Professional Portrait Photography: Techniques and Images from Master Photographers (Pro Photo Workshop)

129 Pages·2008·12.44 MB·english

by  Lou Jacobs Jr.

Professional
PORTRAIT PHOTOGRAPHY
Techniques and Images from Master Photographers
Amherst Media
Lou Jacobs Jr.
®
PUBLISHEROFPHOTOGRAPHYBOOKS
Copyright©2008byLouJacobsJr.
Allrightsreserved.
FrontcoverphotobyFrankFrost.
BackcoverphotobyChrisNelson.
Publishedby:
AmherstMedia,Inc.
P.O.Box586
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Fax:[phone]
www.AmherstMedia.com
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ISBN-13:978-1-58428-229-7
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Notice of Disclaimer: The information contained in this book is based on the author’s experience and opinions. The
authorandpublisherwillnotbeheldliablefortheuseormisuseoftheinformationinthisbook.
CONTENTS
Introduction ...........................................4
1. Steven Begleiter ......................................7
2. Marcia Dolgin .......................................17
3. Beth Forester .......................................29
4. Frank Frost .........................................42
5. Suzanne Maitland ....................................55
6. Chris Nelson ........................................67
7. Vicki Taufer ........................................80
8. Carl Caylor .........................................92
9. Joshua Kessler .....................................105
10. Simon Walden ....................................116
Conclusion ...........................................126
Index ..............................................127
CONTENTS 3
INTRODUCTION
One of the first historic photographs on record is a morepopularviadaguerreotypesandtin-types.Posesre-
time-exposedFrenchstreetscenecreatedin1839.In quired exposures of up to a minute. Glass plates were
the years that followed, imaging art and techniques faster, but the processing required was clumsy. You may
quicklyimproved.AphotographIrecallvividlyisagroup recallsomeoftheportraitsbyprominentphotographers
portrait of Lincoln and his generals, created by Mathew of the 19th and early 20th century, including Julia Mar-
Brady, who operated a popular portrait studio in Wash- garet Cameron, Alfred Stieglitz, Edward Steichen, Au-
ington,DC,inthe1860s.Professionalportraitsbecame gustSander,andGeorgeHurrell.
In 1889, George Eastman introduced roll film, 100
PH
O exposuresinaboxcamerathatwassenttothefactoryfor
TO
G
RA processingandreloading.Thepublicbegantakingthou-
PH
BY sandsofsnapshots.Professionalsgraduatedtosheetfilm
B
ETH and roll film. By the mid-20th century, portrait studios
FO
R
ESTER had sprung up everywhere to offer visual memories of
. children,families,andfriends.Today’sdigitalcapturehas
made photography even more versatile. Portraiture was
andstillisagratifyingwaytomakealiving.
Fine Portraiture
Likelasagna,notallportraitsarecreatedequally.I’veor-
deredlasagnainrestaurantsfromFlorence,Italy, toSan
Francisco,CA,andeachhaditsownflavor.Portraitsmay
also have individual characteristics in today’s market. As
the images in this book show, the success of an image is
largelyduetoindividualtastes,talent,andtechniques.A
photographer’s personality can also influence the aes-
thetic quality of portraits. Every photographer inter-
viewedforthisbookagrees.
About Portrait Style
Snapshot portraits are mostly forgettable, though some
amateur images can be terrific. However, professionals
can’tdependonhappyaccidents.Weinspireexpressions
and moods, modulate lighting, and adjust composition
4 PROFESSIONAL PORTRAIT PHOTOGRAPHY
as we chat with our subjects. A pro-
fessional photographer can create
magicinportraitsthatclientshappily
payfor.
Portraitstyleishardtodefinebut
easier to recognize. It’s a mixture of
creativeseeing,artfullighting,apre-
cise sense of timing, a good instinct
for posing, and an attitude that
strives to bring out the best in peo-
ple.Moodisalsocreatedbylighting
andexpressions.
It’s worth being influenced by
portrait work you like in this book
andeverywhereyouseeit.Yourown
style can evolve to please clients and
make you proud of producing fine
portraits.
R.
Movie Style. Director Ingmar UFE
TA
Bergman said of Sven Nykvist, a KI
VIC
greatcinematographer,“Hehasbeen BY
H
an inspiration for his natural, simple RAP
G
O
style of lighting. His work is ex- HOT
P
tremely subtle. We were both utterly captivated by the Why We Take Portraits
problems of light.” A LosAngelesTimes editorial added, Portraitsaremadetopleaseclients,relatives,friends,ed-
“Nykvistwasabelieverinthepoweroffaces,oftenzoom- itors, advertising art directors, curators, and potential
inginforintense...close-ups(“DeathofaSwedishRe- lovers.Theportraitbusinessisastimulatingwaytomake
alist,” Los Angeles Times, September 22, 2006: B12).” aliving.Fineportraitureisachallengingformofcreativ-
Nykvist won Oscars for JFK and The Aviator, and also ity.Peoplesaveyourprintsforgenerationstocome,sobe
photographedSleeplessinSeattle. suretoputyournameonyourportraits.
