Artwork from 30 of the industry's top photographers is used to highlight both clear-cut shooting strategies and colorful, cutting-edge approaches to family portraiture in this handbook intended for idea gathering and inspiration. Advice on focal length, perspective, and maximizing the potential of digital equipment highlights the technical aspects of family portraiture while group posing strategies demonstrate how best to flatter each subject and convey a sense of family unity. A lengthy discussion of lighting—the backbone of portraiture—and the manipulation of shadows and highlights instructs photographers on how to create mood and interest in a variety of lighting scenarios, both indoors and out. Specifics on adjusting body lines, colors, and shapes, working with young children, and creating a comfortable atmosphere ensure that the photographer captures the unique personality of each family with dynamic and attractive images.
The Best of Family Portrait Photography Author: Bill Hurter Table of Contents INTRODUCTION About This Book 1.QUALITIES OF A GOOD FAMILY PORTRAIT Flatters the Subject A Coordinated Look The Artist’s Vision Rapport with Subjects Remembering Character and Emotion A Time Capsule The Expression 2.TECHNICAL ASPECTS Lens Selection Normal Lens Short Telephotos Long Telephotos Wide-Angle Lenses Depth of Field Camera-to-Subject Distance Medium Format vs. 35mm Optimum Shooting Apertures Shifting the Focus Point Making the Film Plane Parallel to the Group Plane Shifting the Field of Focus Autofocus Technology Camera Height and Perspective Shutter Speeds Image-Stabilization Lenses Shutter Speed or Depth of Field? Film Choice ISO Color-Negative Film Black & White Film Metering 3. DIGITAL CONSIDERATIONS Focal-Length Factors ISO Setting Black & White Exposure Evaluating Digital Exposures LCD Playback RAW vs. JPEG Mode RAW JPEG Metadata Reformat Your Cards Color Space White Balance Wallace ExpoDisc Battery Power The Many Advantages of Digital Capture 4. POSING AND COMMUNICATION Head-and-Shoulders Axes Head Positions Seven-Eighths View Three-Quarter View Profiles Defining Levels Within a Group The Eyes and Communication Mouths and Eyes Chin Height Posing Hands Three-Quarter and Full-Length Poses 5. COMPOSITION AND DESIGN The Rule of Thirds The Golden Mean Lines and Shapes Lines Shapes Pleasing Compositional Forms Direction Subject Tone Tension and Balance 6. CHILDREN The Team Approach Lighting for Children Some Favorite Setups Posing Kids Overstimulation Eliciting Expressions The Eyes Camera Height Hands Three-Quarter and Full-Length Poses 7. BUILDING GROUPS Posing Hierarchy Posing Dialogue Perimeter Check Coordinating Apparel Photographers’ Favorites Seating Arranging Small Groups Start with Two Add a Third Adding a Fourth Five on Up Obvious Things to Avoid Really Large Groups Naturalness Counts Stepladders Linking Shapes 8. OUTDOOR LIGHTING Roundness Lighting Ratios Determining Lighting Ratios Lighting Ratios and Their Unique Personalities Finding Good Light The Best Light One Main Light Reflectors Fill-In Flash Flash-Fill, Metering, and Exposure Direct Sunlight Problems Outdoors 9. INDOOR LIGHTING Feathering Lighting a Large Group Umbrella Lighting Bounce Lighting Quartz-Halogen Lighting Window Light Subject Positioning Exposure Fill-In Illumination Diffusing Window Light Bounce Flash Lighting Large Groups with Bounce Flash The Photographers Glossary Index Description Artwork from 30 of the industry's top photographers is used to highlight both clear-cut shooting strategies and colorful, cutting-edge approaches to family portraiture in this handbook intended for idea gathering and inspiration. Advice on focal length, perspective, and maximizing the potential of digital equipment highlights the technical aspects of family portraiture while group posing strategies demonstrate how best to flatter each subject and convey a sense of family unity. A lengthy discussion of lighting—the backbone of portraiture—and the manipulation of shadows and highlights instructs photographers on how to create mood and interest in a variety of lighting scenarios, both indoors and out. Specifics on adjusting body lines, colors, and shapes, working with young children, and creating a comfortable atmosphere ensure that the photographer captures the unique personality of each family with dynamic and attractive images. Excerpt 1. Qualities of a Good Family PortraitA portrait is not a snapshot. What distinguishes it is the photographer’s sensitivity toward the subject. A good family portrait conveys information about the uniqueness of both the family and the individuals in the family. Through controlled lighting, posing, and composition, the photographer tries to capture the essence of the subjects, at once recording the personalities and the pleasing likenesses of the family.FLATTERS THE SUBJECT A good family portrait is one that flatters each of the subjects and is pleasing to the eye. With a working knowledge of basic portrait techniques, a sense of design, and good rapport with your subjects, you can create an image that is both pleasing and salable—and one that each person in the family will cherish. Monte Zucker, who is recognized as one of the finest portrait photographers in the world, says, “A Monte Portrait is simple, elegant, void of distractions, and usually flatters the subjects. It makes a statement mostly about the subjects, but at the same time includes my interpretation of that person.”A COORDINATED LOOK Unlike a fine portrait of an individual, a family group portrait also conveys a sense of importance and character about the group. It has a prearranged sense of design and arrangement of its elements, a uniformity of expression and, in many instances, a coordination of color and clothing. These aspects, of course, are in addition to controlled lighting, posing, and composition. So as you may be beginning to see, a fine family portrait is not an easy picture to produce.THE ARTIST’S VISION The great portrait artist is one who sees things others don’t. This can obviously be said of any artist, visual or otherwise, but the portrait artist has to appraise and apprise in a manner of seconds, plotting a visual course that will reveal what he or she has seen and wants to reveal. A great portrait photographer sees many aspects of a person in a split-second. Tim Kelly, a modern day master, says, “Watch your subjects before you capture the image. Sometimes the things they do naturally become great artistic poses.” For this reason, Kelly does not warn his clients when he is ready to start a portrait session. “I don’t believe in faking the spontaneity of the subject’s expression,” he says.RAPPORT WITH SUBJECTS An accomplished portrait photographer is also able to make a positive connection with the people in front of the camera, time after time. The cliché of being a “people person” rings true here—but more than that, the portrait photographer is able to connect with people in such a way that, when their portrait is made, there is a communication that occurs beyond and without words. Perhaps it’s no more than empathy, but beneath that the photographer must have a strong desire to bring the best out of his or her subjects—to make them look their finest and to bring out the best in them emotionally. Photographers like Bill McIntosh, an expert portrait photographer for more than 50 years, sees one of the keys to his success as his ability to enliven his subjects, developing an endearing kind of rapport. His tools of the trade are, in his words, “outrageous flattery and corn-ball humor.” He rarely stops talking and the subject is... Author Bio Bill Hurter Bill Hurter is the editor of Rangefinder magazine, the former editor of Petersen's PhotoGraphic, and the author of The Best of Wedding Photography, Group Portrait Photography Handbook, The Portrait Photographer's Guide to Posing, and Portrait Photographer's Handbook. He lives in Santa Monica, California.
Pages to are hidden for
"The Best of Family Portrait Photography"Please download to view full document