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    Online photography essentials digital

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    © All Rights Reserved
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    38 views211 pages

    The Perfect Portrait Guide - How To Photograph People

    Uploaded by

    GeorgeVictor
    Online photography essentials digital

    Copyright:

    © All Rights Reserved
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    a) - THE PERFECT PORTRAIT GUIDE _ How to Photograph Pe ple 7 oy jtcn Book ned and Distributed by Rotovsion SA Suisse 8, CH-1295 Mies Switzerand RotoVision SA Sales, Production & Editoral Office Sheridan House, 112/116A Western Road Hove, East Sussex BN 10D, UK Tok 444 0) 12737272 68 Fae +44 0) 1273 72 72 69 ‘eal galea€Fote on com Copytigns © RoreVision SA 2002 llrightsreserved. No part of this publication may be reproduce, stored ina revieval eystom or wansmited in any form or by any means, ‘tectonic, mechanical photocopying, recording or otherwise, without permission of the copyiont hatter, ‘The photographs used in this book are copyrighted er otherwise protected by legislation and cannat be reploduced without the potmisclon ofthe neler of the rights, 10987654321 ISBN: 2-88000-6873 Book design by Sands Dormody Cover design by Design Revolution Diagtams by Roger O'Reily and Keth Willamson Production and separations in Singapore by ProVision Pre. Li, Printed in China by Midas Prntng Informal Portoaite Framing the Image ‘Capturing the Moment Directing Relaxed Poses The Candid Camera People at Work & Play Shooting a Picture Story Holiday Photograph Photographing Children Family Perwaits Evens & Occasions Character Portraits ormal Portraits Using Backgrounds Using Colour for Effet Using Shape, Form & Texture Using Props Beauty Photography Profiles Location Povtaits Cropping Fectively 8 0 96 100 106 "2 na na Lignting Using Available Light Using Window Light Using 2 Flash Gun Studio Lighting Soft Lighting Shooting in Sunlight ‘Contrelling Cantast hooting on Cloudy ays ighting for Mood Cameras & Equipment Choosing a Camera ‘Choosing Lenses ‘Camera Accesories Lighting Equipment Apertures & Shuser Speeds Understanding Exposure Choosing Firm Finishing & Presentation List of Contributors Glossary a2 124 12 136 8 154 160 166 170 172 178 180 a4 186 18% 190 192 196 198, 200 204 Informal Portraits Infomal pois ral cbou capturing o mood. Successfully dono, they partay the sajectina ‘way that evel someting about thet personaly. However, formal does ro! moan unpamed. Thoughtful cmpston, «goad sens of timing and he cyt put subjects tease re ol aos which wil help produce imogs tha! are ono completely fren plan rom he ru. the-il snapshot. Informal Portraits Framing the Image The fist concer in potatos in avery oer typeof photography, is composition, The ran face isthe focus ofthe image, but there are mony diferent ways of plang it within the frame. Striking compensate, te dodged In thse sectone hela the paring se Alein Pars photographed this mather nd child in a vilage in Senegal, 0 Comyn ted many times. He olwoys mckes 6 int of building up 0 foyer th Hs model, tam of vom fs tographed over 0 pero btyate Tus means hey ave at ease withthe comera ‘nd more likely Yo adopt poses hol oe relaxed and Spontaneous. For ths shot Paris used a moderate vide angle lens, with ilmnaton provided by net oor lh 35mm SLR camero wrth 0 35mm lors and Kodok Tmax 400 baw film, Informal Portraits 34 Directing Relaxed Poses | t me =< Séeing This port was Part of a project Weolram Eder undertcok to ‘Photograph the innaitants cf a small German town. In ach ca he looked for a cotner of the person's home or workplace het EPITOMISEd the vay hey veo ther lvoe and said something about ther Character. Hanging on a walla tha oid lady's house was a porvalt 0 herself asa young woman, and he felt this would make the perfect background She wes a vivacious li 38 flamboyant, and ‘0 was hagay to pose a. Tha photographer wanted to conuast the idea of past and present but he also wanted to svess she CONN.Uty othe old lady's Ie, So he asked her to wear hat similar fo the ne she had wom forthe portrait many years before ne! sat her itectyin front ofthe esinting. > create the right MOOG. he asked her to tell him about her younger cays. Acting Tho lighting was Natural daylight. ‘aling on ta the subject from a window just eut of set. With the eamera fie ved ena tped, Eder framed the image tgntiy to cut out earaneois deta He used an BOM ens. wher witha Bx6om medium format comer ‘standoa lens. He composes so tha he subject's arm ferme «nota frame tothe bottom sghttand comer ofthe image ‘Medium formot camera with an 8Omm lens end Kodck Tr-k iw film Yivedium form camera with an BOmm lens ond Kodak Tr:X baw film, To portray the heod fc medial clic, Wolfram Eder chose the doco’ office a, the action forthe picture The subject {el comfortable behind his ove desk, here he wos used fo making decisions and spring aie People having their picture token often don't kon what to do with their hands, docor had his hands cupid, with a small cigor hel in the ot ond pen in the ight. The resut suggests o busy individual cught ot ‘relaxed moment Informal Portraits 36 The Candid Camera nce people ses you witha carers, you rn he risk of them bconing sited ond self conc, but you con vl his ble, and produce pices haoe completely santnens, by tking pices of people hen ‘they ore unaware of you. You do need to take some care, haweves, since such pictures con ensly become mde ond confusing you domo give enough thought athe compsion ofthe image andthe che of viewpoint end bad ground a Seeing ichaal Busselle was wandering arcund the weokly marist in Colmar. France, when he saw this ‘armor wating in fis cr atthe e098 of the square. The Thinking 4e ol the arsstst [MPAC ‘taming he image quits gh lookes tay seed, Busselle had tne to change 10.8 would be created by y and, as the man INCONGTUOUS ixtapestion of the eggs on the car root with his head telow. framed by the Window. asposied him snomoushy long-focus !2rs and choose a VieWDOINt which showed his profile and placed ho car infront of an unobtrusive arc of background Actin, Ho framed ng axnaue cogs wero afl i e top of the frame, wile! enouah tte cat door was included to comets the stiect, while @xCludiNg som distracting beskorur aetas betind the car's windscreen ¥35un Ranglin mer th 5am as, on 1B ‘warm-up filter and Kodck Ektochrome SW [Rule of Thumb Snsituations He these, when you want people lobeto be unaware that they are being ‘Photograpted, i's best to keep alow profie at ‘a as equipmcat is couoerasd. Don’: carry a tangs anc ostentanious camera bag or nave your camera boldly displayed around your ‘eck. Carry your camera party hidden and tm your pockets, This wasane of hes eing ‘opportunites, a a vilage festive ine Lat, hen Niched Busselle found himself with very Vit time to change lenses or smoke decisions. His comora was fitted with o stonderd lens ot the time so, when the man bent over to crank his cr, he simply moved very quickly into position where ho ond bis vohicle filed the frame ‘nd shot almost immediatly This diagram shows how the impoct of this shot would have been lessened ifthe image had been less tightly framed. 35mm SLR Comero with @ 70-210m 200m lens, cn 1A warm-up filter ond Kodak Fitachrome 64 Informal Portraits 38 The Candid Camera Seeing Michcel Bussele spot is man ina stieet market in Bali and fed by he Stance and ov tre limited COloUT range featredin he scene Thinking He wanted to shoot the man while he was UN@WAre of the camera but he ad teen Watching Sussele arproech \withovt looking too much inthe men’s direction, he moved toa eed vie WPOINE ist n front of him and than Bogen aiming his camera 1eona on tho other side of the stat Acting 1 man soon lot interest in Busselle and began @ CONVErSATION w't* his neighbour At this: moment Guseele Quickly SWUNG *= s rund, framing rammed by the U Rule of Thumb ‘When youare shooting pictures inne alien ‘stention for 8 who, vs bec to spend come time just wandering around, not takong Dhctogmaphe ans keepin your camera ost of gh, unl people beans uted to your Michael Busselle spotted this shopkeeper, framed in his doorray in the presenoe snails interest n you souk of Marrakech, and was otiocied by the brighlly coloured gile of Oranges de him nd he vy thse ol sang minted Hs, profile, creating o strong diogoral line. He fromed the shot quite tightl fetha hese cements were acntuated, onde th sme fim he nos | ble to exclude some distracting details on the lft of the scene ae eens potmm rom lexs, on 81h varmop stile ws interested inthe way his young ody, seen in o street merkt in Bali, was areporing the fod nroped in eae palm eves, Although she wos avare of his presence, she es lo engiosed i er ark te take leo much notice, end Bs le i st fou me wi ecg ration “Tachnical Details 351m SUR Comera with © 35-70mm zoe lens, on B1A ata ile and Ful rol, _ Informal Portraits 40 _ The Candid Camera i : _ Seeing Philip Spraque was walking round an outdoor market mhen he came sacra thistle gel accormparie by her ‘otter andolce brother Hemme ately saw ne Potential «her bre eyes and asked hat methor for permission to tata a caunle of shots. The litle gi was a ‘quite nervous because of all the people, as. wel asthe cara, and clang to har nrother's nan for renesurance Thinking There were market stale al around, i; providing colour as well ssa lt of outer, — but Sprague wanted to keep tho image Terry Way used along telephoto lens to frame ths pctre of his young son peeking simple. He realised the boy's dark ‘through the window of ohome-mede playhouse. The window provided a nea frame SnD eS artaa teed ach within the frame, an he photographer waited palienly unt the youngster positioned beckgrourel ond fut tglecomondiion himself of-cente, He fired the shutter at exactly the right momen! to capture the Daacee ‘would EMPhasise elite ges es, He slso realised he wouldhave to work quick oF the mamant would be fot Acting He é-opood in tighty with a 28-€61mm zoom lons to isolate tho gis faco fram tho distracting background. Throughout the very art sassion he kept talking to her ta gat hee used tothe ide of having her photograph taken. The fighting wa overcast afternoon ayidht, whicn heiped SOften the TONES ane prevented any harsh shadows. 