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- Herausgeber: Crowood
- Kategorie: Geisteswissenschaft
- Sprache: Englisch
This practical book explains the basic rules of portraiture, as well as covering more complex ideas of image making. Set out in chronological order as a photographer would approach a shoot, it explains each step of the process, including post-production and printing.
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Seitenzahl: 269
Veröffentlichungsjahr: 2013
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Portrait Photography
Art and Techniques
Saraya Cortaville
Copyright
First published in 2013 by The Crowood Press Ltd Ramsbury, Marlborough Wiltshire SN8 2HR
www.crowood.com
This e-book first published in 2013
© Saraya Cortaville 2013
All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage and retrieval system, without permission in writing from the publishers.
British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library.
ISBN 978 1 84797 627 7
Dedication
To my beautiful Rosie who inspired me to take images
CONTENTS
Jasmine. Image taken in the studio. Leaf Colourama, 1 Elinchrom BRXi 500, Octa 100cm softbox key light, background light with honeycomb, Nikon D2Xs and 24–70mm lens.
Introduction
With the introduction and ongoing development of digital photography equipment, the medium of photography has become far more accessible and tangible to the wider public. For many amateurs and semi-professionals cameras and technology that effectively do the thinking have taken away the control of constructing a well-composed, crafted and considered image, with the artistic and creative process being overshadowed by gimmicks, plug-ins and effects. However, photographers wishing to progress beyond ‘program’ mode, where the camera makes the choices when producing the image, would be advised to learn the tried and tested rules and tools employed by photographers from film and high-end digital photography if they wish to develop and progress their work and ultimately take control of their image making.
With this in-depth guide to portrait photography the photographer will be taken through the basic rules of portraiture, with the emphasis on getting it right in-camera and learning to use the camera as a tool for image making rather than relying on presets and modes to create the final photograph.
Every aspect of the art form will be discussed, from cameras and lenses through to the final print, and all the various stages in between. For the professional photographer there is informative advice on how to get the best from your clients, including how to communicate effectively and how to pose your subject sympathetically to create successful and meaningful images. Overall the intention is to Introduction give the reader a deeper knowledge of portraiture, enabling a more considered and informed mind when producing images.
In response to the quip at a dinner party from a woman down-scaling the skill associated with making photographs: ‘But Jack, anyone can take a photograph!’ Yes you are correct, but only some people can make a camera sing and dance.
— Jack Picone
Each chapter has a main focus, giving accurate up-to-date information for each area of portraiture, and structured so the photographer can choose to read relevant subsections or the chapter as a whole. Some of the information within the book is relevant to other areas of photography as well as portrait photography, and over time the reader will be ready to move towards the more advanced tips and techniques within each chapter.
For those who wish to proceed onto more complex ideas or equipment each chapter offers a Masterclass to help the reader to experiment and push the boundaries of lighting and creativity to find a personal style in their own portraiture. The Masterclass sections are intended to inspire the reader to use the camera and the light more and more creatively, pushing the boundaries and breaking the rules; these are the photographers that will make the camera ‘sing and dance’ rather than just take photographs.
You have within this volume all the information and advice needed to produce stunning high-quality and meaningful portraits of your clients and to approach a portrait shoot with confidence.
CHAPTER BY CHAPTER…
The guide is set out in chronological order, as a photographer would approach a shoot, from the initial contact with the client right through to post production and printing of the final piece.
1 The Photographer
It is often said that it is the photographer, not the camera, that takes the image. The first chapter discusses the necessary qualities and abilities needed to become a successful portrait photographer, paying particular attention to the need for professionalism and developing the vital communication skills. The central task is how to create the right impression and deliver to the subject’s expectations so that they become long-term clients.
The Masterclass in this chapter is designed to encourage the photographer to develop a unique style and way of working so that they may set their work apart from other portrait photographers.
2 The Camera
Starting with the camera set-up, this chapter explains the correct settings to use for your camera in manual mode, and why doing so will enable you to be in complete control of the outcome of your photography. We will concentrate on using the camera and equipment correctly to obtain the best results from the portrait sittings.
