What the Mona Lisa Can Teach You About Taking Great Portraits
When it comes to famous images the Mona Lisa by Leonardo Da Vinci is one of the most recognized in the world.
When I visited the Lourve in Paris a couple of years ago I was stunned by the crowds of people gathering around this small image, pushing and shoving to get close and to take a picture of it (I got some great shots of the crowd).
The Mona Lisa has been at the center of much debate and speculation over the years but why is it an image that intrigues people so much and what can we learn from it as photographers today?
While we live in a different time (the Mona Lisa was painted in the 1500’s) and use different technology - is there something in this famous image that we can be inspired by as image makers today?
Lessons from the Mona Lisa for Photographers
Today I want to explore some of the different aspect of the Mona Lisa and point out some things that Leonardo did in painting this image that I think we could take away as portrait photographers today.
Composition
While we look at the Mona Lisa today and see it’s composition as fairly standard and simple - for it’s time the composition of the Mona Lisa was ground breaking and has set new trends in painting which have been followed for centuries since.
One of the compositional elements that the portrait is known for is Leonardo’s use of a pyramidal composition which shows the subject with a wider base at her arms and her hands forming the front corner and everything is in place to draw the eye up her body to her eyes and her infamous smile.
Take Home Lessons for Today
The same form of composition can work for us. While I wouldn’t dare suggest that this is the only or best way to set up a portrait shot - the pyramidal composition is one worth trying.
The Pose
Again - today we look at Mona Lisa’s pose and it seems fairly normal but for it’s day it was quite revolutionary as most portraits at the time were rigid, stiff and quite often profiles rather than front on.
In contrast Mona Lisa is somewhat relaxed and at ease as she leans upon the arm of a chair with her hands crossed in a relaxed fashion.
While she’s slightly turned to one side she sits open to the viewer and holding their eye.
Also unusual for the time was the fact that Leonardo went against the norm with the framing of this image and opted for a three quarter length pose rather than a full length one. In this way he filled the frame with his subject which lends itself to an intimate image and little room for distraction by her context.
One last aspect of the pose is that the Leonardo has positioned Mona Lisa’s eyes at the eye level of the one viewing the image. This brings a sense of intimacy to the image as we the viewer gaze directly into her eyes (there’s not a sense that we’re looking down on her or that she’s doing that to us).
Take Home Lessons for Today
This classic pose works today. Fill your frame with your subject by using a three quarter length pose, relax your subject, have them turn their body slightly away from the camera and look directly at the camera. Give their hands something to lean on (they can look awkward otherwise). Most of all - attempt to relax your subject.
The Background
Much has been written about the background of the Mona Lisa and we can draw out a few things from it for today.
One thing worth noting is that while paintings of the day generally had both the subject and background in sharp focus with lots of detail - the background of the Mona Lisa seems to ‘fade’ or become more blurred and out of focus the further from the subject it extends.
This was unusual for the time and is an effect that many portrait photographers use today by choosing a large Aperture to make for a blurred background that leaves the viewer of the image to focus upon the subject.
While there is definitely points of interest in the background (there’s a lot of debate about whether the two sides of it ‘match’ and whether it’s supposed to be some kind of a fantasy/imaginary background) the colors in it are somewhat bland, muted and subtle - again leaving the focus upon Mona Lisa.
Take Home Lessons for Today
There are different ways to use a background of a portrait. It can either be used to put your subject into context by showing their surrounds - or it can be used as a backdrop that is largely a blank canvas with few features so that your subject stands out.
In a sense Leonardo has done both with his background. It doesn’t take the focus away from the subject - yet the landscape behind her does have an element of mystery and interest to it. It’s also visually complementary to the subject with some of the shapes and colors almost mirroring colors and shapes in the subject’s clothing.
The lesson is to carefully consider your backgrounds - they can greatly enhance or detract from your portraits.
Light
One of the things that I like about the Mona Lisa is the way in which light falls upon the subject. Leonardo uses light to draw the eye of the viewer to the parts of the image that he wishes to be highlighted (the face and hands) and balances the image nicely by placing hands and face in positions that counter one another.