435mm SLR camera with @ 200mm lens ond Kodak TCN 400 chromogenic film. Informal Portraits The Candid Camera Rune Andersson was commissioned to follow the election campeign ofa nelknown Swedish politician. He cough the man in an unguarded moment ashe and his ‘supporters were setting up ther stl a @ naw campaign venve. The photographer shot fom low viewpoint with« wide ongle lens, end tilted the comera ate slight angle to create a dynamic composition with trong diagonal ines Avechnical Details _ ‘Medium format comera with a SOmm lens and Kedok Tmox 100 b&w film. e's ¢ Seeing “ery Way was stacting # wedting when ‘thes two characters got up to play atthe racoption. was a family waditon ~ they'd been paying at family wedkings for decades and obvicusy loved performing.‘ wented ‘0 Expture the exubetence ard spersanety of thee music making Thinking Ta croate something a Ile cifforent from tg standard wedding snap, Vay fied a 17mm wide angle lens con is SLR camera, The lens gave a very wide file of view, producing a feeling of immedhcy when usec tn class t0 the subjec, asi the viewer was inthe thick of the acton. Italso otteed extensive depth of field. moaning that such oF the subject was sharp. ing hough the photographer was up close to the musisians they weren't bothered by his presence — they were too engrossed in their oun performance and the general party atmosphere. Trs\er Fim fr to snap away, capturing tho ‘actions of the two men and the changing ‘expressions on ther faces. This mage caught the Interaction benween the two perfect, captunng a moment when they appeared to be sharing ajoke. of Thumb with o 17mm lns ond Kodak TOY 400 chromogenic film. 35mm SLR cameo Informal Portraits 44 People at Work & Play ‘Taking photographs of people when thay are occupied in some ‘way hos a number of advantages. Perhaps most importonth, it helps your subject o overcome jhe inhibited ond sl conscious ate which on often be adopted ‘when 0 camere appears. Another talor plus paint o be goined from your subject actually doing somebing is that it wilinvricty ad enormous othe intrest and composton cf an image, 0, wel a heb fo eval more obou th person's chro der ond interests Seeing Thinking Michael Susselle sav this man tendinghisgarden ashe He was working ina partial ‘rove trough a county ine naar iocen'sin the Lore ekBussele noticed that this created noth a Yaley, France. He was stuck byte Fieasrg COIOUT »-Pl@aSing light on tte mars face and also uallity costed by is blue vor: cothes and te | mad Hs bbe overals xarc our quite boldly rich Green ofhis vegetable patch. ‘fom the more brightly lit background. Michael Buselle saw ths lady making hay as he drove along o county lone near Sonfllane do Mar in Contabrio, and he liked ‘the bold shopes the scene creoted. It was on ‘overcast day ond the lighting mos soft, but the image has enough conrast because the dorker ies ofthe lody ond her mule and Rule of Thumb Car standout agaist the igh tones of ‘the meodow. ‘ines exydogres of sujet movement volved, his necessary to sea shutter speed which ia fak enc to Beem 35mm Cometa with e 75—B00nm zoom lens, | yen ust noceaat hand wovemcuts ex an 818 warm-up filler and_ fui Velio. eresigadtrting dogresoftturita be accents when Sunes arab thocamera Asa error rule you abou ley shoot at speeds of 1/1 seco suber when potagraphirg peop Busselle used « lang focus lens to obtain @ ood-sized image of Ais rodeo idea (olfornio from viewpoint some distance awoy, ond used. the fastest proctcal shutter speed to freeze the ‘movement 35mm SUR Camere with a 300mm lens, on B1A ‘orm-up filter and Kodak High Speed fXiachrome Acting inworrup mm SLR Comera with a '35-70mm zoom lens, on 814 worm-up filter and Fuj Velvia. q Informal Portraits | 48 1 pfs | People at Work & Play y | . é eeing Actin fcnel usele sew sts men seting uphis easelin the Hewes the VI@WPOINt es, although it was a beck Very early merring whie ne vas shosting view ofthe man, showed clearly what he was doing ictufes in Erissel’s Grand Place, alocaton he knew and conveyed something of his Character #5 wel would. within a few hours. te teeming as allowing Busselie to use one of the square’s medieval with tourists buisings as 9 tackground, He famed the shat in a way ‘which placed his painting athe intersection Thinking of thirds. and this aliowed him to inchsle most of Busselle felt that he would not only make very ‘the building as well as his dog, which Busselle thought interesting Subject ior octuo, bur would adecarnice tourn also acd avery usetul element of scale and + composition to the pictures of the square. Technique When photegrapting people in ACTION there are, Lsually pends where their movements aa slowed momentarily and. by choosing ‘hese times to make your exposures, you cen ususly ebuina sharp image ee wien using slower shuttor spood ‘F5mm SLE Camera with o 75—30Umm zoom lens, an 818 warm-up filter ond Fuji Provo, Nichoel Bussele found this mon harvesting salt near Gueronde in the Wesiera Loire, and looked for 4: viewpont which would enoble him to place on areo of golden reeds behind him fo create on effective background. Busslle used long-Focus lens fo frame the image so that the moin focus of interest beca ‘the man with Nee eiie al e Y35mum SLR Comera with 2 35—7Omm zoom lens, ‘on BIA warmup filter end Fuji Pro For Busele, the appeal ofthis sho, taken oto goase farm in Gascony, depends upon the overall colour quolity crected by the almost pure shode of blue tebe found in the woman's dress ond apron, the soft light and the gray, shodowed background ofthe geese and their pen. For this reason, he decided to frame the image quite tightly to emphasise these quclties ond placed the brightest part of the image, her siran ha, almost on the inlersecton of thirds -Teahnical Detaila mm SLR Comera with a 35-70mm rocm lens, tn B14 worm-up filter ond Fuji Prova Informal Portraits 48 Shooting a Picture Story ‘ast phologops are ikon es invidul images infondod fo stand lone ond moke a sing steer. But it cn be very satisying to set cut tke series of photographs of parca subjed, or ona specic heme, in wtich each individual imge is part ofan aeral story, cost ike the les in a mosaic In this way itis posite to adapta mace abstract approach and o focus on small detais which, on thc cwa pechaps, would not be very formative. Those piclres were faken in Puillacin the Medoc, during the horvst in who is one ofthe world’s mast, prestigious vineyards. Michael Bussalle wanted 1 try 10 copiure the mood ofthe ocesion and the feling of camoraderie whith exists omang the pickers, fogether with the sense of purpose whic dominaes the process. 35mm SUR Camere wi ranging fom 17mm to 200mm and Kodok Ektochrome 100 SM, Rule of Thumb ‘won planning such a projet, pipe to tani terms ofa magazine fatare, vsualsing how your ‘unagas would work togozher on a gpread and tying gure that cach plotue complemignts o> enhanoes thoes song. Try 12 Yary th oplour qa of tho {indivi pictures and close ups ane thot telephoto and widesangle images i create a sense of Inthe lesser wine regions grape harvesting isa largely amechanicol process bu hee, where the truly greot red ‘ines ore made, i's very mush a hands-on business, o porsoneise activity nhere everyone involved hos © sense af pride inthe product. Informal Portraits | Holiday Photographs I ove picres tr fo bo foken whan fais ar on holiday thon on ony ahar acsion. Bt these are often extremely esappcinting ond uninteresting, of posing nee ony fo thse who were there end ofc very boing Yo fese who werent Te reosan simple For most peopl halidoys mean rs and lation, bu if you want othe god set of pictures it des require ite effrt. is time vel sent, however, fat he end of the da you produc ae of pres wich provide a lasting cd genuinely interesting recod of «hoppy ccasin. — ‘Seeing Thinking Michael ussole sow this oppotunity while Buscele kod he SHAPES and patterns crested by the prone Braifipcures on acuise shipin he sons which seemed to capture the mood of sunbathing and Cariboean. They we relaxation He aso liked the singe Splash Of Magenta wren created « dd point of interest inthe otherwise bluish scone rongers, but even t ‘they'd been his own family, is the ype of shot whieh he would alwys find more interesting and aimosphave than a picture of them Sitting Up ard Acting ‘finning at the camera He tock una VI@WPOINt s0me cistance away and shot with 9 or los to compress the Perspective. By tama ako the picture very compact. no was aba 10 hasise the colours of the tamed bodies and 'p9 ouespoHg yOpoy ‘su9} WISE 19ND) YIS WUE A Busslla hod to reo quietly to cepture this picture of his yourg son, Julien, striding along booch inthe Algarve wearing his litle whit sunhot He used wide-angle