The Classic Portrait: How to Build and Use Your Own Portable Portrait Studio
Ed Verosky is a professional photographer and author based in New York. In this article, Verosky explains how to create classic portraits with minimal lighting equipment. To learn more about achieving great lighting in any situation, check out Verosky’s popular eBook, “100% Reliable Flash Photography.“
In photography, there are few things as compelling as a classic portrait created with a single main light source. One could theorize that we innately perceive a single light source (such as the sun) as looking more natural and believable than, say, multiple artificial sources. Put that together with the fact that looking at another human face activates several areas of the brain, quite literally turning it on. The subject doesn’t have to be young with flawless features for the portrait to be fascinating. But well placed light will make all the difference.
All you need to begin creating classic portraits anywhere is a single light. Although various light sources will produce different effects, the type of light source is not as important as the position of the light in relation to the subject. Any light will do, even a household lamp.
In this tutorial, I’m going to show you how to create this classic look with a dedicated flash unit on a simple, very portable, lighting rig. This light-on-a-stand configuration is part of a two-light setup I detail in my eBook, ‘100% Reliable Flash Photography.’
My Portable Flash Setup
For editorial and portraiture work, I’ll often use two of these lighting rigs, with shoot-thru umbrella modifiers, for versatility. However, for a classic portrait, I’ll usually use just one. Keep in mind there are several ways to get a flash on a stand, with or without an umbrella modifier. This is an example of what you might want to try, but there are other products at various price points that have more or less the same basic elements to mix and match.
Items Used:
- Light Stand
- Umbrella Adapter (Swivel Bracket), Item #0041 From FlashZebra.com
- Brass Stud/Spigot with 1/4”-20 thread screw, included with Umbrella Adapter
- Flash Shoe Adapter with 1/4”-20 thread hole, Item #0068 From FlashZebra.com
- Hotshoe to PocketWizard Adapter Cable, Item #0138 From FlashZebra.com
- PocketWizard Transceiver Unit
- Umbrella (I use the shoot-through technique)
Components of the flash-on-a-stand setup.
1) Attach an umbrella adapter (swivel bracket) as shown. The end with the hole for the umbrella is on top. Some of these have a flash shoe adapter already attached, but mine does not. I attach one myself (see next steps).
3) You’ll want to tightly screw the stud/spigot into the flash shoe adapter next. Then place that into the top hole of the umbrella adapter and secure it.
4) Finally, attach the hotshoe to PocketWizard adapter (0138 unit) securely to the flash shoe adapter. Note: You could just bypass the previous shoe adapter step, and screw the stud directly to the 0138, but I prefer not to. Also, I’m not sure it’s entirely necessary, but I like to place a small piece of electrical tape over the four little contact points on the 0138 where they would otherwise come into direct contact with the ones on the flash unit itself. Call me paranoid, but I don’t want anything screwing up the circuitry in my flash. The main (center) contact point remains bare so as to allow the flash to be triggered.
Fully assembled flash-on-a-stand: 42\
As shown in the picture, make sure the angle adjusting knob/lever of the umbrella adapter is on the RIGHT hand side as the flash is pointed away from you. The angle of the hole that holds the umbrella in place is setup so that it only works properly this way. Your flash will not be angled correctly into the umbrella otherwise.
Attach your flash, plug in your PocketWizard unit, slip in the umbrella, and you’re ready to start making portraits!
Setting Up The Shot
In the diagram below, our single light source (A) is positioned about 3ft from our subject and in the 45/45 position. Roughly, this means the light is 45 degrees to one side of the subject, pointed down at a 45 degree angle from above the subject. This is only a starting point, and you can experiment to find the angle you like best. It’s hard to go wrong with this. The background should be simple and free of distracting colors or patterns. Solid dark colors and classic mottled backdrops work well.
If you like, you can add a spot of light to the background using another flash unit (B). Putting this on the opposite side of the main light can help add depth and separation between subject and background.
Finally, with or without the background light, you can always add a little fill if you’re not happy with the contrast you’re getting off the one light. A reflector (C) made of foam core, a wall, or other white surface, can do this for you.
An example of extending a one-light portraiture setup. All that is really needed for great portrait, however, is the single light (A). Flash unit power setting and f-stop are my typical settings.
I had only a few minutes to shoot a set of portraits for a magazine profile of musician David Garza. After the requisite "white background" cover shots, I asked him to sit down with his guitar for a few quick classic shots. As you can see, my single light was positioned at the 45/45 on camera left. I simply asked him to look at the camera for a couple of shots, then had him hold his guitar for a few more. Several nice portraits came out of that segment of the shoot.
