Monte Zucker. Monte Zucker's Portrait Photography Handbook. 2008

129 Pages·2007·3.67 MB·English

by  Monte Zucker

Monte Zucker’s
PORTRAIT
PHOTOGRAPHY HANDBOOK
Amherst Media
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TABLE OF CONTENTS
AbouttheAuthor .............................5 4.POSINGFUNDAMENTALS ...................32
BasicPrinciples ............................32
INTRODUCTION .............................6 Seating ...............................32
HowFarWillYouGo? .......................6 BodyatanAngle .......................32
SettingGoals ...............................7 TheShoulders ..........................34
Posture ...............................34
1.PREPARINGFORTHESESSION ...............9 TwoSimplePoses ..........................34
Consultation ...............................9 TheBasicPose .........................34
ChoicesforClothing ........................11 TheFemininePose ......................36
Sleeves ...............................11 BackPoses ...............................39
Necklines .............................11 TheEyes .................................40
ColorsandPatterns ......................13 Expression ...............................44
CoordinatingClothingforFamilyGroups ........15 PosingTools ..............................45
HairstyleandMakeup .......................16 PosingStools ..........................45
Hairstyle ..............................17 PosingTables ..........................46
Makeup ..............................17 FinalAdjustments ..........................46
2.BACKGROUNDS ..........................18 5.GROUPPORTRAITS .......................47
Outdoor/EnvironmentalBackgrounds ..........19 PosingStrategy ............................49
PaintedBackgrounds ........................19 Seating ..................................51
ProjectedBackgrounds ......................21 Direction ................................51
ContemporaryChoices ......................22 FacingTowardEachOther ................51
FacingtheSameDirection ................52
3.THESUBJECT ...........................27 HeadHeight ..............................54
DoingaFacialAnalysis ......................27
DeterminetheBestAngle ....................28 6.LIGHTINGEQUIPMENT ....................56
FullFace ..............................28 BuyingLightingEquipment ..................56
Two-ThirdsView .......................28 StudioFlash ..............................57
Profile ................................31 WhattoLookFor .......................57
AdditionalConsiderations ....................31 MyStudioSetup ........................58
Hair .................................31 ASecondaryUse ........................60
EyeSize ..............................31 ContinuousFluorescent .....................61
Noses ................................31
FollowYourInstincts ....................31
TABLEOFCONTENTS 3
7.LIGHTINGTECHNIQUES ...................64 HeadandShouldersPortraits ..............91
MainLight ...............................65 Profiles ...............................92
DistancetoSubject ......................65 ControllingtheBackground ...............93
WhichSideoftheSubject? ................65 TiltingtheCamera .........................93
FullFace,BasicPose ..................66 Hand-HoldorUseaTripod? .................94
FullFace,FemininePose ...............67 LensSelection .............................95
Two-ThirdsVieworProfile ............67 PersonalFavorites .......................95
ConsidertheNose ...................67 Telephoto .............................95
TheOneandOnlyLightingPatternIUse ....67 WideAngle ............................96
EmphasizingDetail ......................69
Reflectors ................................70 11.COMPOSITION .........................97
ReflectorforFill ........................70 ComposingtheImageinCamera ..............97
ReflectorasaSecondaryMainLight .........70 IncludeSomeBody ......................97
UsetheRuleofThirds ...................98
8.WINDOWLIGHTING .......................72 SubjectPlacement ......................100
DirectionoftheWindow .....................75 SizeoftheSubjectintheFrame ..............103
CommonPitfalls ...........................75 Children .............................103
HeightoftheLightSource ................75 HeadSize ............................103
WindowTreatments .....................75
ShowingtheWindow ....................75 12.EXPOSURE ...........................104
DistanceofWindowtoSubject ................75 WhatisaProperlyExposedPhotograph? ........104
CameraandSubjectPositions .................75 FilmorDigital? ...........................104
PositiontheSubject .....................77 ExposureModes ..........................106
PositiontheCamera .....................77 AperturePriority .......................106
UsingaReflectorwithWindowLight ...........77 ManualMode .........................107
ReflectorforFillLight ...................78 AdditionalExposureDecisions ...............109
ReflectorforMainLight ..................78 ISO .................................109
WhiteBalance .........................109
9.OUTDOORPORTRAITS .....................79 FileFormat ...........................111
LocationSelection ..........................79
TheScene .............................81 13.ADDITIONALCREATIVECHOICES ..........113
TheLighting...........................81 SoftFocus ...............................113
Lighting .................................81 Black&White ...........................115
Shade ................................82 Infrared .................................117
DirectSunlight .........................84
BareBulb ................................86 CONCLUSION ............................119
AFinalChecklist ..........................119
10.CAMERAANDLENS ......................87 AListofThingstoAvoid ...................122
CameraAngle .............................89 InClosing ...............................123
CameraHeight ............................91
Full-LengthPortraits ....................91 Index .................................124
Three-Quarter-LengthPortraits ............91
4 MONTEZUCKER’SPORTRAITPHOTOGRAPHYHANDBOOK
ABOUT THE AUTHOR
M
onte Zucker was a photographer for nearly sixty years, producing
wedding photography and portraits that are often credited as genre-
defining works of the 20th century. In addition to membership in the elite
Camera Craftsmen of America, he earned the distinction of being named as
aCanonExplorerofLight.In2002,hewasalsonamedPhotographerofthe
YearbytheUnitedNations.
