| Author | Thread |
|
|
07/16/2006 06:22:23 PM · #151 |
Another long-winded post:
CHARACTER REVELATION
A good portrait will contain at least one element that reveals the subject’s personality, attitude, unique mannerisms or any of the other features or traits that form the individual nature of the person. It will tell us something about the subject. You may have heard someone remark that a particular photographer “really captured” their father or child, for example, in a picture. They are referring in part to the image being a true physical likeness, but what they are really saying is that the image also reveals a significant, identifiable part of the subject’s character. The portrait photographer who has never previously met the subject therefore has quite a challenge.
HOW DO YOU DISCOVER CHARACTER TRAITS?
We all reveal our feelings and attitudes differently. Some of us may show our individual character with immediate transparency, while others may be more difficult to “read” at first. The portrait photographer must become proficient at studying people whom he or she doesn’t know in order to capture their essence. This means watching for signals in a subject’s mannerism, reactions, expressions, body language and so on, and then judging how best to have the subject’s character revealed for the camera.
This takes skill and an understanding of human nature. It almost always requires engaging the subject in conversation, and quickly finding a suitable topic that will grab her or his interest and evoke a reaction. Find common ground or a topic of particular interest to your subject, which can be a hobby, the latest news, a mutual acquaintance, or any number of topics. Building a rapport with the subject is important, whether a three-year-old child or a ninety-five-year old statesman, because it makes the subject more at ease in your presence, and therefore more-relaxed and natural-looking for the lens. You must take all possible steps to put a subject at ease in order for her or him to appear natural. Visit Character revelation for more information.
WHEN TO BEGIN TAKING PICTURES
Sometimes your best picture is your first picture, and sometimes it’s the last exposure you make. If the subject is in position, relatively-comfortable and you are ready to shoot, there is usually no reason not to begin right away.
Often just getting started is enough to cause a subject to settle down if they are uneasy or tense. You have to use your best judgement in every case. No portrait session should be rushed, but there is no sense taking up your subject’s time in idle chatter while you could be making exposures.
There is also no reason for your conversation to cease just because you have started shooting. If the session seems to be going well, tell your subject; it may provide added confidence that will show in their expression. Drawing a subject out by having them talk while you are taking pictures will often result in interesting and revealing expressions.
Subjects do not have to smile to make a good portrait. A serious or thoughtful expression can often be more revealing of character, and a better portrait.
Black & white portraits can be very powerful, having impact that is unachievable with color.
OTHER POINTERS
There are many components to a good portrait, but the main component is control by the photographer. You must be in charge and must be looked upon by your subject as being competent and knowledgeable if your subject is to have any confidence in you.
This means you must be prepared in advance, not fumbling with camera settings / lighting when the subject is ready to be photographed. It means you must be confident in yourself and exude that confidence throughout the session, and must be relaxed yourself if you expect your subject to become relaxed.
Keep in mind that it is the person who is emphasized in a portrait - not his or her surroundings. Viewers of the portrait should see more than just a recognizable photograph of someone. The picture must contain mood, show personality and character, allowing the viewer to draw conclusions about the person in the portrait.
Poses
Eyes: The eyes are often the most important part of the subject. Middle of the focus field should be on the eyes. During a long shoot, the eyes wander and get bored easily. Use a remote trigger and engage the subject in talk, getting good smiles from humor or exciting stories. Mix up where they look—at the camera, at you, into their own memories. The eyelids should be open but only enough to expose the iris without any whites showing on top or bottom edges of the lids. If the pupils are too small—giving beady-eyes—from bright lighting, have the subject close their eyes prior to the shot. Large pupils give a vacant look—have them stare at the lights before the shot.
Mouth: Variety is good. Some smiling, some serious, but all relaxed without tensing facial muscles and yet keeping the mouth either completely closed or open in a broad toothy smile (when appropriate). Natural smiles are hard to get. Try praising them, telling humorous stories. Occasionally the subject should moisten their lips. Use fill-light or well position poses to avoid deep shadows in the "laugh lines" on the cheeks during a smile.
Chin height: A high chin leads to a noise-up photo and an elognated neck. Chin down is unnatural and tends to make the subject look fearful or glaring at the camera, and produces a double chin.