Camera file formats such as RAW, TIFF and JPEG are explained in depth, along with how best to use these formats to record and store photographic images and the reasons why. Thorough explanations of ISO (film sensitivity), shutter speeds and the aperture settings will enable the photographer to understand the basics of light entering the camera and how each variable can affect the outcome of the image.
Appropriate uses of lenses will be covered in general terms and then followed with more specific direction as to the correct choices when taking portraiture images; this section will also cover the pros and cons of zoom lenses and prime lenses. This is followed by discussion of depth of field and what it means, and how understanding the term can create more meaningful portraiture, by developing a perspective and more considered focal point of the image. There is guidance on how the photographer is able to utilize the various focus techniques in camera to highlight the primary points of the image, with details on the methods available and how each should be employed. In-camera light metering will also be covered with the variety of systems available to the photographer and the lighting situations where they can be used effectively.
The Masterclass will go into more depth about the relationship between ISO, ƒ-stops and shutter speeds and how they can be used together to create different styles of images.
3 The Client
The various aspects of managing clients are covered here. Posing of clients of all ages will be discussed from pregnancy portraits through to large family groupings, with an in-depth examination of how to connect with them and draw the best results from each studio sitting. The guide emphasizes the use of eye contact and constant communication with the subject, which are critical when conducting a shoot to put the client at ease and to create a relaxed atmosphere. Tried and tested tricks and tips for each age group will be given with some examples of solid saleable images (hotshots) for each.
The general dos and don’ts of posing are explained, with common mistakes and bad practices highlighted, with particular emphasis on the reasons why certain poses should be avoided. The use of poses that are particularly good for feminine or masculine subjects is explained and the reasons why they are used to distinguish gender, with a posing guide for each. The importance of how to pose the subject’s hands correctly is discussed in detail with explanations of certain hand gestures and placements and their connotations within portraiture.
The Masterclass will cover body language and how the photographer can utilize the reading of the body to get the most success from the client.
Fig. 0.1 Knowing how to draw expressions from all ages is a true skill. Getting the best results from each client should be the priority of the portrait photographer. Image taken in the studio. Smoke Gray Colourama, 1 Elinchrom BRXi 500, Octa 100cm softbox key light, background light with honeycomb, Nikon D2Xs and 24–70 lens.
Fig. 0.2 Developing a strong client relationship will ensure that they return again and again. One of the great pleasures of being a portrait photographer is to watch the babies and children grow over the years. Image taken in the studio. Smoke Gray and Poppy Colourama, 1 Elinchrom BRXi 500, Octa 100cm softbox key light, background light with honeycomb, Nikon D2Xs and 24–70 lens.
4 In the Studio
Mastering studio lighting and accessories is vital in enabling you to shape and bring depth to your portraits in the studio environment. In this chapter you will discover the joy of learning how the studio and the lighting can give ultimate control over light and shade within an image, and how this can create wonderful and meaningful graphic imagery.
Starting with the basics of how the light works, we move on to light meters and their use in the studio environment, from how to take a reading to understanding how to balance the light between two light sources. The anatomy of the studio flash with its various components and settings is outlined, enabling the photographer to understand how the light is produced, and how the modelling bulb can be used to predetermine how the light will behave. In addition the wide variety of lighting accessories and modifiers is summarized, with details of how they are used to manipulate the light and how they ultimately can affect the final image. The correct camera settings for the use of studio flash are discussed, with an explanation of why the photographer needs to use these.
The most common lighting techniques used by the studio portrait photographer are explained in detail, with what to look for when using the lights to create these various effects, including high-key and low-key lighting, butterfly, Rembrandt and rim lighting, amongst others.
The Masterclass will encourage the photographer to think more creatively with regards to studio lighting, encouraging them to try more advanced and experimental forms of lighting, such as silhouettes.
Fig. 0.3 The portrait photographer should be capable of working in all situations, whether on location or in the studio. Both require very differing skills that should be mastered. Reflector, Nikon D2Xs and 24–70 lens.
