portraiture

The Art of Portraiture Part 4:  Gear and Equipment for Success

The Art of Portraiture Part 4: Gear and Equipment for Success

A portrait tells a story of someone’s essence – someone’s being. It takes great skill and technique to capture an accurate portrayal of someone. While skills and techniques necessary for shooting a portrait are a large part of successful portraiture, the are not all that is needed. You also will need good tools to make the grade.

Capturing one’s essence.

Model: Maria Iodice

 

In the first part of this series, in my article entitled, The Art of Portraiture Part 1: Composition, Depth of Field and Background, I covered some of the basic necessities that contribute to a good portrait. In the second part, The Art of Portraiture Part 2: Light, I went over how light is an important element in a good portrait. In the third installment, The Art of Portraiture Part 3: Your Subject, we added in the most important element of your portrait, the person you are photographing and how to photograph him or her. In this last and final installment of this series, I will go some of the equipment that will help contribute to a successful portrait.

 

LENSES

The glass you put in front of your camera will determine the quality of the image the camera will help to produce. There is no camera made that will produce a stunning image if a bad quality lens is attached. While you most likely have a budget in mind for your new camera system, factor in the cost investment of a at least one exceptional lens before you buy that high-end camera body with half the features that you will never use.

 

Prime Lenses

Autofocus Prime Lenses. Autofocus prime lenses are great for shooting moving subjects such as when shooting fashion in the studio as you may have your subject continuously moving. Typically great focal lengths for shooting people in general are 85mm or a 100mm/105mm if you have the room. These come in several aperture ranges with the F/1.4 and F/1.8 being the most popular. The Nikon 50mm F/1.4 at $334, is a great compact lens that packs a lot of punch for its size. You can read more about this lens in my review here.

 

Shot with a 50mm F/1.4 lens.

Actor: Patrick Walsh

Manual Prime Lenses. Manual Prime lenses can cost a pretty penny and really work best only if your subject is stationary. These lenses are optimal for portraits and headshots. I found the Zeiss line to be exceptional with the more budget-friendly option of Rokinon right behind it. You can read some of my reviews on the Adorama Learning Center for the Zeiss 50mm F/1.4, Zeiss 85mm F/1.4, Zeiss 100mm F/2.0, Rokinon 50mm F/1.4 and the Rokinon 135mm F/2.0 lenses to determine which might work best for your needs.

Shot with a Zeiss 100mm F2.0 Makro ZF.2.

Model/Actress: Valery Lessard

 

Zoom Lenses

Zoom lenses can be a great option for shooting portraits as there is a tremendous variety in focal length and they allow for a versatile creative use of shooting while zooming in or out, among other uses. I’ve had the pleasure of using several Nikon zoom lenses in my studio work, most recently the Nikon 24-70mm F/2.8, retailing at Adorama at $1,796.95. While no longer manufactured, but still available used, I currently a Nikon 28-105mm in my space as well as client’s small spaces and have produced some very striking images.

Shot with my Nikon 28-105mm F/3.5-4.5D IF lens.

Model: Andy Mizerek

 

For either a close-up option or for shooting subjects from afar, I have found my Nikon 70-200mm F/4G ED AF-S to be the perfect option for producing a high quality photo, which I also use for headshots. Be sure to look for lenses that have have vibration reduction should your camera system itself not have an equivalent function.

 

LIGHT SOURCES

 

Daylight and Reflector. The easiest and most inexpensive way to light an image is through the use of bouncing natural daylight off of a portable collapsible reflector back onto your subject.

Using a portable collapsible reflector with natural daylight at sunset.

Model: Katie Buell

 

Speedlights. Another terrific portable and inexpensive lighting tool is a speedlight. Speedlights can be used indoors or outdoors and are typically used in conjunction with a portable collapsible reflector and/or bounced off of a wall or ceiling.

Using A speedlight in conjunction with natural daylight and a tungsten light.

Model: Andy Mizerek

 

Continuous Lights. These types of lights are perfect to use when shooting babies or capturing portraits of people who have trouble with blinking because there’s no disturbing flash.


Left to right: Lowel LC88EX1 Rifa

1000 Watt Light, Westcott TD6 Spiderlite, and the Fiilex P180E 40-Watt LED Light

Individual images courtesy of Adorama

 

Strobe/Monolight. Most photographers use strobes or monolights when shooting in a studio as the instant flash lends to capturing a sharper image and the numerous modifiers available for use allows the photographer to get more creative with their lighting.

Portrait shot using monolights.

Model/Actress: Celeste Smith

 

I have found the Flashpoint Rapid 600 HSS Monolight with Built-In R2 2.4GHz Radio Remote System to be a great budget monolight for shooting portraits or any other type of subject in a studio environment. For more information on this terrific option, you can read my review on it here.

 

I’ve also had the privilege of using the delicious Profoto B-1 500 Air TTL Battery-Powered 2-Light Location Kit. No matter where you are shooting, these battery-powered lights are lightweight and store conveniently in a backpack.

 

LIGHTING NECESSITIES

 

Light Meter

Cameras see differently than we do. While we have the ability to see everything in color, the camera’s meter sees and measures only how light or dark a scene is. It sees only tonality: black, white and a bunch of shades of gray in between. The shade in the middle of the gray scale is what is called middle gray. Middle gray is achieved when it reflects only 18% of the light that falls on it.

My Sekonic Flash Master L-358 with its younger sister, the Sekonic LiteMaster Pro L-478DR.

