Portrait Photography: Simple Ideas For Beginners 1541203372, 9781541203372

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Portrait Portrait Photography Simple Ideas for Beginners Photography Simple Ideas for Beginners

Clive Clive St St John John

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Every life is a journey and age is our companion. Our faces tell a thousand tales of our hopes, our dreams, our triumphs and and our our disappointments. disappointments. Each among the Each face face is is unique unique and, and, among the billions billions of of people people on on this this planet, there is only one of each of us. We all have our planet, there is only one of each of us. We all have our own own personal personal stories stories to to reveal reveal to to the the camera. camera. For For me, me, portraiture portraiture isn't isn't just just about about creating creating a a likeness likeness of of a a person. person. It’s It’s about about capturing capturing their their spirit, spirit, personality, personality, character individuality. character and and individuality.

“Every image image speaks speaks a a thousand thousand words words “Every and there’s no better way to describe a and there’s no better way to describe a person than with a portrait” person than with a portrait” CStJ CStJ

© Clive St John MMXX. All rights reserved. © Clive St John MMXX. All rights reserved. This book may not be reproduced or distributed, in whole This book may not be reproduced or distributed, in whole or in part, without the written permission of the author. or in part, without the written permission of the author.

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INTRODUCTION

In creating creating ‘Simple ‘Simple Ideas’, Ideas’, I’ve I’ve come come to to reflect reflect on on what what In a ‘personal photographic style’ really is. As photographers, it’s a ‘personal photographic style’ really is. As photographers, it’s natural to to be be influenced influenced and and inspired inspired by by the the work work of of others others natural which encourages encourages us us to to experiment experiment with with our our craft craft and and evolve— evolve— which though having our own style can be one of the most though having our own style can be one of the most rewarding aspects aspects of of portraiture. portraiture. rewarding With photography, photography, style style is is often often liked liked to to aa personal personal sense sense of of With identity but but it it can can be be quite quite hard hard to to define. define. For For me, me, it’s it’s just just aa identity combination combination of of the the way way II light, light, the the depth depth of of field field II choose, choose, the the emotions emotions II encourage, encourage, various various angles, angles, colours colours and and textures textures and and how how II process process and and crop crop each each image. image. This This book, book, however, however, has has compelled compelled me me to to try try aa range range of of new new and and different different things. things. I’ve I’ve strayed strayed from from my my customary customary beauty beauty dish dish configurations configurations to to include ice lights and ring lights, soft boxes and umbrellas, include ice lights and ring lights, soft boxes and umbrellas, reflectors reflectors and and grids—using grids—using aa fairly fairly wide wide range range of of natural, natural, flash flash and continuous light. For those who may be curious and continuous light. For those who may be curious and and thinking thinking of of trying trying new new equipment equipment or or configurations configurations I’ve I’ve also also included included simplified lighting diagrams and camera settings. simplified lighting diagrams and camera settings. As As photographers, photographers, we we notice notice patterns patterns and and colours, colours, lines lines and and perspectives and, with portrait photography, we see emotion, perspectives and, with portrait photography, we see emotion, character After all, character and and personality personality reflected reflected in in the the human human face. face. After all, the the eyes reflect our innermost thoughts and feelings. The following eyes reflect our innermost thoughts and feelings. The following pages pages represent represent aa journey journey of of experimentation experimentation though though never never forgetting forgetting that that the art of portraiture is both a duty and a privilege. the art of portraiture is both a duty and a privilege.

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List One Subjects INTRODUCTION p04 CONTENTS p06 PORTRAIT REAR LIGHTING p20 PORTRAIT LIGHTING PATTERNS p27 DEPTH OF FIELD p30 PORTRAIT RULES p39 CAMERA HEIGHT & FRAMING p48 IMAGE RETOUCHING p83 HEAD & SHOULDERS LIGHTING p95 CONCLUSION  p124

List Two Diagrams PORTRAIT FOCAL DISTANCE p15 PORTRAIT REAR LIGHTING p21 PORTRAIT LIGHTING PATTERNS p28 DEPTH OF FIELD p31 PORTRAIT RULES  p40 CAMERA HEIGHT & FRAMING p49 CROPPING PORTRAITS p52 LENS SELECTION & DISTORTION p68 IMAGE RETOUCHING p84 HEAD & SHOULDERS LIGHTING p96 PORTRAIT LENS DISTORTION p108 PORTRAIT DEPTH OF FOCUS p109 6