lens to include the disiont seo, ond he shot looking down from aye level to smphasise the smallness of the child and the vesiness of the beach a 8 "Informal Portraits _ Holiday Photographs ct + Seeing ‘The River Gambia was the Michasllsete waried 1 for this shot, anc ke = portrait «the 6 was traveling on. The skipper of the smal yach caim, tll water mace a OOM setting. and relate afternoon sunlight had eve pleasing cual Thinking Ho wanted tho background to bo 2s uncluttered a8 possible, so he atkod tho skipper to Sit iN the prow of the bost so tha he could make the imest ofthe fiver bank, the water and the sy. Acting i wses s Wide-angle lens snes his choice of wewporrt vas cuts FEStriGted ans he cid not want his subject to appear too argBin the ‘tame. He alse warteet include 2s much of the oat ete oud wip Technique - Many Holiday Ahotooraphs are disapointing because there is often an attempt to COMbINE recognisable porta a seane, the classic snap Bussell 3f people with pict f someone standing ankwardly in front ofa famous landmark. These ate sally neither fish por fowl, and it's generally far totter enceniraio on ON elemento he ther. This picture wos token oto formhouse in the Loire, ond was an otiempt to ‘opiure the atmosphere of o very relaxed olfesco lunch inthe shod af onic old tre on a beautiful or, sunny day. Nichee! Busselle took © reading from the lighter tones of ‘he background, then one from the shaded figures, ond set his exposure between them. ‘Nedium Format SLR Camera with 0 55~1 10mm zoom las with an 818 vrarm-op iter and Fuji Praia, Technical Details» 235mm SLUR Camera vith © 20-35mm zoom lens with B1B warm-up and polarising filers and Fuji Vlvi This shot wos token during a safari holidoy inthe Mossi Maro, Kenyo, ond Busslle wonted fo try and ‘oplue the cimosphere end experience of staying in this camp under These magnificent Acacia tees. For this reason he used e wide-ongle lens and took vp o viewpoint some distance cway in order to make the setting the dominant element, with his companions there mainly to provide a sense of scale 35mm SLR Comera with @ 20-35mm zoom les with 81C warm-up ond polarising filters ond Fuji Yelva , Informal Portraits 54 Photographing Children | Thro’ an od saying anor ois, wih nnn you shook over work with ion or nina This is imply bacans hey con so oa stoo tho scone Children especialy make wendrtl subjects for tho ‘amare, andthe very yourginvaribly havo tho same sor ofheort-mching appeal you generally asia with kits ond puppies. Unite mast dus, there’ the bonus that clden ae stil iely toe uinbited ond spontaeni, but photgraping them does equ time and patonce. Seeing Te saw tis young boy playing with his at cia nthe doareny of his heme ex ha drove through esmal| village in Andalucia, ans folt tat ne had to see fhe could chotogranh tims Thinking He thought thathis best approach wes to ask his ake @ Portrait of th boy than attempt 2 more CaS Ual and Acting (once he had the go-ahead he sske! the boy to move into the shade. rahe sositones hm so ther anarea of plain. wall behind to prove aiturciuttered background. 4s the “boy held tHe duckling out in front of him, Busselle was able ake a tightly-framed snot cae! Busse! Tichen ithe os raul ule of Thumb ‘Mam photogreshmg children 1s emeralty best to keep the ‘mage aute simple. Uso sot: Iigng, plan unclutbenes ‘pukgrounds and tigaty foamed smmages 9 emphasoe chetn expressions oy Avechnioal Details 35mm SLR Camere with a 35—70mm zoom lens with on 814 warm-up filler ond Fuji Provo. ‘ichoe! Busselle photographed this ile Moraccan gi in the shade of o wall which «so provided 0 good background. She was very shy but he manoged to take o few pictures while she wos dstacted by one of Bsslle’s componions Y35mm SLR Camera with « 80-20Gmm zoom lens with Kodak Ektachrome 100 SV This litle baby, seen in vlog in the Gambio, was inresisible, siting on her mother’s lp inthe shade of @ small, mud-waled house. The soft lighting was iecl, ond Eusselle framed the image tightly 10 emphasise her expression and fo exclude distracting detaiks around her. He set his exposure of one stp les than the reeding 10 compensate for her dork skin ¥35mm SLR Comera with ¢ 75~B00mm zoom lens end on BIA warm-up with Fuji Vala Informal Portraits 56 Photographing Children Rule of Thumb ‘Wen photapraphing smal chadven 2's ‘Paonormal aye level iowpomt ofan fh often creates an unattractive ‘roma nigh vicwpant. This spontaneous sho! wos token during playtime ata primary schoo. Michael Buselle used « long-focs lens noble im to isolate one or iwo children from the crond without him having to proach too cose to them, and ther he sto fst shuter speed to ensure that ell thai mavement was frozen Seeing iin his garden on 8 SUNY harsh and the background of sunit foliage was vory distracting Thinking, He th hiiieat approagh woud be to shoot into the light and ase » rotecter and an antici! background in erd@r to croate a moro pleasing quality. Acting Ho asked wet her book 0 the curtain hind har. Bussola thon ge piece of white polystyrene site to hey nes ight back ne shadows J Tis diagram shows the lighting set-up fr this shel. "35mm SLR Comere, 75300mm zoom lens ond Fuji Provio. Informal Pottraits L 58 7 “Photographing children a =< Seeing Ronnie Bennet: loved the way the tie hoy was «essed, in denim and dungarees, The clothes were TYEUtTAl in tone and so didn't distract attention trom Ns face and their feEXTUITES Provided a nice contrast with the wicker chair she kept in her studio. Benrett photographs alat of chikhen ane finds that feet a ‘his youngster to take off his shoes and sacks ta have his pictire taken. paticulatly expressive, so she asted Thinking Photographer and sutject had already had a beisterous outeacr session together ar bul up a fair degree of empathy. Nove the photographer ‘wanted capure hima quieter Moment. She sa him down on the chair arc demonstated the pose she wanted hin to adopt He was fescinated by the studio, ard this SOleMN EXPFESSION wes the response Act: £. anne # errs 150mm telephoto lens. She litthe boy with o Flashgun are sottoax paced to tre loft of no aera and to white cflecors aranged in a shape 1 the rig. Tre tah cented CatChlight int boy's aves wh te ‘locos fied inte shadow aoa on his lt hand sido to ovo a Sot and The boxing gloves came from o fleo morket ~ Terry Woy even overall effect bough them ih the oe wing them 0 pro ina photograph. Hs yung son Clo tik werng tam and so he hod plenty of opportunity to play around with the idea. = ~ This shot wos taken towards the end ofa sunny doy, in @ Rule of Thumb back-room studio in the family house. The late afternoon I sunlight reflecting off the walls ceeted quite « high degrae of ‘wmen photographing peorte, pay close attention to the controt, ond Way framed the image rightly with on 85mm. lotios they are woaring. If you'ro using black and-white lens. The bright red gloves contrasted well with the boy's blue ‘iim, neutral, mit-tone olbthes are the best chotos. thay azo ssharts, but his laconic expression really made the picture. leas likely to distract attention from the subject's features Shan ots in which Where are bed patleros o° strony contracting tones. Wen you're shcostg in oloun you san 35mm SLR camer with on BSmm lens and Fujichrome be more adventurous, using colours that complement or Volvia jronsporency fil, ‘contract with ons another el __ Informal Pottraits The fom son ida suet for prt Family ports are resid elotvs and parsed on down he generations. ube, foily members ae usually hoppy to coopera in hain he pice taken and fer the aed benefit of ahays ‘being around. Everyone photographs heir chien, but there's no ned to neglect he est f the fay. ‘Grandporens, fr instance, can ok equ interesting subjects ‘adivm format camera with c 150mm lens and Kodok Y E®- Tmax baw film coted at 150 320. (seei g Before they came ito the stucio, Ronnie Benrett had ‘stroady shot covoral ros of fim ofthis pat and thot ‘older brother outdoors. Both brother and sister hed dancing, and they had brought slang their bait lothes to change ita or me SUI SESSION The photographer wanted a “quer siete of the par together, which reflected thoir intorstin dance. Thinking “the outdoors gc essen Bd le ti to. rie, od oy were proc at coc tha studo. Bennett wanted = CIOS@-UD picture. She pot th oio aver oo we Ak be ‘on her brother's lap, and asked them to |OOK AWA\y fom the car Toy aera to sous one cre rales terri dreamy ee ch Pol Sanders caught happy, sponioneous expresins onthe foxes ofboth mother nd daughter inthis intimoiefaily ora es taken ine fomly home wih arabe i ‘indow ight, which gave sf, even lumintin, fae af harsh Acting Shalows, The phlographer nuded the window nd the Benrett red tht with 8 150) G pice onthe bck wal ie bolgraund res, but ed which in medium lorrt Is a moderate pro. median tephol las end clare operue to tw tem She wed her stander studio ighting setup, of & oat ef fous SOF tDOX on one sice of he sutocts and 2 Toflectr on the other to fil inte shadows, together with a plain gay stuio background. When pining sy ; Rule of Thumb the mage, she DUTMEC in the ateaon the lot to create more contrast. With cniren, ifs 8 gor ea to propare as much as you oan beforehand. Set up your pron and lighting the way you want tbem, and visualise how you want to frame the pletare ‘That way, when your young subjow: ts aewlly in place yar'll spond less time seting up the ‘mage, which means less time for them to get homed or distracted. Informal Portraits og Family Portraits Sada age eater wi 07m ns and Fj MPS 