MICHAEL FREEMAN’S PHOTO SCHOOL PORTRAIT EdITOR-IN-CHIEF MICHAEL FREEMAN wITH GARy EASTwOOd I L E X Ilex Instant Ilex Instant 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. Ilex Instant Ilex Instant 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 © K on rad bak Ilex Instant Ilex Instant 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 Ilex Instant Ilex Instant 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 Ilex Instant Ilex Instant 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 Ilex Instant Ilex Instant 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. Ilex Instant Ilex Instant 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. Ilex Instant Ilex Instant 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 adnimd idneisphth c eorft fiaienld p thoy esinchaal nfecaet uorre s mLoawkeer itnhge thhiep sc aamnde rlaeg ws iallp epmeaprh tahsiinzne er. Focal Length Ucasnin agl sao l ecnresa wtei tshh aa llloonwg dere pfothca ol fl efinegldth Sutyagin 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. Ilex Instant Ilex Instant