Here, I had Gary Clark, Jr. under one light, but close enough to the background for it to catch a little illumination, too. This provided the subtle separation you see on the left edge of the subject.
A more electric look, yet still classic lighting, for Meagan Tubb, featured in her CD insert.
And finally, Carrie in an example typifying my favorite use of this technique. Subtle, almost monochromatic coloring, just enough contrast to keep it interesting, and the slightest separation from background on the shadow side of the subject.
Check out more of Ed’s tips on lighting in his fantastic eBook 100% Reliable Flash Photography.
Post from: Digital Photography School - Photography Tips.
The Classic Portrait: How to Build and Use Your Own Portable Portrait Studio
Pose for Effortlessness
Posing is a subject that stumps quite a lot of photographers. Whether our first or thousandth time working with people, sometimes we just look at our subject and draw a complete blank. It’s a scary moment. There are a number of great articles on some of the basics of posing on dPS already, and I recommend you check them out.
Even with an understanding of the rules of flattering portraiture, I’ve seen plenty of photographers grabbing their subjects and moving them around all akimbo like a wooden artist’s mannequin, just searching for a pose that works. Sometimes we’re working so hard to exactly create the pose we want, we forget to just step back and let a pose happen. It’s the non-posed pose…of posing. Say that five times fast.
So if you feel yourself floundering around without a clue what to do, here are some exercises and tips I’ve found helpful, while minding a few of the rules of portraiture. Just remember, there is no rule that can’t be broken.
The Hands Say It All
Hands can be one of the hardest parts of posing, because they’re a subtle element that often can speak volumes to the comfort (or discomfort) of your subject. They can instantly add a great depth to your image, or crush it with awkwardness. I recommend picking up a catalog from any local department store and studying arm and hand poses. Watch how they’re turned, where they rest in peoples’ laps, if they grasping or open, etc. Try replicating some of these poses.
If you’re still feeling a little stumped ask your subject to take 30 seconds and try grabbing or moving their hands in as many positions as they can. Make it a little game and see if you can beat them at different hand gestures. Pay attention though and watch for any that catch your attention. Have them stop, redo the gesture and work from there. If you’re still having a lot of trouble, give your subject something to hold or do. The same principle works well for feet. Have your subject tilt them in, toe one up, kick a little, etc, and watch for what catches your eye.
Know Thy Subject
Know thy self… err subject. As a people photographer, your job is generally to make your subjects look their best. This is very much a science of practice that every photographer is continually working to improve. Look for ways to enhance flattering features in your subjects. Work for angles that thin them out, show off a great pair of eyes or capture the personality or trait that makes your subject their own unique person. It’s there if you search for it. Great portrait photographers are masters of pulling out and expressing their subjects’ personalities. Practice, practice, practice.
Study and Replicate
The best way to learn how to pose is to study catalogs, editorials, ads and other photographers you admire. You’d be surprised how much you can learn by spending an hour analyzing various poses in a catalog. Tear out a few pages and bring them along with you. If it helps you become more comfortable posing that’s a big plus. Eventually, learn to then leave the tear sheets behind and work from your own creative ideas.
Stop Posing
That’s right. Stop posing. Sometimes the best pose is not a pose at all. It’s an action, an in-between “shake it off” and unguarded moment. When your subject is tense, it’s extremely noticeable. It makes anyone viewing the photo feel a bit uncomfortable. I like to ask my subject to start walking forward while I move backward with them. Sometimes you’ve got to get downright silly and really break them out of their shell. Start skipping with them. Jump and spin. Rock a hard fashion pose. Bust out your smoothest dance move and ask them to do the same. You didn’t think you’d get to keep your humility as a working people photographer, now did you? Get goofy yourself and it’ll help relax your subject and bring out those natural expressions and poses.
Posing and paying attention to the subtle details in hands, feet and expressions takes effort and practice. It’s a constant refinement and a new adventure with each unique subject. Learning to recognize what makes a person unique and draw that forth will go a long way toward helping you pose for effortlessness.
Post from: Digital Photography School - Photography Tips.
Interview with Self Portrait and 365 Photographer – Anna Gay
I first came across the photography of Anna Gay on her Flickr Account when doing some research for a post on self portraiture and the 365 project. I don’t remember which image first grabbed me but do remember surfing through the work in her 365 day challenge archives and being impressed by the quality of her photography, the dedication it must take to take self portraits every day for a year (twice) and being interested to learn more about her workflow.
So when Anna agreed to take part in an interview here on dPS – and to talk us through three of her shots – I was over the moon. I hope you enjoy hearing about how Anna approaches her photography.
How did you get into photography? how long have you been doing it?
