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Setting up Portraiture
Introduction
Portraiture is the 'bread and butter' of any professional
photographer. Getting it 'right' is essential.
I once heard a professional artist - an oil painter - describe a
successful portrait as one which told you something about the
subject which you did not already know! I do believe there is
something in this.
Capturing people in an unguarded and relaxed moment is possibly
the trick.
Outdoor Portraits Perhaps due to the warm summers that we have
had over the past few years, I am finding that outdoor
portraiture is becoming more popular.
For families, groups and for individuals this can be a great
approach - using locations such as the back garden, a park or
green fields - if you live in or near the country.
With this approach there is little point in using a backdrop -
it is already there. However, make the backdrop unobtrusive - or
an integral part of the study.
When I take an individuals portrait outdoors, and I have done
this for several actors and professionals, I look for a green
hedge, a nice neutral brick wall or a huge, slightly out of
focus, green field to place behind the subject. The background
is there - interesting in its texture perhaps - but of little
consequence. Clearly the subject has to stand out from the
background - so be careful with colour. A lady in a nice green
office suit will not profile well against a hedge!
However the backdrop may be an essential feature of the photo. A
farming family posed against a hay rick, with a few bales acting
as seating props for the more senior members of the family.
I can offer two main tips concerning Lighting Outdoor
Portraits. Firstly beware of sunshine! Amateurs always think
that bright sunshine is an ideal photo environment. The reverse
is true. Bright but even light giving few if any shadows is
ideal. Bright overhead sunshine - referred to as 'top light' by
professional photographers, leads to shiny foreheads and deep
dark eye sockets - very unflattering. In those instances put the
subjects in shade - under a tree or some such place.
The above point illustrates the need for example when taking a
wedding to have prepared for all contingencies beforehand in
finding an appropriate location.
Further, midday clear skies produce blue light, and early
morning or late evening sunshine yellow light - be aware of
this! Set the colour temperature of the digital camera correctly
or use a correcting filter in film work. Or use the colour cast
to your advantage.
Secondly use a flash.
I cannot remember using free standing lighting in an outdoor
location. But I usually use flash. Why - to give the subjects a
'key light' in their eyes - which ads vibrancy and intimacy to
the picture. The flash will also fill in those dark corners
where daylight is not penetrating.
Indoor Portraits I carry lights and backdrop in my working
vehicle. So I can create a studio in my client's home within 15
minutes!
Successful indoor portraiture cannot be achieved with on camera
flash. This creates deep shadows and look very amateur. Studio
lights are essential.
The backdrop is optional. Some customers like to have a neutral
photographic background for their study. Others like to feature
their home. Both will require lighting.
When lighting beware of mirrors, glass fronted frames and shiny
objects which will pick up the flash!
I generally use three lights for indoor portraiture. A soft
light from the left, a soft light from the right at reduced
intensity, and a low level 'key light' at my rear. The light
from the left will illuminate the subject, the light from the
right will fill in the shadows and the key light will provide
that all important glint in the eye.
Some photographers try to get very sophisticated with other
lighting combinations. However, in my experience, when invited
into people's homes to take a set of portraits I recon one has
an hour to get the job done! A quarter hour to set up, half and
hour to take the shots, and a quarter hour to do the paperwork
and get the equipment out. I try not to overstay my welcome and
get on the clients nerves!
Studio Portraiture Studio portraiture is easier for me because
I do not have to set up - the equipment is already there.
But while I am in my familiar environment, the client group is
not! So take care to relax and familiarise them as to where
things are and what to do.
In the studio I use the same basic lighting combination as I
would use in peoples homes. This keeps things simple. A range of
backdrops should be available from the fashionable pure white
through
plain colours to traditional multi coloured photo
canvases.
The sitting will probably last no more than a half hour to an
hour and the customer should have been briefed as to what
clothes to bring and changes of clothes which might be required.
What comes out of this is that clients need to be briefed before
they leave their homes. Clothes, changes, time, location etc.
This highlights the advantages of a home based shoot where
everything the customer wants is to hand.
Photographing the Professional Actors and Actresses, Models,
Politicians and Corporate Giants are a group of customers who
want something special.
They want a special shot - something different. And they are
prepared to be patient and experiment to get a distinguished
result.
Innovative lighting using lights behind the subject to highlight
hair, the use of coloured gels on lamps to provide effects,
unusual poses or particular props might be required or desired.
These subject will spend half a day in the studio to achieve
something which they want and which will be valuable to them.
This is playtime for the photographer. However, I always get a
set of standard shots off first in order to have something in
the bag in case the imaginative approach backfires!
Photographing Groups >From Dinner Dances to School Proms the
attendant photographer is expected to be able to capture the
shot - be it a couple or a group of twenty friends.
In these instances I select - or have been allocated! - an
appropriate spot and either set up a backdrop or use a feature
of the environment.
In these instances where I may be photographing a very diverse
grouping I put up three lights as before, left, right and a
light behind me. They are all set at similar levels to provide
an even coverage of the area in front of me - such that however
many subject that I have, they are evenly lit.
Posing the Subjects A complex subject and could occupy a book.
This is one of the areas where the innovation and inspiration of
the photographer comes to the fore. Since many decisions are
made on the fly and adapting to a situation it is difficult to
make rules.
A few basics:
Have the subjects stand at an angle to the camera - not facing
it. This presents a more interesting profile. But the subjects
should look into the camera lens. Except for the couple who
might look into each other's eyes!
Have a range of seats and stools available. When twenty people
appear wanting to me photographed together, arrange them tightly
using stools for the ladies - even getting some - gents? - to
kneel on the floor - football team style.
Setting up The Lights I use high power studio flash lights -
both on location and in the studio itself. They are readily
available from several manufacturers.
I very rarely point the lights at the subject! They are too
harsh and bright! The only time I do this is in a hall when
photographing an orchestra or very large group when I need the
light coverage.
Pointing the lamps away from the subject I fit white umbrellas,
which reflect a lower and softer light towards the subject.
All of the lights I use are able to slave. That is, when turned
on, a light will fire itself if it detects a flash from another
unit. This saves a great deal of wiring on location - and in the
studio! I need only connect the camera to one light and the rest
of the lights will slave.
Getting the Exposure Right When taking outdoor portraits I use
the programmed function of the camera most of the time. The
camera is sophisticated enough to take into account the small
amount of additional light from the on camera flash.
In the studio, or in the home environment when using lights, I
set the camera to manual mode and select one 60th or 100th of a
second shutter speed to synchronise with the lights and freeze
and motion. Then an aperture of F8 or F16 to give a reasonable
depth of field. Following this I set up each light with a flash
meter such that I get the overall balance of light I require.
In Conclusion Portrait photography is a very broad subject and
requires much experimentation and experience to get good results
every time. Find a patient sitter who can be paid off with a
free portfolio!
About the author:
Christopher Thomas is both keen photographer and company
director of Viewlink Ltd based in Amersham, Uk. The company
focusses on digital photo
developing for both amateur and commercial photographers. For
more articles by Christopher Thomas please visit the company
website at http://www.view-link.com.
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