Michael Freeman's Photo School: Portrait: Essential Aspects of Quality Portraiture

81 Pages·2012·22.449 MB·English

by  Michael Freeman

MICHAEL FREEMAN’S
PHOTO SCHOOL
PORTRAIT
EdITOR-IN-CHIEF MICHAEL FREEMAN
wITH GARy EASTwOOd
I L E X
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C o n t e n t s
First published in the UK in 2012 by
I L E X
210 High Street
Lewes
East Sussex BN7 2NS
www.ilex-press.com
6 Foreword
Copyright © 2012 The Ilex Press Ltd
8 Student Profiles
12 Introduction
Publisher: Alastair Campbell
Associate Publisher: Adam Juniper
Creative Director: James Hollywell 14 Posing & Framing 72 Soft & Golden Light 134 Processing &
Managing Editor: Natalia Price-Cabrera 74 Challenge: Soft-lit Portraits Retouching
Specialist Editor: Frank Gallaugher 16 Rapport & Confidence 7 8 The Value of Spontaneity
Editor: Tara Gallagher 18 Camera Matters 80 Challenge: A Short Stroll 136 Accurate Skin Tones
Senior Designer: Ginny Zeal 20 Head Shots with a Model 1 38 Challenge: Skin-Tone
Designer: Lisa McCormick 2 2 Challenge: Different
Workflow
Colour Origination: Ivy Press Reprographics Focal Lengths 84 Photographic Light 142 Smoothing Techniques
26 Eye Contact or Not? 1 44 Retouching Workflow
Any copy of this book issued by the publisher 2 8 Demeanor 86 Flash Equipment 1 46 Challenge: A Perfect Finish
is sold subject to the condition that it shall not 3 0 Challenge: Choose the Tone 8 8 Continuous Lighting 1 50 Digital Plastic Surgery
by way of trade or otherwise be lent, resold, of the Session
90 Lighting Accessories
hired out or otherwise circulated without the 3 4 Three-Quarter
92 Supplementary Lighting
publisher’s prior consent in any form of binding Seated Portrait 94 Challenge: Umbrella 152 Glossary
or cover other than that in which it is published 3 6 Posing Hands or Softbox? 158 Index
and without a similar condition including these 3 8 Challenge: A Classic 9 8 Multiple Lights: Basic 1 60 Bibliography
words being imposed on a subsequent purchaser. Seated Portrait
100 Multiple Lights: Advanced & Useful Addresses
4 2 Standing & Leaning
1 02 Challenge: Vary the
British Library Cataloguing-in-Publication Data 4 4 Challenge: Stance
Proportions
A catalogue record for this book is available 4 8 Vertical, Horizontal,
1 06 Metering & Exposure
from the British Library or Square

5 0 Challenge: Vary the Format
ISBN: 978-1-908150-95-0 108 The Setting

54 Natural Light
All rights reserved. No part of this publication
110 Neutral Backgrounds
may be reproduced or used in any form, or by
112 Challenge: A Portrait in Limbo
any means – graphic, electronic or mechanical, 56 White Balance & Skin Tone
116 Simple Location Settings
including photocopying, recording or 58 Window Light
118 Challenge: Research a Clean
information storage-and-retrieval systems – 6 0 Challenge: Indoor Daylit
Outdoor Setting
without the prior permission of the publisher. Portraits
122 Environmental Portraits
64 In the Shade
124 Challenge: Capture a Sense
6 6 Using Reflectors
of Place
Photo on p2 © Lithian; p4 © Subbotina Anna; 68 Challenge: Using a Reflector
1 28 Pairs & Groups
p14 © JorgoPhotography; p54 © Gabriela; on a Sunny Day
1 30 Challenge: Coordinate a
p84 © George Mayer; p108 © XtravaganT; p134 ©
Group Shot
FotoDuki. All other photography © as indicated.
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MICHAEL
FREEMAN’S
PHOTO
SCHOOL
FOREWORD
About This Series
Photography is what I do and have by a challenge to get out and shoot
done for most of my life, and like under a specific scenario, demonstrating
any professional, I work at it, trying and practicing the skills that were
to improve my skills and my ideas. covered in the preceding sections.
