Portraits & the eyes

Should a subject look at or away from the camera?

A SUBJECT'S EYES SHOULD BE SEEN

As a rule of thumb, both the subject's eyes should be clearly seen in a portrait. As with any rule of composition, there are exceptions.

In the case of a portrait taken in profile, one eye must be seen by the camera, unless the subject is photographed as a silhouette.

Can you take a portrait where the eyes are not shown? You may have come across Yousuf Karsh's distinctive 1954 portrait of Pablo Casals, the celebrated violoncellist, composer and conductor, that shows only the back of the musician as he is deep in play. You do not see his eyes at all. Such exceptions are rare.

The eyes may be looking towards the camera or away from it. They may be wide open, half-closed with a dreamy look, or even downcast. But, they almost always should be seen and in focus for a portrait to be effective.

Why, you ask?

Because the eyes are so expressive. Not only can the eyes reveal mood or state of mind, but they can also help determine a subject's character and even his or her degree of alertness. They are effective in quickly distinguishing one individual from another, and are almost always the first thing the viewer of a portrait looks at.

EYE CONTACT - GOOD OR BAD?

There are two schools of thought with respect to whether the subject of a portrait should look directly at the lens, or just off to the side or slightly above it.

Some photography coaches feel that subjects appear to be staring if they look directly at the lens - that a more intimate, less blatant look is achieved by having the subject merely look near the camera, just above the lens or slightly to one side. They say this gives the desirable impression that the subject is returning the viewer's glance, not openly challenging the viewer.

Others recommend that the subject look directly into the lens for the best effect, arguing that a direct look is an honest one, where the subject has nothing to hide. They say that most viewers wish to see right into the subject's eyes, as if they were in conversation with the person.

Frankly, we don't subscribe exclusively to either school of thought, and we don't think you should limit yourself as a portrait photographer by saying that one is right and the other is wrong. There are benefits and disadvantages to both posing methods. A person who is openly smiling in a portrait can often look downright silly if he or she is not looking at the lens, but is instead staring off to one side. With the right expression, though, a subject can appear thoughtful and therefore intelligent by looking into the distance above or beside the camera. But, an intelligent-looking expression can also be captured by, for example, a direct, intense look into the lens. Similarly, a subject can be made to seem dull and uninteresting if the eyes are looking away in a distracted manner or with a soulful expression on the subject's face.

Keep in mind that professional models, who are trained to relate to the camera, are encouraged to look directly into the lens so their eyes meet those of the viewer.

Also, as a portrait photographer, you may observe that a given subject's eyes are particularly attractive or a strongly compelling feature of their face, and should unquestionably be photographed with the subject looking directly into the lens to properly capture his or her essence. This is often the case with children, whose wide-open, clear and trusting eyes define their youth, innocence and freshness.

One situation, however, where it is recommended that a subject not look directly at the camera arises when the subject's eyes both do not focus on the lens at the same time - that is, when one eye appears to be looking at the lens and the other does not. This is not all that unusual. Many people appear to be looking at you with one eye only, while the other seems to be looking past you. So, rather than photograph this effect, have your subject look slightly away or above the camera so that both eyes appear focused in one area.

LOOKING TOO FAR AWAY

You should avoid taking pictures when the subject's eyes wander off, looking too far away from the camera. The result is usually a vague, faraway look that suits almost no one's portrait, as if the subject is distracted or simply not paying attention. There is usually too much white showing, and the eyes lose some sparkle and brightness.

WHAT TO DO WHEN THE SUBJECT'S EYES ARE NOT EQUALLY WIDE OPEN

Your portrait subject may have one eye that does not open as wide as the other.

The model in the images on the right has an eyelid (her left eye) that is slightly more closed than her right eyelid. It is quite noticeable when she is directly facing the camera with both eyes level, as in the left hand image.

You may come across a portrait subject with a similar facial characteristic, and may want to downplay it so that it is not noticeable and your subject's eyes appear to be equally as wide open.

The solution? Have your subject tilt her or his head and angle the face slightly so the problem eye is a bit closer to the camera, as our model demonstrates in the right hand image. The angle of her head prevents the eyes from being level. Because the model is now looking up by a small degree, both eyes appear to be in better balance.