5 On Location
Here we will examine the fundamentals of location portraiture, using both natural light and off-camera flash units to create stunning images within a natural surrounding. The correct choice of location is considered, and particularly how this can add meaning and context to an image. The photographer’s ability to scout out locations for patterns, leading lines and textures is developed, along with understanding how these can add perspective and dimension to an image.
This chapter covers learning to read the light in a location setting with various indicators used to determine this. There is more in-depth analysis of how using the light’s shadows and highlights can create mood and atmosphere in the final piece. We also consider the correct use of reflectors and diffusers and how these can be utilized to manipulate and control the light on location, for successful portraiture.
We discuss the best times of the day to schedule a location portraiture shoot and why, with detailed explanations of the golden and blue hours, and when these occur. We look at how the effective use of depth of field can create impact and isolate the subject from a background, and the key to creating an attractive bokeh is highlighted. Using available light inside is covered here, including window lights and how they can be successfully utilized and how reflectors and diffusers can benefit the photographer in the lower light scenario.
The Masterclass will deal with difficulties encountered when shooting inside with just the ambient light, and the skills required in taking candid portraits.
6 Rules of Composition
This chapter explains how the photographer can use the composition rules to draw the viewer into the portrait, using space, textures and focal point effectively to enhance and strengthen portraits. A wide variety of compositional tools will be considered, showing why they work in portraiture. Specific examples are: the rule of thirds, cropping, storytelling with multiple images, negative and positive space as well as how these can be utilized by the photographer to create dramatic images. With these basic tools you will be able to control and create portraits very simply, where you as the photographer have made the decisions and so have the power to dictate the final outcome for the images.
The Masterclass will discuss the meaning and use of rabatment and the golden spiral in photographic composition.
7 Post Production
This chapter will give detailed insight regarding the processes available to the photographer after the image has been taken, such as backing up your images, editing and renaming, reading, understanding and learning from your Camera RAW metadata. We will consider white balance, destructive and non-destructive editing, the correct black and white conversions, tinting and toning, and layers and sharpening, as well as explaining plug-ins and actions.
The Masterclass will cover the Zone System created by master photographer and printer Ansel Adams and how the modern-day photographer can utilize this system. We will also consider the uses of HDR imaging.
Fig. 0.4 Post production can transform an image, and its potential should be harnessed to push portrait photography creatively. Image taken in the studio. Buttercup Colourama, 1 Elinchrom BRXi 500, Octa 100cm softbox key light, background light with honeycomb, Nikon D2Xs and 24–70 lens.
8 The Final Print
One of the most satisfactory elements of photography is viewing the final output displayed on the wall. Unfortunately quite commonly photographers are disappointed with the results they achieve from labs and production houses, and this happens because they have incorrectly prepared and supplied files.
In this chapter the photographer will discover the wide range of mediums available, and learn how to prepare files for output, including sizing, how to colour proof correctly for various sources and the importance of doing so. Further, the importance of choosing the correct medium to display photographic work will be considered, paying particular attention to the wide array of printers and papers available to the photographer, and the subtle differences they can make to output.
Chapter 8’s Masterclass will enable the photographer to understand how to prepare the image ready for print , ensuring that you are using the correct image sizes and with a suitable pixel density so that the quality is not compromised.
Anna. Image taken in the studio. Smoke Grey Colourama, 1 Elinchrom BRXi 500, Octa 100cm softbox key light, hair light with honeycomb, Nikon D2Xs and 24–70 lens.
Chapter 1
The Photographer
If we were to take a look at some of the true great portrait photographers, with a particular view as to the way that they work and interact with their clients, they seem to share certain inherent qualities. They have a natural ability to read characters and personalities extremely quickly, and to act upon their assessment with ease. Hand in hand with this, they need to love people and their quirky idiosyncrasies with no boundaries or judgements.