I actually enjoy sharing all of this, Further, we feature the work of several
because I love photography and want real-life photography students as they
as many people as possible to do respond to these challenges themselves.
it—but do it well. This includes learning As they discuss and I review their work,
why good photographs work and where we hope to make the material all the
they fit in the history of the craft. more approachable and achievable.
This series of books is inspired by For you, the reader, this series
the structure of a college course, and provides, I hope, a thorough education
of the benefits of a collective learning in photography, not just allowing you to
environment. Here, we're setting out to shoot better pictures, but also to gain the
teach the fundamentals of photography same in-depth knowledge that degree
in a foundational course, before moving students and professionals have, and all
on to teach specialist areas—much as achieved through exercises that are at
a student would study a set first-year the same time fun and educational.
course before moving on to studying That is why we've also built a website
elective subjects of their own choosing. for this series, to which I encourage you
to post your responses to the shooting
The goal of these books is not only challenges for feedback from your
to instruct and educate, but also to peers. You'll find the website at:
motivate and inspire. Toward that end, www.mfphotoschool.com
many of the topics will be punctuated
©
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8 COMPOSITION PROFILES 9
SStudent Profiles
Faith Kashefska-Lefever
Brittany Chretien
On top of being a mother and a wife, show a different point of view, as well not snapping pictures or working on
Brittany is a Louisiana native who was Faith is a freelance photographer and as to show the beauty in everything a restoration, she usually has her face
born on 14 March, 1992. Despite her photo restorer, and very passionate and everyone. I am always asking, in a book learning something new. All
young age, Brittany’s interest in about both. Her restoration work 'If a photo is worth a thousand words, of her post-processing and digital
photography was first piqued at the age includes repairing and coloring old what would you like yours to say?'" manipulation is self taught. 
of eleven after receiving her first digital photographs. "It is my way of helping
camera. She concentrates primarily on old memories stay alive, and preserving Faith's education comes from two To see more of Faith's work, check out
portraiture, oftentimes with dark and pieces of family history," she says. "I places: NYIP (New York Institute of www.fklgz.com
whimsical additions. love to use my photography as a way to Photography) and herself. If she is
Since upgrading to a DSLR in 2007,
Brittany works with a Nikon D40x and
D90, and the 50mm AF-S G Nikkor lens.
With the encouragement of family,
friends, and mentors, Brittany has
thoroughly advanced her photography
skills and is currently pursuing a
multidisciplinary BFA in photography,
drawing, and sculpture at McNeese
State University in Lake Charles,
Louisiana. It is there that she fell
in love with film photography and
various alternative processes such as
cyanotypes, pinholes, and platinum
palladium, using a combination of
traditional and digital techniques.
Brittany’s desire to learn and create
something new grows stronger
everyday. When not working on
personal projects or classwork,
Brittany enjoys reading and
researching different artistic
mediums and techniques.
You can find more of Brittany’s work at:
www.brittanychretien.com
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10 COMPOSITION PROFILES 11
Robert Bieber Mikko Palosaari
A software engineer by trade, Robert Mikko has been snapping photos ever
practices photography as a long-time since the first digital point-and-shoots
hobby and occasional weekend job. He came around. After his daughter was
began his photographic journey in high born three years ago, he got his first
school as a yearbook staffer, struggling DSLR and photography soon become
at first with the basics of exposure and his main hobby. A self-taught amateur
composition, but slowly becoming photographer from Finland, Mikko's
comfortable juggling camera settings main areas of interest are landscape
and framing. He later learned to work and portrait photography. He shoot
video cameras as well, picking up mainly with manual primes and
occasional concert and event recently moved to the full-frame
videography jobs. format. In the future, he would like to
get better with his portrait work and
As his comfort with the camera grew, especially with how he interacts with
Robert stumbled upon the Strobist the model. He certainly doesn't mind
Lighting 101 guides and began to learn the occasional paid photography gig,
photographic lighting. He augmented but never wants to be a professional
his meager camera and lens collection photographer—he just doesn't want to
with some old Nikon speedlights and ruin all the fun.
radio triggers, and discovered an
entirely new photographic realm. As his You can go and check out his work at:
lighting competency grew, he began to www.flickr.com/photos/palosaari
evolve his own style, focusing primarily
on simple, striking portraits and
still-life scenes.