I first picked up a camera in November of 2008. At the time, a family member was working on a 365 project of photos, and I thought it seemed like a really neat thing to do, so I decided to try my hand at taking a photo every day for a month as sort of an experiment to see if I would enjoy photography, and if I had the willpower to stick to something every day for a month.
I have always really loved to paint and draw, and I have an undergraduate degree in theatre, so the arts have always been an important part of my life. Photography was a new medium for me, so I was curious to explore it further. My first endeavors, though, were not self-portraits – I started off by shooting urban and rural decay, and pretty much anything that caught my eye or interested me. It wasn’t until I had been shooting for a couple of months that I thought, “I wonder what would happen if I photographed myself?”
Day 106: Descent
This shot was from my first 365, and I was still learning about composites, and using stock photos in my own work. In this case, I had an idea for a shot, but no clue how to execute said idea. So, I took my self-portrait in my bedroom, and then searched high and low for tutorials on how to add birds to a photo, and make them look realistic. The main thing I learned while working this shot was how to adjust the levels on the dove to match the light in my shot, and also how to add a drop shadow to the dove in CS4 so that the dove’s shadow would appear on my wall.
The more attention you pay to detail in your photo manipulations, the more realistic the shot will look. I also adjusted the color curves to bring out the green shadows on the wall behind me. The lighting in this shot is from my window, camera right. I also used the “dodge” tool in CS4 to bring out some of the highlights on my hair.
What kind of gear do you use? (cameras/lenses)
These days, I am shooting primarily with a Nikon D90 and a Nikkor 50mm f/1.8 without fail – I love that setup! When the natural light isn’t quite enough, I have a speedlight SB-600 with a small reflector umbrella. Those are my staples, and if I could only choose one lens and one lighting setup, those would be all I need. I try to keep things as simple as possible in terms of gear.
You are on your 2nd 365 challenge. What attracted you to this type of challenge?
Initially, I started my first 365 out of the desire to learn about photography, but also to learn about myself. However, when I started that first year, I had no clue how much my personal life was going to change, so I think I may have, emotionally, ended up getting way more than I bargained for!
I went through some very dark times, and being able to take and then process a photo every day gave me some sort of routine, a small amount of consistency in my life. The thing I really love about a 365 is that it is what you make of it, and for me, I love to learn new things, so for 365 days, I felt very fulfilled because, no matter what was going on in my personal life, I knew that I would learn something new about photography every single day.
When my first 365 ended, I felt like something was missing from my life without that pressing need to take at least one shot for the day. I started a second year on my birthday in March, and have been having a blast with year two! I post all of my shots on Flickr, and there is something really rewarding about taking a shot you’re proud of, and then sharing it with people around the world.
Day 209: Beach or Bust
Another shot taken during my first 365. When creating a self-portrait, I like to find elements to add to the photo that people will find relatable. I took this shot in a junkyard I found on the way to Hilton Head, SC. I was so excited about going on vacation, and I wanted other people to share that excitment with me.
I had such a feeling of freedom that day, and I knew that VW’s, the idea of the open road, cutoff jeans and bare feet would convey to my viewers that sense of reckless abandon I was feeling on that September day. Part of being a self-portrait artist, for me, is relating to people around me, so I love to find elements to add to a photo that are common ground for all of us.
What’s the most challenging thing about a 365 challenge and how do you manage to keep up with it?
Let’s face it, time is valuable, and none of us seem to have enough of it these days. So, it can be really tough to find that moment with myself to take a shot. Sometimes there are distractions. Other times, I’m tired, or sick, or both. But, I always make the time. I don’t watch much TV, I don’t play computer games, and when I read, it is usually photography related, so in my down time, I am able to really focus my energy on creating an image every day. It is all about priorities, and creating images daily for myself and others is pretty high on my list.
What tips would you give other aspiring self portrait enthusiasts? What kind of process do you go through in setting up and taking your shots?
First, gain an understanding of the basic principles of photography – composition, lighting, balance, perspective, etc. Then, get to know your camera. Make an effort to shoot in Manual mode at all times, and develop a foundation in understanding shutter speed and aperture. If you can get a grasp on those two things (and they’re quite easy to grasp with just a little bit of practice and patience) then the sky is the limit for you not only in your self-portraits, but as a photographer in general.
Invest in a remote – there is nothing more tiring than running back and forth when your camera is on a timer! Find other people who are interested in self-portraits, and get to know them and their work. You will learn so much from sharing your work with other photographers, and you will also find a lot of moral support in them, and that is really important, I think.