160 al eave im Seeing Ton Hendriks approached ths pertat of his 80-year old father wth psysholoaica intont. His idea was to get under the skin ofan oldr 90180n i Suagost what they might be taking. To decided on an extreme Close-up. ihe tight crop andthe tnest rendering ot his fether's skin he coud achieve, focusing attention on every tiny de tail of his face. Thinking ts pons rg oor sowed ath oan, which gave him 2 surface to rest his arm on, Ta crsatea Simple background tt would not distract attention from the subject, he hung a plain bio clots on thayyal beh him, Acting Ss, rn SOftbOx te the leftar the camara, whict butleft the ether parly in Shaclow. He framed tightly, using a telephoto lens. Kis Sain camera was fited with bellows, which he extenced to their maximum setting. This magnified the image 1nd enabled him to focus closely | Rule of Thumb Stow films, in both black and white )) anc colour, eve ter cota! tan fast | fam. The lower the film's 150 rating, the slower itis ~ film with a rating flower than one rated at 190 400. Slow Aime need planty of light for correct expesure, but fas: fms can be tase! in ower ligating conditions. The faster the Film, de mare apparent ie fran structure. This 18 8 characteristio that can be exploited in low light conditions to give the image a grainy, softens fee This ite gil wos quite a sensve soul and Janna Dekker wanted to bring out be srius expression, She posed her against o pln background nd copped in clsay with © 100mm los fe 19 her 35mm SLR comera. She used @ «eaivly fost Black-and-white fim which showed ocrisin amount of grain, and eveloped both in and cnt herself so she cold contre the res. Mminetion vas proved by natural dayight fling ‘rough a window fo the lle git’ right, nile eller laced onthe athe sie to fil in deol onthe lft hond side of her foc. Ths eroided harsh shadows ond softened the overal feel af he mage. 435mm SLR camera with o 100mm los ond Kodak TX b&w film, Informal Portraits Family Portraits Yotedium former comera with an BOmm lens ond Kodak Tri baw fil, ‘Ths fonly owned and ron a hotel and Wolfram Fder wonted to show them in the context ofthe family business He used one of the hotel bedrooms 0 the location, shoting with available cht coming through a large window. He posed the trio os a ighly-knt group, with the angles of thei logs ond bodies forming geometric, triangular shape. es Seeing In photographing this family group, Wolfram Eder wanted to convey the ide® ofthe family asa Ivng, grosing organism. He chose ateaty nd wwuiant Natural Setting, soso his subjects ona small wooden jetty suirourded by folage on the edge of a smal por Thinking As eas showing the family a idea thet ts members vere catinct individual, with unique relaionshins one to the athe. So he entanges the grin with the parents in the conte of te frame anc heir grown-up chilaren fanned Out around them. With this arr unit, he wanted to convey the ment, the group as a whale farms a neat shape but the eyo alsa Involuntary flicks around within it, fom face to face. Acti With his ear ora tripod ona piece of ay land on the nel Eder shot the group with a standatd BOPIM [ENS on his medium format camera, Lighting was avalible daylight, which was rolatvely right. but overcast end provides even ituminaton without any Sung higiighis or harsh shadows. If you've beon asced to take group shots at ‘woostings or other family events, soout out the Venue such ac stops or staircases where you ‘an pose your subjects. at weddings, 1 helps zormecualy if you know beforehand who 1810 bo in each group. Enist the halp of comoans in the koow, such a the best man or the bride's father 2f they oan get all the nessssary people together and help choreograph them into some sort of orden, tho photographer's job 16 mado ‘hat moon easien Informal Portraits 88 Events & Occasions Same of the es noyable sitios to phologoph ‘people in ore evens such as fis, festivals and fami acarion such spares ond Wedigs.Pcures taken in hese ccarstonces, inveibly veo sens of fun ond good huncur an ifs generally muh ease to ake shots where your subjects re comely relaxed and the clmasphec is nding il to he ‘aking of spnianous and uaposed photogapks Seeing Tern) Wey wamed to capture the excitement of this bridal eaupe's big cay and eaten for 2 documentary-style stot ot thom leaving for the reception. Having scouted eu tho location telerhand, be ried thatthe main doorway of the oe cthectl wouse make an exceer backérop fora pietre Thinking tapenade ate boaiat hs thea steps and ywaitedd for the couple to make their seavoitel be ide ids er an Tnousin. wet, bate ey bt he ed pile hy inrnomresnel nieians Prop. Besides accing visual interest‘ sre er lbes agli tery os day Acting Woy used s Wide ANGIE ers ond fred the imaga co that tho couple Wee promiont but also so that plenty of the background was visible. He detberately CrOPPEC out the wating guests so that attantion was focused on the hapoy expiessions ofthe bride and groom. Once he hac rece a blackand hte prin, he toned it sepia to ane the image en Old-fashioned feat 35mm SLR camera with o 24mm lens nd ord XP? baw eromgeic fil Terry Woy tried nother offboct approach for this sat, token ate fronds wen. Thora wos on old trombone honging on the wall of the poy venue, tnd fe osked the groom fo try playing i. The chery getlomon in the background was the groom's rew fether-indow. Using @ melon format camera gave him o square image, end he simply ted the carere slighty on its sie to create this dynamic diaganl composition. Arechnical Details — ‘Medium forme comera with @ 70mm lens and Mford XP2 baw chromogesic im. S Informal Portraits Events & Occasions In some cases, the crowd at an event can provide a mare intresting ond photogenic subject then the activities taking place. Visiting the races in Naivob, Busselle wos oticacted by the wonderful mix of faces and fashions fo be found there, and ho used a long-focus lens to concentrate on tha mast intersting soction of tha crowd, p filter and Fuji Prvia ‘35mm SLR Comera with @ 70~210mm 200m lens and on 818 war Rule of Thumb ieaing x ood viewpoint i one oF the nant ‘mportant things tocanoentrateo when socting a publ events and, fo is reason it's a food ident arrive ear. That ‘way you give yourself the cpportaniy to bk dood #70, one which sence ely to work in terms of iting and background, ‘and which unl eer you a ood VW of the Seeing en yer folk orcup wes perforning at 8 smal vilage wine jain the Dordogne. France, and Michael Busselle fet iat with the right Viewpoint they would nase an interesting picture. Thinking Bocas * vaso smal. informal occasion he was able w get quite CIOSE to them and this, 4 separating ham from the bystanders and creating a mere interesting Composition Acting’ Hé decidedly ise a Widle-angle ‘lowed him 38 694 euS close to Fis cub stil including eveaseraby large part of the segne around then Bussolle framed tis shot se atthe lady wih Re umbrella on the ight and the seemad to be the bast way ‘this as, while Blue costume worn by the figure on the fa left helps so enclose the al accordion player Ar vlloge festival in the Lore, Busslle was attracted bythe triangular shope crested by the lady in er period costume. To photograph her, he chose viewpoint which laced her ogains «relatively pln orea of background, framing the image ‘uit tghilyvsing @longfocus fens ‘35mm Rangefinder Comero with a 90mm lens, on 8B ‘warm-up filler end Kodak Ektochrome 100 SV Informal Portraits 70 Events & Occasions This shons how a slightly different viewpoint wauld have lessened the emphasis onthe subject’ face. The viewpcint chee! Busselle chase fr this sho, taken of a village redding in Sri tank, ced this ladys foe against the ‘more distant white drum so that she stood out clearly. He used o long focus lens to frome the Imoge quite tightly and to exclude distracting detas round her Seeing ‘The Changing of the Guaed is # very opular ane COLQUITT UL ever in London's Whitehall and must be one of the most photographed ovens in tha world Thinking Michae|Busselle wanted t fine a way to produce an imege wnich was little different fom those he had seen many tmes before, He walked arourd the scene ookie fer a viewpoint which would give him a chance todo this a found that this back View othe quardsmen also offered hm an ettectve backgroundin he form of he distant bul ngs cade. Acting He useda [ONG-FOCUS lenstoisdate this smal croup of giardsmen and used aiite a Wide APErtUTe ‘ensure tat the stant Bld ng was UNSharD enough to aliow/the mein Sbjec: to stand out clearly. 35mm SLE Camera with © 75-300mm zoom lens, an 818 vrarmup filer and Fuji Prove. 