden light. Nowadays we have just about any color and temperature of light anyone could possibly want available to us. Of course in landscape photography, the sun is generally the only light source. There are however filters available that will change the color temperature of the light at any given time of day, and a number of other effects as well.

So when considering strictly landscape photography, the more important consideration is the angle of the light, and how it sculpts the terrain. From what vantage point, at what time of day, (angle of light), does the sun afford the most beautiful and striking presentation of the scene? That is the best time and place to make the photograph. And if that time of day doesn't have the color temperature you want, use a filter! Alternately, in this age, there are digital solutions to changing the color temperature of the light as well.

For creating beautiful landscape photographs we have considered the Zone System as a way to determining how to record the highlights and shadows, we've discussed camera position, and the color and angle of light. So what about Portraits?

I must be a traditionalist as far as my way of thinking about creating portraits, and what differentiates a portrait from a snapshot. As a portrait artist I am responsible to myself in that I must satisfy my personal artistic values, and I am responsible to my client who commissions me to make their portrait. A 'Portrait' must be a realistic portrayal of the subject, while also being complimentary.

In the days of the historical painting masters, patrons of the arts were largely responsible for the survival of the artists. They commissioned them to make portraits as well as landscapes, and to depict scenes from the Bible, and mythology. You can bet the artist's primary concern was to make their patron happy! A portrait therefore needed to be complimentary first, then realistic.

Now, as then, we need to keep our patrons, (clients), happy. And as professional portraitists, our images must be far better than mere snap shooters and hobbyists.

Portraits must be beautifully lit. A portrait reveals the personality and character. Portraits are enlightening as to the relationships of the subjects of the portrait. Portraits tell stories!

So let's talk about lighting. In my studio, I primarily use "Rembrandt", or "closed loop" lighting with about a 3 or 4 to 1 ratio between my Key light and the Fill. It is simply the most complimentary and beautiful lighting for portraits. And I like a little more contrast myself than a lot of photographers, so I tend to lean to the 4 to 1 ratio…unless the portrait is of women. Then I tend to a 3 to 1 ratio. And I usually use a hair light, or separation light to make the subject stand out from the backdrop.

I light my environmental portraits pretty much the same way! As we mentioned earlier, the sun is a very harsh light source most of the day unless it's behind a big cloud. Even in the late afternoon when the light has a softer feel to it, it's still very harsh in that the shadows are very dark and hard edged. The difference between the highlights and shadow can be as much as 6+ to 1, which is just too much to be able to photographically record any detail in the shadow if the highlights are properly exposed.

That's one challenge with environmental portraiture. Another is that if you use the sun as a key light, your subjects will have the sun in their eyes, and won't be comfortable or able to do anything but squint.

A solution to those issues is to place your subject in an area of open shade. That deals with the hard shadows and the sun in the eyes, but then if there's any sky or areas in direct sunlight behind your subject, it'll be blown out and you loose the value of the environment part of the image.

So placing the subject in open shade is only part of the solution. We need to balance the light on the subject with the light on the landscape behind the subject. There are choices available to meet this requirement, and I will only here discuss the best, in my opinion.

When making environmental portraits, I am careful to position my client either with their back to the sun, or in open shade where the landscape behind them is beautifully lit by the sun. I always bring at least 2 flash units. With these two flash units I position one at about a 45 degree angle to the subject set to give me an exposure of F8. Then I position my second flash close to me on one side or the other of the camera, and at F5.6. This gives me a 3 to 1 ratio, and I can shoot at F8 1/2. To perfect the balance of light that I'm putting on my subject to the sun on the landscape in the background, I simply adjust the shutter speed to get the correct exposure for the landscape.

With this lighting setup, the sun acts as a background and separation light. So, choosing the best light of the day for the landscape, and bringing studio lighting for the subjects of the portraits, gives one the chance to make exceptional environmental portraits. But it's not guaranteed!

Why not? Because people are animated, emotional, and sometimes camera shy. That's why if you don't love making portraits, you shouldn't be doing it. And if you do love making portraits, you need to be likeable, friendly, outgoing, and reassuring. If you aren't naturally outgoing, friendly and reassuring, these are qualities you can work on and develop.

These are qualities that are very important when working with people and posing them for their portraits. Personally, I like to pre-visualize the images I want to make of my clients. It's helpful to have a consultation for this purpose well before the actual portrait session. And it's a collaboration between artist and subject. I will explain to the client what I'm trying show or express with a certain posing setup and get their approval. Then I'll give them general directions to get them into position. I'll make an exposure or two, and if it's not perfect, I'll make adjustments.

My personal preference is for interpretive portraits. I feel they are more telling of the relationships, and bring out the personalities more honestly. And almost without exception it's easier for the client! If it's easy for the client, it'll look more comfortable and natural. Of course my preference has been influenced by my favorite Old Masters paintings. Their environmental portraits, naturally.

The disciplines of Landscape photography and Portrait photography are not at odds with each other. They are different, and they can be very complimentary to each other. When you have a beautiful landscape, (and decent weather), with the sun illuminating it's best features, and a thoughtfully posed and beautifully lit portrait within the environment, you have an outstanding environmental portrait!

The outcome is not accidental. It must be planned for. One must exert oneself to excel in both disciplines. To be able to see the light. To be able and proficient in making good exposures. To be able to work with people confidently and reassuringly so they are at ease with you. And being prepared with the right lighting and a plan. Put it all together and you can create outstanding environmental portraits!

About the author: Stan P. Cox II runs a Portrait and Commercial photography studio in Honolulu, Hawaii, and has been a professional Hawaii photographer for 31 years. His web address is: http://www.ParamountPhotography.com. This article may be freely distributed if this resource box stays attached.