List Three Models EDGAR p02, p78 SIOBHAN p05, p64, p113 MIYU p11, p13, p14, p32, p37, p71, p77, p88, p118 JOCEY DEE p12, p18, p70, p94, p120 VERONIKA p16, p25, p33, p60, p75, p82 RUTH p17, p22, p24, p35, p45, p46, p54, p57, p59 p73, p79, p80, p87, p90, p103, p107, p110, p117 ABEER p23, p34, p55, p92

SIGGY p26, p81 MISCHKAH p36, p38, p61, p66, p67, p74, p93, p102, p119 CLIVE W p43, p76 OREMEYI p44, p47, p58, p89, p106 PAUL p56 GIULIA p62, p91, p101, p105 JEAN ROSE p65 CLIVE P p114 MARJORIE p115

List Four Info Pages LIGHTING DIAGRAM ICONS  p08 CAMERA SETTINGS GUIDE p09 UNDERSTANDING LIGHT DISTANCE p111 UNDERSTANDING HISTOGRAMS  p116 HANDY PHOTOGRAPHY TERMS  p122 7

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I love portrait photography. It affords me some great opportunities to meet and connect with incredible people—to ‘steal’ a fragment of someone’s life and to freeze it in an image that can last forever. I can’t really explain ‘why’ I love it – it’s less about words and more about feelings. Also, I get to channel my creativity into something I enjoy—spending time with others and and making making friends friends along along the the way. way.

“It’s a a fact fact of of life life the the model model might might hate hate the the portrait portrait you you take. take. “It’s After all, it’s how you see them—not how they see themselves” After all, it’s how you see them—not how they see themselves” CStJ CStJ

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A portrait is more than just a picture because the photographer uses ideas, creativity and light to produce an image that is both specific and unique to the individual. Portraiture is essentially truth. It It notices notices what what makes makes us us special special and and freezes freezes our our humanity humanity in in a single frame—capturing emotions as well as appearance. a single frame—capturing emotions as well as appearance. II believe believe that that every every portrait portrait has has something something to to say say and I consider myself extremely fortunate to help and I consider myself extremely fortunate to help bring bring out out the the very very best best in in others. others.

“Our journey through life means change is our companion. “Our journey through life means change is our companion. But an image of someone never changes. It’s timeless” But an image of someone never changes. It’s timeless”

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PORTRAIT REAR LIGHTING

When II first first started started out out in in portrait portrait photography photography II purchased purchased aa When selection of of backdrops—a backdrops—a wide wide range range of of textures, textures, patterns, patterns, selection colours and and themes. themes. II believed believed this this was was what what all all photographers photographers colours used. On reflection, itit probably probably wasn’t wasn’t the the wisest wisest investment investment used. On reflection, I’ve ever ever made made as as II came came to to realize realize aa few few simple simple backdrops— backdrops— I’ve plain plain and and mottled, mottled, grey, grey, white white and and black—can black—can be be lit lit to to provide provide aa range range of of shades shades for for most most eventualities. eventualities. Depending Depending on on how how you you light light aa black black background background it’s it’s pretty pretty easy easy to to get get aa range range of of shades shades from from ‘black ‘black to to grey’. grey’.  When When lighting lighting aa white white background background it’s it’s also also quite quite easy easy to to get get aa range range of of shades shades from from ‘white ‘white to to grey’. grey’. The The trick trick in in achieving achieving pure pure white—whether white—whether working working in in aa studio studio or or on on location—is location—is to to light light itit first first and and completely separately. Once the background is pure white completely separately. Once the background is pure white you you can can then then proceed proceed to to light light the the subject subject for for that that perfect perfect shot. shot. IfIf II use use aa backdrop backdrop then then II find find plain plain grey grey can can achieve achieve white white to to black. If I opt for no backdrop then I find everything becomes black. If I opt for no backdrop then I find everything becomes aa backdrop backdrop and and aa world world of of shapes shapes and and forms forms are are available available to to me. me. Importantly, regardless of what you use, always separate the Importantly, regardless of what you use, always separate the model model from from the the background. background. ‘Accent’ ‘Accent’ lighting lighting allows allows us us to to light light the model against the background while ‘spot’ lighting allows the model against the background while ‘spot’ lighting allows us us to light the background against the model. to light the background against the model.

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Creates a ‘spot’ behind the model serving to separate the background from the model

Depending on amount of light will create ‘high key’ or ‘low key’ backgrounds.

