Portrait Photography Tips for Newbie, please
Ken
announcement in the local paper.
I just got them back. Half are good, half look pretty amatuerish. I consider
50% acceptable, at least since this is the first time I've done this for
someone. My fear was they'd all be bad.
One thing I noticed was that there were a number of pictures where her eyes
were closed all the way, or partially closed.
Is there some technique to cut way back or eliminate this? Or, does this
happen with pros as well, and that is just one of the reasons you take LOTS
of pictures?
Journalist-North
"Ken" <kewa...@hotmail.com> wrote in message
news:Gzjtc.27388$zO3....@newsread2.news.atl.earthlink.net...
Here is a simple portrait / headshot technique - - - if the subject
cooperates, but it does take some practice at first on YOUR part.
THE PROBLEM: Usually someone that doesn't have their pic taken on a regular
basis (e.g an actor or model) doesn't really know where they should be
looking. That results in one of two things happening entirely naturally: (a)
you get "tired eyes" (they look down and that makes the eyes look half or
nearly closed in a photo); or (b) you get them staring straight down the
barrel of the lens (resulting in what I call the "startled deer" look - eyes
wide open - too open - and with an unnatural fixed gaze directly into the
camera - like a deer staring into a set of headlights).
ONE SOLUTION: Look through the finder and be ready to shoot with your
trigger finger (I use a cable release that can be worked with either hand
for this). With the other hand hold up one finger and place it near to, but
not directly next to, the lens and tell your subject to look at the finger
you are holding up. You can move your "eye target" hand around a bit (left -
right - up -down - only a few inches at a time it doesn't take much to see a
big difference in the photo -"...Don't move your head - follow my finger
only with your eyes...") while you look through the finder and compose the
picture. When you get the eyes right you will see it immediately and can
release the shutter.
This works to overcome both problems noted above - getting the eyes open and
getting them to gaze in the right and natural place but NOT directly into
the lens - rather a few inched to one side, up, or down as required, which
should also usually be in the direction that the head is pointed. You DO
need to watch how much of the whites of the eyes are exposed to the view of
the camera when you do this. It takes a little practice on your part to
"see" what you are after in the viewfinder (a natural gaze with the eyes
open) but is fairly easy to do as you work. It works especially well if the
head is intended to be looking up a bit from level (where the eyes will also
tend to look slightly closed) - or looking slightly down from the level
(where the eyes will tend to naturally be overly opened). Position the
subject's head first then work with the eye position as a completely
separate fine-tuning element of the composition.
Journalist
RSD99
"... One thing I noticed was that there were a number of pictures where her eyes
were closed all the way, or partially closed. ..."
Use an old-fashioned, antique device called a "Twin Lens Reflex," or a rangefinder camera.
Charles W
The TLR drops your perspective by about two feet - suppose that could save
squatting when taking a picture of a sitting person...takes higher quality
pics, is a lot more bulky than an SLR, takes more concentration to
operate...
The rangefinder's got about the same perspective as your SLR, takes higher
quality pics, is a little more bulky, takes more concentration to operate...
Both take a maximum of 12 shots a roll, on film that's only available in pro
shops (around here at least). TLR is a collector's item, going for a hefty
whollop of dough I believe, the RF more available and less costly.
So I know what cameras you're on about, but how is either of these going to
stop the subject from staring at the lens or the floor? Are you hoping for
them to be looking all confused at what the funny thing on top of the tripod
is? Enlighten us.
--
'Kay,
Chiz!
Chas.
RSD99
"Charles W" posted:
"...So I know what cameras you're on about, but how is either of these going to
stop the subject from staring at the lens or the floor? ..."
MOST of the time when a portrait has a subject with their eyes closed it's because they
blinked. That blink was often an involuntary reaction to the sound (noise) made by the
"mirror-flap" in the SLR ... especially when that nose is immediately followed by a blast
of light from a couple of strobes.
The really savvy pros knew this way back in the 1950s ... and that's why there are cameras
like the Rolliflex and the Gowlandflex.
Randall Ainsworth
<rsdwla...@gte.net> wrote:
That's why they make mirror lockups.
Charles W
Hmmm...credible response, thanks. Although I've a Zenit 3M from about that
era and the mirror goes down when you wind it on and up when you press the
shutter release. Must be what Randall means by mirror lock.
Mebbe Zenit just really knew what they were doing.
--
'Kay,
Chiz!
Chas.
stewy
"Ken" <kewa...@hotmail.com> wrote in message
news:Gzjtc.27388$zO3....@newsread2.news.atl.earthlink.net...
the eyelids - they'll NEVER blink when the flash goes off... ;-)
FritzPT
were closed all the way, or partially closed. Is there some technique to cut
way back or eliminate this? Or, does this happen with pros as well, and that is
just one of the reasons you take LOTS of pictures? >>
Shooting lots of shots helps...I always tell the subject that I'll press the
shutter on "3" -- then count, 1...2... you get the idea. If you're using flash,
amateurs can get "flash-shy" so angle the flash upwards if possible. Also, keep
your eyes open...sometimes the BEST shots are those which were never palnned.
dadiOH
> One thing I noticed was that there were a number of pictures where
> her eyes were closed all the way, or partially closed.
>
> Is there some technique to cut way back or eliminate this? Or, does
> this happen with pros as well, and that is just one of the reasons
> you take LOTS of pictures?
By the time a mirror goes up or a flsh goes off it is too late for a subject
to react by closing there eyes. IMO, you are getting closed eyes - think of
them as an inadvertant anticipatory flinch - because _you_ are telegraphing.
During the 30 years I did portraits I always used an air release which I
held behind my back. I almost never got closed eyes.
--
dadiOH
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Ken
I had thought that, by talking to her during the session, I wasn't
"telegraphing" when exactly I pushed the button. I guess conversation wasn't
enough.
"dadiOH" <dad...@x-mail.net> wrote in message
news:2iugk8F...@uni-berlin.de...
Randall Ainsworth
wrote:
> By the time a mirror goes up or a flsh goes off it is too late for a subject
> to react by closing there eyes. IMO, you are getting closed eyes - think of
> them as an inadvertant anticipatory flinch - because _you_ are telegraphing.
> During the 30 years I did portraits I always used an air release which I
> held behind my back. I almost never got closed eyes.
I used to use an air release too whether it was with the Hasselblad or
the RB.. I'd get a blink now and then, but it's one of those things
you just have to develop a feeling for.