Study cinema faces and magazine portraits. Decide if
thephotographershowedcharacteraswellasbeauty.Ex- Portrait Techniques
perimentwithfriendswhomodelforyou,oruseaman- You and your clients should be a comfortable team for
nequin. You will make discoveries that help you please success. Anticipate how to make a subject look terrific,
moreclientsandincreaseprofits. because or in spite of their personality, age, and appear-
Style is elusive. I often argue with myself and others ance.Subtleorsignificantvariationscanbecapturedwith
aboutindividualportraitstyles.Ifeelthatmanysuccess- slightchangesinapose,acameraangle,and/orlighting.
fulprofessionalsdonothaverecognizablepictorialstyles, JaneBrown’sportraitstyleevolvesfromcleverwaysto
but they prosper. So does style matter? Yes, because if it avoidusingflash.ShephotographscelebritiesforanEng-
emerges,ithelpsyoudevelopportraitindividuality.Peo- lishSundaynewspaper,almostallonlocation.Janefavors
pleskillsalsoimpactphotographicstyle,asdohandsome staircasesettingsbecausesubjectscanbeplacedaboveor
prints that generate repeat business. Success may not below the camera, walls are usually plain, and window
bringyouayacht,butitkeepsyourstudiolookingsharp lighting is available. She shoots in a lot of gardens, too,
andfuelsyourcreativity. and as is evident in her fascinating book, Faces (Collins
andBrown,2000),shecharmshersubjects.
INTRODUCTION 5
Offbeat Portraiture among my subjects were Man Ray (who then lived in
Beautifulpeoplearenotguaranteed.Thoughphotogenic Hollywood, CA) and Edward Weston (at home near
facesarealwayswelcome,plainonesareoftenachallenge. Carmel,CA).Theirimagesplusothershaveappearedin
Softlighting,carefulangles,andartfulposesarecoolso- mybooksandexhibitions.
lutions.Involvethehandsomeorthehomelyandyouwill
reap rewards. Vary posing, lighting, or background op- As You Read This Book
tionstoincreaseyouroddsofphotographicsuccess.Off- Each photograph in this book was made with a point of
beatsubjectscanamazeyou. view about people (of various ages) and their personali-
RichardAvedonenjoyedarecognizablephotographic ties. Consider what you can learn from their examples.
style. He was an artist who often shot stark portraits of Eight photographers work from studios or their homes.
people staring pensively into the lens. He once took a Two, Josh Kessler and Steven Begleiter, are mainly edi-
white photo tent and an assistant on a trip around the torial photographers who do portraits for publication.
UnitedStates,photographingoftengrim-facedsubjects. They all offer personal information and viewpoints, and
I feel some of his images are depressing and static, but theirpicturesareevidenceoftheirenthusiasticexpertise.
theyarealsoriveting. Big bucks depend on your skills, dedication, business
Celebrity shooter Annie Leibovitz has had a notable acumen,self-esteem,andrapportwithpeople.Whentact
portrait career. Remember her pictures of a naked John and talent are paired, it’s amazing how much coopera-
Lennon curled around Yoko Ono? Or Demi Moore, tion you receive and how much some clients are willing
nudeandpregnantonthecoverofVanityFair?Youwill topay.Enjoyyourself!
find these and more in her book, A Photographer’s Life:
1980–1995(RandomHouse,2006).Anniehasanotable
style and a flair for capturing subjects with humorous or
offbeatattitudes.
It’shealthytoseektheunconventionalforprintexhi-
bitions and for some types of clients, to expand your vi-
sion. But beware of offbeat portraits made primarily to
attractattention.Icallthemleg-pullart.
Personal Projects
“Thereisnothingmoresatisfyingthantakingpicturesfor
yourself,” says Steven H. Begleiter, author of The Por-
trait Book: A Guide for Photographers (Amherst Media,
2003).Stevenadvocatesshootingportraitsforyourown
pleasure,withoutthinkingaboutpleasingaclient.“It’sa
timeforvisualgrowth,”headds.“Findathemeandsuit-
able subjects and let your intuition guide you. A collec-
tion of personal portraits with your signature style may
encourage you to modify your other work.” Steven’s
workandworkinghabitsareprofiledinchapter1.