A STRONG CLIENT RELATIONSHIP
The skill to connect with their clients on a very personal level, finding a common ground where a dialogue can begin, is the primary skill the photographer will need to have ingrained in their nature. It takes a certain amount of charm and confidence in what they do to be able to relate quickly and easily to a stranger.
The gift of being able to make the sitter comfortable enough to give a little of themselves to the viewer is of great importance if the photographer is to record a true and honest portrait. Often this can mean the photographer giving a piece of themselves in order for the client to open up and reveal a little more of their personality. All of these qualities are worth developing in order to create the correct environment and ambience for the sitter to feel at ease and comfortable in the portraiture scenario. Team these skills with sound technical knowledge of the equipment and settings and the ability to control these to determine the desired outcome, along with the understanding of light and how it works to illuminate your subject, and you will have the perfect ingredients for a successful shoot.
If a photographer cares about the people before the lens and is compassionate, much is given. It is the photographer, not the camera, that is the instrument.
— Eve Arnold 1912–2012
While the photographer with the camera ultimately has the power, they must make the sitter feel as if they have collaborated in some way in the process. So asking initially what the client hopes to get from the shoot is a tool to relax and ‘make friends’ with the client, and it is also a great way to learn the client’s expectations of you the photographer. If all the client’s needs are met the shoot is likely to be a pleasurable experience for both the photographer and the client, and the photographer will ultimately end up with a more successful outcome.
Each sitter will have their own needs and wants. The photographer should approach each shoot with no prejudged idea of whoever may walk through their door; people are unique, and with a little imagination and creativity each shoot should be seen as a new collaboration between the artist and the client. With this philosophy and approach the photographer will set about each shoot in a different way to the last. A photographer who treats each client in a formulaic way will only dampen and stifle any creativity, and will quickly lose all enthusiasm for their craft. As an artist, if you push yourself out of your normal comfort zone some of your most inspiring work can be created.
CREATING THE RIGHT ENVIRONMENT
Creating the right impression in the first place is vitally important if the photographer wants to instil trust and convey a sense of professionalism. It is common practice for the client and photographer to have an initial discussion regarding the portrait shoot before the actual day. This discussion usually takes place over the phone when the client rings to book the appointment. It is an opportunity for the client to air any particular requirements they have regarding the shoot and to learn what they should bring along, such as coordinating clothing, as well as getting travel directions and parking advice.
This telephone conversation is the first point of contact that the photographer will have with the client, and even though it is not in person the photographer needs to be able to create the right feeling, and give the client the best impression possible. Phone manner should be polite and friendly, and the photographer needs to answer any questions posed, confidently and concisely. It is often said that if you converse with a smile on your face whilst on the phone, it creates an impression of approachability and good nature.
They say that a person will make up their mind about you within the first five seconds of meeting you, and children seemingly do this even faster. When meeting the client in person the photographer needs to create the right image immediately, beginning with a genuinely friendly smile and a confident handshake. Your body language should be open and giving, and eye contact constant and engaged. The ability to communicate effectively will be key to a successful ongoing client relationship, where a basis of mutual respect and trust is at the core. Asking questions and open-ended statements will create a free-flowing conversation, where your client will feel cared for, and ultimately will put them at ease with the situation.
When the photographer is meeting the client at the studio, it is important that the space is tidy and welcoming, warm and inviting. The photographer must remember that this may well be the client’s first time in a studio and as such it may be unfamiliar territory. Explaining to the client the area of the studio and what is going to occur during the shoot may help them to understand what is expected of them. In return they will be more relaxed and able to deliver what the photographer wants. A similar tack should be taken if meeting the client on location. You might suggest that you meet at a coffee shop or restaurant close to the chosen location, as this will enable you to explain the proposed plan for the shoot in detail beforehand, and the client will be able to discuss any particular requirements they have.
If children are part of the shoot, they should be made to feel as important as the adults; the photographer should communicate at their level and pose age-relevant questions and comments directly to the children. When shooting children’s portraits, the photographer should take extra care to explain the environment and what is going to happen. Above all the studio must be safe for children to explore the area and become accustomed to their surroundings. Children will quite often have their own questions, aiding communication, and creating a rapport.