Most of all, don’t be too hard on yourself. You’re going to have some self-portraits that you love more than others, and some of your self-portraits may be a little embarrassing, but that’s really okay, because all of us are, hopefully, constantly on a learning curve. Always push yourself to get better, but never push yourself to the point of being discouraged. You always want expand your horizons as an artist, but try not to lose sight of the idea that self-portraiture is supposed to be something that is good for you – a healthy exploration of self. As much as you can, be yourself in front of the camera, because that is what is so beautiful about self-portraits – they show everyone else who you really are as an individual. Self-portraits have the potential to be truthful, and all of us appreciate truth.
Day 115: Go With It
This shot is from my current 365, though, I started rotating my shots in year one. One day, I found that if I rotated my shot, it added a completely new dimension to the overall feel of the photo. However, as a general rule of thumb, I never rotate my photos as an afterthought – I always compose the shot with the final rotation in mind. So, for this shot, I tossed my scarf straight up in the air, the rotated the shot counter clockwise so that it would convey that sense of movement to the right.
Playing with rotations has been very enjoyable for me, and I find that it can add a surreal element to an otherwise very simple composition.
I’m also interested in your approach to post production – could you give us some insight into your workflow and processes in this area?
My process varies a lot from day to day! I try to make each shot fresh and new, even if I am building on a previous theme – I try not to do the same thing twice. Most of the time, I will wake up with an idea in mind for a shot, but sometimes I will let the shot present itself to me on its own. My camera is always on a tripod, and I always use a remote. In most cases, I take around 10 shots, load them to my computer, and pick 2-3 favorites. Then, I process the shots in Lightroom and CS4, and choose my final edit from those 3.
For the majority of my shots, I adjust the exposure and white balance in Lightroom, and will use presets to adjust the tones and color curves to fit the overall mood of the look I am going for. If I feel the shot still needs work, I will sometimes add a texture in CS4, and will do any necessary skin retouching. Sometimes, I like to process my shot, then walk away from it for a few hours before posting it online.
I find that putting a shot away for a moment, then returning to it with fresh eyes before making the final touches, can help me see the shot more objectively. Everything I know I have learned from either reading tutorials online, or from talking shop with other photographers, and have found that my process becomes more free-flowing the more technical knowledge I gain. I have reached a point where I tailor my workflow to the shot at hand.
View more of Anna Gay’s photography on her website and at her Flickr Account.
Post from: Digital Photography School - Photography Tips.
Interview with Self Portrait and 365 Photographer – Anna Gay
Engagement Portrait Shoots: 7 Professional Tips to take your Engagement Shoots to the Next Level
Today portrait photographer Christina N Dickson shares tips on how to shoot engagement portraits. Christina’s work can be found at www.ChristinaNicholePhotography.com.
Shooting engagement portraits are perhaps some of the most enjoyable for photographers. Most often, they are taken before the whirlwind of wedding planning is fully underway, and the couple is still quite enamored with one another. How do you take advantage of this time and produce incredible images? Follow these few steps to achieve real and vibrant engagement portraits.
1. Be involved!
As a photographer, you must keep your people skills sharp. With engagement photos, you have to do your research on the couple you are photographing. What are they like as a couple? What are they like as individuals? What is their wedding going to be like? How did they meet? This is going to affect the way you want to build your images and portray them.
2. Encourage affection!
Rather than posing each shot, ie, “okay, now you kiss her cheek!” encourage your couple to show as much affection as possible. Every couple does certain things to show one another love. If you want to capture them accurately, you will urge this type of interaction.
3. Be observant!
A couple is most natural when they are focusing on one another. Try to direct the shoot by suggesting they talk to one another, telling one another most embarrassing moments, or 5 things they love about each other– topics that will pull out expression, interaction, and affection.
4. Remember that space determines relationship!
If a couple is leaning in for a kiss, or walking arm in arm, you will be able to communicate a message of intimacy. Sometimes you can get sweet shots with contrast and tension in the picture by placing the couple far apart in the frame, but be sure that this is your purpose if your going to do it.
5. Tell a story.
No love story is the same. Find unique traits about the couple, and then pull this out in the creation of your images. If the couple is perfectly at ease with one another because they have been best friends for 10 years, you can create images with a laid back and contented feel. If the couple has had a whirlwind romance after meeting on e-harmony.com, it will be natural to pull out the affection and passion of their relationship
6. Be open to suggestions!
Often times the bride to be will have an idea for a shot she will suggest to you before hand. Other times her fiancé may think of an idea on the spot during the shoot. If you can integrate these ideas into your shooting, you will delight the couple, and possibly find yourself inspired by new ideas.
