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