WORKING WITH SMALL CHILDREN IN THE STUDIO
Be mindful that the younger the child, in general the shorter the attention span. Work fast where any little ones are involved to ensure that they do not lose patience. Quite often a little rest or a snack can help. However, the photographer must be able to read the signs and suggest the shoot comes to an end while a mutually happy ending is still likely.
Fig. 1.1 Playing hide-and-seek with a hat is great fun for under-fives. Creating a rapport with children is of the utmost importance if the photographer aims to have a successful shoot, and playing games and engaging with the child should make this easier. Image taken in the studio. Painted black background, 1 Elinchrom BRXi 500, Octa 100cm softbox key light, background light with honeycomb, Nikon D2Xs and 24–70 lens.
DELIVERING CLIENT EXPECTATIONS
Working out the needs of the client and their wishes for the outcome of the shoot is paramount. Showing examples of work can assist in determining the style of images that are required and thus give a more tailored shoot. Try asking simple questions such as: Do you prefer black and white or colour images? Would you rather have close-cropped head shots or full-length images? Is there a part of your body that you like/dislike?
Generally the photographer would still shoot all of these throughout the session to give the client a variety of choice; however the information that they give at this point may dictate certain poses or those that the photographer may want to avoid. For example, if the client suggests that they do not like their nose, you may want to avoid shooting anything in profile or at least ensure that the lighting is flattering.
By determining the client’s tastes and preferences, the photographer is then able to shoot with a final outcome in mind. In an ideal shoot the photographer will try and give the client as many options as possible, with as wide a range of choices as possible. If there are many people in the shoot, variety in poses is also important so as to create interest and keep up the energy in the shoot.
The actual shooting time for any type of shoot can vary dramatically depending on what the client requires. If it is a simple headshot for a business portrait, this can take only a short time, while in comparison a large generation family shoot can take time. When shooting larger family groupings a great question for the photographer to ask is what is the main priority for the shoot? It is quite often a good idea to ‘get this in the bag’ as quickly as possible! More often than not the main focus will be on getting an image of everybody together. If a member of the party becomes tired or unwilling to carry on posing, it is important that the main focus and purpose of the shoot has been fulfilled. Any extra images that the photographer is then able to extract from the sitting will be beneficial to the final outcome. Quite often smaller groups can be worked around; whilst one family is resting, another family can be posed. Work from the largest group down to any individuals that might be requested, and with this pattern particular members of the party can be worked around.
EASING THE CLIENT INTO A SUCCESSFUL SHOOT
At every step of the session you must clearly explain to the client what you are doing and what you are trying to achieve; keeping the client informed will reassure them and make them feel that you are striving to create the best images possible.
The shoot should start with some relaxed images; placing the client in a naturally comfortable pose is a good starting point. Suggest to the client that you are just doing a few test shots to check for lighting – this will get them used to standing in front of the camera, so they become accustomed to the process.
During this time it is important for the photographer to spend more time having eye contact with the client than looking at the LCD of the camera, which can be disconcerting. In fact, throughout the shoot, you should only really look at the back of the LCD sporadically to ensure that the lighting and posing are correct, after each change of set-up.
Have ready a few simple poses that you can demonstrate to the client easily and that they will not feel awkward doing. Once these have been covered and the client has relaxed, you can then take a more creative approach to the shoot, introducing more complex lighting set-ups and poses if the client is willing.
All shoots should be relatively client-led, allowing time for them to be able to relax. Remember that this may take longer if there are children involved; some children can and will perform for the camera on cue, while others will take a little more time and maybe need some encouragement.
The client should never at any point feel rushed or under pressure; this will only lead to a tense and anxious sitter. They must at all times feel valued and that they are important.
ENDING THE SHOOT
Towards the end of the shoot the client must feel that the photographer has delivered what they have requested, and the photographer must feel confident that all possible creative avenues have been covered and that the client’s initial requests have been catered for. At this point it is a good idea to ask the client if there is anything else they would like to try. This can lead to some unexpected requests that may not have been present at the beginning of the shoot, as the client should at this point feel much more at ease with the photographer and how they work, and thus more comfortable about requesting something a little more creative.
