There is some distinction between fine art portraiture and commercial portraiture, but sometimes it can be hard to find that separation. Fine art portraits are not usually candid or overly bright, and often times photographers will make them look almost surreal. The photographer will usually attempt to have the subject portray some strong emotion. Unlike commercial portraiture, fine art portraits are shot by photographers who are not being hired, which gives them a bit more freedom with their subjects and images. Commercial portraiture, is created by photographers that have been hired and have an assignment. Some commercial portraiture for magazines is very bright, lively, and glamorous, unlike most contemporary or modern fine art portraiture. However, there are some similarities like the posed nature of both types of portraiture. Additionally, some fine art photographers who shoot fine art portraiture also shoot commercial portraiture, usually bringing some of the aspects of fine art photography to the commercial realm. This is why some commercial portraiture looks very much like fine art portraiture, the only differences being that the photographer has been hired and given an assigned task.
Fine Art Portraiture
 |
| P.H. Fitzgerald |
This photo stood out to me immediately from P.H. Fitzgerald's photographs because of the soft contrast created by the natural light. The geometrical shape of the window juxtaposed with the softer edges that outline the subject also create an intriguing contrast. I was also drawn to to colors in the image, worn colors, that match the pensiveness that the subject is embodying. The window, shows the outside world, which is much brighter than the inside portion of the setting, yet some of that light comes through the window to create a gradual change from light to dark. I also liked the composition, which placed the subject off-center. Additionally, the way the subject is posed is very effective, allowing the viewer to see her profile backlit by the natural light, which makes the image much more interesting than if she had been looking directly at the lens.
 |
| Fritz Liedtke |
This portrait, like the other fine art portrait that I chose, does not show the subject's entire face, allowing the viewer to focus on other details instead. This creative approach is one I find much more interesting than most portraits that show the subject's entire face; while it does not give the viewer as much information, it allows the viewer to create their own story for the subject and what is hidden by the posing or visual information that has been purposefully left out. The first aspect of this photo that stands out is the subject's eye, and the fact that she is not facing the camera, but looking off at something else. Then, the lighting draws the eye to the subject's freckles, which cover most of her face. The depth of field in this picture also enhance this focus on this portion of the face, right around her eye, while the background is blurred. The focus on this part of the subject's face is also emphasized by the lighting and sepia tone, both of which are very effective.
Commercial Portraiture
 |
| Afghan Girl by Steve McCurry |
This commercial portrait looks very much like a fine art portrait because of the lighting and composition, but there are other aspects that differ from most fine art portraits. The subject is looking directly at the camera, which is not as common for fine art portraiture, and much more frequent in commercial portraits. The layout of the print over the picture is also effective for this commercial portrait because it is very minimal and does not distract from the powerful image. Though there is text overlaid on the image, the viewer is first drawn to the subject's eyes, which are very clear; the image is composed in a way so her eyes are in the center to allow this initial draw.
 |
| Annie Leibovitz |
This portrait has multiple subjects, which can be common in commercial portraiture, especially for magazines. With multiple subjects, posing is extremely important, and this image shows how it can effect an image to better tell a story. Additionally, the editing done on this image gave all of the colors a similar tone, making the image more cohesive. As for the layout, the text is placed in areas that are open and so not clash with any of the elements of the picture. The use of different fonts and colors for the text also draws the viewer to that information.
 |
| Annie Leibovitz |
This portrait, shot by Annie Leibovitz is a commercial portrait. Leibovitz was hired to take portraits of celebrities portraying Disney characters. Though it is a commercial image, there are many techniques used that are also used on some fine art portraits. The lighting, for example is very effective, as the castle is very lit up, giving it a magical feel and Scarlett Johansson as Cinderella is running from the light into a darker portion of the portrait. This lighting adds to the story told by the image. Also, the expression Johnasson's face and her pose also tell about her character and the feeling she has in that moment: worry and possibly some sadness. However, as a commercial portrait, what drew me to the photo was the fact the text on the photograph is very minimal, allowing the image to speak for itself rather than having to use an immense amount of text to entice the viewer.
