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    100 Ways to Take Better Portrait Photographs
    100 Ways to Take Better Portrait Photographs
    100 Ways to Take Better Portrait Photographs
    Ebook291 pages1 hour

    100 Ways to Take Better Portrait Photographs

    By Daniel Lezano and Bjorn Thomassen

    ()

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    About this ebook

    A pro’s guide to taking portrait photos—whether it’s framed on the wall or an online profile pic.

    100 Ways to Take Better Portrait Photographs is a practical and informative guide to every aspect of portrait photography, from informal pictures of family and friends to professional studio techniques. It contains:
    • Straightforward, practical tips and advice
    • Over one hundred inspirational portrait photographs
    • Invaluable digital manipulation techniques


    Whether you’re earning a living as a professional portraitist or snapping informal social shots just for fun, this resource offers clearly presented advice on the many aspects of digital and film portraiture:
    • Composition and posing
    • Outdoor and studio portraits
    • Fashion, glamour, and beauty shots
    • Group portraits—family, social, corporate, and business
    LanguageEnglish
    PublisherOpen Road Integrated Media
    Release dateAug 18, 2006
    ISBN9780715335420
    100 Ways to Take Better Portrait Photographs
    Author

    Daniel Lezano

    Daniel Lezano is a critically acclaimed author and editor of Photography Monthly. Bjorn Thomassen is a professional portrait photographer and a British Institute of Professional Photography (BIPP) International Fine Art Photographer of the Year winner.

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      Book preview

      100 Ways to Take Better Portrait Photographs - Daniel Lezano

      acknowledgments

      Producing a book like this requires the cooperation of many, and my thanks go to everyone who helped Bjorn and me put it together. I would like to thank my family for their support (in particular my partner Jo who must have wondered when I would return to normal life), my daughter Ellie and her friend Ruby for being such wonderful child subjects, and the various professional models we worked with, in particular Charlie and Vanessa. Finally, many thanks to Canon UK for providing a superb range of digital SLRs and lenses to shoot with, The Flash Centre in London for the use of their superb Elinchrom studio flash outfits, Lastolite for their reflectors and diffusers and Manfrotto for their support.

      Daniel Lezano

      Well, Dan has said it all really, but I would like to reiterate a special thank you to Chris Whittle of Elinchrom and all the wonderful staff at The Flash Centre, the great people at Canon UK, especially Angela, Ashley and Hayley for their continued support, Charlotte Thomson for her contributions as a model and a PA, and all of the models without whom this book would not have been possible.

      Bjorn Thomassen

      contents

      Introduction

      Over the years I have tried just about every branch of photography, from product shots of three-piece suites to landscape and even aerial photography. However, my natural passion for people has driven me to specialize in portraiture. I enjoy all aspects of portrait photography, almost without exception, from capturing the endearing first smiles of a baby to the challenges of a more formally composed corporate portrait. I even enjoy covering weddings, with all the pressure of highly charged emotions and limited time that they bring.

      I believe that to be a good portrait photographer, you must be in touch with your feelings and emotions. It is vital that you are able to form a relationship with your subject so that they feel comfortable with you taking pictures of them. If the atmosphere in the session is stiff and awkward, your subjects will communicate this in their pose and expression, and there is no chance that you will get the sort of warm and relaxed portraits you’re after. I sometimes feel that the success of a session ultimately has more to do with interpersonal skills and psychology than it does with technical know-how.

      That is not to say that you don’t need technique though, and, as with all genres of photography, light is everything. Early in my studies I learnt that expanding my knowledge of lighting enabled me to tackle portraits, even in the most difficult situations, with a greater degree of confidence. My consequent study of light has led to a fascination that still consumes me today. I am constantly in awe of the lighting masters, and still hungry for knowledge. I believe that you could study lighting for a lifetime and still run out of time.

      This book covers a diverse range of styles, techniques, ideas and tips, the majority of which do not involve complex or expensive equipment and are therefore within the reach of any keen photographer. I hope that this will provide some enlightenment and inspiration and help you take better portraits. I wish you every success with your portraiture.