Now Robert works a full-time day job,
but still shoots when he can find the
time, working with a handful of lenses,
some radio triggers, hand-modified
flashes, a pair of light stands, a shoot-
through umbrella, and a few hand-
made light mods. From time to time he
blogs about technique and occasionally
hardware modifications on his photo
blog at bieberphoto.com. You can view
his assorted collection of images,
ranging from portfolio-grade portraits
to personal snapshots, at:
www.flickr.com/photos/tehbieber
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12 INTRODUCTION INTRODUCTION 13
Introduction
classical rules have evolved over
centuries, adopted and refined by
some of the finest artists that have
ever lived—so who are we to ignore
Portraiture is one of the oldest and Until relatively recently, a portrait become a sophisticated and demanding them? Understanding and mastering
most enduring themes in human art. sitting was a privilege granted only to audience when it comes to viewing the classical rules, like so many
For millennia, the need to capture an those few individuals deemed to have portraiture in all its forms. Portrait subjects, provides the foundation on
individual’s physical likeness, character, high moral, religious, financial, or social photography is now deeply rooted in which we can build and refine our own
mood or personality—or to portray standing. This need to portray our cultural and social iconography, style and techniques. Traditional
their social status, wealth, and moral authority, power, and austerity has from glamorous editorial and fashion techniques can still very much be
influence—has compelled artists to dictated the style of portraits since the imagery to marketing, advertising, and applied today to create elegant and
create human portraits through a huge ancient Greeks, whose classical posing even photojournalism. sophisticated portraits.
variety of media. and lighting rules have directly
influenced sculptors and painters At the same time, the constant, artistic One thing is for sure, today’s
Photography, of course, has brought throughout the ages, as well as the urge to remain innovative and unique professional photographer has to be an
portraiture to the masses and, more early photographers. Of course, these means that the boundaries are being accomplished portraitist, regardless of
recently, digital photography has not poses were to some extent dictated by pushed by photographers eager to specialization. Photojournalism,
only put the ability to create amazing the technology in use. Early stand out from the crowd. As a result, commercial, fashion, war, or wedding
digital portraits into the hands of the photographs, in particular, needed an the classical rules that have influenced photography, to name a few—all have
majority, it has also ushered in a new exposure time of 30 seconds or more, portrait styles through the ages are portraiture as a significant component.
and exciting time for the portrait again dictating the need for very stiff being deconstructed, reconstructed, Indeed, there can be few photographers
photographer. Classical, staid poses are and static poses. and even thrown out altogether. in the world who will not at some point
being usurped by dramatic camera Framing, cropping, eye contact (or lack be asked, or compelled, to create a
angles, tight framing, unusual lighting, The photographic boom of the last thereof), stance, pose, composition, portrait of friends, family, colleagues,
and dynamic posing. century and the growing ubiquity of lighting, and every other aspect that clients, celebrities, or even strangers.
digital cameras means that we have comes together to create the final look
and feel of each portrait, are now up for It is more important than ever to create
interpretation, ushering in an exciting something unique and individual. In
new era for portrait photography and order to create eye-catching portraits,
photographers. Today’s photographer is we have to master technique. We have
more likely to break as many formal to learn how to control a portrait sitting
posing rules as adhere to them, in order and exude confidence, and understand
to create drama, tension, energy, mood, how a certain pose or lighting
or uniqueness in a portrait. arrangement will influence the final
look and feel.
