Portraiture tips

Location


If you don't have or can't create a photo studio, concentrate onenvironmental portraiture. Show the subject and also his surroundings. These tend to work best if you can enlarge the final image to at least 11x14 inches. In any smaller photo, the subject's face is simply too small. Taking photos that will enlarge well is a whole art by itself. Your allies in this endeavor will be a low ISO setting, prime (rather than zoom) lenses, a tripod, and at least a mid-range digital SLR.
There are two elements to a photo studio for portrait photography. One is a controlled background. You want to focus attention on your subject and avoid distracting elements in the frame. Probably the best portraits aren't taken against a gray seamless paper roll. On the other hand, you are unlikely to screw up and leave something distracting in the frame if you confine yourself to using seamless paper or other monochromatic backgrounds. You don't have to build a special room to have a controlled background. There are all kinds of clever portable backdrops and backdrop supports that you can buy or build. If you absolutely cannot control the background, the standard way to cheat is to use a long fast lens, e.g., 300/2.8. Fast telephoto lenses have very little depth of field. Your subject's eyes and nose will be sharp. Everything else that might have been distracting will be blurred into blobs of color.
Canon EOS-5, 70-200/2.8, 540EZ flash, Sto-Fen diffuser, Fuji ISO 400 color negative film
The second element of a portrait studio is controlled lighting. With lights on stands or hanging from the ceiling, you get to pick the angle at which light will strike your subject. With umbrellas and other diffusion equipment, you get to pick the harshness of the shadows on your subject (see out studio photography primer). There are some pretty reasonable portable flash kits consisting of a couple of lights, light stands, and umbrellas. These cost $500-1000 and take 20 minutes or so to set up on location. If you don't have the money, time, or muscles to bring a light package to a project, the standard way to cheat is to park your subject next to a large window and put a white reflecting card on the other side. Don't forget the tripod, because you'll probably be forced to use slow shutter speeds.


Stealing a Location

What if you don't have a big open space with diffuse light and a neutral background? Steal one. If you live in the United States, a vast open space with light pouring in from expensive skylights is as close as your nearest art museum or university. With a 200mm lens set to f/2.8, the background will be thrown out of focus. Here are some examples from the Boston Museum of Fine Arts and a couple of lobbies at MIT, taken on a cold February day in Boston. Canon EOS-5D, 70-200/2.8 IS lens, handheld without flash.
  


Lighting


The most flattering light for most portraits is soft and off-camera. A large north-facing window works, as does the electronic equivalent, the softbox (light bank). The Elsa Dorfman Polaroid photo at the top right was taken with two large light banks, one on either side of the camera. Note that there are essentially no shadows.
If your subject is outdoors, an overcast day is best. If the day is sunny, make sure to use a reflector or electronic flash to fill in shadows underneath the eyes.
At right: In a New York loft, light coming from a bank of windows at left. Canon 70-200/2.8 lens on tripod. Possibly some fill-flash. Fuji ISO 400 color negative film.



What if you're in Mexico, the sun is strong, the longest lens that you have is a 50/1.4, and you meet someone who needs a portrait for her Web page? The results will not be happy (left). On the other hand, if you're photographing people for whom bright mountain sun is their natural environment, the portrait can be acceptable (right; Olympus E1, 14-54/3.5 zoom at f/7.1 and 37mm (74mm equiv.)).

      



Lens


If you want to flatter your subject, you'll probably want to deemphasize his nose. That means you want to stand at 10 or 15 feet away from him so that his nose isn't significantly closer to you than the rest of his face. However, at such a large distance from the camera, filling the frame with just your subject's face will require a high magnification (i.e., telephoto) lens. Typical "portrait" lenses are therefore between 90 and 135 millimeters long (for 35mm cameras). Many professional fashion photographers use 300mm or 600mm lenses, resorting to using a walkie-talkie or bullhorn to communicate with the model!
At right: South Beach. Miami. Fashion photography capital of the world. Here a yuppie photographer sneers from the back of his 600/4. He's unhappy at being on the glass end of a Rollei 6008 and 50mm lens. The model is way down the beachfront and he's using a radio to communicate with an assistant holding a reflector by the model (in yellow).
With a Canon or Nikon, most professionals end up using their 70-200/2.8 or 80-200/2.8 zooms as portrait lenses. These 3 lb. monsters aren't very pleasant to handhold, though, and if you know that you're only going to do portraits, you're better off with a prime lens. Prime lenses are lighter and give better image quality. Unfortunately, the prime lens in this range that a serious photographer is most likely to own is the 100 or 105 macro. These are very high quality optically but difficult to focus precisely since most of the focusing helical precision is reserved for the macro range. Here are some great portrait lenses:

What if you're using a small-sensor digital SLR, such as any of the Nikons or the Canon Digital Rebel? In that case, an inexpensive 50/1.8 will function as a very usable portrait lens, roughly equivalent to the 85/1.8 short portrait lenses that are popular on full-frame cameras. Note that the background will not be as blurred as it would be with the longer lens.
There are folks who argue that a portrait should not be clinically sharp. For them, fuzz = glow and is flattering. Fuzz fans definitely don't like using standard 100mm macro lenses for portraiture. They'll start with a lower performance lens and add fuzziness with a filter (e.g., Zeiss Softar or Tiffen SoftFX), a stocking stretched over the lens, or digital post-processing.

Do you really need the wide aperture?

The photo at left (Dieter) was taken with a Canon 35-350L zoom lens. The 35-350L slows down to around f/5.6 at longer focal lengths. The photo at right (Emma) was taken in Alaska'sKatmai National Park in front of a background with similar potential for distraction. Emma was captured on film with a 300/2.8 lens. You can decide for yourself whether the reduction in background distraction is worth the cost and weight of a fast lens.
This was taken on vacation with a Canon S60 point and shoot digital camera. The small sensors of point and shoot cameras necessitate very short lenses. Even at wider apertures, these lenses have way too much depth of field for portraits and the background will always be distracting.










Information from: http://photo.net/learn/portraits/?p=4
Posted by
Labels:

No comments:

Post a Comment

Subscribe to: Post Comments (Atom)