      Bjorn Thomassen

      [email protected]

      Photography dominates my life, both at home and at work. When I’m not writing about it, I’m reading about it or – best of all – taking pictures. Although I am keen on all types of photography, I am most passionate about portraiture. I certainly get a buzz from shooting landscapes, still lifes and other subjects, but nothing comes close to the excitement and enjoyment of taking portraits. Why? Well, among other things, it’s great to receive a positive reaction from the subjects themselves, and satisfying to capture a moment in somebody’s life. Above all though, I find people incredibly interesting. I am a naturally gregarious person, and although I enjoy the solitude that comes with shooting scenics or nature, I far prefer interacting with other people.

      I also think that portraiture is a challenging and stimulating form of photography. There is far more to taking a portrait than simply pointing the camera at your subject and pressing the shutter. A good portrait reveals something of the subject’s character, whether it’s a mood, a hint of humour, or some other aspect of their personality or lifestyle. The skill to revealing this is in how you interact with the subject; if you can gain their trust and put them at ease, you’re halfway there.

      Although equipment is important, don’t be fooled into thinking you need expensive gear. Most of the techniques covered in this book were purposely selected to be achievable with modest equipment. Whether you use film or digital, you will find the majority of these images within your grasp. Finally, with image manipulation now an accepted part of the picture-forming process, we have also covered some useful Photoshop techniques to help polish up your images.

      I hope that you will find this book interesting, inspiring, and a useful aid to improving your portrait photography. If you do, and you would like some further advice and practical experience, then join Bjorn and me on one of our photo workshops, which we hold in the UK and USA. It would be great to meet you. If you have any queries, feel free to email me and I will try to help.

      All the best with your portrait photography!

      Daniel Lezano

      [email protected]

      Equipment for portraits

      Although it is true that portraits can be taken using virtually any type of camera outfit, there are some that are particularly suited to the genre. You will find below our broad recommendations as to what we think are the best choices. We have assumed that you are like the majority of enthusiast photographers in that you are working to a budget. Therefore, we have chosen items that, as far as possible, are within the budgets of most people.

      Before getting down to specifics, it is worth pointing out that we have centred our choices around digital cameras. That is not because we are anti-film; it is simply because sales of film cameras have been in massive decline in recent years and this trend is accelerating. Therefore, if you are considering buying new equipment, we would recommend that you opt for a digital outfit, which, compared to film, offers similar quality and numerous advantages, including instant review, easier post-production and reusable media.

      Cameras

      A digital SLR (DSLR) offers by far the best mix of versatility, quality and affordability. Even entry-level models offer resolutions ranging between 6 and 8 million pixels – more than good enough for 12×8in prints. Add to this an excellent range of features, such as multi-point autofocus, sophisticated metering patterns, integral flash and interchangeable lenses, and you have a camera that is both very capable and excellent value for money. Models such as the Canon EOS 30D are superb value, offering 8 megapixels, 35-zone evaluative metering and access to a huge system of lenses, flashguns and accessories.

      Lens choice

      Ideally, you should own a lens that covers a focal length of around 85mm (in 35mm terms), so the standard zoom that is supplied with a DSLR kit is suitable. You might also want to consider a telephoto zoom, as this offers extra creative possibilities, including candid photography. The other alternative is an ultra-wide-angle zoom. This can be used for unusual compositions as well as when you want to include much of the scene in the frame – for example, when taking environmental portraits.

      Lens focal length

      Because most DSLRs have a sensor that is smaller than a 35mm film frame (APS-C sensor), you usually need to multiply the stated focal length of the lens by a given ratio to find its 35mm equivalent. For instance, the sensor of most consumer DSLRs effectively requires you to multiply the lens’s stated focal length by 1.5× to find out how it equates to 35mm photography.

      This is important, because lenses that are designed for DSLRs generally have a wider focal length than those made for film cameras. Let’s take standard zooms, for example. An 18–55mm ‘digital’ lens is equivalent to around 27–82mm (this is 18–55mm multiplied by 1.5×) in 35mm terms, while fitting a 28–80mm zoom lens

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