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The Best of Family Portrait Photography: Professional Techniques and Images
FOR DIGITAL AND FILM PHOTOGRAPHERS
The Best of
FAMILY PORTRAIT PHOTOGRAPHY
PROFESSIONAL TECHNIQUES AND IMAGES
BILL HURTER
Amherst Media
®
PUBLISHER OF PHOTOGRAPHY BOOKS
FAMILY PORTRAIT PHOTOGRAPHY
Copyright © 2006 by Bill Hurter.
All rights reserved.
Front cover photograph by Tibor Imley.
Back cover photograph by Judy Host.
Published by:
Amherst Media, Inc.
P.O. Box 586
Buffalo, N.Y. 14226
Fax: 716-874-4508
www.AmherstMedia.com
Publisher: Craig Alesse
Senior Editor/Production Manager: Michelle Perkins
Assistant Editor: Barbara A. Lynch-Johnt
ISBN: 1-58428-172-3
Library of Congress Card Catalog Number: 200926586
Printed in Korea.
10 9 8 7 6 5 4 3 2 1
No part of this publication may be reproduced, stored, or transmitted in any form or by any means, electronic, mechan-
ical, photocopied, recorded or otherwise, without prior written consent from the publisher.
Notice of Disclaimer: The information contained in this book is based on the author’s experience and opinions. The
author and publisher will not be held liable for the use or misuse of the information in this book.
Table of Contents
INTRODUCTION
. . . . . . . . . . . . . . . . . . . . . . . . .5
About This Book . . . . . . . . . . . . . . . . . . . . . . . . . .7
Color-Negative Film . . . . . . . . . . . . . . . . . . . .26
Black & White Film . . . . . . . . . . . . . . . . . . . . .26
Metering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .28
1. QUALITIES OF A GOOD FAMILY PORTRAIT
. .9
Flatters the Subject . . . . . . . . . . . . . . . . . . . . . . . . .9
A Coordinated Look . . . . . . . . . . . . . . . . . . . . . .10
The Artist’s Vision . . . . . . . . . . . . . . . . . . . . . . . .12
Rapport with Subjects . . . . . . . . . . . . . . . . . . . . .13
Remembering . . . . . . . . . . . . . . . . . . . . . . . . . . . .13
Character and Emotion . . . . . . . . . . . . . . . . . . . .13
A Time Capsule . . . . . . . . . . . . . . . . . . . . . . . . . .13
The Expression . . . . . . . . . . . . . . . . . . . . . . . . . .14
3. DIGITAL CONSIDERATIONS
. . . . . . . . . . . . . .29
Focal-Length Factors . . . . . . . . . . . . . . . . . . . . . .29
ISO Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . .30
Black & White . . . . . . . . . . . . . . . . . . . . . . . . . . .31
Exposure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .31
Evaluating Digital Exposures . . . . . . . . . . . . . .31
LCD Playback . . . . . . . . . . . . . . . . . . . . . . . . . . .32
RAW vs. JPEG Mode . . . . . . . . . . . . . . . . . . . . . .32
RAW . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .32
JPEG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .34
Metadata . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .35
Reformat Your Cards . . . . . . . . . . . . . . . . . . . . . .35
Color Space . . . . . . . . . . . . . . . . . . . . . . . . . . . . .35
White Balance . . . . . . . . . . . . . . . . . . . . . . . . . . .36
Wallace ExpoDisc . . . . . . . . . . . . . . . . . . . . . .37
Battery Power . . . . . . . . . . . . . . . . . . . . . . . . . . .37
The Many Advantages of Digital Capture . . . . . . .37
2.TECHNICAL ASPECTS
. . . . . . . . . . . . . . . . . . .15
Lens Selection . . . . . . . . . . . . . . . . . . . . . . . . . . .15
Normal Lens . . . . . . . . . . . . . . . . . . . . . . . . . .15
Short Telephotos . . . . . . . . . . . . . . . . . . . . . . .16
Long Telephotos . . . . . . . . . . . . . . . . . . . . . . .16
Wide-Angle Lenses . . . . . . . . . . . . . . . . . . . . .16
Depth of Field . . . . . . . . . . . . . . . . . . . . . . . . . . .18
Camera-to-Subject Distance . . . . . . . . . . . . . . .18
Medium Format vs. 35mm . . . . . . . . . . . . . . .18
Optimum Shooting Apertures . . . . . . . . . . . . .18
Shifting the Focus Point . . . . . . . . . . . . . . . . .19
Making the Film Plane
Parallel to the Group Plane . . . . . . . . . . . . .19
Shifting the Field of Focus . . . . . . . . . . . . . . . .19
Autofocus Technology . . . . . . . . . . . . . . . . . . .21
Camera Height and Perspective . . . . . . . . . . . . . .22
Shutter Speeds . . . . . . . . . . . . . . . . . . . . . . . . . . .24
Image-Stabilization Lenses . . . . . . . . . . . . . . . .24
Shutter Speed or Depth of Field? . . . . . . . . . . .24
Film Choice . . . . . . . . . . . . . . . . . . . . . . . . . . . . .26
ISO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .26
4. POSING AND COMMUNICATION
. . . . . . . . . .38
Head-and-Shoulders Axes . . . . . . . . . . . . . . . . . .39
Head Positions . . . . . . . . . . . . . . . . . . . . . . . . . . .40
Seven-Eighths View . . . . . . . . . . . . . . . . . . . . .40
Three-Quarter View . . . . . . . . . . . . . . . . . . . .40
Profiles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .40
