People are probably one of the most rewarding subjects for photography. Good pictures of people capture the gestures and expressions that convey vitality and character without the subject appearing self-conscious.

Basically, assignments for photographing people fall into two general categories: pictures of a single person and pictures of a group of people.

For the mediocre photographer, all the picture of a person must do is identify a person. But good photographers steer away from these identification pictures. The photographer is after something different, some-thing not too loose and not too formal-something that pictures the person, not just his features. One approach to capture these characteristics is the candid photograph.

CANDID PHOTOGRAPHY

Most photographers are familiar with candid shots of people they do not know. It may be true that the average photographer thinks of a candid photograph as one that is not set up or one the subject does not know is being taken. Photographers have learned that candid techniques can be used just as effectively to make pictures of people they know, even when the people know they are being photographed. The key to success as a candid photographer is to keep a low profile, but you do not have to be sneaky. A candid shot is a candid shot, whether it is of the admiral at a news conference or a genuine candid of a sailor you just happen to see. The technique is the same in both cases. All that is important is for the pictures not to appear posed. The subjects of candid photographs are not posing or acting; they are simply being themselves and behaving as though the photographer is not there. The compactness of 35mm cameras make them ideal for candid photography. SLRs with their fast, interchangeable lenses, TTL metering, and large film capacities make candid photography one of the most rewarding areas of our profession. A long-focal-length lens is also a good choice for this type of photography. The long lens lets you maintain distance between yourself and the subject, and, if people are aware of your presence, they will not be as self-conscious. If you are taking real candid shots, a long lens is a necessity.

When people know you are shooting them, get them to occupy themselves, so they will forget there is a camera watching them. Only then, can you get a truly candid picture. When the person notices what you are doing, ask their permission before you shoot. People usually will not object, particularly if you are polite and work quickly. Stay casual and relaxed. People soon get used to seeing you with the camera, and you will be on your way to some good candid pictures.

Preset your focus and exposure whenever possible so you can respond quickly and avoid attracting attention to the camera. Estimate the likely subject distance, set it on the lens focus scale, and stop down for greater depth of field. Camera handling must be fast and smooth. Time does not allow for fumbling with camera controls, flash equipment, exposure meters, and film loading.

Keep alert, keep looking, and keep shooting. Shoot plenty of film. Do not be stingy; in the long run, film is cheap. You will miss enough good pictures by the very nature of your subjects-people-and being tight-fisted with film does not increase your chances for getting good pictures. Do not try to control the people you are shooting. Let them assume a natural pose in an appropriate setting. You may tell them, please do not look at the camera. Try to capture the details of their environment in your pictures. This adds interest to what they are doing. And finally, make your candid pictures reflect the people and events around you. There are situations when you do not have the time for a candid approach, or it just is not feasible. You can still produce interesting people pictures by using the "frame approach."

FRAMING PEOPLE IN THEIR ENVIRONMENT

The "frame approach" simply means posing your subject in a situation or environment that is most meaningful to the subject or assignment.

When your subject is a chaplain, place him before a chapel or at a desk with a cross that is visible over his shoulder. If the person is a Boatswain Mate, get him or her on deck actually working on the job. Put the Navy instructor near a blackboard or the pilot in an aircraft. The frame approach works with people working in all types of environments and ratings, such as Machinist's

Mates, Airman, Fireman, Personnelman, Opticalman, and so forth. It works with just about everybody. It is easy. Your subject is usually more relaxed in his or her own environment, and props to work with are already there.

Before you approach an assignment, have the one key ingredient to success in mind-a definite idea of what you want. In other words, plan ahead. Find out all you can beforehand about the subject and the environment. What could be worse than arriving at an assignment and finding your "just average" Personnel-man is really six-foot-four, completely bald, and wearing thick bifocals. It might help to know that even though you find the person in a closet called an office, most of the work is done in the computer room down the hall-the one with the banks of computers and tape racks that make wonderful frames.

There are some things you must remember. Use the frame approach to maximum advantage. The first and foremost is to exaggerate. Be sure to really have a frame for your subject. If your subject is a legal officer, make sure there is no mistaking that this person works in the courts or with books and papers. If your chemist is at a blackboard, make sure that there is something on it and that the test tubes are not hidden or too few. Again, exaggerate. You are going from three dimensions to two. Do not be subtle. Your objective is to make a meaningful picture of a person, not just an identification shot. Vary your setup-get in tighter-back off some-change camera angles-and keep the subject prominent.

The overall result of your efforts should be a unique picture. Even if you were unable to capture the personality of your subject, the picture should at least be personable. This can be done by making the person a prominent part of the picture. Photograph the person in a meaningful environment, one that gives a sense of who the subject is, and what he does, rather than leaving the viewer with a sense of only what he looks like.

The objects needed to frame your subject must be associated with the person. You would not want to frame a Seabee with the wings of an airplane (unless of course a runway is being constructed). The Seabee would be better framed by the arch of a new building being constructed, or the hood and engine of a dump truck. The frame should add emphasis and lead the viewer to the subject. Do not make the frame the subject. The frame does not always have to be in focus or box the subject. Study pictures of people that have been framed Sometimes the frame is only on one side of the subject, sometimes in back of the subject, and sometimes only in the foreground. Seldom does the frame completely box the subject.