35mm SIR Camera with o 70~200mm zoom lens ‘nd Kodak Eetachrome 200. Acting 4s tre ambient lighti> the caravan was net evoatng an strsctive ef fect, ussella deccet0 use a finsh gin aed pled ¢ aighty tome sido of he camera, diffusing twin a sva1 soft box He Sota Shutter Speed which was slow fenough 0 make the window burn out ene fortte light from t to crente a highlight o == sis ot the clowns face ‘35mm SLR Comera with o '35-70mm room lens and Kadok High Speed Ektachrome, | Stichting infty vv and gives the phologropher “pea cnt ovr mood of te image, yl oes have to be complicated. A flsh unit erw, reflector and o simple bockg-cund oe cll he studio photographor neds o gt sare, Usd in cflerentcombinaions hss fu ilams a equipment provid o get ‘vty of lighting ees nd the pote for many diferent kinds of irae. chard Lewisohn created the harsh shadow behind the gil by placing a strong ight high up to te left. He used a second fight aso fill, bouncing it op of a sheet of polystyrene placed 1 an angle on the studi or. ¢ Seei Fichera Lew kod with film lights wes sion, without any form of difuion, and dacided Yo ty the technique for himself. He arranged session in a fim studio that had a plein white wal he could use asa background His mage Caroline, ware a simple, dark outt Thinking ‘The preter ace hs man iit « tungsten film Tigh hgh upena end te tof he carole anded nani. stra a one uneed, rier © the horas! shadow pease end the gi Tol sore oh {he shed os en ha oth, Relat = KE sha rai POIYStYTeNE onthe studio Hoot, anged sighty upwrars, Sra peshenabesneens ein glar geste lamas boone ue Acti Ho askod the) high as she could s ho fired the shuator. To fr sf Movement in midair, he selected a large aperture and the fastest avalabie shutter speed, which on his medium format camera was 1/40 0S@C. It took many sttemptst gat a shot in wihion the gis imbs anc the show behind her were at just the right angles 10 create an effective composition Lighting ~ 140 Studio Lighting > =< F 3 (Seeing is was one of a series of DUblicity shots tet \ Anno Febres wonted to portray her subject in relaxed and selt Brardt made sure the model and the flashgun were in the positions he wanted, then tumed out the light and inserted the fim into the camere. The camera had no shumer, 90 he fred the fashgun Manually © mato o osu hon femoved the fim from the camera before tuming the Feht back on Lighting Studio Lighting See Thinking chal 7 considered anumber ef As both mother and daughter were wearing EIUG he OPTIONS tor protosrephingshis tte chose ave HACKFOUN te eho this and to ‘i veh her mothe, but the idea of make the Skin TONES “he only contesting colour ‘making itlook more ike « fashion | shot than a conventional famity. cting portait appealed to him most placed lage white ralactor at about 45 dagrees to the cameraon the lft and DOUNCEM two ghis ott itso trot twes evenly illuminated on ‘loodod the couple with a vary soft, van light. Ho Facod thom close to the background so that a soft Shaclow was cast. The white walls of his small Ydiv Format SLR Camera with a 55-110mm 209m lens Studio provided enovah Fi||-iN to weaken the cond Fuji Asta shacows Busselle has natural inclination to ase lighting for people with wall motored foces which wil cxcetuote the texture and lines which the yeors boston. But in this instance, he decided to use the sort of very soft fronol lighting which would normally be used for ‘beauty sho. He used « very diffused light source fram as clase to the models face ond the comer as he could ploce a with @ whit reflector very dose to her om the opposite side Medom Frat SLR Comera with « 105-210mm zoom lens and Kodak Ektachrome Professional 100, Medium format SLR 120% macro lens ond Fuji Asta. Lighting 150 Studio Lighting Seeing StPENGth ard Michae Busselle ‘wanted 16 combine them ina family QroUp in way wich gave them Equal eroras's Thinking For tis reason he opted tora tighttly- framed image and oe fi Ne way of placn oe auite close together and ons Acting “They wore fein exactly the same way a ie ne opposite HaBlbut with substitution of « painted canvas background which was iV separate flash. Heastes te lady to tke oF hor black ton so tho image consisiod aimatiy of brown, range and bive. Rule of Thumb ‘When photogranhing two or more pecple legether ib ually helps to ereale amare fpelanced arrangement if you pation etn ‘aay wnien places thelr heads ar cutorent ‘be covered rth fatrio ts tone with the Duskground if they ae vise Medium Format SLE Comera ith © 105-210mm zoom lens end Fuji Asti. Medium Format SLR Camera with o 105-210; zoom lens and Fuji Asia The lighting set-up for these portreits is shown here These two photographs were jaken during the some session using the same basic lighting set-up. The close head shot was lit by a single, lightly diffused flash placed at about 30 degrees to olin between the comera and imodel ond Busslle placed o block reflector close to the model's face onthe opposite side fo preven elleciod light weakening the shadows. Another light was imed ot «rll of white background paper ond he dtaped o pice af block fabric around her neck nd framed the imoge so thatthe imoge wos restricted fo jst blak white ond brom. ‘The longer sho! wos it inthe same nay bot loss tightly framed, to ‘accommodate the models pose, ond with tho block reflector removed to allow some reflected ligh! 10 weoken the shadows ond show mora deol Lighting 152 Studio Lighting ‘Seeing Michaél Bissell hed besn shooting some ruses of this medal whe, ne thought, has apericlary lovely back and was exploring ways of potogrephing her in 8 wey which emphasised *. Acting But he felt the picture needed something MOTE, £° he asked the model o stand very lose to he background and then lit her witha single, [fll UNiffUSeC tiah* trom just belowthe camera lens, and sighty to one side, so that it cat an eutine shadow from hor body antothe backround Thinking He asked her to wear the black leather rinishrt ard tights to erecta tho sortof look you's exoact x6 Soa in a converticnal glamour ice shot fom the fant The red background wes chosen because he liked the comaination with the Black Busslle tok this picture ofthe fete ‘cha Wall in his role as Dennis Thotcher and because of hs very colourful costume he decided fo keep the image quite simple. He used a white background lit by two flashes on exch side and balanced them so that a sigh amount of fone remained. The key light wos provided by large soft box placed clmost at ight angles fo the ‘model with olorge white relator very ‘lose on the opposite sid, Yivedium Formet SLR Comere with « 150mm lens and Kodak Ektachrome 64 Rule of Thumb saa depoadent aoa Technical Detaila Yoedium Format SLR Comero with o 150mm lens and Kodak Ektechrome 4. othe same est Busslle placed o large, howl diffused soft box vary close to ths model end oimos ot righ angles fo him, with a lorge white reflector on the opposite side fo bounce some light back inio the shadows, Yiedivim Forme! SUR Camera with o 150mm lens and Kodak Ekiachrome 64, " Lighting “ | Seblighing dosnt suit ever ule bts partial atacive “option von phoiogaphing fmol subjacs or smal dion. Thre we merous ways oot af ghing ets, ether though the choice fighting equipment or by wing files or fuses over the sor on he Flashgun. Mast sot ihtng effects re best achieved inthe stud, ‘where the photographer has close control over the lighting set-up. Gz Thinking ‘To mae her hair lok as if t was standing on ane, as ‘though elecified Fabres got the gil talie down on she imagined her LONG black hair filing the frame, and she persuaced her fo madel fer some pictures. For the session, Florence wore white cating and white mekeup, and applied plenty of caleur around her eyes, the Studio floor and soreae her locks cut around hor. Sta then sot uv a stepladder and framed the picture from the top of, looking down on the SUDJ@Ct. Sheadisted the postions of the insvcual stants so that filled the frame Acting Fabres though a pwure with a cold b TOME wauld te she best way 0 righight she hal, ‘and s0 used a tungsten-balanced film ina lighting situation that was dominated by Natural daylight The main ett source was ceykight Eeming through the open stucho doar Supplementary lighting came stom thee daylight-balanced lightbulbs ‘ona lighig ths coiling and ona each of the two side walls, 10 give a colt overall effoct eaty ‘35mm SER with a 35-70mm lens ond Kodak Ektochrome 5320 tungsten-balonced clour ranspaency film. Something ofan experiment for Rune Andersson, who wos ‘new sudo lighting set-up His model had very blonde hair ‘and a very foir complexion and, to moke the most of these features, he wonted a porttit wth sft, pastel clours. He soi the model, dressed al in white, on o siool in front of o plain white ae ‘background, and fit her with © powerful studio Hlosh unit. Howe 18 diffused the light by Soong trough evry le sofas, meson sity ane eet Janne Dekker sinply used avilable ight from © north-facing window and aplin background fortis porta. The slanting ‘alight ated csi nth gis eyes end pte the fine hairs on her arm. The simple white dres contributed to the gril overll feo ofthe image. Medium format camera with «150mm lens and Fuji Neopan hte fin ZE®. ; é \ ‘s ee. lornie Bennett was commissioned to photograph this young gi by her mother The subject was slim and pretty but at an age ‘when her teetn were not especialy elegant. Therefore the photographer decided that s Quiet, More Serious picture with her mouth closed woud be the most Hattring way to portiay her. Thinking Bennett envsaged a clean white backorourd with sof, even lighting to emphasise +e sit’s delicate Features ara unblemished skin. However, he ccthes she \we8 wearing seemed s bit too bright, 80 the photographer gave hor a whita certo pole neck swoater to enango into. This softened the overal fel ofthe image. Acting The subject wast by sotbox positioned on her and a reflector onthe let, to filin the shadows. Ben directed twa flaSh Units at the white beckground, with diffusers ‘ited over them 1 safan ther grt. Ths meant ‘there was 8 ft of ight bouncing around the stuto, but very few hash shadows. She moved in quite cosa with a moderate telephoto lens 10 treme the subject tightly Technical Details» Wedium frat comera with o 150mm lens and Fuji Neopan bw fm, Lighting “ Seeing is Gis COMPLEXION was so strikingly clear sraner ba so sengy Blanc that Cari Kurs folthe ony way to protograph her was with so van Iigiing that would