Montewasrecognizedasaleadingportraitteacher.Infact,manyoftoday’s
leading photographers credit Monte as the original source for their photo-
graphic style. “I’ve always wanted to show others good technique and give
them the ability to do what they feel,” he said in an interview with Profes-
sionalPhotographermagazine.“Iwantthemtobeabletointerpretasituation
andputinonpaperforotherstosharetheirvision.”
THEZUCKERINSTITUTEFORPHOTOGRAPHICINSPIRATION(ZIPI)
The goal of the Zucker Institute for Photographic Inspiration is to help
young, at-risk children get involved with photography as a means of direct-
ingtheirenergies.Itisourhopethatthiswilladvancethemtowardsuccess-
ful and rewarding careers in the industry. To learn more about the mission,
pleasevisitwww.montezucker.comandclickonthelinktotheZuckerInsti-
tute for Photographic Inspiration. To support the work of the foundation,
youcanalsopurchaseanyofMonte’seducationalmaterialsfromthesite.Ad-
PhotobyVincentVersace.
ditionally, a portion of the proceeds from this book will be contributed to
thisimportantcause.
ABOUTTHEAUTHOR 5
INTRODUCTION
HOWFARWILLYOUGO?
Iamcontinuallyaskingprofessionalphotographers(andaspiringprofession-
als),“Towhatextentareyouwillingtoputyourselfoutinordertobecome
thebestphotographerthatyoucanbe?Towhatlengthsareyouwillingtogo
to create the best portrait that you can make?” The answer keeps coming
back,“Whateverittakes!I’mreadytogoalltheway.”
Idon’tbelievethatanymore—notforthemajorityofpeoplewithwhom
Ihavecomeintocontact.Peoplesaythat,butwhenpushcomestoshove,the
answer really is, “Whatever it takes . . . as long as I don’t have to put myself
outtoomuch.”Manypeoplereallydon’twanttostudy/learnanypredeter-
mined technique. Instead, they say, “I want to be myself! Be creative! Be an
individual! I don’t really care about what other photographers have done in
Do you really believe
the past. I’d rather experiment and find out on my own what makes things
workformeandmyclients!”
that anyone can figure it
Doesthismakeanysenseatall?Doyoureallybelievethatanyonecanfig-
ure it all out by himself? To my thinking, it makes much more sense to get all out by himself?
yourselfa“coach”—someonewhocanseeyourstrengthsandhelpyougrow
from them, someone who can point you in the right direction so that you
can achieve your maximum potential. Where would all of the world’s great
performers, artists, and athletes be today if they had not had proper coach-
ing and training? If you think about it, what doesn’t make sense is someone
wantingtofigureitalloutbyhimself.
So,wheredoyoustandonthisissue?Areyouwillingtostudy—andstudy
hard?Topracticehard?Togetthenecessaryequipment,howeverbigorsmall
it may be? It’s not easy to achieve your maximum potential—but do you
reallywanttosettleforjust“goodenough?”
I have to think that if you’re reading this book, you’re at a point where
youarereadytomakeyourdecision.Soaskyourself,“AmIgoingforit?Am
Iwillingtomaketheefforttolearnpropertechniqueandputittopractice?
AmIwillingtostrugglethroughthegrowthstagesofbecomingatruepor-
traitphotographerandfindmymaximumpotential?”