 

The largest goal in photography is to capture your images with accurate exposure or in better terms: for the camera to record your scene or subject as you see it. How can this be achieved if your camera or handheld meter only measures in tonality and brightness? In the same lighting scenario, every shade or color reflects a different amount of light and this is where a light meter can come in handy. Sekonic pretty much rocks the market on light meters.

A light meter in use.

 

If you shoot video, a color temperature meter like the Sekonic C-700 SpectroMaster Spectrometer would be an ideal tool for you. If you are looking for the percentages of where your exposure is coming from (ambient, LED, fluorescent and/or tungsten continuous lighting vs. flash or strobe lighting), Sekonic meters are known to possess this feature. My current light meter, the Sekonic L-358 Flash Master, along with the Sekonic Litemaster Pro L-478DR has this feature. Those folks that work in studios may find the need for a meter to be able to fire their strobe – “wirelessly” being a bonus. Some Sekonics such as the Sekonic L-758DR Digital Master have this feature.

 

Tripod

Obtaining a stable support system for your camera is one of the most important things you should do right after you buy any camera and lens. I’m always amazed at the number of students I’ve seen in the past who spend hundreds or thousands of dollars between a camera and lens (and maybe a flash too) along with other necessary and unnecessary equipment, but they were unwilling to spend enough on the support mechanism for their major investment.

Gitzo GK1545T-82QD Series 1 Traveler Tripod-4 Section- with GH1382QD Ball Head

 

This is almost like being too cheap and unwilling to put a good UV filter on your lens, which can help protect the front element from breaking if dropped. Not obtaining a proper tripod to support your camera and lens unit can result in the unit falling and getting damaged – sometimes beyond repair. How much did you spend on that camera and lens again? For more on tripods, check out my article, Tripods: Choosing the Right Support for Your Investment.

 

Lightstands

As you begin to add expensive pieces of equipment like lights to your home studio, you’ll want to make sure you buy proper light stands to support those lights. Regardless of the type of lighting  you may use now or in the future, light stands are a piece of equipment that you will want to think a little more long-term about as there are so many types, sizes and options available.


Just a few of the light stands in my studio.

 

For more on considerations for choosing the right light stands, check out my article, Building the Home Studio Part 2: Continuous Lights and Light Stands.

 

LIGHTING ACCESSORIES

 

Collapsible Reflector

While not everyone has an easy time folding them back up, most of us know what a collapsible reflector is and many folks have actually successfully used one. They should really be your first light modifier, even before you buy your first monolight or strobe because they are useful outdoors as well.

A good collapsible reflector is a “must” in portrait work.

 

Reflectors do exactly what their name might imply: they reflect light. They are used to bounce light from a light source back onto a subject. Photographing a person outdoors in the sun? We generally put the sun behind our subject to avoid him or her squinting, but then our subject becomes too dark because the light behind him or her is so bright. A reflector can be used to bounce light from the sun behind the subject back onto your subject so that he or she is also lit.  This works the same way in a studio. You can learn more about collapsible reflectors colors and what the different shapes and sizes do in my article: Building the Home Studio Part 04 – Essential Studio Tools, Props and Odds & Ends.

 

Umbrellas

Umbrellas are probably one of the first studio modifiers purchased by photographers as they are cheap, portable and come in a variety of sizes and colors.

 

White shoot-through, or translucent, umbrellas are one of the more common umbrellas used in photography because the shaft of the umbrella is pointed away from a subject when lighting, which means a light source can be moved in as close as desired without poking out your subject’s eye! The downside to a shoot through umbrellas is that the light is hard to control because the umbrella is translucent and the light spills everywhere. However, they guarantee your subject to be well lit.


A shoot-through umbrella in use.

 

Black/white umbrellas are a great choice for when you need to fill in shadows without it affecting the color, quality or quantity of light.

 

A reflective umbrella such as a silver umbrella (with a black covering), can be used when you want to bounce in specular highlights without affecting the color of the light. The light will be subtly harsher than a shoot through, depending on your umbrella’s distance from your lightsource and from your subject as well as the size of the umbrella.

Clockwise from the top: White (shoot-through), silver reflective, gold reflective and black/white umbrellas.

Single images courtesy of Adorama

 

A gold umbrella with black backing can be used to warm the color of an image and your subject. This umbrella color works well when photographing someone in a bathing suit or photographing someone with a very fair skin tone, where a healthy warm glow might be desired.

 

Softboxes

Whether using continuous lighting, speedlights or strobes, softboxes prove to be one of the best light shaping tools for any professional photographer’s to have in their toolbox.

 

Round softboxes, called octaboxes or octabanks, make for wonderful key lights. Their round shape is similar to the sun and the catchlights produced by round softboxes can be much more pleasing to some as they cast a more natural round catchlight into a subject’s eyes to match the roundness of the pupils.

Variety of softbox shapes.

Single images courtesy of Adorama

 

An octabox also tends to wrap light around its subject. I find a larger octabox placed close to my subjects face serves close to what a beauty dish would do for me when placed straight in front of my subject. When placed anywhere else, shadows can vary from subtle to harsh depending on its proximity to the subject. I’m personally a huge fan of the 43” Westcott Apollo Orb because it’s easy to set up and break down – much like an umbrella!

Use of a square softbox with a triangular collapsible reflector.

