Joss Simple character portraits make for great images. With a close crop, eye contact and an endearing smile, the viewer immediately connects with the subject and is able to identify with him. Nikon, 85mm f/1.8 lens (short telephoto), 200 ISO, 1/640sec at f/3.2. A ROD EDWARDS PHOTOGRAPHY E-BOOK. Copyright © Rod Edwards Photography 2014. Revised and updated in 2014 by Rod Edwards Photography. ISBN 978-0-9929110-1-0 (kindle) Previously published in hardback and paperback by David & Charles Publishers (F+W Publications Inc.) First published in the UK in 2008 First published in the US in 2008 ISBN-13: 978-0-7153-2823-1 hardback ISBN-10: 0-7153-2823-9 hardback ISBN-13: 978-0-7153-2824-8 paperback ISBN-10: 0-7153-2824-7 paperback Text and photography © Rod Edwards Photography 2014. Rod Edwards has asserted his right to be identified as author of this work in accordance with the Copyright, Designs and Patents Act, 1988. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic or mechanical, by photocopying, recording or otherwise, without prior permission in writing from the publisher. Visit Rod Edwards Photography website : www.rodedwards.co.uk Rod Edwards Photography Facebook FanPage : https://www.facebook.com/rodedwardsphotography Follow Rod Edwards Photography on Twitter : https://twitter.com/rodedwardsphoto Vimeo : http://vimeo.com/rodedwards Youtube : https://www.youtube.com/rodedwardsimagery CONTENTS INTRODUCTION CAMERAS LENSES LIGHTING AND ACCESSORIES COMPUTERS AND SOFTWARE DESIGNING THE IMAGE WORKING WITH LIGHT PHOTOGRAPHING PEOPLE TOP TEN PHOTO SHOP TECHNIQUES ABOUT THE AUTHOR Rod Edwards is one of the UK’s leading photographers, specializing in people and places imagery for the commercial publishing, advertising, design and corporate areas of the photographic industry. He has photographed many fascinating subjects around the world, and even had the honour of personal portrait sittings with HM The Queen Elizabeth II and her husband HRH The Duke of Edinburgh for their Official Sandringham House Golden Jubilee Guide. His client list includes BBC, Shell, Texaco, Google, Campbells, Visit Britain, The National Trust, Microsoft, Ordnance Survey, Orange, Samsung, The AA, The RNLI, Reader’s Digest, Sainsbury’s, HSBC, Saab, Ford, Archant and Future Publishing, Fuji Film, Kodak and most of the British newspapers. His framed photographic prints and canvases have been retailed around the world by the likes of John Lewis, Argos, Habitat, Homebase and B&Q and his limited edition exhibition prints are sold through exclusive online galleries beside the likes of artists such as Peter Blake of The Beatles’ Sgt. Pepper’s Lonely Hearts Club Band album cover fame. He is a respected member of the Association of Photographers in London and has been a regular contributor to the UK photographic press, including Advanced Photographer, Practical Photography, Photography Monthly, Digital Photographer and Professional Photographer magazines. For more information and further examples of Rod’s imagery visit his website www.rodedwards.co.uk. You may also like to follow him on … Rod Edwards Photography Facebook Fanpage : https://www.facebook.com/rodedwardsphotography Rod Edwards Photography Twitter : https://www.twitter.com/rodedwardsphoto INTRODUCTION When I sat down to start writing this book I asked myself, exactly what is it that makes a good portrait photograph? Anyone can shoot a portrait, even with very basic equipment, so what is it that makes one picture better than another? These are very difficult questions to answer as there are no definitive responses, but there are various ways in which a photographer can capture a person’s unique character and create an image to be proud of. This book is not intended to show advanced and complicated studio or location lighting techniques, but it will demonstrate how you can achieve professional results in a number of simple and easy-to-master ways. The Oxford English Dictionary defines a portrait as, ‘a likeness of a person, especially one showing the face, that is created by a painter or photographer, for example.’ However, a portrait (from the French verb portraire, to portray) should transcend a mere physical likeness. It should also reveal personality without the need for words. A portrait is about conveying mood – be it happiness, sadness, strength or vulnerability – but it must also create an emotional response in its viewers, so that they ask themselves more about the sitter: who is this person, what is their story, and what were they thinking about when the photo was taken? No two people are the same. We are all individuals, each with our own unique character and strengths and weaknesses. Even identical twins are different – they may look the same, but the similarity is only skin-deep. This individuality is what needs to be captured in a portrait; the true expression of self is what differentiates a good image from a bad one. Station Master A good portrait will capture the inner personality of an individual as well as their physical likeness. To be able to depict this you will need good people skills as well as familiarity with your equipment. Canon, 24–105mm f/4 zoom lens at 65mm (standard), 100 ISO, 1/60sec at f/5.6. LIGHTING The quality of light in a portrait (indeed in any photographic image) is very important and should not be overlooked. The best landscape photographers have learned that the ideal times to shoot great landscape images are during the so-called ‘magic hours’ around sunrise and sunset, and this can also be true of good people pictures. The changing moods of natural light can be used as a tool to convey your message. In a similar manner to an artist choosing his brushes and colour palette, the photographer can select the effect the quality of light has on the contours of the subject’s face – quite literally painting with light. Professional photographers react to different lighting conditions in a conscious way, but for someone who knows little about light and its characteristics, this is more often a subconscious reaction. However, if you can learn to read the way light plays upon a subject and begin to recognize how its changing qualities affect your emotional responses, you will soon become a master of light both in the studio and on location. Daylight is perhaps the most beautiful and most emulated of all types of light. Studio photographers the world over spend a great deal of time, effort and money trying to recreate the elusive nature of this light on demand, so that they can work when the weather is inclement and in a more controllable environment. But the best thing about natural light is that it is cheap! With the aid of some camera and computer techniques, daylight can be manipulated and controlled in an infinite number of ways to produce wonderful images. Yes, it can be simulated, but unless you want to spend a small fortune on expensive equipment, studio space and running costs, you should not forget the flexibility and convenience of humble daylight. That being said, studio lighting is also an important part of the photographer’s arsenal. It is reliable, consistent and adaptable – but to get the best from it you need to know your equipment. Take the time to try different types of reflectors and attachments and learn the subtle differences between them, as it’s only by understanding this that you will be able to fully master them. Without a great deal of experience, studio equipment can produce rather humdrum results. Too many high-street studio photographers just attach a large, plain softbox or umbrella and blast away at their sitter, producing flat, uninspiring images that are flooded with too much light. Remember that shadows also play a vital part in producing striking photographs that will captivate the viewer – they are the silences in a musical score; they are the words in a poem that are left unsaid; when light is the yin, shadows are the yang.