My Top 3 Passions Part 1 - Portraiture

Hanoi, Vietnam ©2020 Terrell Neasley

I have three primary photography loves in my life. They are the reason I have never been burnt out in the 15 years I've taken photo seriously. Once I bit into it, I've never had to leave photography and come back to it later. I have always had a camera. I didn't care if the money wasn't coming in and for years I would not even accept payment. I guarded my passion in that way so I never let it become a job until I was ready to turn pro.

I began as a purist with film shooting my Minolta Maxxum 70 before seeing a Jerry Uelsmann book in a Vegas library and then jumping in with both feet by purchasing the Canon Elan 7NE kit and the 75-300mm MEGAZOOM lens. I have never looked back or regretted spending thousands on a camera body or lens. After shooting a myriad of different genres and subjects like cars, diamonds, apparel, fashion, weddings, and events, I always come back to these three arts to soothe my soul and calm my mind. The Portraiture, The Nude, And Landscape. This blog post covers Part 1: The Portraiture.

Hanoi, Vietnam ©2020 Terrell Neasley

It's the human face. That's where it all began for me. Back when I was maybe 5 years old, my Uncle Ulice Ray asked me to take a photo of him and his friends. All I had to do was hit the button on this instant film camera and I think it may have even had flash cubes. That was a big deal for me. I knew I had to get it right. I looked through the viewfinder and could see everybody in the scene. I hit the button and waited those daunting few minutes until the reveal while my uncle fanned the photo back and forth. The look on his face told me I had failed. I cut off everyone's head and did not understand why.

I have always been intrigued with people's faces. They are all different. Even identical twins, because despite the similarities, no two people experience life the same. Life will leave a mark on you and that is different for everyone. In addition, the same experience is perceived by individuals differently. The camera gives me an opportunity to read the story in a person's life. It may not give me the details, but it still tells me a story as if I'm watching a movie or reading a book. The difference is, I get to record that story and tell my version of it.

Hanoi, Vietnam ©2020 Terrell Neasley

The first thing the portrait illustrates is the beauty potential in every story that crosses my viewfinder. An aging face, a dirty face, a baby's face all have their own potential that demonstrate the power of persistence and survival, effort and achievement, or growth and change. In addition, I am a fan of evolution. Time of day and time of season may present a different perspective from one moment to the next. A man or woman can have one face to start the day and then give me a different story at the end of the day. One of optimism and expectation in the morning. Another face of weariness, yet satisfaction, all in a state of dishevel later that evening. And understand me, there is something great there.

I have done portraits of life and death... of the young and the old. I can tell you that a measure of healing was afforded to parents of a deceased newborn or baby. I was able to find the beauty in this art form and capture a portrait that allowed them to see their baby in more than just the perspective of sorrow and loss. I say this illustratively, not boastfully. I'm sharing my experience as a 5-year volunteer photographer for Now I Lay Me Down To Sleep, an organization that does remembrance photography for parents who loose a baby. Thankfully, I know my limitations. Five years was enough for me. I invite you to pick up the challenge for a while.

Hanoi, Vietnam ©2020 Terrell Neasley

Portraits are evidences of life, whether life present or life that once was. Life can be expressed through art in a myriad of ways. They don't have to all be happy smiles. They don't even have to be stoic blank faces. Human emotions are an infinite analog range of feelings and this gives you unlimited options of capture opportunities from each face you encounter. Anger, sadness, joy, a smirk, absent-mindedness, looking into the lens vs looking out of frame, candids, and even a sleeping portrait (a favorite of mine) can all convey something powerful. There is a different story in each.

I love that the portrait is not restricted solely to the face. You can back up! It can be a portrait bust or even full-body. One of the greatest pieces of advice I ever received was from travel editor. He wanted to use one of my shots in a travel mag. After looking further through my portfolio, he told me that no one needs to teach me anything else about capturing a portrait (his words not mine).