Referred to as a ‘separation light’ it separates the model from the background

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PORTRAIT LIGHTING PATTERNS

Times have changed. Now everyone seems to have a camera phone and selfies are the norm. Portraits are different things to different people but, in many ways, selfies have distorted how we see ourselves. There are a number of things that apply equally well to both professional portraits and selfies but also so many things that set them apart—and one is lighting. On the following pages are six of the more common lighting patterns used by portrait photographers. Experiment with them and remember that shadows do not always have to be dark or over-dramatic. My personal preference is to use lighter shadows on females females and and darker darker shadows shadows on on males males with with a a shadows on shallow depth of field for those lovely blurred backgrounds. shallow depth of field for those lovely blurred backgrounds. By changing changing the the amount, amount, or or direction, direction, of of the the light light you you can can By readily achieve the shading you require. The subject is then readily achieve the shading you require. The subject is then lit the the way way you you want want for for the the perfect perfect portrait. portrait. However, However, always always lit be mindful that the subject needs to feel comfortable, be mindful that the subject needs to feel comfortable, relaxed and fully fully engaged engaged in in the the photographic photographic process—to process—to relaxed and completely forget forget about about the the camera camera and and the the surroundings. surroundings. completely

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Dramatic lighting causing facial shadows to form with a light triangle under the eye.

Simple one-light setup to enable half the model to fall into relative darkness.

Creative two-light setup to concentrate shadows in the centreline of the model.

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Lighting pattern also referred to as ‘panoramic’ that surrounds the model 360° .

A two-light setup orientated either above and below or on either side of the model.

Created using a single light from high above that causes lower shadows to form.

DEPTH OF FIELD

When II purchased purchased my my first first full full frame frame camera camera with with some some great great When portrait lenses, lenses, II realized realized image image quality quality was was going going to to become become aa portrait significant feature feature of of my my work, work, but but it it also also created created problems. problems. significant Imperfections that that would would otherwise otherwise have have gone gone unnoticed unnoticed were were Imperfections now I therefore now staring staring back back at at me. me. I therefore learned learned to to embrace embrace human human imperfection imperfection as as aa reality reality and and part part of of the the human human existence. existence. II therefore therefore rarely rarely blur blur aa models models face face but, but, like like many many portrait portrait photographers, photographers, II love love to to blur blur everything everything behind behind and and control control what what the the human human eye eye is is drawn drawn to to in in the the image. image. Bokeh—or Bokeh—or camera camera blur—enables blur—enables the the photographer photographer to to do do just just that that by by using using aa combination of distance, lens selection and, more importantly, combination of distance, lens selection and, more importantly, the the aperture aperture or or ‘f-stop’ ‘f-stop’ as as indicated indicated in in the the following following diagram. diagram. The The camera camera is is rarely rarely as as good good as as the the human human eye eye but but itit allows allows us us to control light, depth and focus. We then blend those to control light, depth and focus. We then blend those elements elements to to suit suit the the narratives narratives we we attempt attempt to to create. create. Portraiture Portraiture should should always allow for personal creativity yet be guided by the always allow for personal creativity yet be guided by the truth. truth. Experimentation Experimentation is is key key to to achieving achieving the the image image you you seek seek but but itit is often difficult to replicate what your mind envisions. is often difficult to replicate what your mind envisions.

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PORTRAIT RULES

There’s a wide variance on what constitutes a portrait. In its There’s a wide variance on what constitutes a portrait. In its simplest form a portrait is an artistic representation of someone simplest form a portrait is an artistic representation of someone in which the subject’s features and expressions are the focus. in which the subject’s features and expressions the focus. However, composition is important and we needare to know the However, composition is important and we need to know the mathematical rules that apply before we can choose to either mathematical rules rules. that apply before weitcan choose to either follow or break those Intrinsically, means the difference follow or break those rules. Intrinsically, it means the difference between structured composition and artistic interpretation. between structured composition and artistic interpretation. Two of the most popular compositional rules are referred to as Two theofmost popular compositional rules referred to as the of ‘rule thirds’ and the ‘golden spiral’ butare there are many the ‘rule of thirds’ and the ‘golden spiral’ but there are many other rules that can be applied and entire books have been other rules can be applied and entirebybooks written on thethat subject. I tend to be guided suchhave rulesbeen while writtenmay on the subject. I tend to guided such rules while others follow them rigidly or be choose to by avoid them entirely. others may follow them rigidly or choose to avoid them entirely. My own feeling is that, by being aware of them, they can My own is that, by aesthetically being aware of them, they can assist in feeling achieving a more pleasing portrait. assist in achieving a more aesthetically pleasing portrait. Whether you create horizontal or vertical portraits, by placing the Whether you create vertical portraits, by understated. placing the subject directly in thehorizontal centre youorrisk the image feeling subject directly in the centre risk the image feeling understated. The rule of thirds places theyou subject off-centre and uses space to The of thirds places the subject usesbalanced space to addrule interest, while the golden spiral off-centre allows for and a more composition. Even the if you’ve never heard of such may add interest, while golden spiral allows for a rules more you balanced already be following on an instinctive level. all, anmay image composition. Eventhem if you’ve never heard of suchAfter rules you that looks good to the human has to look good forall, a reason. already be following them on an eye instinctive level. After an image that looks good to the human eye has to look good for a reason.