Model: Xavier Lujan

 

Squares and rectangles work well as main light sources as well as a fill lights. Depending on their size, they tend to throw out a more defined light complete with a nice and soft transitioning of shadows. Contrary to some preferences, I find squares to make interesting and dynamic catchlights in the eyes when used in conjunction with a circular or triangular reflector as shown above. In this image, I used a Glow 24” x 24” Square Softbox which has a large variety of speed ring adapters available, sold separately.

Use of strip softboxes behind the subject.

Model: Kathryn Hopkins

 

Strip softboxes are great for lighting the full body when placed parallel with a subject. They also work well as hair lights. Depending on the distance from the subject, strip softboxes can create a very subtle or a very harsh transitioning in shadows.

 

You can read more on softboxes in my article, Softboxes: Containing, Directing and Diffusing the Light.

 

Beauty Dish

If you are into portrait or beauty photography, a beauty dish is a “must”. A beauty dish is a circular reflector or bowl with an opening in the center that attaches to a monolight or strobe. The bulb or flash is hidden by a raised plate in the center that forces light to disburse into bowl and onto a subject rather than the light source directly hitting the subject.

My 16” beauty dish, bare.

 

Beauty dishes come as white or silver coated on the inside. White coated dishes make for a softer light whereas silver coated dishes make for slightly more contrast. Beauty dishes have two different companion modifiers that can be used along with them: a diffuser, sometimes called a “sock”, and a grid. I’ve always had a regret of buying such a small beauty dish – at 16 inches. If you can swing it, get something at least 22 inches in diameter or more. Which beauty dish you should get will depend on the monolight or strobe that you have. Brands like Glow make a variety of mount options to work for more than one single brand.

 

Grid

If you need the direction of light from your light source to be more concise, a grid is your best bet. Grids are useful when you want to light something specific with little to no spill, such as when you want to light your subject but you want to keep the background dark.

My beauty dish grid.

Image courtesy of Yann Bizeul

 

Grids are generally made to work with beauty dishes and softboxes, but I’ve also found them as companion modifiers for barndoors and snoots as well. They come in variety sizes, the hole width determining the width of the light beam emitted. Grids come in a variety of types, brands, sizes and hole widths and which you get will depend on the type and brand of main modifier you use it with.

 

Barndoors

Barndoors are one of the most versatile and inexpensive lighting modifiers one could own. This modifier is basically four doors that attach to a base which can be attached to a monolight or strobe.

My barndoor setup.

 

What’s versatile about this modifier is that each of these 4 doors can be opened as little or as much as desired allowing for numerous lighting results. Many barn doors are sold as kits that also include companion modifiers of four gels and a grid, such as Flashpoint’s Universal Barn Door Kit.

 

Snoot

Snoots allow you to focus in specifically on one small thing on a subject, such as just the face, just the hands or for baby photography, just the feet. They serve kind of like a spotlight on a choice subject.

 

Snoot used on my model’s face only.

Model/Actress: Celeste Smith

 

Snoots also a great tool for lighting particular things for an interior shoot or even products because the light is so concentrated and direct. Snoots can also have complimentary modifiers of attachable gels and grids.

My snoot setup.

 

Snoots are generally brand specific or universal as long as they have the specific speed ring adapter that matches the brand of monolight or strobe you are using.

 

Gels

Gels are not only a practical tool but they are also a fun, creative modifier to use for lighting a subject. In situations where white balance is an issue (such as incandescent bulbs adding a warm orange cast to an image and fluorescent bulbs typically generating a green cast, gels can be used to match the light’s color in order produce an image with light color closer to white.

Rosco 20”x24” Color Effect Kit

Image courtesy of Adorama

 

For a more creative touch, gels can also be used to color backgrounds or to color the light hitting a subject. In the image below, I used a Rosco 20”x24” Color Effect Kit which contains 15 different color gel sheets and is sold at Adorama for around $97.65 for the whole kit. These gels can be bent or folded and are still reuseable. This particular kit contains the larger-sized sheets, which also allows me enough available to be able to also cut swatches of the gels for use too.

Red gel was used for background and blue and yellow gels were used to color the light.

Model: Deeksha Chawla

 

I used a red gel on a background light aimed at a Savage Smoke Gray Seamless background. I also used a yellow and blue gel on two separate lights on each side behind my model aimed back toward the camera to give her an interesting rim light color on her skin and hair. As a bonus, because I used a fog machine for special effect, the gels colored the smoke as well.

 

WHEN YOU’VE CAPTURED THE ESSENCE OF BEING

When you’ve captured a true portrait of someone, you have captured the very essence of their being. As you can see, there is much involved to achieve this and many techniques available to do this successfully. This is what makes capturing a portrait – an art.

 

Posted by Dawn Wayand in Workshop, 0 comments
The Art of Portraiture Part 3: Your Subject

The Art of Portraiture Part 3: Your Subject

The most important element of a portrait is your subject. Yes, composition and depth of field adds to a portrait, and backgrounds and lighting can make or break one, but without a subject, there is no portrait.

The biggest key to a great portrait is your subject.

Model: Kathryn Hopkins

 

We started off this series discussing Composition, Depth of Field and Background and in our last article, we covered Light. In this article, I’m going to go over the feature of a portrait: your subject.

 

GETTING TO KNOW YOUR SUBJECT

The best thing you can do before a portrait shoot is to sit down with your subject for at the very least: 10 minutes – and talk with your subject. Get to know them a little better. Where are they from and in some cases, what country are they originally from? What’s their favorite color? What kind of music do they enjoy? (This can often help by using a service such as Spotify or even Apple Music to play the music your client likes during a portrait shoot to get them to relax, which we will get into later…) Do they have hobbies? What do they do for fun?