Head positions: Four basic shots: least desired head-on mug shot, 7/8 view with far ear just starting to fade from view, 3/4 view where far ear is just hidden completely, and profile where even far eyelash is hidden. In the 7/8 & 3/4 shots, keep the smaller eye closest to the camera.
Head tilt: The implied line between the eyes should NOT be exactly parallel to the bottom edge of the photo frame. Tilt should be subtle and natural. Only practice will teach the best tilt of the head.
Shoulders: Shoulders always turned at an angle to camera, unless subject is thin and it flatters their likeness, or for an athlete when their mass is intentionally exaggerated. Generally, women should tilt head toward the shoulder nearest camera. Men should tilt head toward far shoulder.
Upper Arms: Arms should not hang at sides. In bust shots, upper arms should slope into the shoulders, by separating the arms from the torso, keeping space between upper arms and chest (forming a slight triangular base).
Hands and lower arms: Hands should not point into camera except to emphasize their great mass in strong subjects. Shoot the top or outer edge of the hands whenever possible, and try to encourage the subject to bend up at the wrist. Ask the subject keep the fingers slightly separated. Women should keep arms and hands in a graceful pose, such as one hand on hip and the other hanging loose at the side turned so the outer edge is toward the camera. Men should emphasize strength, for example folding their arms, turning them so the outer edge is toward the camera, and perhaps lightly grasping his biceps.
3/4 length and full length poses: Don’t shoot the subject head on. Keep the camera aimed at a 30-45 degree angle to the front of the subject, shooting just between their side and front. Always break the bottom edge of the photo at the mid point between joints: the chest, the thighs and the calves. In full length poses the feet should point at an angle, not directly at the camera. The subject should stand with most of their weight on the back leg, and bend the front knee.
Sitting poses: Try to have the subject sit crossed-leg with the top leg at angle to the camera. Women should tuck the calf of the top/front leg somewhat behind the back leg. Men should sit in a masculine way, but not with legs spread too far apart, and perhaps with elbows resting on thighs or knees.
Most of all, make sure whatever combo of postures are used, they look undistorted, as if the subject would easily fall into the pose naturally.
(portions of the above were stolen from various websites to save my tired typing fingers)
|
|
|
|
07/16/2006 06:34:39 PM · #152 |
I said we would revisit this shot - and so we shall....
I wanted to show something of their personalities during this shoot and I was going for a very sylized portrait of them for my studio wall. I used a strobe/softbox on the right (where Savanah is looking), a strobe/umbrella behind and above me for fill light and a silver relector on the left for additional fill....oh and the kicker.... I have a background light sitting directly behind them aimed at the backdrop. Why is this important? First it helps give seperation between the subjects and background - but more important it highlights the area around their heads making a "natural" viginette to highlight them.
Assignment: Use lighting and posing to create a portrait that speaks to the personality of your subject(s).
Edit to mention: Please read the previous post before beginning this assignment. :)
Message edited by author 2006-07-16 18:45:40.
|
|
|
|
07/16/2006 09:08:57 PM · #153 |
I really want to improve my not-so-well-executed studio shots, so any feedback is appreciated. I only have two strobes with umbrellas (a silver and a white), but I'd like to pick up a strip light and a background light. :)
 |
|
|
|
07/16/2006 10:26:30 PM · #154 |
Hi Cindi,
Thanks for all your advice, you have me thinking about re-organsing my studio now... some of your suggestions won't work otherwise. I will have to play around with the strobes, I would like to be able to get that pure white background happening for some shots. How big is the reflector you are using? |
|
|
|
07/17/2006 12:30:11 AM · #155 |
I tried darkening everything except the mom's face in the third photo - that and correct colour management help quite a bit I think. Thanks for your suggestions!
 before vs  after. |
|
|
|
07/17/2006 12:40:35 AM · #156 |
Originally posted by no__1__here:
I really want to improve my not-so-well-executed studio shots, so any feedback is appreciated. I only have two strobes with umbrellas (a silver and a white), but I'd like to pick up a strip light and a background light. :)
|
I don't think you have too much light on the left, just not quite enough on the right. Left side actually looks great. You could use a reflector on the right to help wrap that light around his face without making the lighting flat. I like the direction of the light, meaning your key light is in a good place relative to your model - just a bit more fill light and you have a great 2 strobe image. For more oomph, you will eventually want to add a bg light - until then, try moving your subject a bit farther from the bg for more separation.