Leonardo also uses shadow (or a lack of light) to add depth and dimension to different aspects of the image - particularly the area around Mona Lisa’s neck and in the ripples on the dress on her arm.
Take Home Lessons for Today
Think about how your subject is lit. Use it to draw the eye to key parts of your image but also use shadow to create depth and dimension to your shots.
Clothing
We’ve talked about clothes and portraits here at DPS before and Leonardo takes the approach of darker less obtrusive clothes in this image. Once again - this is a little different to other portraits of the time which are renowned for being bright.
While her dress has quite a bit of detail (the lace work is quite fine and the detail in the folds on her arms are lovely) and it all is within keeping of the feel of the image - everything works to highlighting her face.
There’s also a lack of any kind of jewelry or any other kind of accessory to distract the viewer away from Mona Lisa’s face.
Leonardo obviously wants something about the woman herself to shine through in this image rather than anything else.
Take Home Lessons for Today
Clothes are another element that can be a real distraction in a portrait. Take a lesson from Leonardo and use clothes that fit with the subject and give them context - but which don’t distract your viewer.
Framing
One of the things that I’d not noticed about the Mona Lisa before that i read about today is that on either side of the subject just under and to the side of each of her shoulders there is half of a round ball shape (see the images below on the left).
It is believed that what we see of currently of the image is actually slightly smaller than the original. Part of the image was lost when the image was re-framed at some point. What were the balls?
The most widely accepted theory is that in the original and full version of the painting two columns extend up from the balls on either side of Mona Lisa. She’s actually sitting on a balcony overlooking the view behind her. You can see the horizontal edge of the balcony extending between the two columns.
Here’s how one artist reproduced the Mona Lisa with the extra columns.
Whether or not the columns in the original looked exactly like this reproduction or not I’m not sure - but it seems that Leonardo used a technique that we call ‘framing‘ in photography today. This technique is all about drawing the eye of the viewer of an image to your main subject. It also has the potential to add a little context to a portrait (with the columns it would be more obvious that Mona Lisa is sitting on a balcony).
Take Home Lessons for Today
Learn to use techniques like framing to draw the eye of the viewer of your images to your main subject. Frames can be subtle and a natural part of the environment around your subject. Don’t use them in every shot but do keep your eye out for opportunities to include them to add another dimension to your portrait work.
Mystery
Who is the woman (its been argued that she is anyone from a female form of Leonardo himself through to the wife of the man who commissioned the image)? What is the background? Why is she smiling (or is she)?
There’s something mysterious both about the subject herself (her look is both alluring and aloof) and the way that the image was painted (Leonardo used a technique called ‘blurring’ around the edges of the subject that was new for his time that give it a mysterious quality). This leaves the viewer of the image asking questions and entering into it with imagination. Leaving elements of the image open to interpretation can make an image impact it’s viewer.
Take Home Lessons for Today
One of the elements that takes a proficient image and makes it a great image is that it goes beyond being a record keeping exercise and becomes a story telling one.
The Mona Lisa has drawn viewers to use their imagination and have conversation about it for centuries simply because it leaves parts of the story untold. This is something that can’t really be learned as a photographer - but is something that comes with experience.
What Lessons Does the Mona Lisa Teach You about Photography?
What have I missed out on? What do you see in this famous painting that could teach us about photography?
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Very interesting article… Worth reading..
Love the way it is presentated… Great job!
I’m sorry, I just think the painting is really ugly. :P Very good article though, as always! ;) Thank you.
^^Well, first of all i would like to congrats on this beautiful article that reflect portraits soul,by the way i don’t agree with Alex’s response.
Keep it up,you have done a meaningful job that deserves more than best.
I would love to give you 85 % out of 100 Ok!
all the best and have a good day.
God bless you. VICKY.punne4e
@alex: I’d like to see what your painting skills have produced, if you consider the “mona lisa” an ugly painting.
Thanks
Even though I don’t agree with Alex, I don’t think you have to be good at something to not like something…
Great Post, btw.!
This is exactly the kind of deeper thinking and analysis, going way beneath the surface of a pretty face, that separates the artist from the guy who just knows how to use expensive camera equipment. Thank you.