7. Be personable!
If you get to know your couple, and allow them to fall in love with your personality and style, you have a good chance of booking them for a wedding also. Your job is not only to take good pictures, but also to give them a fabulous time they will remember for the rest of their lives.
Post from: Digital Photography School - Photography Tips.
Engagement Portrait Shoots: 7 Professional Tips to take your Engagement Shoots to the Next Level
Social Media Photography And Finding Your Style: An Interview With Nordica Photography
What first intrigued me about Nordica Photography’s web page was their advertisement for a social media package. It’s the first time I had seen a package offered by local photographers so I started asking some questions of how this fairly new market was working out for Cole and Jakob. They also have what most would see as an unconventional when it comes to their marketing approach.
How did you each get your start in photography?
Jakob started when after getting his Masters Degree in Business, he landed an awesome government job in Stockholm. They needed an in-house photographer, he volunteered and rest is history.
Cole started because of two things: his mom and his goal to start a business. His mother has been a photographer for over 20 years and Cole was always around it. He wanted to start a business where he could follow his passion, so photography fit the mold perfectly.
What was the hardest thing about moving to shooting professionally?
Avoid marketing to your competition (which is a bizarre and ridiculous trend we notice) and focusing on your marketing efforts on your target market. That and staying true to your brand, which in photography, should be your style.
Once you start moving your style around in different directions you veer away from your brand, and that’s a surefire way to lose potential clients, and have retainable clients shift to the competition. Be consistent to your style, and your brand strength will build from there.
On your site you have a package for social networking. Can you expand a bit on what’s offered that would be different from a standard portrait shoot?
Images are destined for different homes, and you should prepare them for such in your editing efforts. Some are meant for print, which could be billboards, canvases, paper, or anything in between. Alternatively, images find their homes on the web. We prepare images that are destined for web-optimization in our social media packages, which will allow for a perfect photo for our clients to be best represent their online brand.
How this is different from stand portrait shoots depends on the client, and how we communicate before the shoot. What we want to learn from a client is who they are and what they represent. With that information, we envision how we visualize their own online brand (or their personalities, which in today’s social media world, is their brand) and convey that into a photography shoot. The shoot itself may not be completely different in approach and techniques from other photographers, but what may be different is our own psychology in knowing what the images will be used in the end.
Has that niche been well received?
Extremely well. While weddings are our main business focus, focusing on social media users has been very successful. People are understanding that they themselves are their own brand online, and the starting point for building a fantastic brand is the visual aspect. That means having a kick ass picture, which obviously bodes well for the business of photography.
What seems to have the largest return on investment for your business marketing dollars?
Not spending any money at all on marketing has been our biggest return on investment. We haven’t since day one, and we likely never will. Everything we do is a profit if you equate expenses to profit because we invest our efforts into social media marketing, which if done with a strategy in place, does not cost anything.
We believe that our style and our efforts in communicating our style as our brand will build our market for us, and to this point, it has.
What advice would you give to our readers who are looking to ‘go pro’ and turn a hobby into a profitable business?
If you cannot identify your own style from your competitors, your brand hasn’t started to take shape. Wait until that happens or you may find yourself in a competitive environment that you’re not quite ready to be a part of yet.
Jakob and Cole can also be found on Twitter and Facebook if you’ve like to get in touch with them with more questions.
Post from: Digital Photography School - Photography Tips.
Social Media Photography And Finding Your Style: An Interview With Nordica Photography
3 Tips for Shooting Portraits in Bright Sunshine
Fill Flash with the Sun Behind the Subject Creates Nice Backlighting but a Well Lit Face (the hat helped shade the face too) - Image by Cayusa
It’s a bright sunny day and you’re out with friends making the most of the good weather. You decide to take your camera – after all what better day to shoot some portraits of your friends than a sunny day – bright light = great shots doesn’t it?
Unfortunately lots of light doesn’t always equal great shots – in fact sometimes when you’re shooting portraits in bright sunshine you can run into real problems.
For starters shooting in bright midday sun where light is coming from directly above is going to mean that your subject can have some pretty heavy shadows cast on parts of their face.
Not only that, if you’ve ever posed for someone taking a picture in bright sunlight you’ll know just how difficult it can sometimes be to look natural and not end up looking like you’re grimacing in pain while you squint to keep the sun out of your eyes.
So what’s one to do?
Here’s three simple tips for shooting portraits in bright sun light. I’ve kept them pretty basic for those of you who are out and about and don’t want to haul an outdoor studio along with you!
1. Fill Flash
It seems a little odd switching the flash on in bright sunlight but it’s one of the best times to do it. Those heavy shadows cast on your subjects face (particularly under the eyes) by the midday sun can be a thing of the past with a little extra light from your camera’s popup flash.