But here is the important point: How
does a photographer know how to Having a solid grasp of both classical
break the rules, without knowing what and contemporary portrait techniques
the rules are in the first place? The is therefore more vital than ever. This
book will not only provide an exciting
insight into the classical styles of
v Modern style © ra2 studio
portrait photography, but also highlight W Classic & timeless portraiture have their place,
Modern portraiture frequently
the contemporary trends that are being Compared to the portrait and understanding how to go
adopts a high-fashion, glamor
on the page opposite, this about achieving both looks is
approach, with unconventional used to create some of the most
traditional head-and- essential.
dbak posing and dynamic colors. enigmatic, charismatic and original shoulders shot is different,
nra portraits yet produced. but not better in any
Ko
© objective sense. Both types of
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Posing & Framing
Mastering the art of posing and framing is a fundamental requirement
for any photographer looking to create natural and elegant portraits. Mood,
expression, background and, of course, lighting, are all essential ingredients
for cooking up a unique portrait, as they create the nuance and detail that can
elevate an adequate portrait into a great portrait. But a subject’s pose and the
overall image composition can make or break a portrait in an instant—
simplicity and orderliness are key.
There are two main requisites for posing: that the pose remains natural;
and the subject’s features remain distortion-free. The pose of a subject must
appear natural and comfortable (unless the creative intention is otherwise).
Awkward or clumsy posing will ruin a portrait, while overly posed
interpretations will look exactly that.
Poor composition and framing, meanwhile, can create dull, uninteresting
portraits. One of the most common mistakes is to make the subject too small
within the frame—don’t be afraid to fill the frame and crop-in tightly.
Guidelines such as the rule of thirds and the golden ratio provide a
foundation upon which to build the portrait, but more importantly, they open
the possibility for experimentation with composition.
The use of diagonals, triangles, and other asymmetric shapes are also
considered to create visually pleasing shapes and lines within portraits. These
can be created using body parts, such as arms, hands, legs and shoulders for
longer body length portraits, or using facial features, such as the jaw line, chin
or eyes in head-and-shoulder crops. A well-placed hand or angled jaw line
can be used to draw the viewer’s eye up to the main subject: the face. The
following section will address all of these challenges, and more.
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16 POSING & FRAMING RAPPORT & CONFIDENCE 17
© iofoto
Rapport & Confidence
Photography can be seen as a rather in a matter of minutes from the first need to be the best stand-up ever, and
solitary pursuit. However, the ability to meeting—all the while thinking about is not necessarily to force the subject
instantaneously establish rapport and which lighting and posing arrangement to smile. But if a subject feels silly or
trust with people from all walks of life might best suit their physical traits, self-conscious, simply messing around
can mean the difference between and what particular techniques will yourself can help them to relax too. If it
capturing a run-of-the-mill shot and work best. doesn’t work, don’t panic, simply stop
an extraordinary one. and try talking to them again. Work out
Perhaps the best studio tool we have the approach that works for you.
The portrait photographer in particular at our disposal in terms of establishing
has to be a people person in order trust and building rapport is our Of course, the talking does not have
to gain the trust of their subjects. It is mouths. Talk about anything. The to stop as soon as the shutter button
human nature to operate behind a weather. The journey here. Their starts clicking. Many experienced
mask of sorts, perhaps only revealing fantastic outfit. Ask the subject what photographers have learned that using
our true selves to families and close they expect from the session, or if they a shutter release cable, for example,
friends. It is the portrait photographer’s are not a talker themselves, explain to allows them to continue talking or to
job to try to get behind this façade and them what to expect. Just chatting to maintain eye contact with their subject.
capture the essence of the real person your subject for a few minutes can do This constant verbal and non-verbal
behind the mask, often in a matter wonders for building trust and rapport. communication maintains the
of minutes. connection between photographer
If it suits your personality, be brave. and subject that often creates the most
When a viewer says: “You’ve really Flattery (subtle) can work wonders with striking portraits. Disappearing for long,
captured John, or Mary …,” what they some subjects. “I hadn’t noticed, but I silent periods of time behind the
are often referring to is not a physical was thinking about how best we can viewfinder will very quickly dissolve
likeness (which of course is a given), capture those strong cheekbones.” any connection previously established.