Using your subject’s unique qualities expresses who they are in a portrait.

Model: Maria Iodice

 

The list of potential questions is endless, and the benefit to getting these types of questions answered is this: the more you know about your subject, the more your can bring your subject into their portrait. For the image above, my client above told me about her ethnic background so we played around with some scarves to capture more of the essence of who she is and where she’s from.

 

THEIR CHARACTER

Sometimes you might have a quiet, reserved teen to photograph and other times you might have to capture a more extroverted, animated subject. Getting to know their character when you have that initial chat before you pick up your camera will prepare you for what you want to capture about that person. You wouldn’t want to force a smile on someone who rarely smiles just as much as you wouldn’t want to force a serious expression on someone who is always smiling and laughing.

A portrait should express a person’s character.

Model: Chelsea Jackson

 

The idea is to capture your subject as the person he or she actually is rather than portraying them as someone they are not. In the image above, my subject was a carefree, extroverted girl and she naturally gave me this expression which completely shows the fun, carefree woman she truly is.

 

GETTING A SUBJECT TO RELAX

Getting a subject to relax can be a tough one, but it doesn’t have to be if you have a few tricks up your sleeve. Again, getting to know your client before a photoshoot will not only only give your client better images in the long run, but it will help you to actually capture those images! Learn what kind of music they like and then play their favorite singer or band’s music very subtly in the background during a shoot.

Getting a subject to relax can be hard – or not – once you learn how to do it.

Model: Lizbeth Sawyers

 

Sometimes giving a subject something to do with their hands relaxes them. The common cause a subject might have for not being able to relax is just not knowing what to do in front of a camera. Use a soft, friendly voice. Be very specific with your direction. Talk to your subject. Remember all those questions you asked in the beginning? Ask away as they more you are interacting with your subject, the more relaxed they become in front of your lens and you with your subject.

 

POSING

 

Facial Expressions

A facial expression can be one of those things that makes a breaks a portrait. If your subject is not relaxed in front of your lens, it will show in their face, whether it’s tension in the forehead or around the mouth or a deer in headlights look in their eyes. Even when you are shooting models, a problem can arise with getting a good facial expression in an image.

Facial expressions are key.

Model: Alexandra Rosner

 

Knowing how to relax your subject and getting them to connect with you personally (directly behind the lens) rather than just connecting with that long black thing in their face (your lens) can make all the difference. As you can see in the image above, my subject has no tension in her forehead, her eyes are soft and her mouth is relaxed.

 

Body Language

Posing the body to express what you want to express in a portrait is probably one of the more easier tasks than dealing with facial expressions. A person can be feeling a certain way on the day of their shoot and it’s more difficult to get a good facial expression out of them that is more natural to their usual personality. Getting a subject to pose their body is a bit easier sans posture. A person having a bad day may have a more slouched look or poor posture. You’ll want to make sure to observe and correct this before pressing the shutter. You can tell a subject how to pose, or even more effective: mimic a pose to a subject and then walk over to adjust them as necessary.

Body language can tell a story in and of itself in a portrait.

Model: Baron Jackson

 

In the image above, I was looking for a bad boy, musician type look, so I needed a more serious expression. I used a hand in the pocket and the other hand posed upward grabbing his shoulder to exude a more confident look.

 

Hands

Hands can be a little difficult to work with sometimes, but again, if you know a few tricks, they do not have to be. For women, the idea is for a woman to look feminine: soft, gentle, light, beautiful and graceful. So let’s create graceful hands! A good trick for this is to have them start with their hands at the top of their head and have them lightly sweep their fingers very lightly, gently and SLOWLY downward “like a feather”, across and/or in any other direction. Keep clicking the shutter while their fingers are in motion, or tell them to “hold” once their hands/fingers get to a place where you want to create the capture.

The use of hands.

Actor: Patrick Walsh

 

For men, it become a little bit easier. Men can use their hands to engage with their facial hair, their hands can be placed in their jean pockets and/or they can even tuck their hands under their arms when you have them cross their arms. (When they do that, sometimes a good trick is to have them push their hands forward a little as it can bulge the biceps a little more…)

 

Eye Contact

I’m sure you’ve heard the saying, “the eyes are the window to a person’s soul”. Capturing your subject with direct eye contact can be very engaging to a viewer looking at a finished image. For this reason, the eyes should be the sharpest part of a portrait.

Direct eye contact.

Model: Daria Komarkova

 

However, sometimes catching your subject with their eyes focused on something off-camera, can be just as engaging. It makes you wonder, what they are looking at? What are they thinking? Typically a candid portrait will usually have eyes focused on something else off-camera because they are engaged with something else, making the image “candid”.

Eyes directed off-camera.

Model: James Karl Campbell

 

CANDID PORTRAITS

Many people will opt for nabbing a candid portrait. A candid portrait is one where your subject is not really in an intentionally posed position. Some photographers like this because they feel a subject is more at ease and being themselves during a candid moment. Others like the feel of a look into someone’s everyday life. Whether I’m shooting fashion or portraits in a studio or outdoor setting, I keep shooting whether I’m posing a subject or not. It’s only then I will capture a moment of laughter, or a deep moment like in the image below.

Catching someone off guard sometimes makes for an interesting portrait.