Many cameras will allow you to control the intensity of the flash output with their flash compensation function so don’t be satisfied with your first shot – dial it up or back a little once you’ve taken a first test shot until you get a nice natural light.
Shot in open shade and using a reflector - Image by christianyves
The bonus of using a little fill flash is that it will often darken your background a little which can give your shot a little more punch and make your subject stand out a little from their background. Fill flash will also create a little catchlight in the eyes of your subject, giving their eyes that little extra sparkle!
Sometimes using fill flash will also allow you to shoot with the sun behind your subject – this means their face has no direct sunlight on them but that they have a little back light falling upon their hair and shoulders which can create a nice impact.
2. Shoot in the Shade
Another easy way to stop the shadows on the face of your subject is to simple move them (and yourself) into a much bigger shadow and to shoot in the shade.
The key is to find a spot where they’re not in the dark but have a nice even light falling on them. So avoid dappled light under some trees a tree or you’ll get spots on their face but go for something with a nice even coverage.
If you’re going for a tight head shot you might even be able to get away with having someone hold up an umbrella or some other object to create some shade over their face (as long as the other person is out of shot).
3. Find a Reflector
A combination of shooting in shade and using a reflector gives this portrait an even lighting - Image by JesseBarker
It’s unlikely that you’ll be hauling a proper reflector around with you (although I know some dPS readers always travel with a small foldable reflector in their camera bag) but that doesn’t mean you can’t use the same principle to bounce a little light into the face of your subject to help light up some of those shadowy areas.
Pretty much any white (or light) surface can act as a reflector of light and held at the right angle you can use it give your subject a little extra light.
One photographer we talked to a while back swore by always wearing a white t-shirt for this but you could get a similar result by positioning your subject by a white wall or positioning many white objects just out of frame to reflect light. I’ve even seen one photographer friend take aluminium foil from a picnic and using it to help make a reflector (although it did create a little ‘dappled’ light on his subject.
Bonus Tip: Get Creative
Once you’ve taken a few nice portraits with the above tips, why not try a few experiments and use the bright light to see if you can inject a little creativity into your shots. You might just take one with the WOW factor. For try creating some lens flare by shooting into the sun (just be careful not to burn your eyes looking directly into it). Alternatively you might try some silhouette shots for portraits with a little mystery and drama.
What other tips would you give someone looking to shoot portraits in bright sunlight?
Post from: Digital Photography School - Photography Tips.
3 Tips for Shooting Portraits in Bright Sunshine
Jowling – Photography Fun For a Rainy Day
Note: File this one under ‘bizarre’, ’silly’ or ‘things to do on a boring rainy day’…
Looking to take a portraits with a quirky twist? Try ‘jowling‘ (also sometimes known as slap n’ flap).
How do you do it? Get your subject to relax their facial muscles completely (to the point that they have no facial expression)…. open their eyes and mouth (try to keep them open)… then to shake their head from side to side as fast as they can. Start snapping (use a flash and fast shutter speed to freeze the ‘action’)! Here’s what jowling looks like:
OK – so I suspect that most of these shots are taken at parties when the facial muscle relaxation is aided by a drink or four – but this jowling thing is bigger than you might think – it even has it’s own website – jowlers.com – complete with it’s own ‘how to’ page, galleries and more!
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A couple of other things to try with Jowling
- Experiment with slow sync flash to freeze the face but also capture a little movements.
- Also try using a wide angle lens which can add to the distortion in your shots.
Share Your Jowling Photos With Us
Now you know how to take Jowling shots – why not take some and head over to our forum and share them in a Jowling Thread that I just set up.
Post from: Digital Photography School - Photography Tips.
Jowling – Photography Fun For a Rainy Day
8 Lessons Learned from My First Attempt at Portrait Photography
One of the things I love about dPS is that we have a variety of photographers of different levels of experience and exploring different types of photography – all learning together. Today Aaron Meyers shares what he learned in his first attempt at portrait photography.
Let me start out by saying I’m an amateur photography. I always loved taking photos but I didn’t buy my first SLR (a D80) until 2007. Since then I’ve mostly done landscape/nature photography and I’ve slowly upgraded my gear (to a D300s) and I’m starting to branch out and try new things. \
Lately I’ve really enjoyed looking at portrait/model photos on Flickr so I thought I would give it a try. I convinced 2 of my friends to model for me and we went over to Stanford University for a couple hours of fun.
The Things I learned on my first portrait photoshoot:
1. Background is key! Keep it simple: in fact, keep it even more simple than you think. I thought I was using easy backgrounds but often there’s tiny things (like trash bins) that can be really detracting (see below).