In the mid-20th century, I undertook a personal se-
N.
riesofenvironmentalportraitsofCaliforniaartistsintheir WALDE
studios.Twonewspaperartcriticssuggestedsubjects,and ON
M
SI
a few artists recommendedme toothers.Alltwenty-five BY
H
were patient as I shot 4x5-inch black & white film, with AP
R
G
O
mostly ambient light. The series spread over a year, and OT
H
P
6 PROFESSIONAL PORTRAIT PHOTOGRAPHY
1. STEVEN BEGLEITER
Steven Begleiter of Missoula, MT, has had a varied career. When my first book, Fathers and Sons (Abbeville Press,
AfterstudyingphotojournalismatKentStatehewasanews- 1989),waspublished,Istartedgettingassignmentsfrom
paper photographer, then an assistant for numerous New Esquire, Elle, and Us. My pictures gave me exposure in
Yorkphotographers.HeranhisownsuccessfulstudioinNew the corporate photography world, and I began working
York and Philadelphia and has taught at seminars. He shot for design firms on recruiting brochures and annual
assignments for many magazines and corporate annual re- reports.
ports. Steven has also written and illustrated three books,
including The Portrait Book: A Guide for Photographers
(Amherst Media, 2003). In Philadelphia he taught at the
University of Pennsylvania where students inspired him. In
2006, Steven, his wife, and children moved to Montana,
whereheisonthefacultyoftheRockyMountainSchoolof
Photography.
Describe your background.
I got hooked on photography at age fourteen when a
friend with a darkroom showed me how to make prints.
The rest of my career has been finding ways to make a
livingasaphotographer.MydegreefromKentStatewas
in photojournalism and philosophy; the latter was very
useful. I moved to New York City and learned more
aboutcommercialphotography.Myon-the-jobskillsin-
cludedcastingmodels,buildingsets,andcollectingbills.
Assisting Annie Leibovitz, I lugged heavy cases, met
many celebrities, and sometimes worked seven days a
week. I quit after a year over a salary dispute and was a
sought-afterfreelancephotoassistantwithphotographers
like Mary Ellen Mark and Michael O’Brien. In 1982, I
decidedtoopenmyownstudioinNewYorkCity.
Foralmosttwenty-fiveyearsIhavespecializedinpor-
traiture,startingwithaFairchildCorporationtradepub-
lication. My first national magazine assignment came
from Forbes, followed by Business Week and Fortune.
Who are your influences
and mentors?
I have to say my biggest influence
was Arnold Newman, and I have al-
ways been drawn to photographing
people in their environments. My
other hero is Irving Penn. He can
transform any visual into an iconic
image. Further influences include
photographers, teachers, artists, and
seminar speakers. Annie [Leibovitz]
influenced the way I thought about
taking portraits, such as to pick up a
lotofinformationonmysubjectbe-
forehand. Mary Ellen Mark taught
me how to seek out the strong per-
sonalities in a photo essay. She also
influencedmynarrativestyleofpho-
tography.
Describe your studio.
Presently,Iamconvertingmygarage
in Montana into a studio. In New
YorkCityIhadthreestudiosoverfif-
teen years. The first was about 800
squarefeet,sharedwithanotherpho-
tographer. The next was a 3,000-
square-foot studio in Soho, shared
with a video company. My final stu-
dio,inthe garmentdistrict,was also
about3,000squarefeet,sharedwith
twootherphotographers.
I always had a studio manager
who was in charge of photo book-
ings, accounting, organizing photo-
graphs, and helping with promo-
tions. We also hired freelance assis-
tants.Astudioisalsohandyfortest-
ing, and it offers more job oppor-
tunities. Now if I need studio space
for a large shoot I will rent it. This
may be for my convenience or be-
cause clients prefer it. I now employ
an assistant about 90 percent of the
time.
8 PROFESSIONAL PORTRAIT PHOTOGRAPHY
Do you have a philosophy that guides your approach to
fine portraiture?
I feel a good portrait is just as much about the photog-
rapherasitisaboutthesubject.Ibelievefineportraiture
tobeamixoftechnicalexpertiseandemotionduringthe
shoot.
I also feel it’s essential to shoot images for myself. It
bringsmebacktoreasonswhyIlovephotography.Italso
manifestsvisualideas.
RuleofThumb.Accordingtoatraditionalguideline,
the rectangle of a picture can be divided into nine equal
segments[byimposinganimaginarytic-tac-toegridover
theimage].Placingtheimportantelementonornearan
intersection of the lines helps create an image that em-
phasizesthesubjectandismoredynamic.Toexperiment,
placeasubjectalternatelyateachintersectionanddecide
what placement makes the most aesthetic sense. When
youanalyzeportraits,considerthegrid.Wouldyouhave
composed the portrait the same way? Remember, por-
traitsarenotmadebyanyoneformula.