Alex may need a walk in the fresh air to clear his head. Great article, great depth to this much documented portrait. THanks!
I think that the first lesson for me in this article is in positioning the subject. This can either make or break a portrait and much attention must be paid to it. I like the concept of using the “arrowhead” which has been superimposed on the first photograph of the Mona Lisa. Arrangement of clothing is also important - make sure that buttons are buttoned and everything is tucked in where it’s supposed to be. It makes the difference between a portrait and a snapshop. I’ll certainly be giving these tips a try.
Thanks very much for a well presented article.
Dave
Well, I never understood one bit what was so special about this piece, but you’ve cleared it up for me. I had no idea it was so unusual for its time.
Great post, and very thorough explanation! Great tips to expand on from yesterday’s portrait tips.
http://www.petelanglois.net/gallery/5390025_Hre5W
Where was this article a few months ago … was just in Paris … and paid the painting a visit. Was lucky as there were not huuuuge crowds, but still lots of folk. You would think that you would walk into a huuuuuge room with this one painting, but that is hardly the case. It is in a room with very huuuge paintings and perhaps that makes it look even smaller than it is.
I know that I did not experience a WoW factor when I first saw it. My first impression was … it’s the size of a postage stamp. Would have been nice to take a look first hand about what was said above, but then again … you cannot get close enough of the painting to see too much detail.
Great tips, although I still would rather learn from real living photographers rather than from a non-living painting.
Great tips, although I’d still rather learn from living photographers rather than a non-living painting.
I don’t understand the allure of the Mona Lisa. Its good, but personally I don’t understand how it is as famous as it is. Don’t harass Alex because he does not like it. Art is subjective, and everyone has the right to determine if something is ugly or not. As long as he doesn’t claim to do better, than he has nothing to prove.
Also, very great article. Relating photography to other famous works of art is a great idea and you have done wonderful job; you have succeeded in being able to demonstrate many aspects of photography that are universal in art. Its great to learn from art forms other than photography; like cross-training for photography.
Great article! I enjoyed learning what makes this portrait so popular and how to apply those point to portraits today. Fascinating bit of art history!
I’m sorry if my response was somehow personal or insulting to anyone. What I meant was that I don’t understand all this hype around one particular painting, while just literally meters away from the Mona Lisa are exhibited, in my truly humble opinion, Leonardo’s much better, more appealing works - with better lighting and striking compositions. Just because we don’t know who’s the (wo)man in the portait doesn’t make more beautiful to me artistically. I would never claim I’d do better, God no! My apologies!
DPS is great as always!!
This is the most unique and interesting post I have ever read about portraiture.
On one hand I have found it an interesting piece about taking portraits with lots of good information.
And on the other hand I have learned more about the Mona Lisa in this one photography post than I have ever done from an art book!
Really interesting article!!! I think you haven’t missed any point! :D
Joel, I can only echo what everyone else has said: “Great article”! As any outstanding chef will tell you, “Your main entree deserves your best presentation”. Congratulations, Chef Joel, you have succeeded with both.
Great work, Darren! Above and beyond the usual, I really learned something from this.
I have to concur with most posters on here, fantastic article. Its in the attention to little details that Leonardo’s genius lay.
On a small but pedantic note, the reason there is no jewelry in the portrait is because Leonardo never finished the painting, which was a quite common occurrence. If you look closely you will also see that the woman has no eyebrows!!
nice articel
great job
I’m sorry, but as much as I love art and as much as I have spent “discovering art” in school and in college, the Mona Lisa is very much overrated.
And that is perfect to say. In this day and age we have many a figure and art (musicians and sports figures) that are overrated and verbally abused to make money off of. The Mona Lisa is a prime example of an art piece that isn’t “great” but is good and the mainstream loved it after the artist died.
Kinda like Tupac.
This is a great painting. But why is this a “masterpiece”? And don’t use a “triangle” for a reason. Any good artist or anyone with an artistic eye knows how to compose a photo.
The Mona Lisa isn’t the only “triangular” positioned piece of art out there.