omphasis hove features. Sho mado suro tho gt was weary a figh-colourod top ere pose her in fort of ape we beckyoure The intenon was to cea 2 IUMINOUS etect, almost as if the subject was Fe from win Thinking kurra used css ting tp. Sm pout 2 Sade ligule twats ea camera. This povided Soft illumination on the model's righthand side, highkghing her long blande hair retlector placed tothe let of the subject threw light back on to that side of her face 194 body and filed in detail in the shadow areas Rossing Lueck wanted soft, gem fe otis tudo pata end Peach wcnac tarde wo erange hor selected o pain wht background together with a white cushion for he Ea se oe rel sean ile il 1s on. The lighting was chosen fo accertote the macd. One bands in ths particular way and then just studie fash unit povided te msn ilrinaton vil other picked ot waited as the expression on her face chenged tibial cod cin bt She fed the shutter when the expression seemed to eo th cane in ight. The elect wos compead wih eso ining nigh, but enly:0ok three SHOTS inal. when fiter, which gave a slightly diffused quality to the final image he printed the image, she dadged some of the hair Arechnical Details — areas dria |@SS EXPOSUTE tothe svares ‘Medium format camera with o 150mm lens and Kodak 160 NC Porta. ‘var the models right shoulder so that they merged ‘colour negotive fil. partly into the background. This helped give the luminous effect she wanted. Rule of Thumb ‘There are plasty of satforus fitere you oan buy %0 Medina terme cos wih on five images a gentle, romantic foe, but i's easy ancugh ede Tes in to create your own softfoous effects. Try attaching a sheet of tracing paper a plese of muslin or black rocking over the lane to soften the ima. Ta simplest soft foous tocaniguo se to must up the lene by breathing fon i, but make sine that everything ss n plaoe and you are ready to shoot before the misting ears Lighting “ 160 Shooting in Sunlight Strong sunlight ot cys best for shoving ouidoor por o ican ceale hash shadows and face subj fo sew up ti yes aginst ‘ho gre. Fo thes easr;coudy, overcast ays re fen bar fr outs sessions Hoveve, wh carol posing of he obj, dct sunlight can bo sed 0 eranco curdoa potas and make te subject srl a> ¢ Seeing une Andorsson took this portal os part of an esignment for an ocala ag cos a warm sia dy fr sabe ‘averising dient He wonted picture with o summery fel, so tok his, SS wana son ean ‘models to seosidelocion on a bright, sumy dey. He got the father and door location wise the lardscape auohter to walk clang a path ha led down tothe so, walking weul provide anesl bacground- She cecigedon backwards infront of them with on autofocus SLR. The sunlight was coming from behind them and to thei eft, providing strong bucking, Andersson took spot meter reoding fromthe mons foce and shirt nd set {local notenical gatcen as the venue and suggested ‘they takea Wolk, This slowed her ta scout for his exposure sa that detail was retoined in those areos. He left the suitable backgrounds surat the beckground to burn ov, coting © hninaussuround fr the subj. same time helped to put tho boy and his father ina ‘lac rama of mind. Coming across this bed of 35nm SLR camare wth oni fens and Kedak TCH 400 teers backlit bythe an chromo eric fim the pertect serting Thinking ‘She asked the pair to pose in the Spot where the light was best crouched dovm inthe reeds. The tacklgntra crexeda warm, halo srcund thei ads but ltt thei faves sighly in shadow, which meant fey werent forced to screw up ther eyes against the sun. Many people's eyes are sevsitve © direct daylight. tnt resut ‘that they endl up squinting painfully into the camera, ‘351mm SLR camera wit o 90 regaive film lens and Fujclor 400 colour Acting fs q Lighting Shooting in Sunlight — (Seeing fs Susie: was uraacling His mule as Michael Bssele cove past his home, and he was struck by the DOI SHAPES created by the pair ‘of them when seen against the brightly whitewashed wall. vias 50 parfct ft amos onked ke a stsio sev up Thinking It was affemoon and the sunlight, lthough harsh and strong, had mellowed slighty, Acting ssele chose « Vie WpOiNt whieh placed the man’s head DETWEEN the stings of brontycoloued red peppers ana the window grill, erste tamed te shot 2 include tho latter together with tha mus! rdit wae angled slmost directly st them creating only Small shadows wich had boan woakenod by tho vary reflective surcundrgs 35mm SLR Comera wilh an 35~70mm zoom lens, an 814 warm-up filer and Fuji Velvia, (Rule of Thumb fod shoulder sie eapotty fe ‘einned poopie. a's genaral ie oma fj nan aro of open aad esse wall er undertow or owe Busell shot towards the light fr this portrait of o young Arab boy, spotted in o tmarke i Iselin order fo ovoid the hash lfc of direct sunlight, This also hod the fect af creating a distinc separation between the subject and his background. ‘35mm SLR Camere with an 75-150mm zoom lens, ‘on BIA worm-up filter and Kodak Ektachrome 66 Ths shot wes ten inthe square of Jemmo el Fra in Marrakech very late one cfternaon, when the sun wos ot o low angle end its harshness hod softened. Busele chose a viewpoint from where the shodows cst by tha sunlight vere relatively small and uncblrushve. Y35mm SLR Comoro with © 28-70mm zoom lons and Fuji Yelvio, Lighting 164 Shooting in Sunlight Seeing Getting covered'n SAMA wae not intentional, and semnething normaliyt9 58 avoided an #basch, aut Michael Busses ike the very tactile quality it created on the modo''s body as it seemed to accentuate tre effect of her shiny, tanned skin. Thinking Ho frst lookod atthe possibilty of shooting iNtO the light :cestea softer, moro fattering effect, but this ereatiy diminished the suikine textural quality created ty direct suniight and he decided he iked she harsher auaity ofthis boner Acting He aed hs mado te POSitiOn herr so ts ie gunn glanced at an angle across her body 10 accentiats HETEXTLITE 0! the sand, but in such ‘Syny thatthe minimums amount of biace SHADOW was created Bussella me this young lady whist making across the sond dunes ot the Pushkar Comel feir in Rojsthon, and esked if he could toke this impromptu portrait. He opted foro shat token in direct sunlight, os he fet thot her Ivight sil and dak skin wold be enhanced bythe quite hash lighting which, at the time he took this picture i ate ofternoon, had parly mellowed, and was further soiened by the ceective surroundings ‘35mm SLR Comer wit Tens and Fuji Prova. Lighting 168 Controlling Contrast fcasivo const is ana ofthe ms ikl grablems youl ace when soating in eight, espcllyonsuny days and en shootin hod-on shoulder prs. Teo much contrast ress in images with ite or no detain bo highlights ond shadows. Wi potas, it can oso crete undue emphasis on skin etre and seve fo exaggerate Blerishes, producing istinlyunfltring resus. Seeing This portrait was taken in very StTONG SuMlight =~ Mists vray of ecg th coriast an create a more pleasing quality oo Thinking He asked his model to sit with her back to the SUN. wtich has created tre Highlights on er hair ard shoulders. But the main part ofthe image was now in ouito deep Shadow and ne exoosure required to produce a goed skin tone. ‘would have resulted inthe highlights being completely bleached out Acting Te overcond tis BISHERIBL ssele placed a lage sheet of white polystyrene a cbse as possible tothe model and angle ito tht etiected the sunlight tack intothe SHACGOWS ard image's brightness range. sella needed to find a sued the Rule of Thumb the ohatce of w point, the mede’s pose an tthe way in which the image is framed ca all fleck the overall contenst of Ue image, When the subject 19 tt strongly you dan itmir the contrast of rhe image by using there factore co onguro that you oithor inelud@pnly a email area of highlight or a small arg of shadow in our frame, and you'll then hae to ealoulate your exposure asooraingiy Atechnical Details 35mm SLR Camera wih on 75~30Gmm zoom fons, on 81A worm-up filter and Fuji Provo, 9 SUONDOpy] AOpoy PUD Su9] woo2 WUNS|~C/ UO YUN oIoME) YTS WUE Afternoon sun was lighting this young Sri Lankon boy's face from almost o tight ongle and although it was finly sof, the shadow it cast nas too dense, To ‘et thepicure Bussalle he osked the boy to ston the ground, ond the light reflected up from the bleoched grass was ius enough fo weaken the shadow fo an accepiole level Lighting 168 Controlling Contrast Rule of Thumb by placing your model close to a naturally reflective surfaee, such as ‘waite wall oP table top. Do ensure, nowevon, that auch eur‘aose are fairly neutral in shade to eliminate the tisk of colour, as well as ight, belng reflected into yous ploture, Seeing Thinking To photograph his vineyard worker sorting the grapes From|this positon, however, the strang, eaty-moring anditg show what he was doirg Clearly. Michael gunight was very harsh, erdit created an Bussele needed to shen tom hs VIEWPOINT mewn eeney high Contrast, 20 thatthe oranes could filme FOTeGFOUNG —_ ensuring that she scene vies i MMPOSSIDIe « ‘and he cauld see the action. shatograph conventionally. Cena firm Roshan, wold hove become harsh ond icrdant had Basal shot withthe san behind Him, Shooting note light ghoul edocs th contest bt he needed fo compensee the xpos, civng the pice one-anéa-nel slope more hen the infar iniaid fo aod his esis ein uneceplbly ark. Arechnical Detalls 35mm SLR mera wth an 75-300nn zoom leas, an 81A warmup hte end Fuji Prova Lit fom alnost right ongles, this man’s foce would have ‘ead ¢ wary conta ingyen rma canst Bu ‘the soft light thrown by the