Model: James Karl Campbell

 

In the image above, after shooting a long day with my model, we took a break for a few moments and I managed to catch him staring into the light. I have to admit a “candid” portrait wasn’t the first thought on my mind when I captured this portrait. It was more his expression of being deep in thought during a period of silence and the reflection of the light in his eyes.

 

MOTION & MOVEMENT

Introducing motion or movement into a portrait can add vibrancy and flair to a portrait. You might be shooting an athlete or a dancer or even a moving child. Having a hint of motion in the image adds a dynamic element to a portrait that help differentiate your portrait from other portraits.

Introducing movement into an image can make a portrait breathtaking.

Model/Dancer: Shoko Fujita

 

In the portrait of the dancer above, the dancer was moving slowly, however, I was also shooting her through a piece of Plexiglas covered with folded Saran wrap to get an added effect of motion, creating a more soft, elegant and whimsical ballerina portrait.

 

INTRODUCING PROPS

Props can be key in not only getting your subject to relax or adding in a talent of your subject, but they can also help to tell a story with your subject as the main character. Sports equipment, musical instruments and more can lend to adding an interesting storyline to the life of your subject through an image.

A little rug, a few pillows, lighting some candles and giving a girl a guitar gets you right at home with the artist.

Model: Daria Komarkova

 

In the image above, I wanted to go for an “at-home-with-the-artist” feel so I rolled out a faux wooden floor, laid down a comfortable rug, threw down a few warm-colored pillows, lit a few candles, and gave my rock-n-roll subject a guitar to strum while shooting her from above.

 

IT’S ALL ABOUT WHAT’S RIGHT IN FRONT OF YOU….

So really, a good part of a good portrait relies a lot on your subject and how you interact and place them in a frame. You now know how important talking to a subject is prior to a portrait shoot as it affects so many subsequent parts of that shoot. Posing is important and catching your subject off-guard in a candid moment can be just as wonderful. Mix in a prop here and there to speak a volume about your subject’s talents and/or to tell their story and you have an amazing portrait!

Posted by Dawn Wayand in Workshop, 0 comments
The Art of Portraiture Part 2: Light

The Art of Portraiture Part 2: Light

Light is a vital part of portraiture. Heck, it’s a vital part of photography period. The word “photography” literally  translates “to draw with light”. There are many ways to introduce and use light in a portrait and we’ll go into some of those ways and more in this second installment of my series: The Art of Portraiture. In case you missed the first article, check out, The Art of Portraiture: Composition, Depth of Field and Background.

 

LIGHT SOURCES

 

Daylight and a Reflector

Daylight is the cheapest and easiest way to light an image because most of a day, it is always there. The quality  or characteristics of it may change due to the weather, but it is always available. A photographer’s optimal daylight situation is partly cloudy or overcast. This is mainly because when the sky is sunny and there are no clouds in the sky, first, there is no texture in the sky which is the result a cloud will insert into an image. Second, a sunny day tends to wash out colors. An overcast day will enrich colors.

A reflector was used on the left as I wanted to play with shadow and bright sunlight.

Model: Daria Komarkova

 

Typically, you will want to position your subject with their back against the light source. A reflector is key to have on hand regardless of the weather since there is nothing to bounce light back onto your subject like a white ceiling or wall would. Whether you are creating a headshot, ¾ shot or a full body shot, a large reflector is a terrific tool for bouncing a lot of light back onto your subject to fill in the shadows that appear under the eyes, nose and neck.

 

Speedlights

Speedlights are an inexpensive light source that can be used on- or off-camera. They tend to be a versatile tool and a more convenient solution than a monolight or strobe.

My Nikon SB-700 Speedlight.

 

While they are a tiny little light source, there light can be spread through the use of tilting its head and bouncing its light off of a wall or ceiling onto a subject, or it can be combined with a modifier such as an umbrella or softbox to widen its effect.

 

Continuous Lights

Continuous lights are as they are titled: continuous running lights. They do not flash like a speedlight, monolight or strobe would. Some of the benefits for using a continuous light are that many subjects tend to relax more under continuous lighting rather than a flash and that you can shoot wide open for a shallow depth of field. They are also great for shooting people that blink a lot. The downside to continuous lights is that you are limited on modifiers and a tripod is almost a must for the sharpest image when setting the shutter slower than sync speed. Continuous lights come in a few flavors: tungsten, fluorescent and LED lights.

Left to Right: Lowel Rifa 66ex – 750 Watt Light, Westcott Spiderlite TD6 and the Fiilex P360EX Variable Color LED Lights.

Images by Adorama.

 

A few good recommendations I have tested and used in the past for continuous lights and that are available at Adorama are:

 

Strobes

Strobes are generally the lighting tool used in studio portraiture as they emit a great deal of power and light your image for capture in a split second. They can work with almost any modifier that is compatible with their make (and sometimes, model), usually using a speedring adapter.

Flashpoint Rapid 600 HSS Monolight.

Image courtesy of Adorama

 

I recently found the Flashpoint Rapid 600 HSS Monolight with Built-in R2 2.4GHz Radio Remote System (Bowens Mount) to be a great find as they work seamlessly with other tools in the R2 family such as R2 Zoom Flashes when using one of the following transmitters:

 

Flashpoint R2 i-TTL Wireless 2.4 G Transmitter Remote for Nikon,

Flashpoint R2T 32 Channel 2.4GHz Manual and HSS Transmitter for Canon, or

Flashpoint R2 TTL 2.4G Wireless Remote and Triggering System – Sony

 

Other good systems that are a little bit pricier but offer superb quality are the Broncolor Siros 800 Basic 2 Monolight Flash Kit, WiFi which includes a great starter kit. I am personally in love with the Profoto B1 500 Air TTL Battery-Powered 2-Light Location Kit. These can be used in the studio or outdoors on location as they are battery-powered and they can come with the transmitter and do include a convenient backpack for travel.