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SIMPLE GRID Simpler than the Rule of Thirds, it allows for a range of positioning along the lines, at the intersections and within the quadrants

DIAGONAL GRID Diagonal placement of aspects within the image can emphasise perspective and give a sense of depth in most photography genres

RULE OF THIRDS Off-centre positioning can create a more pleasing image when focal points are positioned along the lines or where the lines intersect

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TRIANGULAR GRID Also referred to as the Golden Triangle it is similar to the Diagonal Grid such that it encourages lines of emphasis and perspective within an image

FLEXIBLE SPIRAL Provides a balanced composition and is especially useful during editing due to its less rigid nature compared to the mathematical Golden Spiral

GOLDEN SPIRAL Also referred to as the Golden Ratio it reminds the photographer to consider both the focus of the image and everything else

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Emotions are are key key and and the the eyes eyes are are the the windows windows to to the the soul. Emotions Actors Actors make make great great subjects subjects as as they they are are comfortable comfortable with with the the camera, camera, with with taking taking direction direction and and in in displaying displaying a range of emotion. emotion. But, But, for for those those unfamiliar unfamiliar with acting, acting, drawing on past memories can aid in releasing memories past memories can aid in releasing memories that that are are sincere sincere and and genuine. genuine. These These show show in in our our features features and and in in our our eyes. If you If you you feel feel sad sad you you will will look look sad. sad. If you feel feel angry angry you you will will look look angry. angry. Mimicking Mimicking rarely rarely works works but but emotions emotions say say everything.

“A photograph remembers everything… “A photograph remembers everything… both the good and the bad” both the good and the bad” CStJ CStJ

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FRAMING AND CAMERA HEIGHT

By asking the model to focus on an imaginary imaginary point point behind behind the camera, the eye muscles can tense in a way that creates drama and adds interest. Whether they are sitting or standing, slightly it’s always advantageous to have them turn their body slightly sideways to the camera for that slimming effect. Gently leaning toward the camera—one shoulder a bit above the other—shows interest. For many of us, leaning toward someone is our way of showing we are interested in them and our expression expression changes changes accordingly. accordingly. This This allows allows for for the the subject subject our to personally engage with those who might view their portrait. to personally engage with those who might view their portrait. Connecting with with the the model model is is also also incredibly incredibly important. important. Connecting I’ve had portrait photographers tell me they rank I’ve had portrait photographers tell me they rank a a personal personal connection as being 60% of what needs to come together for the the connection as being 60% of what needs to come together for perfect portrait. I portrait. I would would actually actually say say it’s it’s at at least least 75% 75% but but it’s it’s perfect not always easy. Some prefer to maintain their privacy. not always easy. Some prefer to maintain their privacy. You can get superb lighting, pose, hair, makeup, clothing and You can get superb lighting, pose, hair, makeup, clothing and background but the face reveals everything. Ask a few background but the face reveals everything. Ask a few questions about their interests without being intrusive and questions about their interests without being intrusive and share a few of yours. Be clear in your direction – where to tilt share a few of yours. Be clear in your direction – where to tilt the head, place the hands and the expression you need. the head, place the hands and the expression you need.

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Composition isn’t isn’t just just about about placement. placement. It’s It’s about about balance, balance, Composition pose and and expression, expression, lighting lighting and and shadows, shadows, clothing, clothing, colour colour pose and background. I’ve come to prefer natural blurred backgrounds and background. I’ve come to prefer natural blurred backgrounds that result from a shallow depth of of field, asas I find these tend toto add that result from a shallow depth field, I find these tend texture to a to portrait while not not distracting the eye away fromfrom the add texture a portrait while distracting the eye away subject wewe are photographing oror the story wewe need toto tell. the subject are photographing the story need tell. Props are are another another matter matter entirely. entirely. If If subtly subtly integrated integrated into into the the Props image they can work wonders in creating a sense of fun or even image they can work wonders in creating a sense of fun or even backstory about about the the person, person, but but it’s it’s often often problematic problematic to to make make aa backstory them look look natural, natural, necessary necessary and and unobtrusive. unobtrusive. them