Defining Levels Within a Group . . . . . . . . . . . . . .40
The Eyes and Communication . . . . . . . . . . . . . . .41
Mouths and Eyes . . . . . . . . . . . . . . . . . . . . . . . . .43
Chin Height . . . . . . . . . . . . . . . . . . . . . . . . . . . . .45
Posing Hands . . . . . . . . . . . . . . . . . . . . . . . . . . . .45
Three-Quarter and Full-Length Poses . . . . . . . . .47
TABLE OF CONTENTS
3
5. COMPOSITION AND DESIGN
. . . . . . . . . . . . .49
The Rule of Thirds . . . . . . . . . . . . . . . . . . . . . . . .50
The Golden Mean . . . . . . . . . . . . . . . . . . . . . . . .50
Lines and Shapes . . . . . . . . . . . . . . . . . . . . . . . . .53
Lines . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .53
Shapes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .53
Pleasing Compositional Forms . . . . . . . . . . . . .55
Direction . . . . . . . . . . . . . . . . . . . . . . . . . . . . .55
Subject Tone . . . . . . . . . . . . . . . . . . . . . . . . . . . .56
Tension and Balance . . . . . . . . . . . . . . . . . . . . . . .60
Really Large Groups . . . . . . . . . . . . . . . . . . . . . . .90
Naturalness Counts . . . . . . . . . . . . . . . . . . . . .92
Stepladders . . . . . . . . . . . . . . . . . . . . . . . . . . .92
Linking Shapes . . . . . . . . . . . . . . . . . . . . . . . .92
8. OUTDOOR LIGHTING
. . . . . . . . . . . . . . . . . .94
Roundness . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .94
Lighting Ratios . . . . . . . . . . . . . . . . . . . . . . . . . .95
Determining Lighting Ratios . . . . . . . . . . . . . .96
Lighting Ratios and
Their Unique Personalities . . . . . . . . . . . . . .97
Finding Good Light . . . . . . . . . . . . . . . . . . . . . . .98
The Best Light . . . . . . . . . . . . . . . . . . . . . . . . . . .99
One Main Light . . . . . . . . . . . . . . . . . . . . . . . . .100
Reflectors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .100
Fill-In Flash . . . . . . . . . . . . . . . . . . . . . . . . . . . .101
Flash-Fill, Metering, and Exposure . . . . . . . . . . .102
Direct Sunlight . . . . . . . . . . . . . . . . . . . . . . . . . .104
Problems Outdoors . . . . . . . . . . . . . . . . . . . . . .104
6. CHILDREN
. . . . . . . . . . . . . . . . . . . . . . . . . . . .61
The Team Approach . . . . . . . . . . . . . . . . . . . . . . .65
Lighting for Children . . . . . . . . . . . . . . . . . . . . . .65
Some Favorite Setups . . . . . . . . . . . . . . . . . . . . . .65
Posing Kids . . . . . . . . . . . . . . . . . . . . . . . . . . . . .65
Overstimulation . . . . . . . . . . . . . . . . . . . . . . . . . .71
Eliciting Expressions . . . . . . . . . . . . . . . . . . . . . .73
The Eyes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .73
Camera Height . . . . . . . . . . . . . . . . . . . . . . . . . .73
Hands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .73
Three-Quarter and Full-Length Poses . . . . . . . . .74
9. INDOOR LIGHTING
. . . . . . . . . . . . . . . . . . .107
Feathering . . . . . . . . . . . . . . . . . . . . . . . . . . . . .108
Lighting a Large Group . . . . . . . . . . . . . . . . . . .111
Umbrella Lighting . . . . . . . . . . . . . . . . . . . . .111
Bounce Lighting . . . . . . . . . . . . . . . . . . . . . .111
Quartz-Halogen Lighting . . . . . . . . . . . . . . .111
Window Light . . . . . . . . . . . . . . . . . . . . . . . . . .113
Subject Positioning . . . . . . . . . . . . . . . . . . . .114
Exposure . . . . . . . . . . . . . . . . . . . . . . . . . . . .114
Fill-In Illumination . . . . . . . . . . . . . . . . . . . .115
Diffusing Window Light . . . . . . . . . . . . . . . .116
Bounce Flash . . . . . . . . . . . . . . . . . . . . . . . . .116
Lighting Large Groups with Bounce Flash . . .117
7. BUILDING GROUPS
. . . . . . . . . . . . . . . . . . . .76
Posing Hierarchy . . . . . . . . . . . . . . . . . . . . . . . . .77
Posing Dialogue . . . . . . . . . . . . . . . . . . . . . . . . . .77
Perimeter Check . . . . . . . . . . . . . . . . . . . . . . . . . .78
Coordinating Apparel . . . . . . . . . . . . . . . . . . . . . .78
Photographers’ Favorites . . . . . . . . . . . . . . . . .80
Seating . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .80
Arranging Small Groups . . . . . . . . . . . . . . . . . . . .82
Start with Two . . . . . . . . . . . . . . . . . . . . . . . .82
Add a Third . . . . . . . . . . . . . . . . . . . . . . . . . . .84
Adding a Forth . . . . . . . . . . . . . . . . . . . . . . . .86
Five on Up . . . . . . . . . . . . . . . . . . . . . . . . . . .88
Obvious Things to Avoid . . . . . . . . . . . . . . . . . . .89
The Photographers . . . . . . . . . . . . . . . . . . . . . . .118
Glossary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .121
Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .125
4
THE BEST OF FAMILY PORTRAIT PHOTOGRAPHY
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