Profoto B1 500 Air Location Kit.

Image courtesy of Adorama

 

USE OF LIGHT SOURCES

There are many different lighting uses for monolights and strobes in a studio. Let’s jump into some of the main uses of these when shooting portraits.

 

Key Lights & Fill Lights

When working with multiple lights, a key light is the main light used to illuminate a subject. A fill light is sometimes used to fill in the shadows created by the key light to make up a more evenly lit portrait.

A key light was used on the right and a fill light was used at a lower power as fill on the left.

Model: Lizbeth Sawyers

 

Background Lights

A background light is used to illuminate a background and can be placed in several ways. I typically either place a floor light directly behind my subject angled up and shining on the background to create more of a circular effect on the background behind my subject or I’ll place a light on each side of my subject aimed toward the background either at different heights or the same height to evenly light the entire background.

Here I used a floor light aimed up at the background behind my subject and attached a red gel to it.

Model: Deeksha Chawla

 

Rim Lights

A rim light is typically placed behind a subject aimed at the back of the subject and does just what its title suggests: it creates a rim around the the hair and shoulders and arms of a subject.


Use of a rim light.

Model: Deeksha Chawla

 

Floor Lights

While floor lights can also be used as background lights and rim lights, they are typically used when lighting full body shots to illuminate the legs and feet of a subject.

I used a floor light to illuminate my model’s legs and feet here.

Model: Baron Jackson

 

Hair Lights

Hair lights are used to create separation between your subject’s hair/head and the background or another subject in an image.

I used a hair light above my subject to illuminate her hair and to give a little rim to separate her head from the background.

Model: Deeksha Chawla

 

LIGHTING TECHNIQUES

We all aim to make our images look unique from others and while there are a lot of choices in how to shine some light on your subject, below are some lighting techniques to help get you creating more interesting portraits.

 

Rembrandt Lighting

Rembrandt lighting came to be known by its name through study of works from the artist, Rembrandt, and how he portrayed light in his paintings. In most, if not all, of his works, he worked light into his masterpieces much like we shape light in our photographs, but with one interesting niche that became a “tell” of his work: he would show light shining on his subject in a position that made one side darker than the other and that darker side would contain a triangle of light on the shadow-side cheek.

Rembrandt lighting.

Model: Tara Virada

 

Loop Lighting

Loop lighting is a lighting technique called such as its “tell” is that it leaves a loop pattern under the nose. The loop lighting setup is very similar to Rembrandt lighting setup except that the triangle on the shadow side never closes and the shadow of the nose appears to be pointing to and/or just touching the corner of the lips.

Loop lighting.

Model: James Karl Campbell

 

Split Lighting

A split lighting setup results in one side of the face being lit and the other side of the face being completely in shadow. This occurs by placing a light on one side of the subject or the other.

Split Lighting.

Model: Celeste Smith

 

Underlighting

Underlighting, sometimes referred to as “movie” lighting is a quick and easy one-light setup that reels in (no pun intended) a dark, dramatic effect and will help to sculpt a subject’s body and face. Typically, a subject is wearing darker colors, though a mix with whites or reds can also lend to a character’s look.

Underlighting example, sometimes referred to as “movie” lighting.

Model: Kathryn Hopkins

 

Doubleback Lighting

Doubleback lighting, which I also found to be also called as “badger” lighting is a creative two-light setup that helps to emphasize shadows which adds angles to the face and body. Depending on the power and modifier used, the shadows can range from harsh (which works for chiseling a man’s face) to soft (like in the image of my beautiful model, Kathryn, below).

Badger or Doubleback Lighting.

Model: Kathryn Hopkins

 

The tell of this type of moody lighting is that it leaves inverted color markings rendered by the lights similar in look to those of a badger.

 

Butterfly Lighting

Butterfly lighting can be as little as a one-light setup (more if you want to light the background) positioned above and in front of your subject – high enough so that it creates a shadow under the nose similar to the shape of a butterfly.

Butterfly Lighting.

Model: Shoko Fujita

 

Clamshell Lighting

Clamshell lighting is a form of beauty lighting that pretty much eliminates shadows on a subject’s face as the lights are positioned to cancel out the shadows each would create. It is generally used to emphasize natural beauty or to highlight makeup (usually for a skincare or makeup ad…) We used it artistically in the image below to highlight the creative color work that my hair/makeup artist, Gil Aldrin, created on my model.


An artsy example of clamshell lighting using two lights for the clamshell and two background lights.

Model: Kathryn Hopkins

 

High-Key Lighting

High-key is a lighting style that is a results in little-to-no shadow on your subject, based on the level of brightness of your lights hitting a subject. High-key is based on lighting ratios. It’s not a lighting pattern – which is based on light direction. Many lighting patterns can work for high key lighting so long as there is minimal to no shadows. High-key lighting can be achieved when your fill light(s) project(s) the same level of brightness as your key light to fill in shadows. This creates a 1:1 ratio eliminating all shadows.