Perhaps, at this point you should pause and reflect on all of the above. If
you’re looking for the easy way to become a creative portrait photographer,
6 MONTEZUCKER’SPORTRAITPHOTOGRAPHYHANDBOOK
thencontinuetostudyhere,topractice,andtogrow.If,ontheotherhand,
A Monte Portrait (the term Iuse for my
work)issimple,elegant,voidofdistractions, youdecidethatyou’drathermakeyourlifedifficult,goaheadandlearnthe
and flattering to the subject. It makes a hardway—putthisbookawayrightnowandtryyourownhit-and-misstech-
statement mostly about the subject, but at
niquesuntilyoumightstumbleonsomethingthatwillworkonceinawhile.
the same time reflects my interpretation of
It’suptoyou.Goodluckinwhateveryoudecideforyourfuture.
thatperson.
SETTINGGOALS
Aneffectiveportraitmakesadualstatement—first,astatementaboutthesub-
ject; second, a statement about the photographer. An effective portrait is a
successfulcombinationofthetwo.Ifyoulookataperson’sportraitandyou
are drawn into his or her personality—if you feel that you know something
INTRODUCTION 7
about the person by looking at the
picture—then the photographer has
accomplishedhisorhergoal.
For example, a Monte Portrait
(the term Iuse for my work) is sim-
ple,elegant,voidofdistractions,and
flattering to the subject. It makes a
statement mostly about the subject,
but at the same time reflects my in-
terpretationofthatperson.AMonte
Portrait is one that shows the sub-
jects naturally, but also depicts them
asIwouldlikethemtobe.Icanpho-
tographrealitywhenitsuitsthesub-
jects, or I can idealize them when I
feel it appropriate. Either way, it is a
simple statement. I want you to feel
a Monte Portrait as well as see it. If
you are emotionally connected with
my subjects when you see their por-
traits,IfeelthatIhavedonemyjob.
You should strive for this with
every person that is in front of your
lens. The only way to achieve it,
however, is to master the technical
skillsthatwillenableyoutoconcen-
trateoneachsubject—withoutbeing
held back by having to think con-
sciouslyaboutposingandlighting.
It is to this end that this book is
beingwritten.Mygoalistogiveyou
specificinstructions,step-by-stepand
insimplelanguage,onexactlywhich
angleofthefacetophotograph,how
toposethebody,wheretoplacethe
camera, where to position the lights, and how to expose the image for
Can anyone really figure it all out by him-
maximumdetailinthefinishedprint.Ifyoustudythismaterialcarefullyand self? To my thinking, it makes much more
reallyworkwithit,youshouldbeabletobecomethephotographerthatyou sensetogetyourselfacoachtopointyouin
the right direction so that you can achieve
wanttobe.
yourmaximumpotential.
I should also note that, even if you prefer to take a photojournalistic ap-
proachtoportraiture,youreallyneedtounderstandthematerialinthisbook.
Also,whetheryouwanttoworkinsideundercontrolledlightingsituationsor
photograph outdoors, this book is for you. I will be detailing a practical ap-
proachtobothstylesofportraiture.
8 MONTEZUCKER’SPORTRAITPHOTOGRAPHYHANDBOOK
1. PREPARING FOR THE SESSION
Y
oucanneverallowpeopletousetheirownjudgmentfortheclothingfor
theirportrait.Theywill,undoubtedly,selecttheirfavoriteclothing—and
thatclothingcould(andprobablywould)beatotaldistractionfromtheface.
Clientswillalsoneedyourguidancewhenitcomestoselectingtherighthair-
styleandusingmakeupthatwillphotographwell.
CONSULTATION
Afullclothingconsultationbeforetheshootisimperativeforachievingpro-
fessionalresults.Thisshouldbedoneinperson,notjustoverthetelephone.
Manypeoplesimplydon’tunderstandthenecessityofpreparingallthedetails
for a portrait. It’s up to you to convince them that your suggestions are for
their benefit. Explain clearly and concisely the best choices for clothing and
whattoavoid.Itmayhelptoshowthemsamplesofportraitsdemonstrating
goodandbadclothingselections.
Ifpeoplecometoyouforaportraitandtheirclothingisn’tright,youhave
Afullclothingselectionbeforethesessionis
criticaltoachievingprofessionalresults. onlyyourselftoblame—youeitherhaven’texplainedthingsclearlyenoughor
you haven’t sufficiently emphasized
theimportanceofcarefulclothingse-
lection in the look of the final por-
trait. When this happens, you will
have to bear the burden—you will
havetoeitherfixtheproblemordeal
with a dissatisfied client. Am I mak-
ing this statement clear enough to
you? Again, how far are you willing
togotobethebestthatyoucanbe?
So, would you still photograph
the subject if you knew in advance
that the person wasn’t appropriately
prepared for the portrait? That’s up
to you. You have to live with the re-
sults. I, personally, would do every-
thing in my power to have everyone
PREPARINGFORTHESESSION 9