“We “We need need to to decide decide what what we’re we’re aiming aiming for. for. Is it reality or is it expression?” Is it reality or is it expression?” CStJ CStJ

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Light Light is is incredible. incredible. Not Not only only does does itit sustain sustain life life on on this this wonderful wonderful blue-green blue-green planet, planet, itit allows allows us us to to see see beauty beauty in in the the world world and and gives us a myriad of creative options in photography. Some gives us a myriad of creative options in photography. Some photographers even describe themselves artists who ‘paint photographers even describe themselves asas artists who ‘paint with with light’ and, seeing some their work, hard argue. light’ and, seeing some of of their work, it’sit’s hard toto argue. Some Some train train for for years years while while others, others, like like myself, myself, take take aa slightly slightly less less rigid path in life. Successful portraiture requires flexibility rigid path in life. Successful portraiture requires flexibility in in both both approach approach and and execution execution while while remembering remembering that that we we are are all all different. Our personal challenge is to reveal a person’s innermost different. Our personal challenge is to reveal a person’s innermost thoughts thoughts and and feelings feelings while while still still producing producing an an accurate accurate likeness. likeness.

“Our journey journey in inportraiture, portraiture, as as with witheverything everythingelse elsein inlife, life, “Our starts at the beginning and improves with each step” starts at the beginning and improves with each step” CStJ CStJ

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Never underestimate the advantages of using experienced and professional models in any shoot. They usually have some knowledge of photography but, more importantly, they know what works and what doesn’t. They will appreciate the intricacies of the right clothing for the right look, the ideal pose for the ideal shot and and the the use use of of available available light light for for a a great great image. image. We We all all have have different different approaches, approaches, styles styles and and conversational conversational skills skills but it’s essential a model – male or female – is but it’s essential a model – male or female – is treated treated with with respect respect and and courtesy. courtesy. This This means means providing providing a a comfortable comfortable working working environment, respecting safety and personal boundaries, environment, respecting safety and personal boundaries, giving giving good good direction direction throughout throughout the the shoot shoot and and recognizing recognizing their their work. work. Communication Communication is is essential essential before, before, during during and and after after a a shoot. shoot. Always Always have have some some great great music music ready ready to to play play and and show show a a genuine genuine interest for those in front of your camera. Never, and I mean interest for those in front of your camera. Never, and I mean never, touch a model unless it’s absolutely necessary – and only never, touch a model unless it’s absolutely necessary – and only then if you have their full permission and agreement. As long as then if you have their full permission and agreement. As long as you keep everything as friendly and as professional as possible you keep everything as friendly and as professional as possible you’ll enjoy the experience and get some great shots. you’ll enjoy the experience and get some great shots.

“All the photos we’ve ever taken may be our worst, but all all the the photos photos we’ve we’ve yet yet to to take take may may be be our our best” best” CStJ CStJ

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Successful portraits portraits require require flexibility flexibility in in both both approach approach Successful and execution while remembering that we are all different. and execution while remembering that we are all different. Even identical twins have distinct differences that come Even identical twins have distinct differences that come from ‘within’ ‘within’ rather rather than than from from ‘without’. ‘without’. Anyone Anyone can can from photograph aa likeness likeness of of aa person, person, but but aa true true portrait portrait photograph requires so so much much more. more. Each Each of of us us is is unique unique and and requires revealing this this is is the the objective objective of of truth truth in in portraiture. portraiture. revealing

“The mind and the camera never seem to agree—they “The andturn the camera never Some seem portraits to agree—they somehowmind always out different. are worse somehow always turn out different. Some portraits are worse than expected—some are better than expected” than expected—some CStJ are better than expected” CStJ

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IMAGE RETOUCHING

started using using Photoshop Photoshop two two decades decades ago ago and and I’ve I’ve only only just just II started scratched the the surface surface of of what what it it can can achieve. I achieve. I can’t can’t imagine imagine any any scratched professional image not needing some sort of correction—most often professional image not needing some sort of correction—most often for colour, brightness and contrast but also for retouching. However, for colour, brightness and contrast but also for retouching. However, when applying applying any any sort sort of of manipulation manipulation to to a a portrait, portrait, II find find there’s there’s a a when very thin line between aesthetics and questionable ethics. very thin line between aesthetics and questionable ethics.

