Every portrait photographer wants the same thing: a photo where the person looks like themselves, only at their best, and where the people who love them recognise them instantly. Lighting and lenses help, but the hard part is the person in front of the camera.
For this In the Limelight group chat, I sat down with three South African portrait photographers, Laetitia Booysen, Les-Lee Lesch, and Siobhan Brazier, to talk less about gear and more about connection, posing, mood, and confidence on set. Here are the most useful takeaways from the conversation.
Video: CameraStuff "In the Limelight" Group Chat, Perfect Portrait Photography, CameraStuff Shop.
TL;DR
A great portrait starts with connection: get to know the person before the shoot, expect a warm-up, and keep them talking. Pose with actions rather than rigid instructions, then make small adjustments. Match the quality of light to the person's personality, keep editing natural so they still look like themselves, show clients only the strong frames, and when a shot is not working, stay calm and change one thing at a time.
What Makes a Great Portrait?
We all agreed that technique is the foundation, not the finish line. Laetitia described the triangle of light, angles, and posing: get all three right but miss the connection, and you only have a technically correct picture. Les-Lee added that a good portrait should tell a story, while Siobhan pointed to emotion and the eyes.
"My mission statement is to photograph beauty on a soul level."Laetitia Booysen
For me, it goes deeper than skin. A portrait should capture someone's character, mannerisms, and quirks, so friends and family immediately say "that's her".
Conrad's Advice: "Portraits are not always about beauty or flattering a person. Sometimes unique facial features are your character. If you wear glasses the whole time, don't take them off."
Build the Connection Before the Shoot
Each guest connects with clients before they arrive, in their own way:
- Laetitia always starts with a phone call and asks "what is your why?". Most of her clients also come in for an in-person styling consultation, so by shoot day they greet her with a hug.
- Les-Lee keeps it relaxed over WhatsApp or email, asking about the client's ideas and any theme, then lets the conversation flow naturally on the day.
- Siobhan sends a questionnaire, including the client's favourite artist, and has that music playing when they walk in. She also loves voice notes for getting to know people beforehand.
I would add two questions worth asking: how would your friends and family describe you, and what do you think people get wrong about you? The answers tell you what to show in the photos.
Help Clients Relax in Front of the Camera
Everyone agreed on one thing: the first few minutes are a warm-up.
"The first few photos we never use."Siobhan Brazier
For shy or nervous clients, the panel's advice was practical. Be gentle and patient, play their music, tell them sincerely when something looks good, and put the camera down to chat between sets. I go further: in the first ten to fifteen minutes I ask people to act like a zombie, a pirate, or a superhero, and I do it with them. The real shot is the laugh that comes straight after.
Your own energy matters too. People tend to mirror the photographer, so if you are quiet and hesitant, they will be as well. Lead by example and keep your finger ready for the moments in between.
Posing That Looks Natural
Laetitia prepares poses in advance based on the client's height, body type, and outfit, and finds that most people love being told exactly what to do, right down to relaxing a pinky. Les-Lee lets clients start in a pose that feels comfortable and then guides them. Siobhan mirrors poses, asks permission before adjusting, and keeps around ten go-to poses, standing, sitting, and against a wall, so she never goes blank.
My approach is to give a start point and an end point, like taking a step towards the camera, and let the person repeat the action. Muscle memory fills in the rest, and then I make small adjustments. A few more tips from the chat:
- Small adjustments make or break a portrait. Check the hands, feet, and posture before you move on.
- Point and demonstrate. "Look there" with a pointing hand works better than describing an angle in degrees.
- Get on their level. If they are sitting, sit; if they are on the floor, get down too.
- Avoid too much white in the eyes, and turn the body slightly, around 45 degrees, for a flattering angle.
Conrad's Advice: "Don't point out mistakes that your model or client is making. If the person has bad posture, don't say you look like a question mark. Just say you want to try something different."
Match the Light to the Person
All three guests mostly work with a single light. Laetitia's go-to modifier is a beauty dish, with a reflector or backlight when she wants to change things up, and a large umbrella when she wants a softer, wrapping look. Les-Lee likes dark, deep images and reaches for a Godox 90cm parabolic softbox for almost every shoot. Siobhan's standard look is contrasty and dark, using a 90cm octabox or hard light for high fashion.
