| IntroductionPortraiture is the 'bread and
| |
| | pure white through plain colours to
|
| butter' of any professional photographer.
| |
| | traditional multi coloured photo
|
| Getting it 'right' is essential.I once
| |
| | canvases.The sitting will probably last
|
| heard a professional artist - an oil
| |
| | no more than a half hour to an hour and
|
| painter - describe a successful portrait
| |
| | the customer should have been briefed as
|
| as one which told you something about the
| |
| | to what clothes to bring and changes of
|
| subject which you did not already know! I
| |
| | clothes which might be required.What
|
| do believe there is something in
| |
| | comes out of this is that clients need to
|
| this.Capturing people in an unguarded and
| |
| | be briefed before they leave their homes.
|
| relaxed moment is possibly the
| |
| | Clothes, changes, time, location etc.
|
| trick.Outdoor PortraitsPerhaps due to the
| |
| | This highlights the advantages of a home
|
| warm summers that we have had over the
| |
| | based shoot where everything the customer
|
| past few years, I am finding that outdoor
| |
| | wants is to hand.Photographing the
|
| portraiture is becoming more popular.For
| |
| | Professional
|
| families, groups and for individuals this
| |
| | Actors and Actresses, Models,
|
| can be a great approach - using locations
| |
| | Politicians and Corporate Giants are a
|
| such as the back garden, a park or green
| |
| | group of customers who want something
|
| fields - if you live in or near the
| |
| | special.They want a special shot -
|
| country.With this approach there is
| |
| | something different. And they are
|
| little point in using a backdrop - it is
| |
| | prepared to be patient and experiment to
|
| already there. However, make the backdrop
| |
| | get a distinguished result.Innovative
|
| unobtrusive - or an integral part of the
| |
| | lighting using lights behind the subject
|
| study.When I take an individuals portrait
| |
| | to highlight hair, the use of coloured
|
| outdoors, and I have done this for
| |
| | gels on lamps to provide effects, unusual
|
| several actors and professionals, I look
| |
| | poses or particular props might be
|
| for a green hedge, a nice neutral brick
| |
| | required or desired.These subject will
|
| wall or a huge, slightly out of focus,
| |
| | spend half a day in the studio to achieve
|
| green field to place behind the subject.
| |
| | something which they want and which will
|
| The background is there - interesting in
| |
| | be valuable to them.This is playtime for
|
| its texture perhaps - but of little
| |
| | the photographer. However, I always get a
|
| consequence. Clearly the subject has to
| |
| | set of standard shots off first in order
|
| stand out from the background - so be
| |
| | to have something in the bag in case the
|
| careful with colour. A lady in a nice
| |
| | imaginative approach
|
| green office suit will not profile well
| |
| | backfires!Photographing GroupsFrom Dinner
|
| against a hedge!However the backdrop may
| |
| | Dances to School Proms the attendant
|
| be an essential feature of the photo. A
| |
| | photographer is expected to be able to
|
| farming family posed against a hay rick,
| |
| | capture the shot - be it a couple or a
|
| with a few bales acting as seating props
| |
| | group of twenty friends.In these
|
| for the more senior members of the
| |
| | instances I select - or have been
|
| family.I can offer two main tips
| |
| | allocated! - an appropriate spot and
|
| concerning Lighting Outdoor Portraits.
| |
| | either set up a backdrop or use a feature
|
| Firstly beware of sunshine! Amateurs
| |
| | of the environment.In these instances
|
| always think that bright sunshine is an
| |
| | where I may be photographing a very
|
| ideal photo environment. The reverse is
| |
| | diverse grouping I put up three lights as
|
| true. Bright but even light giving few if
| |
| | before, left, right and a light behind
|
| any shadows is ideal. Bright overhead
| |
| | me. They are all set at similar levels to
|
| sunshine - referred to as 'top light' by
| |
| | provide an even coverage of the area in
|
| professional photographers, leads to
| |
| | front of me - such that however many
|
| shiny foreheads and deep dark eye sockets
| |
| | subject that I have, they are evenly
|
| - very unflattering. In those instances
| |
| | lit.Posing the SubjectsA complex subject
|
| put the subjects in shade - under a tree
| |
| | and could occupy a book. This is one of
|
| or some such place.The above point
| |
| | the areas where the innovation and
|
| illustrates the need for example when
| |
| | inspiration of the photographer comes to
|
| taking a wedding to have prepared for all
| |
| | the fore. Since many decisions are made
|
| contingencies beforehand in finding an
| |
| | on the fly and adapting to a situation it
|
| appropriate location.Further, midday
| |
| | is difficult to make rules.A few
|
| clear skies produce blue light, and early
| |
| | basics:Have the subjects stand at an
|
| morning or late evening sunshine yellow
| |
| | angle to the camera - not facing it. This
|
| light - be aware of this! Set the colour
| |
| | presents a more interesting profile. But
|
| temperature of the digital camera
| |
| | the subjects should look into the camera
|
| correctly or use a correcting filter in
| |
| | lens. Except for the couple who might
|
| film work. Or use the colour cast to your
| |
| | look into each other's eyes!Have a range
|
| advantage.Secondly use a flash.I cannot
| |
| | of seats and stools available. When
|
| remember using free standing lighting in
| |
| | twenty people appear wanting to me
|
| an outdoor location. But I usually use
| |
| | photographed together, arrange them
|
| flash.