Every portrait portrait photographer photographer has has their their own own approach approach and and there’s there’s no no Every hard and fast rule that can, or should, be applied to such a creative hard and fast rule that can, or should, be applied to such a creative art form. form. After After all, all, art art is is art. art. But, But, how how many many times times have have we we seen seen art attractive or charismatic faces manipulated to such a degree that attractive or charismatic faces manipulated to such a degree that unique individuals become just an ‘artists impression’’—removing unique individuals become just an ‘artists impression’’—removing the very things that go toward making them who they are? the very things that go toward making them who they are? I would never presume to guide another photographer when it I would never presume to guide another photographer when it comes to retouching their work—as each portrait is a personal comes to retouching their work—as each portrait is a personal expression. That said, while I have no issue removing minor expression. That said, while I havewithin no issue minor blemishes or changing elements the removing frame, I always blemishes or changing elements within the frame, I always remember that every person I photograph has a story to tell. remember photograph has achanges story totoo. tell. If I changethat too every muchperson of thatIperson, the story If I change too much of that person, the story changes too.

“When “When retouching, retouching, II often often create create nuances nuances in in an an image image to to highlight highlight or or enhance, enhance, rather rather than than change, change, aa portrait” portrait” CStJ

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The The choices choices you you make make should should be be based based on on how how you you envisage envisage the final image—which will guide your use the final image—which will guide your use of of light, light, background background and and composition. composition. It It doesn’t doesn’t matter matter whether whether you’re you’re a a professional professional or or an an amateur—you amateur—you can can still still get get great great shots. ‘Steal’ those remarkable moments which represent shots. ‘Steal’ those remarkable moments which represent a a fragment fragmentofofsomeone’s someone’slife. life.Look Lookatatthe thefinished finishedimage imageto tomake makeyou youfeel feelyour yourefforts effortsare areworthwhile. worthwhile.

“Show me one person who likes my work and I’ll show create a likeness likeness of of you a hundred who don’t. It’s easy to create portrait” someone but much harder to craft their portrait” CStJ

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HEAD & SHOULDERS LIGHTING

Using Using any any form form of of artificial artificial light light can can be be confusing confusing but, but, in in its its simplest simplest form, form, there there is is almost almost always always aa main main or or ‘key’ ‘key’ light. light. In In fact, fact, many many great great portraits portraits have have been been shot shot using using just just one one light. light. The The direction direction of of the the light light will will determine determine where where the the shadows shadows and and highlights highlights are are on on the the face, face, while while the the size size of of the the light light will will control control the the look look of of those those shadows shadows and and highlights. highlights. Thereafter, Thereafter, additional additional lights can can be be added added but but are are usually usually at at aa lower lower brightness brightness to to lights achieve the the desired desired ‘fill’ ‘fill’ for for that that ideal ideal portrait. portrait. achieve Lighting is is often often referred referred to to as as either either ‘soft’ ‘soft’ or or ‘hard’. ‘hard’. My My personal personal Lighting preference is to use softer lighting on females and harder preference is to use softer lighting on females and harder lighting on on males males but but it it really really depends depends on on what what you you want want your your lighting image to to say say about about the the person. person. The The use use of of aa smaller smaller light, light, or or image moving the light away from the subject, will create more sharply moving the light away from the subject, will create more sharply defined shadows. shadows. The The use use of of aa larger larger light, light, or or moving moving the the light light defined closer to the subject, will create a softer shadow transition closer to the subject, will create a softer shadow transition across the the face. face. Remember Remember that that ‘practice ‘practice makes makes perfect’. perfect’. across Softer light light can can also also be be achieved achieved by by bouncing bouncing or or reflecting reflecting the the Softer light onto the subject – as well as using materials between the light onto the subject – as well as using materials between the light source source and and the the model model which which tend tend to to scatter scatter the the light. light. It’s It’s light always advisable not to overdo hard or soft light unless that’s always advisable not to overdo hard or soft light unless that’s what you’re you’re looking looking for. for. The The following following pages pages are are examples examples of of what some lighting configurations that continue to work well for me. some lighting configurations that continue to work well for me. They also have the advantage of not requiring overly expensive They also have the advantage of not requiring overly expensive equipment if you decide to try them out. equipment if you decide to try them out.

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We create our own world. We fill it with friends and thoughts, activities and distractions. We are coloured by the value of our experiences. This is why we each perceive the world around us in our own unique way. When we view someone else’s photographs we get an insight into how they think and what they see. This is why portraiture is the sum of the photographer’s views and perceptions as much as the subject’s personality and appearance. The artistic choices we make should therefore be based on our own vision and let it freely influence our work. Whether taking a headshot, half or full-body portrait, the final image will be shaped by the photographer’s own perspective.

