Beyond Good: Why You need an Empathetic Photographer for Your Professional Portraits


Thanks to Yeager Anderson for this guest post! Here’s his advice on how to go about choosing the best photographer for your new headshots.

Yeager is a portrait and headshot photographer based in Rochester, NY. You can check out more of his work here: www.yeagerandersonphotography.com.


Portrait by Yeager Anderson

Portrait by Yeager Anderson

Choosing a portrait photographer for your company or small business involves an evaluation that considers technical skills, artistic vision, and personal qualities contributing to a positive and productive collaboration. The distinction between a good portrait photographer and a great one often goes beyond technical skills.

While technical proficiency is essential, what truly separates the two is a combination of artistic vision, interpersonal skills, and a deep understanding of the subject. A great portrait photographer seamlessly integrates technical proficiency with a deep desire to connect with their subject, creating portraits that are not only technically sound but also emotionally impactful.

A good photographer can capture nice photographs but may struggle to establish a meaningful connection with the subject. A great photographer goes beyond technicalities; they connect with their subjects on a personal level. This connection allows them to bring out genuine emotions, expressions, and a sense of authenticity in their portraits.

More than Just a Picture

The foundation of a great portrait photographer's ability to connect with subjects lies in empathy and strong interpersonal skills. By creating an environment where individuals feel at ease, they skillfully draw out authentic expressions. Effective communication further enhances the collaborative experience, ensuring clients not only comprehend the process but also have confidence in the photographer's abilities.

In the business world, the qualities of empathy and other soft skills in a portrait photographer are invaluable for several reasons. A business often requires professional portraits for various purposes such as corporate profiles, marketing materials, and branding. Here's why these qualities are crucial and how a skilled, empathetic portrait photographer can genuinely benefit a business:

1.Building Authentic Brand Representation:

Why It Matters: In today's market, consumers are increasingly drawn to authentic and relatable brands. A portrait photographer with empathy excels at creating a genuine connection with the individuals they photograph. This authenticity translates into portraits that accurately represent the human side of a business, fostering trust and connection with clients, customers, and partners.

2. Enhancing Employee Morale and Engagement:

Why It Matters: A photographer skilled in drawing out authentic expressions contributes to portraits that reflect the personality and individuality of employees. This, in turn, can boost morale and engagement within the workforce. Employees who feel valued and represented in company materials are more likely to feel a sense of belonging and pride in their workplace.

3. Creating a Positive Corporate Image:

Why It Matters: The portraits used in corporate materials often contribute to the overall image of a business. An empathetic photographer can capture the essence of the company culture, presenting it in a positive light. This positively impacts how the business is perceived by clients, investors, and the public, potentially attracting new opportunities and partnerships.

4. Effective Communication of Company Values:

Why It Matters: Portraits are a visual storytelling tool, and a great portrait photographer can convey not just faces but the values and ethos of a business. Through effective communication, they ensure that the portraits align with the company's mission and vision, reinforcing a consistent and compelling narrative about the organization.

5. Improving Client and Employee Relationships:

Why It Matters: Portraits taken by empathetic photographers contribute to a personal connection with the audience. Whether it's clients viewing the faces behind a service or employees recognizing themselves in promotional materials, these portraits foster a sense of trust and familiarity. This can strengthen relationships and contribute to client loyalty and employee satisfaction.

6. Boosting Marketing and Branding Efforts:

Why It Matters: In a competitive business landscape, portraits that convey depth and personality can set a company apart. They become powerful assets in marketing and branding efforts, creating a human-centric approach that resonates with the target audience. Memorable portraits contribute to a strong visual identity that can be leveraged across various marketing channels.


In essence, authentic portraits crafted by an empathetic and skilled photographer are not trivial for a business. They go beyond being mere visual assets; they become strategic tools that influence how a company is perceived, fostering a positive and authentic connection with stakeholders.

From attracting clients to retaining employees, the emotional resonance of these portraits can genuinely contribute to the success and growth of a business in a competitive market.

Portrait by Yeager Anderson


Yeager Anderson is a photographer based in Rochester, NY. He works with small businesses and large companies alike to create images that tell authentic stories and build trust. You can check out more of his work here: www.yeagerandersonphotography.com.

