Amherst Media - The Best of Teen and Senior Portrait Photography Techniques and Images from the Pros.pdf
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The Best of Teen and Senior Portrait Photography
the best of
TEEN AND SENIOR PORTRAIT
PHOTOGRAPHY
Techniques and Images
from the Pros
Bill Hurter
Amherst Media
®
PUBL ISHER OF PHOTOGRAPHY BOOKS
Copyright © 2004 by Bill Hurter
All rights reserved.
Front cover photo: Brian King © 2003
Back cover photo: Fuzzy Duenkel © 2003
Published by:
Amherst Media
®
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: 1-58428-111-1
Library of Congress Card Catalog Number: 2003103023
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
The Photographers
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6
Introduction
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10
1. Senior Portrait Photography, Yesterday and Today
. . . . .18
Yearbooks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .19
School Dress Code . . . . . . . . . . . . . . . . . . . . . . . . . . . . .21
Deadlines . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .21
When Contracts Work . . . . . . . . . . . . . . . . . . . . . . . . . . . .22
Today’s Senior Studios . . . . . . . . . . . . . . . . . . . . . . . . . . .24
Why Good Photographers Turn to Seniors . . . . . . . . . . . .25
Web Sites . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .25
2. Ways of Posing
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .27
Relaxed, Natural Posing . . . . . . . . . . . . . . . . . . . . . . . . . .28
Subject Positioning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .28
The Head and Shoulders . . . . . . . . . . . . . . . . . . . . . . . . . .30
The Head-and-Shoulders Axis . . . . . . . . . . . . . . . . . . . .30
Male Posing vs. Female Posing . . . . . . . . . . . . . . . . . . . .31
Tilting the Head . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .31
Sloping Line of the Shoulders . . . . . . . . . . . . . . . . . . . .31
Face Positions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .31
Seven-Eighths View . . . . . . . . . . . . . . . . . . . . . . . . . . . .31
Three-Quarters View . . . . . . . . . . . . . . . . . . . . . . . . . . .32
Profile View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .32
The Eyes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .32
3
Differences Between Direct and Diffused Light . . .57
Hair and Background Lights . . . . . . . . . . . . . . . . .58
Broad and Short Lighting . . . . . . . . . . . . . . . . . . . .59
Umbrellas and Softboxes . . . . . . . . . . . . . . . . . . . .60
Lighting Ratios . . . . . . . . . . . . . . . . . . . . . . . . . . . .62
A Wall of Fill Light . . . . . . . . . . . . . . . . . . . . . . . . .63
Fashion Lighting . . . . . . . . . . . . . . . . . . . . . . . . . .64
Feathering the Lights . . . . . . . . . . . . . . . . . . . . . . .64
Reflectors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .64
The Softer the Better . . . . . . . . . . . . . . . . . . . . . . .66
Retouching . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .66
The Mouth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .34
Posing Hands and Fingers . . . . . . . . . . . . . . . . . . .35
Three-Quarter- and Full-Length Poses . . . . . . . . . .37
Weight on the Back Foot . . . . . . . . . . . . . . . . . . .39
Camera Height . . . . . . . . . . . . . . . . . . . . . . . . . . . .39
Working Distances and Focal Length . . . . . . . . . . .39
Active Posing . . . . . . . . . . . . . . . . . . . . . . . . . . . . .41
Giving Directions . . . . . . . . . . . . . . . . . . . . . . . . . .41
Subject Comfort . . . . . . . . . . . . . . . . . . . . . . . . . . .41
Applying and Breaking the Rules of Posing . . . . . .41
5. Natural Lighting for Seniors
. . . . . . . . . . . . . . . .68
Window Light . . . . . . . . . . . . . . . . . . . . . . . . . . . .70
Diffusing Window Light . . . . . . . . . . . . . . . . . . .71
Photographing in Shade . . . . . . . . . . . . . . . . . . . . .71
Photographing in Open Shade . . . . . . . . . . . . . . . .73
Light Modifiers . . . . . . . . . . . . . . . . . . . . . . . . . . .73
Reflectors for Fill . . . . . . . . . . . . . . . . . . . . . . . . .73
Gobos . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .74
Scrims . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .75
3. Communicating and Getting Great Expressions
. .43
Pre-Session Consultation . . . . . . . . . . . . . . . . . . . .43
Two Clients . . . Always . . . . . . . . . . . . . . . . . . . . .45
No Parent at Session . . . . . . . . . . . . . . . . . . . . . . .45
Number and Type of Poses . . . . . . . . . . . . . . . . . .46