“Essentially, we photograph people based on what we feel, as much as what we see ” CStJ

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When I purchased my first ‘point-and-shoot’ camera, I set out intoIthe wide andmy wonderful world of streetcamera, photography. When purchased first ‘point-and-shoot’ I set Looking back, I feel I should have specialized in street portraits out into the wide and wonderful world of street photography. rather than random moments. Street portraiture is a large Looking back, I feelcandid I should have specialized in street portraits part of street despite being quite reality rather thanphotography random candid moments. Streetchallenging. portraiture It’s is aalarge of life that people don’t normally walk around in the hopeIt’s someone part of street photography despite being quite challenging. a reality ofwill lifetake thattheir people don’t normally around hope someone photograph so wewalk always need in to the have respect and will take their photograph so we always need to respect and courtesy when capturing the images ofhave others. courtesy when capturing the images of others. True, in most countries they can’t stop you taking their photo inplace, most countries theyto can’t you taking in aTrue, public but it’s better ask stop permission thantheir havephoto a public inaltercation. a public place, better tostreet ask permission than have public I stillbut do it’s occasional photography with myatrusty altercation. I still do occasional street photography with my trusty Fujifilm X-70 ‘point-and-shoot’ pocket camera. It can achieve high Fujifilm X-70 and ‘point-and-shoot’ pocket camera. It canthe achieve high quality images has an articulated screen allowing user to look quality images and has an articulated screen allowing the user to look down at the camera when shooting. In fact, I find most people don’t down at notice the camera when shooting. In fact,doing, I findifmost people don’t even the camera, or what you’re it’s small and even noticeifthe camera, or what you’re doing, if it’s small and you’re not pointing it directly at them. if you’re not pointing it directly at them. Still, street photography is a whole different ball game. Still, street an photography is a different balladjust game.the There’s rarely opportunity towhole pose the subject, There’s rarely an opportunity to pose the subject, adjust the lighting or play with the camera settings. lighting or play with the camera settings.

“Street photography, and street portraiture in particular, is a way of perfecting framing, developing your is “Street photography, andyour street portraiture in particular, people skills and improving your technique” a way of perfecting your framing, developing your CStJ people skills and improving your technique” CStJ

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This This book book is is essentially essentially a a personal personal journey journey in in photographic photographic experimentation. I wanted to leave my comfort zone experimentation. I wanted to leave my comfort zone and and stretch stretch my my narrow narrow definition definition of of what what a a portrait portrait is is and and show show you you the the results. results. Everything you see within these pages—every photograph and every diagram—was produced produced specifically specifically with with this this book book in in mind. mind. diagram—was I have learnt that while experimentation may be good for the soul and variety may be good for the mind, there’s a degree of satisfaction that comes from finding a niche. In my case it’s finding a niche within a niche. What that fundamentally means is my next project will concentrate on only one particular type of portrait. I’ve always loved head-and-shoulders portraits with a very narrow depth of field so that only the face is in focus. It’s a form of portraiture that appeals to me. If you only take one thing away from this book it’s that experimentation has varying degrees of success. What works for for us—or us—or doesn’t doesn’t work work for for us—are us—are equally equally important. important. What works

“It depends depends what what you’re you’re aiming aiming for. for. There’s There’s really really no no “It ‘right’ or ‘wrong’ in photography. It’s an art and the rules are ‘right’ or ‘wrong’ in photography. It’s an art and the rules are there to guide us – not replace the creative process” there to guide us – not replace the creative process” CStJ

CStJ

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APERTURE is the opening in the lens that lets light into the camera BACKDROP is the artificial background used in a studio

BACKGROUND is the natural area or artificial backdrop behind the person or object BACKLIGHTING is the lighting used to light a model or object from behind BACKLIGHT COMPENSATION is a way to adjust exposure for bright backgrounds CAMERA RAW is an unprocessed image that holds all the image information CAMERA BLUR is the slight image blur that arises due to slight camera movement CATCH LIGHT is the light reflection that appears in the models eyes CLOSE-UP is when the subject you are shooting fills the image COLOUR TEMPERATURE is the light spectrum technically described in degrees Kelvin CONTRAST is the range between highlights and shadows in an image CORRECT EXPOSURE is when the amount of light is considered ideal for the image DEFINITION is the clarity or sharpness of an image DEPTH OF FIELD is the distance in front of the camera that is in focus DEPTH OF FOCUS is the zone in an image that appears to be in focus DYNAMIC RANGE is the range between the lightest and darkest areas of an image EXPOSURE is where an amount of light hits the camera sensor when taking an image