slightly hazy afternoon sun, the talecve surondngs the son ands wit robs, together wilh dorks, foe produced an imoge wih 9 pleasing quality "35mm SLR Camera with om lens ond Fuji Provie. mm SLR Camera nth a 17-35mm 000 lens ond Node Ftcchome 100 SU q Lighting } 170 Shooting on Cloudy Days [frmany ways, 0 clody or overcast dy is more state fr photographing & peopl. The ight is sof and mae ataring for head hauler porte, ond is quality helps sujes fom becoming fussy ond consng,partcarl the more sont nd detailed ones. is especially useful light we when you're photgraping subjects which ave bold clus, or stong vse lemens ke pollen and texture, the effects of which on easily be diminished by ‘he bight highlights ond dese shadows whch sunlight creates —_ ‘Seeing Thinking Michael Bussele saw ths oe bulcing nthe French tovm of He thought this scene might sb work: cspite the fact thet it Aubois'on = very dul, QVETCAST ay, when many ‘was very SOftly-lit and there were mo Strong possible subjects he nae considered had simply been It nt09 CO|OUTS, thete was, however # streng element of bath fist a way to produce 9 goed quality rage texture’and pattern and ne vey dark TONES inside the windows gave the imoression of more ff Mp _ contrast. “Acting Hellsed » |ONG-FOCUS lens 0 solte smal area of the scene and framed teshor so sere wes a teeing of SYMMELTY within the image, whi the viewpoint alsa allowed him to piace the lady close othe intersection of thirds. though shot an cloudy day with very soft lighting, ths scene, token in a naraw street in Colmar, canteins enough contrast for the image ta be pleosing, portly becouse of the subject’ inherent fones nd porly ply because ovr ihn hos ete some val defied shades dl Y35rum SLR Camere with an 35-7Omm zoom lens, on 814 worm-up filter ond Kodak Ektachrome 64, Tho sft ight of on overcast dy is dee for subjects such ai one, seen ot the Fl Marken avs, es the inherent contrast end bight colours inthe scene ensure o Hii, puncly image whl the absence of dct suliht aoilesdstactng Highlghs end shodows to be avcided. Avachnical Details 35mm SLR Conera vith en 75-300 zoom Jens, an B1A woore-ap filter and Fuji Prove. Tee ee ‘la if 4 Lighting Lighting for Mood Drama ighing on be wed ceatedtinaly ferent moos ets con be ceted vty in thes oy, arnt the phologaphe con make us of noua ing conditions ovo. Sirong dona sunighftiag ough docs ond windovs os well as th hash slaning High of aura and wine, ride the ploagraphe wih rx mate fo ora thal al a tory. —_ Seeing Iwas a.turn vedianaly a melancholy time of yer. and Kobi ree ‘thought ths al lady siting outside an anarment bulang in Fome lacked ‘athe sad and fnely. Ha wanted to folate ha from the bustle ofthe sroet and coneantiate attention on her pensive expression. The dautlo doors and the wall behind her provided a suitety neutral background. He used bleck- endavhte tlm tor tis documentary-style Thinking In auzumn ana winter fe sun is JOW in the Sky and «sighs director, creating long shadow. The strong, slang light picked out the old laoy’s yyhite hair and walking stick anc threw a shadow on to tho wall behind her. Such light does nat last ong, however, before the sun dips tchind buildings or douds, so Isao! knew he had o work quick Acting Not wails te phtouache stayed at tne ad ‘reared thepiaure wna 300mm telephoto lens. ms towed tim Ogg) Meso on he at ody, bu e lo cided the tiered avement 0 emprissise the mood of melonchaly. He eampleted the inthe darkroom by toning the black-and-white print light sopia, Rule of Thumb ‘35mm SLR camero with © 300mm lens and liford Wy ssi seins Acil Usa Whee AT Wah cr Wn Wiican 15 ba fm tf as avai you have ah.yous noel: roy pening, tn oy cea was he ota: oe vera aut eeceey Geagacan as uateay be ee ‘overhead, orosting a harsh, shadowses glare thet i no ‘very suitable for photographing people. In autumn ard ‘rinten the sun is low in the sky and can @ve rise to some intepesting directional lighting effects. The woman was c pioist, and Staffan Jofell want to ceate © mood of drama that emphasised her mastery ofthe instrament. The lation wos 0 concert room with a skylight inthe ceiling, ond he pushed the erond piano under the skylight, whece the sunlight picked cuits surfaces. With the gan 105.0 bockground, the performer stood withthe strong ight fling directly ecoss her Fao, creating dromatic shadows cround bar cir and chin. Har oyes wer oso porily obscured by shadows from hor eyolés and lashes. The photographer came os close os he coud with a stondord SOmm lens, filing the frome with her fae. Arechnical Details — 35mm SLR comera with 0 50mm ss and Kodak Ts-X b&w film rated of 150 200 Lighting, =~ 1% Lighting for Mood Inmet cess, ght for sujet ihe ports ond desis designed primary show a models feces tothe best vonage rt reveal rece od emphasise qualities ke form od ext, Bu fee is ao the posit of wag ighing wth he rine intention of crating an unsul elle, oto etblsh poriclr mod, and where the ef onthe mde! a . secondary consideration, SE '&. ‘seein, g Acting 84% he felt hat Something More was needed and hamgertwwninewomenanns “hevoranseietnns Sofas itt ich created an element of OOM and started from a large white T@F|ECTOF placed to ane side of the: by using SOft, diffused lott trom one sice glass angled so thet @t created a degree ot flare. He then ‘vith the intention of using a sot focus cttackment aver placed a PINKISH fiter over the ight which iluminatod ‘the lons to create arather TOMANIC atmosohere. ths moda, Thinking He had alargepisce of glassin the ‘astllf, ae thought he right ba sotoftexture screen. hi spaying is with @ plant MIStER bewes aimest alle to achieve the effect he wanted bought for Rule of Thumb | ‘The photographie prensa has the sity to record ‘tall wits great etry and vo eonvey a grea: dea of ‘visual nfoemation im an image. Ons way of creating :moady imagos sto use techniques which imi tis. ‘quality. Lignting which creates args shadowy areas, lowes lary, are both devibes which ean heighten ‘he feeing ofmced ina ploture ‘large soft box suspended from a boom arm directly obove the model bos creoted quite 0 shadowy, etmospheric effect inthis picture Medim Format SLR Camera with a 180mm lons ond Kodak Ektochrome 64. Yaedium Format SUR Camera with o 150mm lens and Kodok Ektachrome 64, Far this porkrit, Susselle used pisces of coloured acotate over the light sources to create localised colour costs. The Flshes were undiffused and fitted with honeycombs fo concent ate the light ino a small aren h ated filter, placed behind the model tho right of the comero to create rim it effect, ond the othe, fitted with © blue filter, just behind the model on the opposite side Lighting Lighting for Mood Seeing Mhehacl eff wanted to avoid te CONVENTIONAL *pPmach to partat lighting fer this picture and, while experimenting, decided it looked effective when oniy part of his subject's face was shown cleaty, Acting To complete he effect. he then asked his model to woar hat arda dark, palenecked jumper so tho skin tenes wero the on¥y POSITIVE Colour, and lita white raper tackereund to ave 2 semisilhouetted feo! to the image. Rule of Thumb Romomber that items like props, clothes and backgrounds will all infiuence the you want to achiews and ta assemble the Hens needed befire the session begin ‘You oan get tome food ides from studying the fashion and style magasines For this male nude, a lrge white reflector wos placed almost ot fight angles to the model ond © single flash wos bounced from it 1 provide o very sof, diffused light Busslle oso placed a black pointed reflector onthe opposite side to ensure the ‘how Medium Format SLR Camera with a 150mm lens ond Kadok Eklachrome 644 Thinking Ra placed a sot box CIOS@ tohis face and s fight angles 2° tet ony ONE Naf was it but hed strong matiel rg. He then placed a black. “teflector very close on the other side 70 onsure te Shadowed sive of his taxe te Hack ATechnical Details Medium Formot SLR Comera with « 105~210mm zoom lons and Kadok Ektochromo Professional 100 The offect for this nde as created by osking the model io kneel across ino stools which, ‘were placed ono grey peer acaand Th acre fy mig single Hash ot the floor «a metre or s0 below hor So tht it wos bounced back under her body 1 Medium Format SLR Camera with @ 150mm lens and Nodak Ektachrome 64, Cameras & Equipment of film formots ond camera ‘equipment on the marke, but which should the p phologropher choose? Having the righ fools forthe job makes on enormous difference to the end result, ond it's important to understond the capabilities ond Vinitations of differen lems and how they con be used to influence the look of the image. The photogropher needs equipment thot wll sere his immediate needs but ‘an be edded to and expanded os hs skill and ‘experience gion. cit Cameras & Equipment I 180 ite Choosing a Camera | | Any comera can bo used fo Take portrait pictures. How 1, thre are sevaral distinct types of camara, each vith diferent chaocteristcs and capabilities, There is no single ‘correc’ camera to choase. You musi decide which system best suits your a =< “Types of Camera “The Mast popular fm formats mm, which s widely used by both amatours ard professors 35MM gives a neoatve sizeof approximately 2amm x96mm and oncomoaseos both eompact cameras andsingla lens reflex cameras, or SLRS. Camas ae idel fr taking snapshots and many come with built-in 200m tenses, but SLRs offer betterimace cpisity ard tor gostar fers. Therein a wierange cf interchangeable lenses aviese sas, ‘hich gee axtarave contol over the type of mage thats ‘recorded. There ate also many exer yoes of ACCESSOTY Jot 36mm, such as ashguns and fiers, and a wide vaieny of lm pes. IAPS (dsivancec Photo System) is a ralativaly new format, similar to 35mm but witha sishtly smaller negative 80 Its designed oro for shanshor protograph APS ons choice of PICLUTE FOFMAL wie srocting including panoramas, rd processed fins ae rtumad witha handy IMeX Print that shows all the images en the flim 35mm autofocus SUR with @28-200rm zoom lens and Fujichrome Velvia film Js, bearing in mind thot you wil pobobly want to expend it os your expertise develops. Inthe end o lol comes dava fo personal taste, Medium format. 