The Art of Communion Portraits

By Kenneth C. Hoffman

The First Communion is first in many ways. It is the first formal event in a young person’s life, the beginning of a life of good character and a milestone in a seven year olds education. The First Communion portrait is especially treasured by the parents, showing the innocence and hope for the future in their young faces.

For these reasons, a natural, happy face takes precedence over creativity in posing. Communion poses are studies in confidence and naturalness. An ideal session starts with a standing full length pose holding the missal and rosary beads. Girls have their weight on the back foot, their front knee slightly bent toward the camera. Boys stand with legs slightly apart facing twenty degrees off center. Several shots from the left and right sides will assure a perfect expression.

While the subject is standing come in for a medium shot cropped just above the knee. Some happier expressions can be included in this variation. Lighting should be soft but modeling, say two and one half to one ratio.

Medium close up poses are the most popular, so concentrate on getting a good selection for the parents to choose from. A posing bench that simulates the altar rail places the hands and elbows comfortably at waist height. Variations include hands on missal, reading missal, looking up, smiling and serious. You should photograph both left and right sides for a good selection.

Girls allow a little more leeway in prop usage. White tulle placed over a bouquet of flowers, a white or brass candlestick with candle in the background or a small, round topped table holding the missal and gloves off to the side and behind the subject are appropriate props. If there is time, a seated pose for the girls can be effective. Boys can stand with their elbows on a raised marble column holding the missal, the other hand in their pocket.

Always check that the tie is centered and the collar fits snugly to the neck in front. If the shirt collar is too loose, place a roll of tissues behind the neck to tighten it up. Make sure the roll is not seen by the camera. Shirt cuffs ideally should show one half inch of white past the sleeve end. If this is impossible, then show no cuff at all. Too long cuffs can be rubber banded under the coat to the correct length. Veils should be checked for equal length on the sides and the crown centered on the head. Gloves look better held in the hand or on a pedestal, never worn. White dresses and accessories are a natural for high key photography. Boys in navy blue suits look better on a medium gray background with the edges darkened.

Some unusual shots can be tried for appreciative customers. A super close up with eyes raised is quite angelic. Place a small light above the lens for a nice catchlight. Profile shots with a candle and rosary are very effective for the more artistic clients. Throughout the session talk to your subject, tell them how nice they look and give them a chance to relax and look confident. At any sign of nervousness, take a break and distract them with conversation on another subject. Remember that expression is nine tenths of a good portrait.

Retired portrait and wedding photographer. Any thoughts?

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How to Pose a Bride and Groom

By Kenneth C. Hoffman

Of all the pictures taken at a wedding, the one most important is the portrait of the bride and groom. Some wedding couples depend on a relative or a friend to take a few good photos for their album and others reserve a professional photographer to do the honors. This article is for both the real and wanna-be photographers at the wedding.

A good time to photograph the bride and groom is after the ceremony and before the reception. Ideal is an open lawn away from any building. Other photogenic locations are at the edge of a treed area, under an arcade or
at home in the backyard. Important is to choose an evenly lit background: one that does not contain light and dark areas. Place the couple in the shade at least thirty feet away from any background objects with their faces toward the main source of light.

Turn the bride thirty degrees away from the camera and fluff the train behind her so that only half of the train is visible from the camera position. Never pull the train around to the front of the bride since this is most unnatural and would never occur in real life. Pose the groom slightly facing the bride and have him offer his arm for her to pass her through. Make sure her ring is visible. The groom’s outside hand can be in his pocket or touching the bride’s hand. The bride should shift most of her weight to the foot furthest from the camera and the groom should have his weight evenly distributed on slightly spread feet. Never let his hand drop straight down at his side. The bride may hold her bouquet in her outside hand at a level below her waist with some daylight or background showing between her elbow and her waist. An alternate place for the bouquet is on the ground next to the groom’s feet. Turn their faces toward the camera but not fully straight on, but at a slight angle toward each other. Their expressions should show their happiness, but not laughing.

Angles other than the view straight on without changing their positions often present another good composition for a portrait. Consider also a view from behind the couple, requesting them to turn their heads directly toward each other, giving the photographer a profile of their faces. A variety of shots are possible with this pose. A medium shot (at the knees) with their faces closer together and an even closer pose with the cheeks almost touching make wonderful portraits. Try having them look into each other’s eyes with his arms around her. Natural light from the side is the most beautiful source as long as the reflector of some sort balances the light. Watch your cropping in the viewfinder carefully and leave some space over their heads. Pay attention to the position of the feet (no soles showing) and be sure only the sides of the bride’s hands are presented to the camera. The groom’s coat collar should fit snug to the neck.

A beautiful portrait of the bride and groom can be their most treasured reminder of the most important day in their lives. You can make it happen.

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