Also, don’t forget that bright spots show up in between tree/shrub leaves and those can be really distracting. Try to find something with a solid background. Also, try to find a background that leads into the model, by using columns, a hallway, stairs, something which can spruce up the photo a bit.
2. Use Objects to Help Relax the Model: When you’re using inexperienced models they’ll become a lot more comfortable if they have a prop to work with or something to lean against. It was kind of awkward when they had to just stand there.
3. Pay Close Attention to the Hands/Hair: Often I’d spend so much time worrying about how the model should stand or what was in the background or what my lighting was like that I forgot to look at their hand position. When I got back home and began editing the photos I found a lot of them had awkward hand positions that essentially ruined the photo. Additionally, stray hair (either due to wind or other factors) can also really detract/cover the models face.
4. Use an assistant: Bring a friend or family member if you don’t have a real assistant. They can help straighten out wind blown hair, hold a reflector, or just help make the shot look more natural. I brought a reflector with me but my friend ended up taking one of the models and shooting at the same time and I didn’t have anyone to hold the reflector. Next time we’ll take turns being each others assistant.
5. Use a sharp, fast, large focal length lens: I started the shoot using my Sigma 105mm f/2.8 macro lens. I figured 105mm would be perfect (longer focal lengths tend to “squish” things a bit and make your model look better) at f/2.8 but it turns out the lens was really soft and I didn’t like the results. I ended up switching to my 50mm f/1.8 and that worked much better. I’m a fan of sharpness in the features of my photos and the soft 105mm lens just made my models look too blurry.
6. Eye Position is really tough, learn to control your models: I spent a lot of time looking at other portraits/model photos on Flickr and a lot of photographers have the models eyes positioned so that they are not looking directly into the lens. I tried this out by telling my model to “look left” or “look right” but I quickly found out that if they looked too far to one way then their eyes would barely be in the photo. It took some work to figure out just how far to tell them to look in either direction.
7. Have the Models Wear Interesting Clothing: The models that I used were some of my friends and they weren’t too happy to be told to be at my apartment no later than 7am (I wanted the good light!) They showed up in normal jeans and a sweater. Although they brought a couple changes of clothes I felt bad making them change. When I got back to my computer after the shoot I wished they had been wearing something less every-day-clothing. Since it was spring time when we did the shoot, the best photos I had were when they were wearing spring dresses.
8. Have fun and learn what works! Don’t go into every shoot (or your first shoot) with high expectations: It’s going to be a learning experience for all so just relax and have fun with it. If you can have someone more experienced teach you the ropes, you’re lucky, but if you don’t, then find some friends like I did and just go out and have fun!
Post from: Digital Photography School - Photography Tips.
8 Lessons Learned from My First Attempt at Portrait Photography
Interview with Rosie Hardy
Today I’d like to introduce you to the photography of Rosie Hardy. A 19 year old photographer I stumbled across at Flickr (on the recommendation of some of our readers on facebook). You can see her Flickr stream here. Rosie agreed to answer a few questions about her photography – I hope you enjoy this short interview and accompanying image.
How did you first get into photography?
I first got into photography when I was around 16 years old (I’m now 19). I would always flickr through magazines and wonder why pictures I took never looked like they did, I was slightly confused and intrigued by it all. Like any teenager, I wanted to feel pretty, so I started taking random snaps of myself and playing around with them in photoshop and posting them to my old myspace.
After a while, I joined flickr, and I was around 17 when I decided to take up the 365days Project (1 self portrait every day for a year) to really improve my photography and post processing skills. I didn’t start taking it seriously until a few months in, and I saw how passionate about it that I was. I started shooting in new locations, with props and lighting, and then moved onto shooting with models and clients. Self portraits are something which are nice for me to do occasionally, but they really gave me that first initial leg up into the world of photography.
What do you know now that you wish you knew when you started?
I wish I’d known how important it is to have patience with yourself and keep going. I think with the internet in all it’s glory it can be easy to get disheartened, especially when you get negative feedback, but what is important to keep in mind is that every amazing photographer was once a horrible photographer who took awful photos. We all start somewhere, I look back on my early work and cringe! And I’m sure next year I’ll look back on the stuff I’ve yet to do and cringe at that, too! Point is, I wish I’d not been put off by all the other talented photographers out there.
You don’t need to worry about what you have to offer if you enjoy what you are doing – I’m still not entirely sure what i want to say with my photography, but I know eventually I want to say something, and I’m happy working with what I enjoy until I figure that out.
What type of camera do you use most?