Hanoi, Vietnam ©2020 Terrell Neasley

HOWEVER, if I'm doing travel photography, it would behoove me to step back and master the environmental portrait. It made all the sense in the world. I had to regroup and think about my travel lens choices, depth of field choices, and poses. Ordinarily, posing is much more simple when its from the bust and up. Posing the whole body can be more challenging for your subject. What do they do with their hands? How do they shift weight or (balance on both feet)? Is my gut sucked in enough?

Another thing the portrait shows me is that it's not fair for me to negatively judge another human being. The story a portrait tells you might be one of a destitute past or someone in desperation. I understand this one simple fact. There, but by the grace of God, go I. In other words, I can be in that same person's shoes inside of a day. Be grateful and compassionate to everyone. Conversely, just because someone looks like a success, they may be more miserable than you are. This might cause you to mis-identify with your client or subject. Now they see you as someone who can't relate to them and you are not rehired or recommended. If you are snapping pics, you have a job. If you are creating art, then you must understand that the art is a relationship. It's a form of communication between your subject and yourself. If you are not relatable, you can easily come across as obscure, ambiguous, or even hostile. The story you capture will be fiction at best.

Hanoi, Vietnam ©2020 Terrell Neasley

Via my travels, I get to pass through different lands and see different people. I've become intrigued by the cultural differences of the faces I see. In a sense, I've become anthropological. No, not "in a sense". That's a point of fact. I get a chance to see the differences [from mine] dictated by what region of the world their ancestors originated from. It's glorious. It's like you grow up loving roses and are taught "Roses are Red" and then you leave home and learn there are also 150 different species of roses and thousands of variations. The Vietnamese do not look like me. But, beneath the environmental evolution that alters the skin and superficial features, they are exactly like me. Any doctor here in Vietnam will be perfectly familiar with my anatomy if they have to cut me open. They don't have to look it up or google the location to find the heart of a black man.

Everybody has a story that is different from yours but no less worthy of respect. This is what I love about portraiture. It's therapy for me. I see the spirit of human resolve when I look in someone's face. I know they conquered something in order to stand in front of my lens. They persisted and have survived the challenges life has thrown at them and this is their story... as I see and tell it.

“I picked up a camera because it was my choice of weapons against what I hated most about the universe: racism, intolerance, poverty. I could have just as easily picked up a knife or a gun, like many of my childhood friends did... most of whom were murdered or put in prison... but I chose not to go that way. I felt that I could somehow subdue these evils by doing something beautiful that people recognize me by, and thus make a whole different life for myself, which has proved to be so.”

~ Gordon Parks

On the Portraiture

"A portrait! What could be more simple and more complex, more obvious and more profound."

- Charles Baudelaire, 1859

Life...

This is the single most important element of photography that I absolutely have to photograph. Its the summation and hub of every element or aspect of photo that I endeavor to shoot. And if you drill down from there in order of importance for me, then next is the nude and then the portrait takes the tertiary role. Everything else that I do are either in supplement or complimentary to those three primary focuses for me. Life in general is what I endeavor to capture and in its purest form, the nude represents my favorite aspect of that, but the portraiture of my model is the deepest connection I have with the nude and is probably the most powerful aspect of anything I do.

Does that make any sense? I do some interior/architecture photography. Its still a representation of life, as in someone's expression of life as they see it for either a functional or aesthetic purpose. I photograph events and occasions which are moments of life taking place. I do still-life photography for my fine art work. This is evidence of life that it has existed and left its mark. I have photographed death which is the culmination of life or rather the conclusion of one aspect of it. I photograph life and death along with everything in between, as most every photographer does, I guess, to some degree. And like many, I do have my specialties. I will shoot almost anything and add my particular style of interpretation to it, but my primary focus in life is the nude and the portrait.

The interesting thing about the portrait is that it does not need to be nude. In some cases, the difference is not obvious and then sometimes it is. Whether a close up or the bust, the portrait still remains the most powerful aspect of photography, I believe. It is powerful because its limits are boundless. A good portraiture does not have to have pleasant features to be impactful. Exposure does not have to be correct, nor does even the focus. Sometimes, in the same way interesting ruins or abandoned buildings can be appealing, rough facial features can also draw the attention. However the portrait has one other distinguishing component that no other genre of photography captures and that's the connection that any human being can have with the subject by peering into the eyes. Even in some cases where the viewer cannot see the eyes of the subject, there can still be an implied connection between the mind of the viewer and that of the subject. You might wonder where the subject has come from, what they feel, or how they came to be. There is a voluntary transference that takes place which can draw in the viewer unlike no other depiction of any image.