|
|
|
|
07/17/2006 12:42:33 AM · #157 |
Leok - your edit looks much better. Its still a bit bright, but not as distracting now. The reflectors I use are 2 windshield sun screen-type reflectors when I'm out & about and a 5 foot X 2 foot 5-in-one in the studio. The 5-in-one is from Amvona, but I caught it on ebay for about $45. Not a bad deal at all! :)
|
|
|
|
07/17/2006 10:15:57 AM · #158 |
Originally posted by idnic:
I don't think you have too much light on the left, just not quite enough on the right. Left side actually looks great. You could use a reflector on the right to help wrap that light around his face without making the lighting flat. I like the direction of the light, meaning your key light is in a good place relative to your model - just a bit more fill light and you have a great 2 strobe image. For more oomph, you will eventually want to add a bg light - until then, try moving your subject a bit farther from the bg for more separation. |
Thanks idnic (and those that have commented on the image in the portfolio).
The light on the right was the white umbrella, and after reading this thread I learned that one looses a stop or so of light on those. :) I think that extra stop would have helped. Also need to learn how to understand what the light meter is telling me!
The subject was about 3 to 4 feet from the background. Will move them farther next time. |
|
|
|
07/17/2006 10:30:19 AM · #159 |
Originally posted by no__1__here:
The subject was about 3 to 4 feet from the background. Will move them farther next time. |
I keep a piece of tape on the floor at 5 feet from the backdrop. I always try to place my subjects in front of the tape, nearer to 6 or 7 feet away if I can. I know that can be tough with small studio spaces, but it really makes a big difference.
|
|
|
|
07/17/2006 11:13:44 AM · #160 |
I saw this thread too late and would like to have followed it (and still might go back and try to catch up on it).
I'm trying to set up a small cheap studio in my house. I've basically made my room convertible to a studio. So far I have a white muslin background hanging from the ceiling about (8.5-9.5ft high)and extending about 5-6ft from the wall (hoping the white will trick my camera into believing I have more light).
My lighting is where i got cheap (I don't want to get expensive studio lighting just yet.) For a background and hair lights I have two plant lights and tall (150 watt) lamp with an adjustable head. And the main light I have two 1 Million candle power flood lights.
I haven't taken a photo of anyone in the lighting yet, but I'm afraid that the lights may be too bright in the eyes of my subject. Any ideas on how to block the directed light without compromising intensity?
Also how important are reflectors? |
|
|
|
07/17/2006 11:39:09 AM · #161 |
Originally posted by albc28:
I haven't taken a photo of anyone in the lighting yet, but I'm afraid that the lights may be too bright in the eyes of my subject. Any ideas on how to block the directed light without compromising intensity?
Also how important are reflectors? |
Most of your answers are in the thread already, so you should have a read through when you can, and then just jump in! All participation is welcome.
As for checking lighting without models - use yourself and the auto-timer function on your camera and you'll get to see everything from your model's point of view as well as see the lighting results in your images.
Reflectors are great to fill or bounce light and can be used a zillion ways both indoors and outdoors. Also, they're fairly cheap.
|
|
|
|
07/17/2006 12:36:21 PM · #162 |
|
|
|
07/17/2006 01:19:48 PM · #163 |
| Thanks...Looks like I know what I'm doing this weekend...(modeling). Not like i haven't done it before for others and I'll be my most used model for myself as well. |
|
|
|
07/17/2006 04:48:05 PM · #164 |
Originally posted by Palmetto_Pixels:
Since I'm limited on what I can do, I simply used a white foamboard reflector to bounce the light from my Sigma 500 Super mounted on the camera and angled at approximately 45 degrees. The results turned out OK, but I still have a lot to learn. |
Lee, that's exactally how you should use your flash unit when strobes are not available. Straight on flat lighting is not flattering, but bounced lighting looks great and helps define features. I love how soft the light looks on the babies - which is perfect for the subject.
|
|
|
|
07/18/2006 09:56:25 AM · #165 |
|
|
|
07/18/2006 09:58:33 AM · #166 |
Will have some to post tomorrow.