I use the Canon 5d Mark II right now, but for the first year and 1/2 I used a Canon 400D, so very basic with no other equipment except the kit lens and a tripod.
What is your favourite lens?
I LOVE the 70-200mm 2.8 IS lens, and I’m saving up for an 85mm 1.2 lens. I also reccomend the 50mm 1.4/50mm 1.2 lens, and the 24-70mm 2.8 has served me well.
Could you share a favourite recent image and tell us a little of the back story behind it
This image (above) was done a few weeks ago at Stoke on Trent University studio. My boyfriend and I had recently broken up, and I was powering through the split, but still feeling an overwhelming feeling of sadness at the loss of a friend and a whole part of myself – I had moved over to America to be with him (I am from Manchester, UK) and I had to leave everything behind, including the incredible time I’d had over there.
I found these butterfly stickers in a shop one day, and wanted to portray this concept of all the butterflies you get when you love someone quietly fluttering away from you. It was heart wrenching when it happened. I wasn’t 100% sure I even wanted to let them go.
A while after the shoot, I actually saw that it could have a different meaning – that all the butterflies were coming to me to comfort me and surround me like something of a defence. I start to pick myself up and realize that life goes on and love will come again, and that there will always be butterflies and without trying to sound too soppy and melodramatic, sometimes you have to let them go. Photography is great for me like that, it’s like a little outlet I have to express myself and release any sadness/emotion that I might have.
Do you have a tip for beginner to intermediate photographers that will help them improve their photography?
Practice every day! I would definitely recommend taking up the 365 days project – even though it’s self-portraiture, you learn how to direct yourself and pose yourself (and then you can pose models a lot easier) and you get used to being on both sides of the camera.
Shooting every single day sped up my improvement by miles, and it also was nice to document my year and see how much my style has changed. Also – take every opportunity you get, however dull or small, because it opens up SO many new jobs and opportunities! I’ve had such an amazing 2 years and I wouldn’t give up photography for the world.
Connect with Rosie and see more of her work at her site and on her Flickr account.
Post from: Digital Photography School - Photography Tips.
Shooting for HDR Portraiture
Few kinds of photography have a more dynamic power than the area of Portraiture.
Portraiture is the medium through which we photographers endeavor to tell the stories of our friends, our family, and our clients. Through this art, we have the ability to capture a likeness of someone that will last for generations to come.
So, is your portraiture worthy of this calling?
Developing the art of portraiture requires a great deal of time and effort. Developing relationship to perceive the true personality of our subject. Creating the perfect likeness. Achieving the most dynamic final product for print.
Daunting? Perhaps. But technology is on our side in ways like never before:
Portraitists, meet the High Dynamic Range Portrait.
HDR portraits may seem more work than worth the effort. This is further than the truth. There are many programs that have now harnessed the simplicity of HDR and enable portraitists to create works of art that produce an artistry from the most simple locations, lighting, and subject matter.
Creating HDR portraits is more simplistic than you may think.
Take these few tips for a portrait of High Dynamic impact.
1. Keep it Simple
The point and purpose of HDR is to capture depth and detail. While you are practicing, set up shots that will enable you to focus entirely on your subject. If you want to create a genuine likeness that harnesses the impact of HDR, keep it simple, and keep it real.
2. Set your camera at Aperture priority
As you will be stacking your image series, you don’t want any change to the aperture and depth of field. Make the shot easy on yourself by allowing the camera to determine your shutter speed. [One additional note: be aware of your shutter speed so that you will not end up with blurry images - ruining the clarity of your HDR portrait].
3. Watch the Movement
The greatest challenge with HDR portraits is getting your subject to stand as still as they can – and you taking the shot with equal speed. If you are not bracketing your camera, you will want to take 3-5 images. Three exposures will keep blur low, once again, allowing you to achieve clarity for your portraits.
4. Observe the Details
HDR is most powerful because it allows you to preserve details in both the shadows and the highlights. Therefore, it’s extremely important to watch anything that may be distracting in your portrait. Wrinkles, oily skin, pores, etc. Minimize elements that you do not want to have featured, or else they will be quite enhanced by the HDR technique.
5. Don’t Stress the Program
You can obtain a variety of HDR programs that will stack the images together into one image [Photomatix for example]. You don’t necessarily need anything fancy or expensive [see this post for the editing process]. Once your images are stacked, you can import and edit your image into another program for editing, like Photoshop, Lightroom, or Aperture. Once again, as you have preserved detail in the highlights and shadows, edit with contrast in mind.
Remember, HDR portraiture can make your portraits come alive with a real-to-life quality you never dreamt possible. And as you see, it can be a fairly simple process.
Post from: Digital Photography School - Photography Tips.