Individuality . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .46
Facial Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . .48
Psychology . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .49
Breaking Down Defenses . . . . . . . . . . . . . . . . . . . .50
Clothing and Accessories . . . . . . . . . . . . . . . . . . . .50
Colors and Patterns . . . . . . . . . . . . . . . . . . . . . . .51
Shoes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .52
Eyeglasses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .52
Hair and Makeup . . . . . . . . . . . . . . . . . . . . . . . . . .52
The Makeover . . . . . . . . . . . . . . . . . . . . . . . . . . . .54
4. Studio Lighting for Seniors
. . . . . . . . . . . . . . . . .55
The Illusion of Three Dimensions . . . . . . . . . . . . .56
Key and Fill Lights . . . . . . . . . . . . . . . . . . . . . . . . .57
The One-Light Lighting Effect . . . . . . . . . . . . . . .57
4
THE BEST OF TEEN AND SENIOR PORTRAIT PHOTOGRAPHY
Flash Techniques . . . . . . . . . . . . . . . . . . . . . . . . . .76
Fill Flash . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .76
Determining Exposure with Flash-Fill . . . . . . . . .77
Flash Sync Speeds . . . . . . . . . . . . . . . . . . . . . . . .78
Flash-Key on Overcast Days . . . . . . . . . . . . . . . .78
Flash-Fill with Direct Sunlight . . . . . . . . . . . . . . .79
Working at Midday . . . . . . . . . . . . . . . . . . . . . . . . .79
Using Long Lenses to Cut Image Contrast . . . . . .80
Finish Differences . . . . . . . . . . . . . . . . . . . . . . . . . .99
Deposits and Prepayments . . . . . . . . . . . . . . . . . . .99
Proofing Session . . . . . . . . . . . . . . . . . . . . . . . . . .100
6. Senior Marketing Techniques
. . . . . . . . . . . . . . .82
Be Consistent in Your Marketing . . . . . . . . . . . . . .82
Bulk Mailing . . . . . . . . . . . . . . . . . . . . . . . . . . . . .83
Constantly Evaluate Your Marketing Program . . . .83
Copyright Notice . . . . . . . . . . . . . . . . . . . . . . . . . .83
Digital Graduation Announcements . . . . . . . . . . . .84
Direct-Mail Campaigns . . . . . . . . . . . . . . . . . . . . . .86
Direct-Mail Frequency and Guidelines . . . . . . . . .86
Dollar-a-Day Sessions . . . . . . . . . . . . . . . . . . . . . . .86
The “Dream Team” . . . . . . . . . . . . . . . . . . . . . . . .86
Ellie Vayo’s CD Business Card/
Portfolio Presentation . . . . . . . . . . . . . . . . . . .86
The “Friends” Promo . . . . . . . . . . . . . . . . . . . . . . .87
How Much Should You Spend? . . . . . . . . . . . . . . .87
List Brokers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .87
Market in Threes . . . . . . . . . . . . . . . . . . . . . . . . . .88
Notice of Secondary Usage . . . . . . . . . . . . . . . . . .88
Posting Proofs on the Internet . . . . . . . . . . . . . . . .88
Senior Albums on Display . . . . . . . . . . . . . . . . . . .89
Senior Contact and Follow-Up . . . . . . . . . . . . . . . .89
Senior Photo Exchange . . . . . . . . . . . . . . . . . . . . .89
Student Representatives . . . . . . . . . . . . . . . . . . . . .89
Video Marketing . . . and Then Some . . . . . . . . . . .90
Wallet Special . . . . . . . . . . . . . . . . . . . . . . . . . . . . .90
Yearbook Advertising . . . . . . . . . . . . . . . . . . . . . . .90
The “You Ought to Be in Pictures” Promo . . . . . .92
Window Dressing . . . . . . . . . . . . . . . . . . . . . . . . . .92
8. Senior Photographer Profiles
. . . . . . . . . . . . . .102
Fuzzy and Shirley Duenkel:
It’s All Happening at Home . . . . . . . . . . . . . . .102
Jeff Smith: Reinventing the Senior Market . . . . . .106
Ellie Vayo: Customer Service
at the Highest Level . . . . . . . . . . . . . . . . . . . . .109
Richard Pahl: 100 Percent Digital,
100 Percent Seniors . . . . . . . . . . . . . . . . . . . . . .111
Ralph Romaguera: Understanding
the Savvy Senior Market . . . . . . . . . . . . . . . . . .114
Deborah Lynn Ferro: The Artist’s Touch . . . . . . .117
Michael and Pamela Ayers: The Senior Album . . .120
7. Pricing and Proofing
. . . . . . . . . . . . . . . . . . . . . .93
Session Fees and Types . . . . . . . . . . . . . . . . . . . . . .93
Liability Waiver . . . . . . . . . . . . . . . . . . . . . . . . . . . .96
Pricing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .96
Package Pricing . . . . . . . . . . . . . . . . . . . . . . . . . .96
À-la-Carte Pricing . . . . . . . . . . . . . . . . . . . . . . . .97
Special Offers . . . . . . . . . . . . . . . . . . . . . . . . . . . . .97
Glossary
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .121
Index
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .125
TABLE OF CONTENTS
5
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