Professional photographer Manny Ortiz argues that portrait photography's biggest challenge isn't mastering camera settings but learning to connect with people in front of the lens. In a comprehensive video sharing lessons from over 13 years of portrait work, Ortiz reveals that technical proficiency means little if photographers can't help their subjects feel comfortable and natural during shoots.
The photographer emphasizes that his greatest obstacle was never understanding shutter speed or autofocus modes, but overcoming his own social anxiety while working with clients. Ortiz advocates for simple psychological approaches, including asking easy questions and following a 70/30 conversation rule where subjects talk more than the photographer. He recommends looking for small shared interests rather than trying to entertain clients, which reduces pressure on both parties and naturally builds trust between photographer and subject.
Ortiz addresses the common experience of creative plateaus and impostor syndrome that many photographers face during their careers. He explains that creative growth doesn't follow a straight line and that periods when work feels flat are typically part of the natural process of developing higher standards and refined taste. Rather than viewing regression as evidence of disappearing talent, Ortiz frames these challenging periods as signs that a photographer's eye is becoming more discerning and critical.
The video also covers practical technical advice, including Ortiz's approach to using zoom lenses more effectively. He suggests locking zoom lenses like the 24-70mm f/2.8 into specific focal lengths and treating them like prime lenses, which reduces decision fatigue and helps create tighter, more intentional compositions. This method allows photographers to develop muscle memory with particular focal lengths while avoiding the constant adjustment that can distract from the creative process.
Regarding equipment, Ortiz takes a balanced stance on the ongoing gear debate in photography circles. While he acknowledges that gear matters in terms of personal connection and workflow—photographers should want to pick up their cameras whether they're using a Leica, Nikon workhorse, or any setup that feels comfortable—he argues that understanding lighting trumps expensive equipment every time. He demonstrates how someone with a Hasselblad X2D 100C and fast portrait lens like the Hasselblad XCD 90mm f/2.5 can be easily outperformed by a photographer using a modest Nikon Z5 with a simple 85mm prime if the latter truly understands how to shape and control light.
Ortiz calls lighting "the great equalizer" in photography and encourages photographers to invest more time learning to manipulate light rather than obsessing over minor specification differences between cameras and lenses. He warns against the trap of consumerism and equipment clutter, noting that owning too many camera bodies, lenses, and lighting equipment creates constant second-guessing during shoots. Instead, he advocates for mastering one main setup until it becomes second nature, freeing mental bandwidth to focus on expression, timing, and storytelling.
The photographer shares personal experiences about how ego initially held him back when he began shooting Major League Baseball and wildlife photography. He describes how dropping pretenses, asking questions, and learning from more experienced photographers fundamentally changed his approach to capturing decisive moments. This humility-based approach helped him develop better observational skills and improved his ability to anticipate and capture authentic expressions.
Pre-shoot anxiety receives significant attention in Ortiz's discussion, with the photographer offering practical strategies for managing nerves before important jobs. He outlines a comprehensive preparation routine that includes using Google Street View to scout locations remotely, checking light directions throughout the day, and identifying backup shooting spots well before the actual session. This advance planning allows photographers to arrive early, walk the shooting space, and mentally rehearse potential compositions so they're not problem-solving everything when clients arrive.
Ortiz also shares a mental reset technique where he reminds himself of previous shoots that initially seemed risky but ultimately succeeded, helping build confidence in his problem-solving abilities under pressure. He reframes confidence as something clients naturally assume when photographers take charge calmly and decisively, offering a practical approach to professional demeanor rather than simply advising photographers to "be confident." This perspective provides actionable guidance for how to present oneself during shoots rather than relying on abstract confidence-building advice.