FILL FLASH is a flash used when available light is considered insufficient FISHEYE is a term used to describe an extreme wide-angle lens FIXED FOCAL LENGTH is a lens that is unable to optically zoom such as a ‘prime’ lens FIXED FOCUS is a lens that cannot be adjusted and is often integrated into the camera FLASH is a sudden burst of light from either the camera or external lighting equipment FLASH MEMORY CARD is the removable storage for your camera images FOCAL POINT is the central or specific point of focus in an image FOREGROUND is the area in front of the model or subject you are photographing FORMATTING is the wiping and reformatting of the memory card on a digital camera FULL FRAME is a camera sensor that has the same dimensions as a 35mm film frame GRADATION is the tonal contrast range within an image HEADSHOT is a portrait of someone most often their head and shoulders HIGH KEY is an image that comprises mainly light tones or light backgrounds HIGHLIGHT is the brightest area of a subject or within a scene

HIGH RESOLUTION is where an image contains a large amount of detail HISTOGRAM is a bar chart that displays the range of tones within a digital image IMAGE ASPECT RATIO is the mathematical comparison between image width and height INTERCHANGEABLE LENS is where your camera lens can be swapped for various others IQ is an abbreviation in photographic terms for ‘image quality’ ISO is short for ‘International Standards Organisation’ referring to camera light-sensitivity KEY LIGHT is the primary or main light used in portraiture

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LENS SPEED is the widest aperture at which a lens can be set LIGHTING RATIO is the brightness of the main light compared to the other lights LOCATION is where photography takes place somewhere other than a studio LONG LENS is essentially a telephoto lens for photographing at a distance LOW KEY is an image that comprises mainly dark tones or dark backgrounds LOW RESOLUTION is where an image contains a low amount of detail MACRO OR MICRO is a lens range that allows for extreme close-up shots MAIN LIGHT is the principal light used in studio portraits also called a ‘key’ light MODE is the camera setting that determines how much control a photographer has MODELLING LIGHT is a small tungsten bulb built into a studio flash as a ‘preview’ light MODEL RELEASE is a contract where the model consents to the use of the images NOISE or IMAGE NOISE is the grain you find in images shot with a higher ISO setting OPTICAL ZOOM is a proper lens zoom unlike the lower quality digital zoom OVEREXPOSED is where the image sensor receives too much light for a good image PERSPECTIVE is the spatial relationship in images between objects and dimensions PIXEL is a small square of light that forms part of a digital image PORTRAIT is a photograph of a person where the face is the primary focus

PORTFOLIO is a selection of images that demonstrates a photographer’s range and style PRIME LENS is a lens with a fixed focal length as opposed to a zoom RED EYE is an image where the person’s eyes appear red instead of black REFLECTOR is the material used to reflect or ‘bounce’ light in a scene RESOLUTION is the degree of fine detail within an image RIM LIGHTING is where the primary light creates a rim of light on the models head SATURATION is the colour intensity or strength of colours in an image SENSITIVITY is the cameras ability to handle light sometimes called ISO sensitivity SENSOR is the light sensitive chip in a digital camera SHOOT is a reference to taking an image or a set of images SHOOTING DISTANCE is the distance between the camera and the subject SPEEDLIGHT is a portable flash that can be connected to the top of the camera STOP is a single aperture or shutter speed setting on the camera controls STROBE is an electronic flash unit that ‘fires’ at the same time as the camera SUBJECT is the model or the object which is the focus of the photograph TONAL RANGE is the range between the lightest and darkest areas in an image UNDEREXPOSED is where the image sensor receives insufficient light for a good image VARIABLE FOCUS LENS is essentially a zoom lens where the focal length is variable WHITE BALANCE is an image adjustment to account for light source temperature WIDE-ANGLE LENS is a lens with an angle of view wider than a normal lens ZOOM is the ability to vary the lens vocal length referred to as zooming in or out

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CONCLUSION

engaging with with others—as others—as new ideas, thoughts I enjoy meeting and engaging and opportunities can only serve to enrich our lives and help improve our craft. I also like like to think I present people people honestly honestly through my work and thereby justify their trust trust in in me. me. None of us need large large studios, studios, expensive expensive equipment equipment or or aa plethora plethora of assistants. All we need is our camera, our passion to be need is our camera, our passion to be creative creative and the satisfaction of satisfaction of portraiture. portraiture. That That said, said, it’s it’s aa journey. journey. How How far far we’ve we’ve come come only only serves serves to to show show us us how how far far we’ve we’ve yet yet to to go. go.

“Criticism of our portraits – good or bad – proves “Criticismpeople of our portraits – good bad – proves are noticing our or work” people are noticing our work”

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