|
|
|
|
07/18/2006 09:00:33 PM · #167 |
| I'm way swamped today, but I'm hoping to do something tomorrow. I ordered a sync cord, but I just got an email that it's back ordered. Grrrr. |
|
|
|
07/18/2006 11:20:45 PM · #168 |
I know that I'm reallyyyy late for this thread, but I wanted to post a portrait that I took using only natural light the other day. I wish I had a reflector to put to his right so as to eliminate the shadow. Let me know what you think.Thanks!
 |
|
|
|
07/19/2006 12:49:24 AM · #169 |
Showing personality in bridal shoots:
 -  -  - 
|
|
|
|
07/19/2006 01:17:50 AM · #170 |
Originally posted by cfischl:
I know that I'm reallyyyy late for this thread, but I wanted to post a portrait that I took using only natural light the other day. I wish I had a reflector to put to his right so as to eliminate the shadow. Let me know what you think.Thanks!
|
So I wrote this review, and hit post, KNOWING it was 12:01 and the site was in roll-over... so I'll write it again (kicks self for not copying text first).
I like that you positioned your subject with the sun across his face rather than straight on - that's the directional light we've been talking about. I also like the fact that you pulled your subject well away from bg objects, that's great. What bothers me though, is the harsh sunlight. Sunlight is the killer of portraits - however daylight is another thing alltogether. Had you moved your model to a shady spot and positioned him with the same relative position to the sun you would have gotten better contrast, less harsh shadows (his shoulder) and more pleasing light overall. In full sun, there just isn't much you can do - the light is hard and shadows are harsh.
The pose is nice, leading hand (hand closest to the viewer) is recommended to be in the pocket for the "power shot", a great pose for men in suits - weddings, corporate, etc. |
|
|
|
07/19/2006 01:20:16 AM · #171 |
David, these are just great. Creative, technically sound, and good use of available and created lighting. Looks to have been a fun wedding too! The album will be a hoot! :) |
|
|
|
07/19/2006 02:39:07 AM · #172 |
May I say I'm totally enjoying this thread?
It's 2:30 AM and I haven't read everything but I'm sure learning quite a bit.
I'm a very amateur photographer and I'm glad there's more professional people willing to share their tips and knowledge.
I would love to be able to have a studio at home, unfortunately, I live in a manufactured home with my parents so there's absolutely no room unless I decide to take everything out of my room and make it a studio.
I heard the couch is comfy! LOL.
I study photography in High School and i wish my teacher would teach us things like this.
He doesn't really teach us too much, unless you ask =(
So thank you.
I will be asking him all about lightning (so he can personally show me) as soon as summer vacation ends. Haha.
Also, this comes to me at the right time. The people I babysit for saw some of my pictures and decided that they'd like for me to do some family portraits for them and I've been freaking out quite a bit cause I've NEVER worked with anyone besides my cute little brother HA!
So I'm sure all of this will come in handy.
I hope so!!
So anyway, sorry for ranting.
I basically just want to say thanks! |
|
|
|
07/19/2006 12:27:31 PM · #173 |
| Welcome, Revecca! So glad you're enjoying the information so far. I'm glad to see that this thread has been useful to so many. :) |
|
|
|
07/19/2006 07:09:05 PM · #174 |
I was practicing with a friend and would love some imput on these... pretty please :)
  |
|
|
|
07/19/2006 07:25:44 PM · #175 |
Originally posted by brizmama:
I was practicing with a friend and would love some imput on these... pretty please :)
|
Ooooooooooh Erin! These are nice! I love the lighting, soft, directional, well placed. The second one is a bit short on DOF - looks like the focus is on the veil/nose and falls just short of the eye - but that is soooooo minor compared to the quality of these two shots. Grats, girl, you dun it! :)
Heya Charles! Nice group of portraits. I like the way they show natural expressions and poses, looks like he was really comfortable in front of the camera - that's a nod to you for making him feel okay. The lighting is nice, but a bit flat. You had the GF pointing up didn't ya? Try a few bouncing off a wall or white cardboard instead, you'll see the direction of light changes dramatically, I've even heard one photographer say when he couldn't bounce off a wall, he'd have his assistant (in white shirt) stand in as a reflector :) Otherwise I think the shots look really nice and great for a make-do studio! :) Keep it up!
Message edited by author 2006-07-20 01:11:53. |
|