High-key image of my model, Kathryn – extremely soft shadow transition,

light-color clothing and a strong black point using two background lights.

Model: Kathryn Hopkins

 

Low-Key Lighting

“Low key” lighting is a more dramatic form of lighting that focuses on form and shadow. It is typically a darker image where the focus can be on part of your subject whether it’s their face, a body part or a certain amount of their whole body. It can be much more interesting when adding a little bit of rim lighting behind your subject.


Result image of my model Baron based on a low-key lighting setup.

Model: Baron Jackson

 

LET THERE BE LIGHT…

Lighting a portrait can make all the difference between a good portrait and a bad one. As you can see here, there are several light sources available to you to use for different uses and to light in different ways. You can develop your own style just in the way you light an image. While I can light an image in any way (as shown above), my personal style, be it woman or man, is more on the darker side with lots of shadow – creating a moodier image. What’s your style?

Posted by Dawn Wayand in Workshop, 0 comments
The Art of Portraiture Part 1: Composition, Depth of Field & Background

The Art of Portraiture Part 1: Composition, Depth of Field & Background

Creating a portrait of a person isn’t always an easy task. A portrait should represent its subject, his or her character, likes and dislikes, feelings, mood and more. I love portraiture. I love to capture people with their raw, naked emotion and to show my subject an image of their true self.

An outdoor portrait of a model/actress – with a lucky tailwind to boot!

Model/Actress: Valery Lessard

 

They are always moved in what they see, when showing them the reflection of what I captured of who they are. I also like to manipulate emotions and get my subject to step outside of their comfort zones such as in the image below.

Good boy turned bad.

Model: Baron Jackson

 

It was really tough to get my subject above to play a bad boy as he was a sweet kid with a crazy positive attitude, but he was thrilled to see a different side of him that I was able to bring out with a little coaxing.

 

COMPOSITION

Composition can make or break an image. There are many techniques to gaining a great composition in portraiture. The first, most commonly known guideline is the Rule of Thirds.

 

Rule of Thirds

We’ve all heard of it: The Rule of Thirds. The term “rule”, though, sounds like there is no room for deviation. As an educator, I prefer to think of it as more like “guideline” for composition as it then becomes much less dreadful and a little more beneficial.  The Rule of Thirds is taking a frame and dividing it equally into three sections horizontally and equally into three sections vertically using two lines each resulting in nine equal-sized boxes (imagine a tic-tac-toe box…) Composing your frame so that your focus point of your subject falls on one or more of the four intersecting points, tends to make an image more naturally appealing for a viewer to engage.

The subject’s eye falls on one of the four intersecting points.

Model: Sietzka Wiersma

 

While you may not always get your subject perfectly on one of the four intersecting points, aligning your subject along any one of those four lines still makes for a more balanced image.

 

Alter Perspectives and Angles

I once had a mentor mention that if you want your images to be better than 80% of the rest of the images out there in the world, change your perspective! This means, get down low and shoot upward…

Self-portrait shot from below.

 

Or get up high and shoot downward…

Self-portrait shot from above.

 

Use Negative Space

The use of negative space can also be appealing when shooting a portrait. I’ve always been a huge fan of shooting my portraits and headshots horizontally when most people shoot them portrait-oriented… I never knew why it was more appealing to me until I realized that I was turned on by the use of negative space, which is also a big turn-on of famous photographer, Peter Hurley.

The use of negative space.

Model: Andy Mizerek

 

Framing Your Subject

You can also make your portraits more interesting by framing your subject, whether it is by using the nook of a tree, an arch of a doorway or even some faux leaves, as I have done in the image below.

Framing my subject’s face using vines.

Model: Kathryn Hopkins

 

Orientation

Sometimes the orientation of an image can make all the difference. Once upon a time, a very wise mentor once taught me, “What’s the first thing you do after you take a picture…? You turn the camera 90 degrees.” Basically meaning, if you take a landscape-oriented image to turn the camera and take the same image portrait-oriented directly after or vice-versa.

Here my model is tall and I captured much more of the scene in the image portrait-oriented.

Model: Daria Komarkova

 

This tip works well with ANY type of photograph that you capture as you may find after returning to your computer or laptop to process your images that an image worked better vertically than horizontally or vice-versa..

In this image, I was able to crop in closer to focus more on the model and her expression than on the scene.

Model: Daria Komarkova

 

DEPTH OF FIELD

 

Shallow Depth of Field

  • Move Closer. The closer you are to your subject when you shoot, the shallower the depth of field. If you want more of the image to be in focus, you’ll want to put more distance between you and the subject.

I got in close as at 70mm I could using a 70-200mm lens.

Model: Katie Buell

 

  • Large Aperture. There’s a reason for the attraction to a lens that has a large aperture (low number).  A larger aperture will allow for a shallower depth of field whereas a smaller aperture will put more into focus. I used an aperture of F/2 on the image below.

I used an aperture of F/2 here.

Model: Andy Mizerek

 

BACKGROUND

A background can make or break your image. Put your subject in front of a super busy scene and it takes the focus off of your subject – not to mention, it can sometimes create mergers. Your background should not have a bunch of distractions and should help focus attention on your subject. Other factors of a good background are that it helps give context to your subject and the scene and it can aid in telling a story in your image without saying a word.

 

Give Context

A good background will help give context and meaning to a portrait. A perfect example of what I mean by context is an environmental portrait. Photographing someone in their natural environment adds context and impact to an image.

The subject appears to be taking a break from working for an environmental portrait.