but rather that you have caught some Obviously, there is a thin line between better portraits. This is not only true halting a shoot and muttering: “Sorry, W Control & confidence
element of the subject’s personality or being corny and allaying your subject’s in the studio, but also for location I’m not sure how to change the It is important to exude confidence and
a unique expression that characterizes anxieties, but it is not rocket science. Confidence editorial or fashion shoots. You will aperture on my camera.” professionalism. Confidence is contagious,
and will almost certainly transmit to the model.
that person in the eyes of those who Having said that, some photographers essentially be in control of that
On a shoot, you have to be in complete control
are closest. You have to establish trust insist that outrageous flattery works Photographers command a rather shoot until you let everyone know Also be aware that most subjects will
of the technical aspects, and be capable of
quickly in order to gain access to the for them, perhaps adding an element immense amount of authority during a otherwise—i.e. that it’s time for a break require authoritative direction during giving assured direction to models. Constant
inner personality of the model. of humor. shoot. If a photographer says, “please or a wrap. a shoot or sitting—if they don’t, just positive feedback can generate a reliably
stand over there,” then a group of shoot away and enjoy! But that is rare, dynamic mood on set.
Of course, the conversation will be high-flying, chief executives of When you project confidence and so appearing calm and in control at
Rapport
different if your subject is a three-year- multinational companies will do professionalism, subjects are more all times will get the best out of the itself, for both photographer and
old child compared to a sixty-year-old exactly as they are told. Photographers willing to trust you, to do what you ask, session and the model. Without subject, and will allow you to work out
If one thinks about it, the idea of businessman. But chatting as a must exude confidence. If that does not and to invest more of themselves into experience it is difficult to know what beforehand the kinds of things that you
portrait photography is a daunting one! photographer is no different to the way come naturally, then we need to the shoot. kinds of things to say when directing might need to say to the subject to
As portrait photographers, we have to we communicate every day with people develop a mask that makes it appear a subject. create the poses. Running through a list
quickly assess not only the physical of all types. So just be natural. that way. For photographers, the first port of call of directions and poses on shoot will
traits of our subject, but also their for projecting confidence is to know One of the most obvious ways around sound professional, experienced and,
personality, likes, dislikes, unique Another technique commonly used Like yawning, confidence is contagious. your equipment: both camera and this is to pre-plan the shoot, and some of course, confident. Memorize your
expressions and mannerisms, and is to make people laugh. Many If you are confident, the subject is lighting. There can be no quicker way of the poses that you might require. subject’s name beforehand, if you
of course their insecurities, usually photographers play the fool—it doesn’t confident, which always makes for of losing the subject’s confidence than Doing this can provide confidence in know it.
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18 POSING & FRAMING
Camera Matters
There is a well-known quote by war backward or forward of the camera the chin. Again, tilting the camera in As well as being disconcerting for the
photographer Robert Capa that relative to the subject), should help the same direction accentuates these subject, shorter focal lengths can start
states: “If your photographs aren't to ensure that the natural perspective effects. In addition, the closer the to add distortion at shorter distances,
good enough, you're not close of the human face and body is retained. camera is to the subject, the more due to an effect called foreshortening,
enough.” While most photographers Of course, it is likely that there will pronounced the distortion. whereby wide-angle (short focal length)
will immediately empathize with be times when a subject pleads with lenses exaggerate features in the
this statement, it does not tell the you to enhance or diminish a specific Also be aware that raising or lowering foreground and diminish those farther
whole story, at least not for feature. How many times, as camera height can confer an apparent away.
portrait photography. photographers, are we asked: “Please status on the subject, in the eyes of the
could you do something to hide my viewer. Used in a certain way, a higher To avoid this, favorite portrait lenses for
Of course, tight or close framing can double-chin (… / hips / receding camera height can make the subject head-and-shoulders shots commonly
create striking images with interest hairline / nose / belly / some other look more demure, vulnerable or include 70mm, 85mm, 100mm, 135mm,
and impact. However, it is also vital to feature)?” Just as likely, you may make inferior—the viewer literally looks and even 200mm focal lengths (above
understand how camera position and your own decisions about how best to down on them. Likewise, a low shooting 200mm and the room required for the
distance can have a significant impact portray the physical aspects of the angle can confer an appearance of shot may become unfeasible, and can
on portrait perspective, distortion and, subject in the most desirable way. height, superiority or strength, create compression distortion).