| |
| | tightly using stools for the ladies -
|
| Why - to give the subjects a 'key light'
| |
| | even getting some - gents? - to kneel on
|
| in their eyes - which ads vibrancy and
| |
| | the floor - football team style.Setting
|
| intimacy to the picture. The flash will
| |
| | up The LightsI use high power studio
|
| also fill in those dark corners where
| |
| | flash lights - both on location and in
|
| daylight is not penetrating.Indoor
| |
| | the studio itself. They are readily
|
| PortraitsI carry lights and backdrop in
| |
| | available from several manufacturers.I
|
| my working vehicle. So I can create a
| |
| | very rarely point the lights at the
|
| studio in my client's home within 15
| |
| | subject! They are too harsh and bright!
|
| minutes!Successful indoor portraiture
| |
| | The only time I do this is in a hall when
|
| cannot be achieved with on camera flash.
| |
| | photographing an orchestra or very large
|
| This creates deep shadows and look very
| |
| | group when I need the light
|
| amateur. Studio lights are essential.The
| |
| | coverage.Pointing the lamps away from the
|
| backdrop is optional. Some customers like
| |
| | subject I fit white umbrellas, which
|
| to have a neutral photographic background
| |
| | reflect a lower and softer light towards
|
| for their study. Others like to feature
| |
| | the subject.All of the lights I use are
|
| their home. Both will require
| |
| | able to slave. That is, when turned on, a
|
| lighting.When lighting beware of mirrors,
| |
| | light will fire itself if it detects a
|
| glass fronted frames and shiny objects
| |
| | flash from another unit. This saves a
|
| which will pick up the flash!I generally
| |
| | great deal of wiring on location - and in
|
| use three lights for indoor portraiture.
| |
| | the studio! I need only connect the
|
| A soft light from the left, a soft light
| |
| | camera to one light and the rest of the
|
| from the right at reduced intensity, and
| |
| | lights will slave.Getting the Exposure
|
| a low level 'key light' at my rear. The
| |
| | RightWhen taking outdoor portraits I use
|
| light from the left will illuminate the
| |
| | the programmed function of the camera
|
| subject, the light from the right will
| |
| | most of the time. The camera is
|
| fill in the shadows and the key light
| |
| | sophisticated enough to take into account
|
| will provide that all important glint in
| |
| | the small amount of additional light from
|
| the eye.Some photographers try to get
| |
| | the on camera flash.In the studio, or in
|
| very sophisticated with other lighting
| |
| | the home environment when using lights, I
|
| combinations. However, in my experience,
| |
| | set the camera to manual mode and select
|
| when invited into people's homes to take
| |
| | one 60th or 100th of a second shutter
|
| a set of portraits I recon one has an
| |
| | speed to synchronise with the lights and
|
| hour to get the job done! A quarter hour
| |
| | freeze and motion. Then an aperture of F8
|
| to set up, half and hour to take the
| |
| | or F16 to give a reasonable depth of
|
| shots, and a quarter hour to do the
| |
| | field.
|
| paperwork and get the equipment out. I
| |
| | Following this I set up each light with
|
| try not to overstay my welcome and get on
| |
| | a flash meter such that I get the overall
|
| the clients nerves!Studio
| |
| | balance of light I require.In
|
| PortraitureStudio portraiture is easier
| |
| | ConclusionPortrait photography is a very
|
| for me because I do not have to set up -
| |
| | broad subject and requires much
|
| the equipment is already there.But while
| |
| | experimentation and experience to get
|
| I am in my familiar environment, the
| |
| | good results every time. Find a patient
|
| client group is not! So take care to
| |
| | sitter who can be paid off with a free
|
| relax and familiarise them as to where
| |
| | portfolio!Christopher Thomas is both keen
|
| things are and what to do.In the studio I
| |
| | photographer and company director of
|
| use the same basic lighting combination
| |
| | Viewlink Ltd based in Amersham, Uk. The
|
| as I would use in peoples homes. This
| |
| | company focusses on digital photo
|
| keeps things simple. A range of backdrops
| |
| | developing for both amateur and
|
| should be available from the fashionable
| |
| | commercial photographers.
|