Model: Andy Mizerek

 

Tells a Story

An interesting portrait will also tell a story without a companion writer having to write a word. I love creating sets that tell stories, such as in the image below. I wanted to create the feel of capturing an artist in the midst of a high note as she was singing, so I lent my microphone, microphone stand, headphones and a pop filter for the set and I put her on a bright blue background for impact. Your eye is instantly attracted to the bold blue color and then the subject dressed in a contrasting bright white.

The addition of props and a bold background lend to the interest of this image.

Model: Maria Iodice

 

General Background Choices

 

  • Outdoor/Interior Choices. An indoor or outdoor location background can be a wonderful choice and can give context to editorial, fashion and environmental portrait work, however, sometimes the background can be a bit busy and distracting causing the need for some type of faux background.

An outdoor background in the busy Times Square area.

Model: Lisette Melendez

 

  • Seamless Paper. If you are looking a clean, crisp and simple background, seamless is definitely the way to go. Savage seamless paper alone comes in around 69 colors to choose from, making it an optimal choice if you are looking for a specific color. You can buy a 9-foot wide, 12-yard roll of Savage Pure White Seamless Paper for around $45.00 at Adorama.

Savage Smoke Gray seamless paper

Model: Daria Komarkova

 

My Auto Poles with Interfit Chain System for Seamless Paper

 

Seamless paper requires a few additional pieces for support than other backgrounds and these different pieces can be pricey unless you put your kit together yourself like I did. My kit consists of two (2) Manfrotto Auto Poles at $114.99 each, an Interfit Wall Bracket Kit at $79.25 which you can attach to your wall or to a couple of Auto Poles and a four (4) of Manfrotto 035 Super Clamps w/o Studs at $26.88 each.

Manfrotto Auto Pole

Image Courtesy of Adorama website.

 

Interfit Wall Bracket Kit

Image courtesy of Adorama website.

 

My Manfrotto 035 Super Clamps

 

  • Vinyl.  Another classic and preferred choice for photographers is vinyl. It gets a great reputation because it hangs flat whereas muslin tends to wrinkle easily and seamless tends to crinkle and get dirty more easily. Vinyl is easy to clean and takes up very little space to store as it can be stored straight up and down in a corner.

My versatile 6-foot roll of vinyl -black on one side and white on the other.

 

  • Portable. Portable backgrounds can be a great choice as they are versatile, convenient due to collapsibility and inexpensive. You can use them in the studio or take them with you on location. A 6-foot portable background can fold up into a circle as small as 24 inches. They typically have a border so may not be a great choice for a full-length shot, but they work perfectly for headshots, portraits and three-quarter body shots.

Portable Collapsible Background

 

The Savage Black & White 60”x72” Collapsible Background shown above is available at Adorama for $127.50.

 

  • Muslin. Muslin can be an excellent choice to shoot with since it’s not reflective at all, folds as small as you need and can be hung from a portable background support and costs a fraction of some of the other choices. This all-cotton option is a classic choice for these reasons. Imagine, before cameras, how the old masters’ portrait paintings sometimes had a drape of material in the background. They knew it worked then. We know it works now.

Collaged image by Dawn M. Wayand – original image pieces courtesy of the Adorama website.

 

  • Canvas. Canvas backdrops come in a variety of sizes, colors and designs. They are a good choice because they can be reused over and over again but they can also be a bit heavy to set up. You can use a canvas backdrop multiple times without your image looking the same by changing up your foreground elements and your subject’s wardrobe and accessories. Canvas backdrops, however, can be one of the most expensive choices of all of the choices I’ve listed but can be one of the most creative as well. A very small sample of canvas backdrops available at Adorama below include (clockwise from top left): Arctic Blue, Black, Seville and Classic Rembrandt.

Collaged image by Dawn M. Wayand – original image pieces courtesy of the Adorama website.

 

  • Floordrops. Floor drops are often used together with back drops to recreate a scene. They typically come in designs such as wood floors, brick walls, metal panels or tile as shown below. A rubber floor drop also makes for a great backdrop when going for a more edgy feel to an image. It’s simple enough to still keep the focus on your subject. A small sample of floor drops below include (clockwise from top-left): Industrial Grunge, Mosaic Pavers, Worn Planks and Red Brick.

Collaged image by Dawn M. Wayand – original image pieces courtesy of the Adorama website.

 

  • Other Creative Backgrounds. I’m all for thinking outside the box and making my backgrounds as interesting as possible. Some other great creative choices for backgrounds include materials such as wallpaper, sequin fabric and designer art paper which makes for a great headshot background that you can get at your local art store for between $4-10 each piece (as shown below), among numerous other options. Put your creative thinking cap on and figure out some other interesting backgrounds that might work for you.

Just a few of the creative art papers I’ve collected over time for headshot opportunities.

 

Here I used a black crocodile art paper as a background to add a little texture to this beauty shot.

Model: Daria Komarkova

 

COMPOSITION AND BACKGROUND CAN BE EVERYTHING…

As you can see, how you compose your image can make all the difference between a humdrum photo and a much more stunning portrait. It’s also important to choose your background wisely. There are so many options out there. If you choose an outdoor or interior background, be sure that your subject IS the subject of the image and that the background doesn’t take the show. Composition, depth of field and background are just a few elements to the Art of Portraiture. Stay tuned for the next article, The Art of Portraiture: Light.

Posted by Dawn Wayand in Workshop, 0 comments