ultimately, the physical characteristics depending on how the other factors in
of a subject. To put it another way, For full-body and two-third shots, for the portrait are combined. © K
photographers must know how to use example, raising the camera height will Depth of Field onstan
camera position, lens focal length, emphasize the head and shoulders and tin
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in a portrait subject. feet, legs, and hips (depending on the Standard lenses are often used by (DoF). As you may already know, setting
extent of movement), while diminishing photographers as all-rounders (i.e. a a wide aperture (or small f-number) bokeh can be employed to remove W L ooking up
the head and shoulders. Tilting the 50mm lens for 35mm format, a 35mm such as ƒ/2.8 on our camera or lens not unwanted or distracting elements from An extreme example of how combining
Height of the Camera low camera height and tilting the camera
camera in the same direction as the lens for APS-C format, an 80mm for only lets more light onto the film or the background, by creating a dreamy
backward can create dramatic shifts in
height change (i.e. tilting down when medium format, and so on). While this sensor, but also creates a shallow blur of colors and abstract shapes. On
perspective, emphasizing the legs and hips, and
As a general rule of thumb, the lowering, or tilting up when raising the is a good general rule of thumb for DoF—a narrow band of focus at a the flip side, a shallow DoF could ruin a diminishing the head and shoulders. Used more
camera’s height should be set at the camera) will multiply these effects. full- and two-thirds-length portraits, specified distance from the camera. The family shot, whereby the children on conservatively, these techniques can be applied
point at which the subject is split in Overdo it though and you will start to as well as for group shots, the most smaller the aperture number, the wider the front row are in perfect focus, while positively to enhance the physical appearance
of subjects in a full-length portrait.
half in the viewfinder. So for a full- add distortion, giving the body an commonly used portrait lenses, the aperture, the narrower the DoF. the parents and grandparents at the
length portrait, the camera height unnatural appearance. particularly for head-and-shoulders back are blurred by the bokeh. For
should be around the waist area; for a shots, are a longer focal length than This narrow band of focus—and its group shots, therefore, aperture you can create eye-catching, almost
two-thirds portrait place the camera For closer shots, such as head-and- standard lenses. opposite counterpart bokeh (the blurred settings of ƒ/8.0 and ƒ/11.0 are surreal, portraits—but be aware that
around the same height as the bottom shoulders portraits, lowering the look that appears in the parts of the more appropriate. with such shallow DoF at short
of the ribcage; while for a head-and- camera below the tip of the nose will While standard lenses are considered image that are not in focus)—is usually distances even the smallest movement
shoulders portrait, the camera should make the chin appear more prominent to best approximate the natural a highly desirable commodity among However, shallow DoF (wide aperture) (by photographer or subject) can result
be roughly the same height as the end and the jaw wider, while shrinking the perspective of the human eye, in photographers. For portrait can also create dramatic close-up in loss of focus. DoF in this scenario
of the subject’s nose. nose and diminishing the forehead. head-and-shoulders portraiture photographers, it can be a double- portraits. Using this narrow band of could be something like a 0.5cm band
Moving the camera upward has the they may require you to move edged sword. For a full-length portrait, focus to keep one eye in focus, and the of focus, so it’s easy to see how an eye
These camera heights, in conjunction opposite effect: lengthening the nose uncomfortably close to the subject using a shallow DoF can isolate and rest of the face in blurred bokeh, for in focus at one moment may not be a
with a camera plane that is kept and broadening the forehead, while in order to fill the frame. emphasize an in-focus subject from an example, can produce striking results. second or so later when the shutter
parallel to the subject (i.e. no tilting thinning the jaw line and diminishing out-of-focus background. Likewise, At very wide apertures, such as ƒ/1.4, button is pressed.
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