"I only use one strobe."Les-Lee Lesch
I link the quality of light to personality. A soft, gentle personality gets a big softbox and soft colours; a bolder, edgier personality gets a beauty dish with a grid or a snoot, deeper shadows, and stronger colours. For moody portraits, I recommend studying chiaroscuro, the classical painting approach of a bright subject emerging from a dark background.
The light-and-dark painting technique is documented by Chiaroscuro.
Light Shapers Like the Ones on the Panel
The guests each have a go-to modifier: a beauty dish, a 90cm softbox or octabox, and a large umbrella.
Creating a Serene or Melancholy Mood
Getting someone to stop smiling is harder than getting them to smile. Laetitia guides clients towards a serene look by talking about someone or something they love; one client honouring her late mother naturally carried that feeling into her portraits. Les-Lee asks clients to think of something sad. Siobhan tells clients to smile with their eyes and relax their mouth.
My tips: match the music, slow down and lower your voice, and ask the person to look away and picture themselves somewhere else, because direct eye contact pulls them back into the studio.
Editing Without Losing the Person
The panel's rule for retouching is simple: the person must still look like themselves. Les-Lee noted that fashion and magazine work expect heavier, cleaner edits, but everyday portraits should not. Siobhan went overboard when she started and now keeps edits much more natural, with wrinkles still visible. Laetitia softens mature skin rather than erasing it.
"I don't take my laugh lines away. It's not authentic."Laetitia Booysen
My advice: one-click skin filters usually look dated, natural retouching takes longer, and it helps to show your edits to someone else before you overcook them.
Showing Clients Photos During the Shoot
None of us tether to a big screen with everyday clients. One awkward frame with closed eyes or an unflattering angle can make someone self-conscious for the rest of the session. Instead, they wait for a strong shot and show it on the back of the camera, which usually lifts the client's confidence instantly.
When the Shot Is Not Working
Every photographer has a picture in their head that sometimes does not come out. Laetitia's advice: do not panic in front of the client. Step back, tell yourself you know what you are doing, and change one thing, like the backdrop or a modifier. Siobhan is open with clients and offers them a break while she adjusts. Les-Lee gives the client a moment to grab a drink while she resets. I sometimes buy time by changing a battery or suggesting a wardrobe change.
Advice for New Portrait Photographers
- Laetitia: master your camera, the exposure triangle, and lighting first, so you can focus on the person.
- Siobhan: practise on people you know, and work on communication, because gear is not the most important factor.
- Les-Lee: do not compare yourself to others; be yourself as an artist.
- Me: do not be afraid of your own voice; your point of view is what makes your work unique.
For lenses, I suggest staying roughly between 50mm and 85mm for portraits, to avoid distortion from wide lenses and over-compression from very long ones.
Meet the Panel
Laetitia Booysen is a portrait photographer based in Somerset West, Cape Town, with more than a decade of experience, focused on women's portraiture. laetitia.co.za
Les-Lee Lesch is a fashion and portrait photographer based in Worcester, Western Cape, working from her home studio. lesleelesch.co.za
Siobhan Brazier is a South Africa-based portrait photographer with over 11 years behind the lens. sbrazierphotography.com
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Portrait Photography FAQs
What makes a great portrait?
The panel agreed that technical skill (light, angles, and posing) is the starting point, but a great portrait needs connection. It should capture the person's character so that friends and family recognise them instantly.
How do I help a nervous client relax in front of the camera?
Connect before the shoot with a call or messages, play their favourite music, warm up with a few frames you will not use, give sincere positive feedback, and take short breaks to just chat. Lead by example and match the energy you want from them.
How do I make poses look natural?
Give the person an action with a start and an end point, like taking a step towards the camera, and let them repeat it. Then make small adjustments to the hands, chin, or posture. Keep about ten go-to poses in mind rather than trying to invent new ones on the spot.
Should I show clients photos during the shoot?
The panel preferred not to tether to a big screen with everyday clients, because one unflattering frame can make them self-conscious. Instead, wait for a strong shot and show it on the back of the camera to build their confidence.
What focal length is best for portraits?
I recommend staying between about 50mm and 85mm on full frame. Wider lenses can distort a face up close, and much longer lenses can flatten it.
Conrad Knuist
Head of Marketing and Photography Specialist
Conrad Knuist is Head of Marketing and Photography Specialist at CameraStuff, South Africa's specialist camera and lighting retailer. With over 18 years of hands-on experience across portrait, event, and commercial photography, Conrad hosts CameraStuff's In the Limelight conversations with South African photographers.
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