Fil's interview with Voyage Houston

I had the opportunity to describe my work to Voyage Houston, and the article was published today.

I used it as an excuse to show off some of my vintage camera collection, get the story out that I take epic city-scapes as well as portraits, and self-indulgently feed my own ego. It has not been fed in a while.

Voyage seem to be exhaustively cataloging all of Houston’s artists and entrepreneurs. Even though their almost un-edited style can make for a difficult read sometimes, it is nice to have a site full of local creatives sharing their stories.

Thanks for reading!

The risks of film photography

Film is beautiful. It is also a lot of work involving many steps from loading to scanning. Things don't go wrong often, but there are some risks to be aware of. Here is a trouble shooting guide to working with film:

Loading film in the camera

Ilford HP5 which separated from the backing paper in a Hasselblad 12 magazine.

Ilford HP5 which separated from the backing paper in a Hasselblad 12 magazine.

  • 35mm film not engaged with sprockets. You think you've shot a roll, but the film hasn't caught on the feeding mechanism. You've wasted time with the pictures you think you've made, but the film is still useable and needs reloading correctly.

  • 120 film separating from the backing paper. More resistance than usual is felt when winding because the backing is sliding past the film which is stuck in place.

  • Dust. Especially with sheet film for large format photography, dust around the film holders and in the camera body needs to be addressed with blowers or soft brushes.

Shooting film

  • Exposure. Some film stocks are more forgiving than others when it comes to exposure. HP5 black and white provides some significant margins of error, where as slide colour film requires you to be spot on. Are you using a light meter or the sunny-16 rule? Slow and methodical, or run and gun? This will dictate the film types you should be using. Scanning film and digital manipulation provides another level of safety when exposure is slightly off.

  • Accidental double exposures. Some cameras, like large format or the stereo-realist, do not have mechanisms connecting the winding system with shutter cocking. This needs to be double checked as part of the image-taking routine. This is less of a problem for the majority of cameras out there which only allow the shutter to fire if the film is advanced.

  • Overlapping frames. This is often a 120 film problem because the film is wound by rotating the receiving spool, rather than by gripping sprockets like with 35mm film. If this is an ongoing occurrence, the issue might be worn gears meaning the camera or magazine needs maintenance. Or it could be a one-off caused by winding or the film dragging for some reason. It can happen on 35mm rolls, too. I think this might be linked to winding too much film on a re-usable cartridge.

  • 35mm film not engaged with sprockets mid-roll. I don't know how this happens, but the film can stop winding mid-roll. The only way to mitigate the problem is to watch the rewind handle as you advance the film. If it isn't turning, you can either investigate in the safety of a dark bag, or cut your losses, re-wind and develop the exposed portion of the roll.

 
Overlapping 35mm frames. Pictures of downtown Houston from the tunnels. Rollei 35s, Ilford HP5.

Overlapping 35mm frames. Pictures of downtown Houston from the tunnels. Rollei 35s, Ilford HP5.

 

Unloading the camera

  • Ripping the end of the roll. With 35mm, you'll feel resistance on the advance lever at the end of a roll. But if that resistance is ignored for some reason there is the possibility the film will be ripped and the sprocket holes mangled.

  • Opening the camera or film magazine. Re-wind the film before opening the camera, not the other way around. You only make that mistake once. That said, only some portions of the film will be exposed to light and many of the early frames will be salvageable.

Developing film

  • Volume of chemicals. Be sure the correct amount of chemical is used. Better too much than too little, or there will be a band of under-developed image on the film.

  • Scratches. After the film is developed and washed, it is often run through fingers to get rid of excess water. This can scratch the film. One way to mitigate is to ensure your fingers are soaked for a while first to soften the skin.

Scanning the negatives

  • Dust. Dust is the enemy in many stages of the photographic process, and having the negatives on a light table or scanner is a critical one. Blowers used often are the best way to get rid of dust.

  • Curled negatives. Negatives need to be flat when they are scanned, or in focus areas will be cast out of focus at this stage. Using good quality film stock is a good start. Curled film can be held flat by a holder or frame (I use a plastic frame I made especially for the task), or you can try leaving film under some heavy books for a few hours.