"Who sees the human face correctly: the photographer, the mirror, or the painter?"

- Pablo Picasso

Mesmerizing, hypnotic, and even intoxicating can be terms ascribed to portraitures that are done well. This is why I love them above landscapes. I was looking through some of my images from my hiking expeditions over the last few years I've been in Las Vegas. I will go with people from the meetup groups I belong to or with close friends of mine. Ofttimes, I will go alone. However when I do go with people whom I may know or not, its funny how I'm one of the few photographers who will return from these trips with almost solely portraits and hardly any landscape. I was recently asked to licence a photo of Big Falls, a major natural landmark at Mt. Charleston, here in Nevada for a local publication. I've been up there several times, but had to look hard to find a good shot. Then when I found one, it wasn't anything that I had initially edited. Pretty much everything was of faces. Faces along the way. Faces with the falls. And faces along the return trip. Its the human condition that I shoot, although that may be a term quite overused. Most of my portraits are not posed, but rather candid shots in the moment where the subject may or may not know I'm taking the shot.

Heads. Faces. Some people are more interesting than others and for me, that starts often with the hair and then the eyes. Hair will often get my attention, but the eyes will draw me in and then I think to myself that I need that person's head. I tend to like faces that seem to tell a story or which may make me what to know about this person. Its interesting on the things that draw me to one person over another, because this is how I see the world. I am constantly looking at people. Its like a radar. I can pass through a crowd and there might be only a few faces that bleep in my range of scope. Some ping quite strongly with me. Others may ping less strongly, but my desire to photograph their portrait is no less as strong. What can I say? I like faces.

"Every portrait that is painted with feeling is a portrait of the artist, not of the sitter."

- Oscar Wilde

Childhood memories

This summary is not available. Please click here to view the post.

A Soldier's Story

This summary is not available. Please click here to view the post.

For the Model

I have given some more thought to the resources that I try to provide for models who pose for me, as well as anyone even wanting to give thought to the idea. In my Model Resources section, I believe I have a valuable collection of materials that models can take advantage of. I have been fortunate to have people trust me enough to take off their clothes and allow me to photograph them. I have done my best to never take that trust for granted. What is unfortunate is the experiences of some models whom have misplaced this trust which resulted in some unpleasant experiences.


Aside from bad experiences, this is an endeavor that should not be taken lightly. With a healthy application of wisdom, the experience can prove beneficial. I ask my models to fill out an evaluation form after modeling with me for the first time. I ask questions as to why they choose to model, what the experience was like, as well as how they felt afterwards. Many reasons are given as to why either of them choose to pose, but several seem to agree that the experience has been liberating and gives a dramatic boost to confidence levels. As any woman can attest, an increase in confidence alone is well worth the experience.


I try to make the experience fun and enjoyable, but I warn that there is work involved. Whether under hot lights in a studio or hiking trails in the wilderness, this is not a sit pretty and smile sort of affair. I have a project in mind with specific objectives, but I always like to bring in the model's perspective to the equation. This collaboration is what produces the best work. I don't believe the model is a prop used to create an artist's vision, but rather an integral and necessary partner who helps to create a permanent artistic expression. I have done the same project with different models and the resulting outcomes are no where near similar. I can be verbose at times and do not want to make this a voluminous ordeal, so I will add more on the subject later. Main point...Models or would be models, do your homework. Check out my links.

Included are warnings from 3 photogs that give guidance on what to do if you are considering modeling. There are two articles which detail experiences of first-time models. Also included are tools for getting into becoming and art model, as well as online model portfolio sites that showcase galleries for you. As always, I am available for questions. I have added some of my portraiture studies to this entry.