Wow dude that Mona Lisa was one ugly chick. You woulda thought he could have picked a cuter model.
JT
http://www.Ultimate-Anonymity.com
I agree that the Mona Lisa is an ugly painting. But then again I don’t like much of any art.
Excellent analysis, you’ve done a great job extracting relevant lessons from this painting.
Whether people like the Mona Lisa or not, we all have something to learn from DaVinci!
This article fails to mention the most important things regarding the mystery of the painting.
1) Yes, she is smiling as if she knows something. This was an intentional smirk to denote that the image contains a secret image within it.
2) The secret image’s location can be found by looking at where the finger on her right hand is subtley pointing to. Da Vinci developed a special mirror that you would apply to his paintings to show secret paintings within. You have to apply this mirror tool to where she is painting and you get an image of a distorted character that is supposed to be knight templar. The Knight Templars were the secret order that Da Vinci was a part of. So, this could be Da Vinci, or anyone else for that matter. It is unclear. But the true meaning of the painting escapes most people.
intruiging thoughts on framing and context with the possibility of the columns. Broadens my horisens and makes me wonder - how much of what we do is viewed differently then we intended for one reason or another?!
It was an interesting comparison of two entirely different media. I really enjoyed reading about the use of light to capture those effects.
Yes i agree the mona lisa is not pretty,ive waited in line for two hours just to see her mugshot,but hey we are all victims of hype and its good for tourism.
Excellent article by the way DPS
very good article,it gives clear idea of elements of good portrait,no doubt one should consider all these elements to take good portrait.
i enjoy reading this article,and try to incorporate these elements in my portrait photography
Very interesting article. There’s plenty on the web about glamour / fashion / wedding etc portraiture. Input relating ‘classical’ portraiture to photography is not so easy to find. Though we may not want to take this kind of photograph, it still seems that we could learn a lot from the kind of discussion given here. And, without wanting to sound greedy (!), maybe this could develop into a series of articles in this style, looking at other paintings and photographs, and helping one to see the image more clearly.
Interesting article. You know sometimes when I see really good photos, they do start to look like paintings, and in a way paintings have more intrigue & mystery plus the painter has to be more aware about light & colour. I might start getting into painting.
I think this is a great article. I recall finding the “shape” (rhyming pattern, meter, etc.) of several Dan Fogelberg songs and writing songs that matched. This exercise taught me, first of all, how great Fogelberg was, and gave me much insight into songwriting. I, for one, will rise to the challenge of the assignments given. Thanks!!!
In all reality they were the first photographers except they used paint instead of cameras. The painting can teach us so much and we should be open to learn.
Relating it today - learn from the lighting - ain’t no on-camera flash in auto mode used here!
But the question for today’s budding photographers is… what would you use and how would you use it to achieve approximately the same illumination & effect?
BTW, again relating it today - if you produced a photo that looked like the Mona Lisa, you probably wouldn’t get paid for it. I ask you… would YOU want something that looks like that hanging in your living room? I sure wouldn’t. Times change and what’s hot and what’s not change right along with it.
The “blurring” is called “sfumato”- to paint like smoke. Very thin glazes of paint create the soft haze of the painting in the face and background. This was one of Leonardo’s contributions to painting. Leonardo, like the Venetian painter Bellini, has also done away with the contour lines (outline) seen in other Renaissance work (Botticelli si a good example) and is more haw we “see” rather tahn an outline filled in like a coloring book which was standard at the time. The painting isn’t so much about her beauty (ugh!)as it is a record of a new way of painting based more on how rather than what we see. Her “cult” status is more of a Romantic Period fascination.
This is a very instructive article. The painter is able to control the position of the model, the lighting, background and colours absolutely. You as a photographer must attempt the same control over your portraiture. By exerting that control, you take a photograph rather than a snapshot. But there’s not a lot you can do about the beauty (or otherwise) of your model!
Very nicely done. It’s nice to see the breakdown of features. All too often photographers find themselves looking only at photographs for inspiration…what better place to learn portraiture than from the most famous portrait of all time?
Great analysis. I suspect Leonardo Da Vinci would have been a fantastic photographer.