120 lism. is a stop up tom ‘35mm. Medium fort cameras also have interchangeable lenses end a wide variety of accessories, but the images they produce ar signticartly larger than those of 35mm. Types 208 are Gxaem, Siem, ExTem and GxSe-n. Many cmos have interchangeable tim backs, which means the phatagrapnercan Switch film mid-roll. Largo format, of VIEW CAMETAS. us6 asingo shoot of fim for each mage. This is ypialy din or Gein in size, although there are other formas, including panoramic ones. Such cameras gn superb image quaity nd have a number of conitol thet can be acted for fe-tuning, However, they are bulky, slow and qutewiky to operate. Digital photography is as caning ound, atnough ‘un recon issues Such as cOst and image qualty have hol it back. Images taken on adgtal camera can be download to a computer and MANIPUlAtEM to produce a wide range of weit and wendertl etfects Needless to say, you need to own 8 rome COMPULET ers the rated parishoras before you consider the cgtal option “Tica Timmermans met ths litle gil end hes mather in Lo Paz, Mexico and osked permission 1 take some photographs. The fodder ‘yas amused by the sondols Timmermans wos wearing ond when she ame to lok deer, the photographer som her chance, She quickly framed the shot vsing @ 28-200nm zoom las ond, when the gil looked up, Focused on her eyes and squeazed the shutter release. The zoom was set at around SOmm, which in 35mm photography is the {oral length of o standard lens. Poul Sanders used 0 6x6em medium format comero to copture this shot of boby Michaela. Th picture wos token hand-held wsing avoilable window light, with «piece of white cord placed onthe right to act oso reflecor, filling in the shadows. The lr ge operture gove a vey shollow depth of Field, which helped conceira cttention on the litle gis sparkling ayes. Sanders mphosised the square format by printing part ofthe black film surround to provide © ready-made ame fr the image. Atechnical Details — dium formotcomora with on 80mm lens and Kodok Tmax baw film rated at 150 200. Cameras & Equipment | 182 | Choosing a Camera Pros é& Cons though a magnitier by For the pote photoprarher. the main choice ies between 36mm er porly assessed, and when big gntives the grain ofthe 5 are mace trom 35mm rgome a film becomes more natico smaller negative ‘equality Mosium format camoras aro almost as varsatle as thei of the image is reduced. This is exp when you counterparts although the range of lenses and accessories for make @N|aTGEMENTS. Besides, most APS systems are them is more limited. i only #9 use colour negptive fm, and the choice of be focused manuslly ~ erly ene or twa camera modes come 3 is limited, with autofocus. Ca se be mar ne wide choice of lenses and accessories for 36mm SLRsmakes EXPENSIVE. ard film and develoning costs ae higher. Not lam extornoly varsatio. Cameras aro cht and portable, and are all medium format cameras hava suitable for use both inthe studio and outdoors. Meny have fully makes focvsing and cempesiton more difficult. Their greater size AUTOMatiC EXPOSUTE systems ard autofocus, which and weight mean tet usually thay nad to be firmly secured on kes picture-aking quick and ensy. Vth SLAs, the image you a trinod to avoid camera shake see thr. er the ane that willbe recorded on ‘Their big vantage, however, isthe better image quality given by film, s0 you can assess immediately wha the larger fim size. enone intar more detail citfrentlanses and accessories wil hav and negatives don't have to be enlagad to the same extant asin Tha sig ack of 351mm is the sizeof the image 35mm. This means gain is loss of a problem, especialy ity Transparencies reed be projected or viewee ave enlarging from just a section of the negative Jorgen Brondtcroted this unusual portrait with pinhole comero, a simple device that hes «pedigree sicetchng back tothe carliest days of photography. Brand's wooden camera wos specially mode bot consisted of ile more thon box with 0 small hale in the Fon, through ambich the exposure wos made. There wos no lns ond therefore no need to locus, bt this oso ameont the photographer couldn't see through the camera ond hed to arrange bis composition ‘blind. He used open flash fring a singe studio lash unit inthe darkened room Rule of Thumd ox or tbe, Punch a small hole in cone side ofthe box: cm, ith a tube, pleoe of Miteien fot! over the ed and punoh 8 ole in that. A ‘ooo of trecing paper et the back of the container males ons fosusing soreen. As light tsavels in straight lines, the top part of the wal appear at the bottom of Dart ob the top, ving you an spside-down image Gostom-made Sx4in pinhole comero and Nodak Tri film at 150 800. Sepia-oned print Richord Boley pictured this wor ‘eteron as part of 0 project 9 photograph the people of, Poraguay. He used a medium format ‘camera vhich gove © nearly square image, The man wos Fving in government home for old soldiers. None ofthe veterans spoke English, but Boley suggested poses for them to try ond gave ‘each o Polaroid print of himself, te took this portrait under 9 ‘nee auside the home using notral doylight He printed the negoive through a soft fcus flat onto «fire: based printing pope, and then sepio-toned i | «Technical Details Wedium format camara with o 90mm lens ond Ilford FP4 baw film, Sepio- toned print Cameras & Equipment 184 Choosing Lenses a © | Inerchengeoble lanses are ayoilable forall the major ‘omero sions. Lanses ar clssfid according to ther foal length ifferenfcel ngths have diferent angles of view ond therefore affect the appearance ofthe imoge: Zoom lenses conveniently combine a numberof differen focal iengis ino single potkoge. Types of Lenses Pros & Cons A standard lens is one which gives an angle of view of around 45 Telephotos often have small maximum apertures which oan degrees, which approximates ta the field of vision ofthe normal restrict thir use in low light situations, The longer anes ace also human eye. The fOCAl length of erses is calculated in quite HEAVY and likely to cause camera shake, which is relation othe sizeof the fm format, so lenses fer 5mm and __exaggeted because ofthe greater magnteation. Ths means ‘medium format systems have diferont focal lengths. in 3&mm thay have to bo used witha soid tipod the focal length ofa standard Ions is 60mm, while in modium Wie angles havo fargor maximum apertures and so can be used format is around 80mm in lower lighting constions. Becatse of tr Telephoto lenses havea longer focal langth anda narower angle distotng effec, they are seldcm used for doses unless the of wew than standard lenses. They make distant abjcts appar photographer's delieratlysiming fora hirmorous rest closer, and havea sight tlttning effect on perspective, Zoos also have FESLFICLEC maemum anertures and, 9 taking objects on aiffrent planes apacar nearer together A rmosteases, the image qualty they gvo is sight lower than shatelephoto is consdoros a good choice for porait that ot xod focal lang (or rime) anves. Howover, toi pictures - with 36mm camoiss,an 86mm lons is commonly —_—_gr@atorfoibilty usualy comgensatos for these disadvantages. used and with mei format systems one of ature 120mm. Oe pepulrtelehotes for 36mm cameras re 136mm, 200mm and 300mm Wide angle lenses have a shorter focal length anda wider angle of view In 36mm systems, focal lengtns of 35mm and 28mm are auto commen, but thre ae also exrame wide angles that create a state, fisheye parspective. Wido andlas can be used to incluse a subject’ sureundnes inthe frame ous, uses close un stort features in an unten ay Zoom lonsea combine arumbar cf citer focal lengths ina single lon betel which ves a large cegrs of fexoiy. They are mosty made for 5m ayers, end 36-70rm, 28-96, 28-200n¥n and 7Oxn-21Onmn ZOOMS ato popu POE They allow the photographer oir out diferent framing options without having to cary around a bag fl of separate lenses. Miaccro lenses ae designed totoou at dose distances to. reduen a aoe ean image ofthe subject. They ara rst errnmoniy used in over and rceut provostanny, burcan ssa, Wideangle lenses give a broed field of view ond ofthe extreme end [pe Sareea af the rang begin fo dsr The image, mokig ajo cose tothe femora angear very Lge ond bending stag ies. The dont tsuoly fltter the humen face, but Terry Vay asd 0 Im wide angle 1 amusing effect for this picture of his young son The warm lghing wos provided by lei afternoon sunlight Amechnical Details — 35mm SLR carers with a 17mm lens and Kodak Fhtochrame E100¥S transparency film To shoo! this young acing student, Ronnie Bennett vsed o medium format comero with a fixed 150mm telephoto lens. Bennet i the picture with a sottbox atioched fo « boom, hich she angled so thot the lighting came from the front and sighily hove, This helped to emphasise the structure ofthe young man's ‘heskbones and his fi facil fectares. j-

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