If the client feels that the shoot has covered all requests, you should now reassure them that you have managed to produce some wonderful work, and describe the process from here. Explain to the client that they will not see all of the images that you have taken; only the very best ones will be selected and fully edited for them to choose from. Never state how many images you may select, as the client will expect to see the amount that you say, and will be disappointed if there are not as many as stated.
Showing examples of products and other work at this stage is again a useful tool for the photographer to learn what the client expects. For example: Do they like the idea of collages of images? Do they want an album? These can all be catered for in post production if the photographer is well informed about their wishes and expectations.
The theme running throughout the photographic process from the initial meeting to the end result is that the photographer needs to be an extremely effective communicator. If you care for people, the client will automatically feel at ease with you, undoubtedly ensuring a more successful and pleasurable experience for both client and photographer.
Masterclass
DEVELOPING YOUR OWN STYLE TO SET YOU APART
When contemplating becoming a professional portrait photographer, at the outset you must primarily master the camera and lens, the light, the software, and the skills to pose and draw good expressions from the clients. Once these important skills have been mastered the next step for the developing portrait photographer is to evolve a particular photographic style to set you apart from others, and to drive your work forward both creatively and expressively.
Over time you will naturally migrate towards the style in which you wish to work and become more specialized in this area. For example in the portraiture field many photographers specialize in particular ages, such as babies or teenagers, and become specialists in producing these images. Developing a style can be a daunting process initially as the scope is so wide. Deciding where your talents and passions lie is the key point in understanding which area of photography you find most enjoyable, what gives you the most satisfaction and creative pleasure.
A good starting point for developing style is to learn and draw from other photographers’ imagery. Observing other photographers’ work on blogs and websites can inspire and push your creativity, and will highlight the imagery that you enjoy viewing.
Drawing from other creative forms of art can also motivate you to move your work in a particular direction. Genres such as fashion, music and art are constantly changing, and being aware of these trends can be hugely beneficial to producing creative photography. Keeping tear sheets from magazines and other inspiring imagery, and collecting these in an inspiration file, can be a wonderful creative spur to influence lighting, posing and expressions in portrait shoots.
Fig. 1.2 If siblings or friends are involved in the portrait, encouraging interaction between them can create some fabulous natural expressions. Image taken in the studio. Leaf Colourama, 1 Elinchrom BRXi 500, Octa 100cm softbox key light, background light with honeycomb, Nikon D2Xs and 24–70 lens.
As with all art forms, styles in portrait photography never stay static and your style should be redefined periodically, as you will ultimately become bored and tired with your own work if it is not nurtured and developed. As a creative you will be emotionally attached to your work, and you should be evolving constantly, and free to move forward keeping the work fresh and current. Shooting images for personal projects and trying new ideas with friends and models are both useful in maintaining excitement and building confidence in creative portrait work.
Photographers who move out of the box and push themselves creatively are those that will become the more successful image makers, setting themselves apart from the masses producing lifeless and inert portraiture.
Monique and bump. Leaf colourama rim lit with one elinchrom BRXi 500, Octa 100cm. Nikon D2Xs and 24–70mm lens. The subject wears the perfect choice of clothing for a pregnancy portrait.
Chapter 2
The Camera
As a minimum requirement for quality portrait photography, the photographer should ideally have the use of a DSLR (digital single lens reflex) or an MILC (mirrorless interchangeable lens camera), one where you are able to change lenses and shoot in a manual mode, as this level of equipment will allow the greatest possible control of the settings.
Photographers should be aware that with all digital cameras the size of the sensor can vary; some cameras will have cropped sensors and others will have full-frame sensors. The sensor size will ultimately dictate the focal length of the lens used. For example a cropped sensor will lengthen the perceived focal length of a lens.
PREPARATION
If you look after and maintain photographic equipment
